In October 2025, I traveled to Japan and South Korea to play 10 concerts. In Japan I’d reunite with my long-time collaborator, percussionist Naoto Yamagishi. Our last gig, two years earlier in Berlin, was freshly released on cassette as GARBAAAGE: Live at Hošek for this tour. But there was also a poignant undertone: our friend and collaborator, the definition of a multi-instrumentalist, Jone Takamäki had passed away in July. Our tour would be dedicated to him.

After about 20 hours in transit, I sat before a steaming gyūdon bowl in Akasaka, Tokyo. I spent the next day cycling around Ueno, Akihabara and Ochanomizu, where I got a vintage pitch shifter pedal. In the evening we had an excellent dinner with Naoto and Min.

Next morning, I walked amongst the high-rise and haute couture of Toranomon and Ginza, met up with Naoto and headed towards Shinagawa. Run by brilliant guitarist Riuichi Daijo, Permian is central to Tokyo’s improvised music scene, hosting 3-4 concerts weekly, its minimalist environment focused strictly on the music. The gig was a great start to our tour, my electric guitar and Naoto’s deep percussion supporting and challenging each other. Post concert we had excellent Indian food – I finished a curry spicy enough to warrant a hug from the restaurant boss.

The morning after, we walked around Naoto’s neighbourhood before a Fukagawa-meshi lunch. We met with calligraphist Setsuhi Shiraishi at Shibuya’s Hako Gallery – Yoshiaki Enomoto’s busy experimental music spot. Setsuhi’s visual elements, subtlety and dedication inspired our playing to new depths. We reminisced about Jone with whom we’d had a unique performance in 2016 with masters Atsuya Okuda (shakuhachi) and Oshun Tsukagoshi (ikebana). I was delighted to see a Helsinki-friend and his family among the audience, and the powerful wasabi at our after-gig dinner had me sneezing.

Composer and guitarist Taku Sugimoto organised an outdoor concert at his frequent spot under Tama Suido Bridge in Izumi-Tamagawa. Taku is a master of creating attuned listening situations, and we played together with the shifting sound environment, including a jazz trumpeter practicing somewhere across the Tama river. Field recordist Toshiya Tsunoda described our quiet, improvised sounds as “psychedelic”! We had a fantastic dinner at a nearby fish restaurant – but on our drive home we still stopped by a charming old ramen spot.

On the following day, after a painstaking exploration of Nakano Broadway and a monjayaki lunch, we set out for OTOOTO in Shimokitazawa, managed by the amiable Hiromi & Seiji Kimura. OTOOTO is another key Tokyo improvised music venue, successful at setting an attentive and relaxed environment. We switched up and played two sets, the music was getting deeper. I played Tetuzi Akiyama’s wonderful Roland amp (with two Jeff Beck signatures). This time our audience was from Japan, China and the USA!

We decided to leave directly towards Osaka by night. It was a 500-600km drive, punctuated by a few extended pit stops. In Osaka, we had a ramen and katsune udon lunch and met with our host Mizutama at Figya, and saw a brilliant exhibition by Kentaro Taki.

This was my second visit to Jerry Gordon’s MIIT House, having previously played there in 2014, the first ever duo with Naoto! It felt uncanny to stroll the alleys of Konohana after 11 years – neural pathways working overtime. We shared the evening with the spirited trio of Loui Yoshigaki, Rabito Arimoto and Jerry. Yet another international audience, including one Finlander!

Perhaps it was the long drive, or something else, but musically I was struggling. A feeling of being outside rather than inside of sound, trying to represent an idea or reach for a remnant of the past. More often than not it leads into musical dead-ends. Sure, this comes with the trade, but I periodically need to remind myself what this music is about. Notions like Naoto’s – “music before its concept was formally defined” lead the way back inside. Perhaps this futility and struggle is the music.

Next up was Okayama and Cafe Moyau, Eri Omae’s beautiful cafe, where the music happens downstairs in a literal cave. The dim lighting, natural elements and low ceiling create an almost spiritual atmosphere. Volume restrictions due to noise complaints, only added to the contemplative vibe. We played a quiet and sustained set, which seemed to resonate with the audience. Naturally, Okayama specialty ebimeshi was had.

After many years, I was glad to return to space eauuu, one of Kobe’s long-standing experimental music joints. We were welcomed by Miho Isobe & Sumimoto Nomura, with whom we had a fun discussion about Finnish and Japanese films and music. This time we played surprisingly loud and noisy! Back in Osaka, we had another local specialty, kushikatsu – deep-fried frozen grapes were especially mind-blowing.

The last gig of our tour was at another legendary Osaka spot, chef-d’œuvre, operated by artist Hiroyo Kotani. Jone’s ghost seemed most present there, due to an unforgettable (for many reasons) 2016 concert. A mix of moods came out while playing, tinted towards sadness and even frustration – we needed to finish off with a bang anyway. We rewarded ourselves with izakaya and satsumaimo ice cream.

Next morning I flew to Seoul, shifted through Hongdae Street’s tourist traps, to stumble upon an astonishing bar, where the master somehow played every song request on vinyl. The next day I’d play at the legendary dotolim, run by Jin Sangtae since 2008. This would be the final performance at the venue’s third location before its relocation.

In the morning I worked on a new piece for dotolim, then met with Antti Tolvi – who had just arrived from China – for a lunch picnic. En route to dotolim I realised I had left my notebook at the hotel. Ironically, my claim about working with “memory, documentation and process” manifested literally, as I had to work with whatever I could remember from my scribblings.

Between soundchecks and showtime we had, per Sangtae’s recommendation, a lovely kimchi-jjigae right next door. Joe Foster performed a score from the book D=D on objects. Uijin Oh played a mesmerising take on a process piece by Marcus Kaiser, and Antti’s conceptual, performative pieces lightened the mood. I experimented with barely audible volume, to contrast my unstable, noisy sounds. We ended the night, and dotolim’s run at this location, with Antti’s “For Four Composers” with him, Uijin and Sangtae.

The next day, I ventured to Magwan Market for a delicious kalguksu noodle soup. That night, at Samadhi Lounge, I played for the first time with Dasom Baek, who improvises with traditional Korean woodwinds. I enjoyed the set with Dasom – we created an interesting tension by standing our grounds. A happy surprise to see Antti, Joe, Uijin and Sangtae in the audience! Afterwards we all had a joyful dinner together.

Early next afternoon I met with Uijin and Han Lee from Seoul Quiet Music Network, and Antti at Seoul Forest Park. The Network’s Outdoor Music Project has had over 20 performances in public locations all over Seoul. We played two pieces by Taku Sugimoto and Antti’s new work around the park. After these deep, quiet, shared moments we had a last meal (naengmyeon), and I had to leave for the airport, and back to Helsinki.

Heartfelt thanks to everyone involved on this tour!

 

Watch the outdoor concert

Lauri Hyvärinen (electric guitar), Taku Sugimoto (electric guitar), Naoto Yamagishi (percussion)
10.10.2025 | Tama Suido Bridge, Izumi-Tamagawa, Tokyo