Tomoyasu Hotei is a multi-talented Japanese musician who first rose to fame in the 1980s as the guitarist for the band BOØWY – one of Japan’s most famous rock bands. His career spans more than 30 years in which he has collaborated and played with many well-known international artists such as David Bowie, Jesus Jones, INXS and Hugh Cornwell. Recently, he relocated to London with his family to pursue new musical endeavours. In this special feature, he meets with Embassy staff at a recording studio in West London to discuss the relationship between Japanese and British rock music.
I understand that you first became interested in listening to music in the '70s which saw the birth of new genres such as Progressive and Glam Rock. During that period, the exchange between Japanese and British bands such as Roxy Music and Sadistic Mica Band was particularly notable. What were your impressions of this era? |
I think I was very lucky to have been born in 1962. I was a teenager in the 70s when Glam Rock, Punk and New Wave scenes were at their peak and I was spellbound by the flamboyant but lurid British music. It wasn’t just about music but included irony, humour and fashion. I felt it was a melding of different components to create a real art form. My impression of the American rock scene at the time was that it was more open and free, but I felt that it was too large for me. I was first enchanted by a poster of Marc Bolan at my local record shop in Gunma – he was holding a Les Paul guitar and looked like he’d had an electric shock! Years later, when I sorted back through the records that I bought with my pocket money savings at that time, I realised that they were mostly by British artists.
I first started listening to British rock with the Beatles and then Yes, but was also introduced to Roxy Music and went to see their concert in Tokyo in 1979. At that time, the popularity of Punk was starting to decline, and New Wave was starting to show its influence in America and Japan.
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Tomoyasu Hotei |
I also attended the same Roxy Music concert in Tokyo. I was in the front row! For me, because I really admired Marc Bolan, I practiced playing the guitar as much as I could. I listened to and copied hard rock styles, and played King Crimson songs. I was completely absorbed by practising the guitar and earned a reputation in the countryside where I grew up as being a good guitarist. However, then Eddie Van Halen came along with his two-handed tapping technique, and I also came to know about Al Di Meloa. Al’s method of playing the guitar was mesmerising - you could hardly follow his hand movement. It shocked me so much – I felt as if I was a primary school student being overtaken by Carl Lewis in a sprint race! Conveniently for me, just as my heart was breaking as I thought I’d never be able to play the guitar like that, Punk came along. It is thanks to Punk music that I understood the importance of energy and assertiveness over technique when playing the guitar. I really appreciated how enjoyable it was to seek something different. My band BOØWY was formed after that as a New Wave band.
In the '80s there was much exchange between the members of Japanese techno pop band Yellow Magic Orchestra (YMO) and British New Wave band Japan, such as between Ryuichi Skamoto and David Sylvian. Even after Japan broke up, Japanese guitarist Masami Tsuchiya decided to move to London and collaborated with his great friend Japan’s bassist, the late Mick Karn. On the other hand there were British musicians such as Tot Taylor who went to Japan in search of inspiration. Looking back now, it was a unique era with much direct interaction between Japanese and British musicians which perhaps changed their perceptions of each other. Personally, what influences have you had from Britain?
About two years before BOØWY broke up, after I produced an album in Berlin, I had a chance to go to London and play at The Marquee Club. After that, during the recording of my first solo album at Abbey Road studios, members of Roxy Music, Jesus Jones and the Stranglers would visit, and I had a chance to jam with people such as Brian May – something that I couldn't even imagine I would have the chance to do in Japan. Actually, I intended to move to London to work on music straight after the band broke up (in 1988), but on the other hand I also felt that I still needed to stay in Japan. In Japan, guitarists weren’t as highly revered as singers, and mainstream music was not as interesting as it could be. I wanted to encourage the development of more stimulating music in Japan, so I decided to stay. For that reason it’s taken me 30 years to finally move to London.
What kind of musicians made an impact on you?
I produced for British bands like Sigue Sigue Sputnik, and by having the chance to join various studio sessions, I contributed on albums, such as for The Stranglers' vocalist and guitarist Hugh Cornwell. Through an invitation from an engineer I also contributed to one of rock band Asia’s albums. I don’t consider myself to be a very technically-gifted guitarist but I think that people considered my style to be somehow Japanese and unique. I was asked to collaborate on some music by the late Michael Kamen, a very talented musician known for composing the music for the 1985 British Sci-Fi film Brazil. The song I recorded with him eventually gave me an opportunity to perform at the 1996 Atlanta Olympic Games closing ceremony. I really feel like the connections I made in Britain had a great impact on my life.
