Wikipedia

Susumu Hirasawa

Susumu Hirasawa(Bình trạch tiến,Hirasawa Susumu,born April 2, 1954)is a Japanese musician and composer. He is well known for his work for the films of directorSatoshi Konand the animated adaptations of theBerserkmanga series, alongside his work as a solo artist.

Susumu Hirasawa
Bình trạch tiến
Also known asShiro Sakata, Stealthman (ステルスマン), Half-Mother ( dị mẫu phạm diệu )
Born(1954-04-02)April 2, 1954(age 70)
Adachi,Tokyo, Japan
OriginKoganei,Tokyo, Japan
Genres
Occupations
Instruments
Years active1972–present
Labels
WebsiteBình trạch tiến Susumu Hirasawa (P-MODEL) Official site
Japanese name
KanjiBình trạch tiến
Hiraganaひらさわ すすむ
Katakanaヒラサワ ススム
Transcriptions
RomanizationHirasawa Susumu

Early life

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Hirasawa was born on April 2, 1954, to his father Kiyoshi(Bình trạch thanh),afirefighter[1]as well as acalligrapher.Under the penname "Hōseki"(Phong thạch),[2]he wrote the names of album and band for the cover art of the P-Model albumPotpourri.Hirasawa lived with his older brother, artist Yūichi(Bình trạch dụ một,born October 5, 1950),who goes by the moniker "YOU1". He formed a stage effects team for Mandrake and appeared on the band's final show, running on a treadmill.[3]Yūichi was P-Model's art director for the band's first 9 years of existence, and has done occasional artwork for his brother from 2013 onwards. His only musical credits are for writing the lyrics of "For Kids" and "Sunshine City" (fromIn a Model Room), and for doing backing vocals on "Rocket" (fromThe Ghost in Science).

Since childhood, Hirasawa had an interest in machinery, and thought of himself as an engineer. He was anRC planeenthusiast, wanting to be a pilot, and repaired broken devices like radios and flashlights given to him by his parents. He studied in the electronics department ofHonjo Technical High School[ja],where he was the first to finish the graduation project, the construction of a TV, despite the fact he did not fully understand the circuits. He also hadmotocrossas a hobby.[4]

He enrolled in theTokyo Designer Gakuin College[ja]in 1972 and graduatedcum laudein 1975 from the university'sinterior designcourse. According to theTokyo Designers' Gakuin College '75 Design Annual,his graduation project was a dome-shaped stage set hall forTangerine Dream's performances.

Career

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In his fifth year of elementary school, Hirasawa learned to play theelectric guitar,inspired by thesurfandinstrumental rockbands he heard on the radio and on TV, later joining his junior high school's band. In 1973 he formedMandrake,aprogressive rockband that incorporated elements fromheavy metalandkrautrocktogether. Being one of the few Japanese progressive rock bands of its time, Mandrake achieved little success and released no albums during its lifetime.

During the early days ofMandrake,he worked as a part-time carrier on a fruits and vegetables market during the morning and at aPepsiwarehouse during the night, alongside Mandrake co-founder Fumiyasu Abe.[5]In 1978, Hirasawa applied for a part-time lecturer position atYamaha Music Foundation,and got the job, as he was the only person who applied. He taught courses at the Yamaha Synthesizer School until 1983, and met various musicians that he would later collaborate with through these lectures.[3]After leaving his position as teacher, he took to making commercial jingles for the rest of the decade to make ends meet.[6]

After discoveringpunk rockand working on synthesizer-heavy projects, Hirasawa decided to change the band into theelectronic rockbandP-Modelin 1979. Initially met with success, they changed to the unpopularpost-punkandexperimental rockgenres after Hirasawa went through an adverse reaction to his fame. With Hirasawa at the forefront, the band went through various lineups and achieved some popularity in the Japaneseindependent musicscene.

