INDEX
The Inherent “Opening” of Art and the Sense of “Lame Coolness”
If we consider the earlier discussion about live performances, it may be that by embracing the imperfect state of having “openings,” we can feel a sense of “we’re playing well” as participants.
Deto: Ah, that might be true.
Gunji: The “openings” we’re talking about can manifest not only in static artworks but also in forms like music performances. The key point is that these “openings” represent absence in the literal sense; they cannot be manipulated or treated as if they were present. Instead, they emerge from the incomplete state of tension and inconsistencies experienced by the participants.
Deto: Definitely. Rather than consciously thinking, “Let’s create an opening here,” we tend to feel more like we’re just providing a free space within the song. We place those parts as a catalyst from the outside and use them to experiment with various things. In reality, we won’t know what will happen until the entire band faces that free situation together.
How about you, Katsuura?
Katsuura: Our songs often have repetitive structures, which sometimes leads to them being labeled as “mechanical.” However, that feels overly simplistic to me. Take Kraftwerk, the pioneers of techno music: while they project a mechanical image, you can still hear nuances of human performance, like imperfections and slight delays. Personally, that’s where the appeal lies for me.
Recently, OGRE YOU ASSHOLE has been playing along with electronic sounds, but I don’t think it’s possible to be perfectly synchronized with machines, nor do I want to be. The moments when there’s a bit of a “squishy” disconnect between us and the machines are what I find interesting. It’s almost like we consider the machines as part of the band while we play.
So you believe that it’s in those gaps and discrepancies that the musical dynamism resides?
Katsuura: Exactly, that’s what I think.
Gunjii, you also mention gaps and discrepancies in music, using artists like Prince as examples in your book やってくる. I found your use of the term “awkward coolness” to describe this appeal quite striking.
Gunji: At first glance, “awkward coolness” might catch people off guard… [laughs]. What I mean is that when we think of something as “cool,” it often refers to a perfectly aligned arrangement of components with no flaws. In contrast, “uncool” describes a state where that arrangement is mismatched.
To take it further, when unrelated elements are simply placed together, that’s what we call “lame.” On the other hand, “awkward coolness” involves a mixture of disjointed elements that somehow maintain a sense of coherence.
I believe that “awkward coolness” arises from the effective introduction of disconnection by inherently unrelated entities, creating an unclear but intriguing state. And I think this is crucial for the act of creation itself.
Deto: I find this really fascinating, and I can instinctively grasp the feeling.
Gunji： When we view pure entertainment and art as distinct concepts, I’m not necessarily criticizing the former. Entertainment often mixes highly disparate elements within a closed environment while maintaining a sense of coherence, yet it doesn’t seek to connect with the outside world.
On the other hand, I think art fundamentally dismantles that structure and forges connections with the external. Prince’s work is generally seen as entertainment, and when I first watched his music videos on a friend’s recommendation, I thought, “This is so lame!” [laughs]. However, after watching them multiple times, I started to realize, “This is actually incredible…” and I was genuinely moved.
Prince has many works that exemplify this, and I think it’s an important point that playing with machines often highlights those “gaps.” When I consider that, it feels like recent uses of electronic instruments by OGRE YOU ASSHOLE carry a sense of “awkward coolness” [laughs].
Katsuura: If that’s the case, I’m glad to hear it [laughs].
Instead of using easily controllable digital instruments that produce diverse sounds, you actively choose cumbersome analog gear like modular synthesizers. What’s the reasoning behind that?
Deto: I’m not sure. At least on a sensory level, analog synthesizers seem to produce better sounds than digital ones.
Katsuura: Right, and among analog synths, those that require retuning every ten minutes to keep their pitch can actually sound better.
Deto: Exactly. It’s a strange phenomenon.