Drummer and bass player Gota Yashiki is another Japanese artist who moved to the UK in the 90s. At first he worked with hip hop artists such as Soul II Soul, but then went on to join Simply Red and had great success with them. He was a pioneer of Japanese musicians who based themselves in the UK and became successful. What were your thoughts on this?
I was kind of envious, but I had a fan base in Japan so I wasn’t frustrated by it. Musicians who went abroad at that time, such as Gota Yashiki and Japanese band The Plastics, had many great experiences but now have returned to Japan. Everyone has their own path, and for me I learnt a lot in Japan in the years after BOØWY. The confidence I have now is because of all the experiences I have had up until now. For me personally, coming to London at this time was best as I believe that I can showcase my strengths in a composed and gentle manner, rather than recklessly waving a sword around!
In the 2000s, Visual Kei bands from Japan have gained some popularity overseas. Conversely, the British Dubstep scene currently has much influence in Japan and America. Also, Japanese noise music draws some attention within certain circles in the UK. What are your impressions of such music? |
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With Visual Kei, what does and what doesn’t come under the genre is not clearly defined. However, some might say that in a way I was a pioneer of the Visual Kei scene. For me, though, I am satisfied just to know that people who come to see me enjoy listening to my guitar-playing.
My impression of current dance music is that it bears some similarity to graphic design or collage, rather than just being party music to make your body move. The same technology used to make music now exists all over the world. Although I do enjoy dance music, it’s difficult for me to differentiate between the various sub-genres, and even if I wanted to give you names of particular musicians that I like, I am not able to. When it comes to the computerization of rock and roll, I have been trying to get to grips with that from early on. Whereas YMO’s music has quite an urban feel, I thought that I would create my own style by dubbing my guitar sounds over a computerised beat. My first solo album - Guitarythm - was considered to be a pioneering piece of work with that approach.
Regarding noise music, I’ve heard both beautiful tracks and those I’ve thought that I never want to hear again! Some people may prefer to make music for their closed circle, but as a composer I want my music to be listened to by as many people as possible. Although I possess an ‘underground’ spirit, I am constantly trying to figure out how to relay that spirit to more and more people – to make it ‘overground’.
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What are your hopes for your future endeavours?
As far as music is concerned, simply settling here does not necessarily make a difference. Nor does it mean that my guitar technique would suddenly improve. From now until my 60s, while my body and mind are still sharp, I would like to approach music aggressively again. Rather than a business tactic, this is about my guitar-playing. It is not to say that I feel complete with the status I have achieved in Japan, but that I feel that there is ‘another me’ to be found, and by working with various artists and absorbing new things I might find my own guitar style.
Recently I had my first performance in a local pub. There were only about 15 people there, but after we played, a lady who was watching said to me “You’re pretty good at playing the guitar.” I thought – “Yes! Here’s the first person I’ve impressed.” Without being wildly ambitious, I just want to believe in myself and slowly accumulate chances. Meaning, if I start my music activities here with only a vague plan – my career will continue in the same manner. I don’t know when I will have a chance to play at the world’s most beautiful venue, The Royal Albert Hall, but with that as my aim, I will work my hardest to make it happen. Presently, I would like to tour the UK and Europe and hope to play at some festivals.
Particularly in the UK, would you not agree that many artists find fame by starting at small venues - creating a buzz from humble beginnings?
I didn’t paint a picture in my mind of what things would be like in advance because I like the moments when new things are born from chemical reactions. For that reason, I prefer to just sling my guitar on my back and go anywhere with an open-minded approach. At the same time, I must still continue with my activity in Japan, through which I would be able to spread Britain’s charm and allure in my home country. For my fans travelling from Japan to see my concert at the Roundhouse next month, I’m sure they will understand why I’m here once they experience the atmosphere for themselves. Since the Great East Japan earthquake and tsunami last year, Japanese people have become more subdued – the future seems far away. For people in their 30s to 50s – it’s up to us to actively work towards building something for the future. I want to appeal to peoples’ spirit to show them not to be afraid of making mistakes, but to look to the future positively and try again.
After the earthquake in Japan last year, many British citizens expressed their solidarity with the people of Japan and there were a great number of charity functions and gatherings. British people really want to lend their support to Japan. I believe that this is due to the impact of various individuals who have encouraged relationships to flourish between the two countries over the years. I hope that your activities in the UK can be seen as an expression of Japan giving something back to the UK for their support, and that through your music you can send a message to show that Japanese people are still trying hard to do their best.
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Tomoyasu Hotei plays at London's Roundhouse on Tuesday 18 December 2012.
He will also be making a surprise guest appearance at Hyper Japan on Friday 23 November. Hyper Japan 2012 Christmas takes place this week from 23 - 25 November at Earls Court, London.
Embassy of Japan in the UK
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