In 1989, Hirasawa launched his solo career with the release of the albumWater in Time and Space.His music incorporated elements from other genres, alongside themes fromphilosophyandpsychology.He continued to change his musical style while concurrently working with two different iterations of P-Model until the group was disbanded in 2000. He has actively been releasing new music since.

Compositions

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Hirasawa's music takes from such concepts asanalytical psychology,advances in digital technology, the philosophies ofyin and yang,and principles of nature versus machines. As an avid fan of science fiction novels since the 1970s and an eclectic reader overall, he's been inspired by the works ofFrank Herbert,Carl Jung,Hayao Kawai,Kenji Miyazawa,George Orwell,Wilhelm Reich,Antoine de Saint-Exupéry,Theodore Sturgeon,Nikola TeslaandKurt Vonnegut.

A constant source of inspiration for his music has come fromThailand.On a 1994 trip toPhuket,Hirasawa went through a "Thai shock", amazed by the country's culture, namely itstransgendercabaretperformers, some of whom he would invite to be singers on his albums and guest performers in his concerts throughout his career. After many trips back to the country Hirasawa grew to be increasingly identified with the Thai trans community, incorporating their problems and experiences in society into his work.[7]

On having his music categorized based on western trends, Hirasawa has said:

"I dislike it when I hear someone describe [my music] as weird rock, or weird techno. Surely this genre is hard to define in the music scene, because it doesn’t meet the standard of Western music charts. Hence if a rock music critic attempts to judge me [and my music], all they come up with isambient music,or music to take drugs to. [The Japanese music scene] doesn't help with introducing terms such asNew Ageortranspersonality.I want to let my music reach a broader part of society, being music born from Japanese culture, and I think this is why I want to connect to the world that doesn’t exist in the music scene. "[8]

Performances

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For every main solo album he releases, Hirasawa also stages an accompanying "Interactive Live Show", an interactive concert that merges computer graphics with his music to tell a story. The flow of each show is determined by audience participation; for example,Interactive Live Show 2000 Philosopher's Propellerwas formatted as a maze, and the audience was asked to choose which direction to go in. Provided with phone numbers to fourcellular phonesduring one song, the audience was allowed to call the numbers to have Hirasawa play the corresponding ringtones. This created an improvised harmony between the background music and the ringing phones.[9]Since 1998, participation has been possible through the internet.

Hirasawa's live music is built on samples he activates with various hand-crafted machines and pre-recorded tracks without vocals. For theSolar Liveconcerts, he used solar power and a power-generating wheel as the source of energy for his electronic equipment.

Hirasawa has worked since the start of his solo career to decrease the amount of performers around himself. Most of his solo albums from 1992 onwards feature no guest musicians, and live backing bands were relinquished in 1994. Since then, only a few select shows have had guest singers or backing instrumentalists.

Equipment usage

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Hirasawa is known for his eclectic choice of instrumentation. Some of the instruments he built himself, being inspired by his background in engineering and machinery.

Guitars

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Hirasawa has favored guitars designed specifically by Japanese instrument manufacturers. With a movement in the early '80s of electric guitar makers moving away from mass-producing copies of foreign designs and towards original ones, Hirasawa played many unique models. Over a five-year period, fromMandrake's last days to the early P-Model phase, he used the H.S. Anderson Rider,FernandesArt Wave andESPRandom Star, painting them in bright colors (burgundy, yellow, blue and white).[10][11]In 1983 he settled onTōkai Gakki'sTalbo[ja]aluminum guitars as his main ones, attracted by their unique material and design.[12]He used multiple Tōkai Talbos over an eleven-year period, with the guitar becoming an integral part of his image.

After Tōkai discontinued production and customer support for the Talbo due to financial difficulties in the mid-'90s, Hirasawa requested Fernandes to make him a guitar of his design in 1994 calledPHOTON,a Talbo-shaped guitar with a wooden body.[13]In 2004, he requested TALBO Secret FACTORY, a manufacturer of Talbos run by other musicians who also liked the guitar and wanted to continue to use it, to build a Talbo of his own design, calledICE-9(named after thematerial of the same namefromKurt Vonnegut's novelCat's Cradle). It became Hirasawa's main guitar for the next eight years. To showcase it, he made an eponymous mini-album in 2005.

