Cover Photo for Jojo Hiroshige Album (Utech Records)

Jojo Hiroshige / Jojo

Words are different to sounds in that the images they create are limited. They’re like a two-edged sword – sometimes they can be used effectively, but sometimes they restrict the range of the images employed. When I was young I read Wittengenstein’s “Philosophical Investigations” and that led me to start thinking about the importance of pinning down thought through the medium of language. Escaping into sound because of your own inarticulacy with language, and using sound to express what cannot be expressed in words are two sides of the same equation.
– Jojo Hiroshige

Jojo’s music has always been a far more communicative medium than one might imagine from his fearsome reputation as the founder of Dionysian noise extremists Hijokaidan and the home of Japanese independent music, Alchemy Records. Rather than a fingers-in-ears rejection of social interaction, his music has always been created out of collaborative contexts, out of spaces where noise and the flesh of more than one performer can collide, to find and create meanings beyond the normal rules of linguistic interaction. It is the very possibilities of that space beyond words that has led Jojo to continually surround himself with new collaborators. So it’s fitting that Jojo’s release, the final one in the Shokyo Ontei series, should be the only one that turns its back on the relationship of music to a text. Unlike his previous solo releases, where vocals had always played a key role, here Jojo is caught alone with his guitar. Linguistic and social encoding falls away, leaving only the body, the instrument, the will.

Photograph by Alexander Binder.
Mastered by Lasse Marhaug.
CD limited to 300 copies.