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The Undulating “Hosono Style”: Yuma Abe’s Interpretation of “Fuyugoe“
Yuma Abe takes on the challenge of covering “Fuyugoe” on HOSONO HOUSE COVERS. How does he interpret the iconic “no-” in the song?
This track was chosen as the second in the album’s early release series, which kicked off with Mac DeMarco’s “Boku wa Issun.” Abe becomes the first Japanese artist to be featured in this unique lineup.
The intro subtly pays homage to the riff from “Sayōnara Amerika, Sayōnara Nippon,” the final track of Happy End’s 3rd album HAPPY END (1972), which was recorded in LA.
This moment reflects a period when Hosono ventured into the “in-between” of American and Japanese music, influenced by encounters with figures like Van Dyke Parks. Meanwhile, Yuma Abe, born in 1990, brings a warmth that feels like inviting the present-day Hosono into a cozy kotatsu gathering. The fluffy female chorus adds to the charm. There’s a sense of an “ABE HOUSE” instead of HOSONO HOUSE, intentionally or not.
As for the crucial “no-“, Abe places emphasis on the “no,” making it slightly sharp before it drops. This subtle shift in accent marks Abe’s unique interpretation of the “fushi” (melody). It also seems reminiscent of a rare solo version Hosono performed at the Hobo’s Concert in 1974. When performing live, it’s possible that the tension in the moment alters how he approaches that part.
By the way, in the self-cover by Hosono himself, released in 2019 on HOCHONO HOUSE, 46 years after the original, the “no” is gently released into the air, rising softly and disappearing. There’s no predetermined notion of what the “correct” way is. Hosono’s expression is not about fixing something as a monument and sticking to it, but about constantly generating undetectable nuances that cannot be analyzed by AI, always conveying the importance of change while moving forward into the future.