Hirasawa has continued to work with the TALBO Secret FACTORY, requesting the conversion of one of his early Tōkai models into a new design of his, theASTRO,in 2011 and asking for the renewal of thePHOTONwith new specifications after two decades of usage. In 2012, Secret FACTORY co-founderHISASHIgifted him a Talbo of his own design, theEVO 0101Z,which Hirasawa adopted as his new main guitar,[14]owning standard copies as well as two equipped withsingle coil guitar pickupsfor selective usage.[15]

Besides those, Hirasawa has also used different types of guitar for specific purposes, playingMIDI guitarslike the Ibanez X-ING IMG-2010 and Casio MG500, various acoustic andclassicalmodels, classic surf ones like theMosriteand theJaguar,and the Aria AS-100C/SPLsilent guitar.

Electronics

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Hirasawa has usedAmigacomputers extensively in his work, starting out with CG production in 1987,[16]and later on applying it on his albums and live shows, using applications such as Say,SCALA,Bars & Pipes,SuperJAM![17]andOctaMED.He stopped using Amigas with theLIMBO-54shows of 2003[18]and theByakkoya/Paprikaalbums of 2006, since "maintaining an Amiga now is, like maintaining a classic car, costly".[a][19]

In the '90s he started a gradual transition toMicrosoft Windows(later on dabbling inUbuntufor a time),[20]using programs such as Delay Lama,[21]Vocaloids,[22]Bars'n'Pipes (an unofficial continuation of the Amiga program),Cakewalk SonarandSynth1.[23]

When choosing string tones Hirasawa aims to find ones with unstable pitches and a "dark sound", which he finds harmonious, such as theMellotron,Kurzweilsynths and EASTWEST's line of Symphonic sounds.[24]

Recording/production

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In the '90s, Hirasawa gradually moved his work from professional facilities to home, dubbing his workspace on various residences "Studio WIRESELF". He finally moved completely to it by the recording of 2000'sPhilosopher's Propeller.[25]The following year he undertook thesustainable energyproject "Hirasawa Energy Works" and changed his lifestyle so that all his music would be recorded with solar energy. To reduce carbon emission, Studio WIRESELF was outfitted to be powered completely by aphotovoltaic systemof 2solar panels,[26]with 2 car batteries to store extra energy. Years later, Hirasawa added 2 more panels to the studio and retired the batteries.[15]

Initially Studio WIRESELF operated on large pieces of equipment, both analog and digital. With the advances of technology and the streamlining of production under Hirasawa Energy Works, the working landscape transitioned tosoftware synthesizers,with the physical elements of the studio reduced to one recording booth and two workstations, one for Hirasawa and the other for engineer Masanori Chinzei.[15]

Activism and charity

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In 1988, Hirasawa sold aCassette Book[ja]at aflea marketinYoyogifor charity. It contained three original songs made specifically for the release and came with a thirty-six-page long booklet containing an analysis of his dreams and his current experience. All proceeds were donated to the Human Earth – Awakening Village(Nhân gian đại địa ・めざめ の,Ningen Daichi Mezame no Sato)volunteering welfare facility for the mentally ill inGunma Prefecture,founded by the psychologist who gave Hirasawa counseling around the time he made the P-Model albumsScubaandKarkador.

In 2001, a pregnant stray cat appeared in Hirasawa's studio. He took care of her and helped carry out four of her pregnancies from 2001 to 2002. Since he could not take care of all the kittens, Hirasawa created a temporary site to recruit possible adopters and keep up with the welfare of the various cats.[27]

As Hirasawa objected to theAmerican responseafter theSeptember 11 attacks,which he believes involved excessive carnage, and the Japanese government's aiding of such actions, he offered downloads of online banners and two of his songs for free, which he hoped would be used as tools of objection.[28]One of them is a rerecording of 1994's "Love Song", which is about children in the battlefield; the other is "High-Minded Castle", about a man who "can not know the truth and true background through media, he tries to face the real tragedy on the other side of the world". The latter was taken from theBlue Limboalbum, which displays a dystopian theme partly influenced by the American government's retaliation.

To supportfreelancejournalists,independentandcitizen media,Hirasawa started a free music archive to be used by independent news as background music.[29]He sent e-mails to various associates and members of P-Model requesting involvement,[30]the only one to join was guitarist PEVO 1go. The files uploaded were instrumental mixes of songs by both musicians, including some fromVistoron,which revolves around the propagation of a false reality by mass media.[31]

In the aftermath of the2011 Tōhoku earthquake and tsunamiand theFukushima Daiichi nuclear disaster,Hirasawa started traveling around the country with aGeiger counter,measuring the radiation levels and reporting them in his Twitter account. In June 2011, a song was posted on his site, titled "Nuclear Power"(Nguyên tử lực,Genshiryoku):A rerecording of the P-Model song "Boat" (from 1984'sScuba) in the style of "The Aggregated Past – Kangen Shugi 8760 Hours" project, with the lyrics changed to protest against Japan's use of nuclear power and to criticize the government and the media. The song, credited to "Stealthman", was only available on the site for six days, but could be redistributed if unaltered and not for profit. An instrumental mix was posted on the site by Hirasawa after the original was taken down, following the same distribution guidelines. As these events occurred, Hirasawa told a story on Twitter of being assaulted and having his computer and website hacked by "Stealthman". Through his tweets and the way the posts were worded on his website, Hirasawa effectively distanced himself from the track and disowned it. The song is available on the karaoke service provider Xing'sJoySound[ja]online song library, credited to "Stealthman".[32][33]

Personal life

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In 2013, Yūichi opened thecafé bar[ja]Gazio inTsukuba.Although branded as a "new wave" café, the establishment was heavily themed around P-Model and Hirasawa's discography; it contained various band related memorabilia, served original cocktails titled after his songs and often held special events and shows by members and associates of the band. Hirasawa made exclusive content for it and, as he gives his brother most things he has no need for at a given moment,[34]many studio and stage objects were displayed in the café. Gazio ceased operations as an active restaurant in 2015 and rebranded as an art studio; Yūichi now holds twice monthly "Café Gazio" events inKichijōji.

Hirasawa started smoking in 1979[35]and quit in 2001; he has since become an avid user ofelectronic cigarettes.[36]He is also ateetotaler,since drinking more than one fifth of beer makes him feel like his head grow "...five times bigger, then explode."[37]Despite this, he previously drankwinebefore singing in order to preserve his voice; he has since replaced this withthroat lozenges.[38]

Hirasawa is avegetarian,as he has remarked before, "At any rate, meat is unappetizing and gross. Eating meat makes me tired and makes me throw up".[39]He lives in a house in Tsukuba with his petcalico catnamed Tebin(テビン).His house also has a garden, where he grows some of his food. He also cultivates bacteria to makesoy yogurt.[33]

While repeatedly incorporating various concepts fromShintoismandBuddhismin his themes, as well as ones from other Asian religions, Hirasawa has never specified what his beliefs are. However, at one point in time, he supported the return of theimperial cultof theEmperor of Japanas a psychological measure: "I thinkHis Majestyneeds to recover his glorification. In this matter, I'm sort of right wing; the Emperor of Japan needs to regain hissymbolic positionas a God. But this is for the sake of a healthy process ofcollective consciousness,so please don't lump my position in with all the militaristic talk ".[40]

Discography

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Main article:Susumu Hirasawa discography
See also:Mandrake (Japanese band),P-Model,andShun (band)

Studio albums

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As Kaku P-Model

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Soundtracks

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Publications

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  • Landsale– Record Copy Full Score (with Yasumi Tanaka & Katsuhiko Akiyama). Ongaku Shunjū, 1980
  • P-Model. I3 Promotion, 1992
  • ura P-mania(Ｐ－ＭＡＮＩＡ)– P-model no kako ha ikaga?. Sankakuyama Tsūshin (independent fan club), 1995 (collection of press clippings & flyers, 1973-1993)
  • Music Industrial Wastes(Âm lặc sản nghiệp 廃 bỏ vật,Ongaku Sangyō Haikibutsu)(by Kasiko Takahasi). Chaos Union &SoftBankPublishing, 1999 (2 volumes & 1 CD-ROM)
    • P-Model Side – Open Source
    • Hirasawa Side – Desktop Ouroboros(Trác thượng の ウロボロス,Takujō no Uroborosu)
    • Rev.2.0 (revised & expanded reissue). Fascination & Book-ing, 2005
    • Rev.2.4 v2010 (revised & expanded digital reissue). Chaos Union & Fascination, 2010 (available as both a limited pressing of 1000 physical DVD-ROMs and as download)
  • SP-2(タイ の ニューハーフ? いいえ “Đệ ２ の nữ tính” です).Chaos Union & Teslakite, 2008 (mix of photography & essays)
  • Near Future Never Come(Tới なかった gần tương lai).Chaos Union & Fascination (material originally posted on FAMIGA from December 1998 to March 2002), 2012
Newsletters
  • Moire Club. Model House, 1985–1989 (12 volumes)
  • Hirasawa Bypass. I3 Promotion, 1989–1996 (19 volumes)
  • Green Nerve. Chaos Union & Teslakite, 1997–present (37 volumes)
Special releases
  • Another Papers. Model House & Personal Pulse, 1983
  • Bookmark's Banquet(Yến の san,Utage no Shiori)two 16-page booklets:Kami(Thượng,Upper)&Shimo(Hạ,Lower).DIW(Disk Union) &SYUN,1994
  • tokyo paranesian. I3 Promotion, 1994
  • Sim City Photographs. I3 Promotion, 1995
  • Interactive Live Show Vol.5. Hirasawa Bypass (I3 Promotion), 1996
  • p-model 1996. Hirasawa Bypass (I3 Promotion), 1996
  • Day Scanner of Susumu Hirasawa. Chaos Union & Teslakite, 1997
  • deranged door(Thác loạn の phi,sakuran no tobira).Chaos Union &Marquee,1997 (2 volumes)
  • World Cell – History of Interactive Live Show. Chaos Union & Teslakite, 1998
  • A Young Person's Guide to Mandrake 1973–1978. Chaos Union & Mecano, 2006
  • Live Byakkoya. Chaos Union & Teslakite, 2006

See also

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References

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Notes
  1. ^"Nay やAmigaを duy trì する の はクラッシックカーを duy trì するようなも の で, コストがかかりすぎます."
Citations
  1. ^"Susumu Hirasawa(@hirasawa)/2015 năm 0 ngày 31 tháng 1 - Twilog".twilog.org.RetrievedJune 28,2016.
  2. ^"hirasawa 08/05/15".imgur.RetrievedJune 28,2016.
  3. ^abHirasawa, Susumu (2006) [1997].unreleased materials volume two(liner notes).Mandrake.Chaos Union, TESLAKITE. CHTE-0036.
  4. ^iNA & chiểu điền 2013,URI fragment № 2: "“Thiếu niên から thanh niên へ” "['From Boy to Young Man'].
  5. ^@hirasawa (October 11, 2015)."Triều はやっちゃ tràng, đêm はペ●プシコ●ー●で động くMANDRAKEコンビは, そうして gì độ も gì độ も quy có dịch で đãi ち hợp わせてはイケナイ âm lặc を tấu でる ngày 々でありました."(Tweet).RetrievedJune 28,2016– viaTwitter.
  6. ^Takahasi, Kasiko (2010) [1999].Đặt lại DIGITAL phục khắc bản âm lặc sản nghiệp 廃 bỏ vật[Music Industrial Wastes Rev.2.4] (in Japanese). Vol. Hirasawa Side — trác thượng の ウロボロス [Desktop Ouroboros] (3rd ed.). Fascination. p. 53.
  7. ^Surovec, Sabrina L. (March–April 2009)."Hirasawa Susumu – Techno Artist and Innovator".Five For Magazine.No. 9.RetrievedJuly 24,2015.
  8. ^Giếng thượng quý tử (March 1994)."The Horsecratic Party of Green Nerve"Mục を bế じて khuyển になり, vân になり・・・・・・[Close Your Eyes, Then You Become a Dog, or Cloud......].Rockin' on Japan(in Japanese). Vol. 82. Rockin' on Inc.RetrievedNovember 16,2015.
  9. ^Heller, Jeff."Reviewed: Susumu Hirasawa's" Interactive Live Show 2000 "".JHGFD.Archived from the original on October 23, 2005.RetrievedNovember 8,2015.{{cite web}}:CS1 maint: unfit URL (link)
  10. ^Bình trạch tiến, lịch đại ギターを ngữ る. Lần đầu tiên[Susumu Hirasawa Talks About his History with Guitars, Part One.].Green Nerve(in Japanese). Vol. 23. Chaos Union. 2008.
  11. ^Bình trạch tiến, lịch đại ギターを ngữ る. Hồi thứ hai[Susumu Hirasawa Talks About his History with Guitars, Part Two.].Green Nerve(in Japanese). Vol. 24. Chaos Union. 2008.
  12. ^Bình trạch tiến.ミュータントは phản ギタリストも mị する[Mutant Fascinates Anti-Guitarist, Too]. タルボ khiển い の tổ tiên たち [Pioneers of Talbo Playing].TALBO Secret FACTORY(in Japanese). Ikebe Gakki.RetrievedMarch 24,2013.
  13. ^@hirasawa (February 3, 2014)."PHOTON の ボデーは mộc ですから. しかも trống rỗng động ですから."(Tweet).RetrievedJune 28,2016– viaTwitter.
  14. ^"EVO Alumi-Evolution".TALBO Secret FACTORY(in Japanese). Ikebe Gakki.RetrievedMay 13,2014.click on the photo aboveBình trạch tiến / hạch P-MODEL.
  15. ^abcBình trạch tiến "アロル の quán" にて sáng tạo độc đáo な chế tác thủ pháp を ngữ る[Susumu Hirasawa Talks About his Unique Production Techniques at the "House of Aroru" ].Sound & Recording Magazine(in Japanese). No. 2. Rittor Music. February 2016.ISSN1344-6398.
  16. ^Bình trạch & cao kiều 2012,pp. 008–012, chương 1 gần tương lai の バッタ vật.
  17. ^"Interview bình trạch tiến".Keyboard Magazine(in Japanese). Vol. 10. Rittor Music. October 1998.ISSN1344-6371.
  18. ^Bình trạch & cao kiều 2012,p. 365, người biên tập あとがき.
  19. ^iNA & chiểu điền 2013,URI fragment№ 4: "“DAW の 変 dời” そしてライブで の biểu hiện について "['On the “Vicissitudes of DAWs” and its Expressions Live'].
  20. ^@hirasawa (January 30, 2015)."“Gần nhất はUbuntuは sử っている の ですか?” ＯＳをバージョンアップしたら khởi động しなくなった. Đối 処している thời gian がない. "(Tweet).RetrievedJune 28,2016– viaTwitter.
  21. ^Trung dã thái bác (March 10, 2009). "Nay hồi の アルバムはシアトリカルな thể tài を cầm っている の で, thính いた người がそれなり の vật ngữ を làm れば lương いと tư っています" [This Album Has a Theatrical Style, So I Hope That Everyone Who Listens to It Will Create Their Own Story]. INTERVIEW — Susumu Hirasawa.Keyboard Magazine(in Japanese). Vol. Spring. Rittor Music. p. 196.ISSN1344-6371.
  22. ^Phú điền minh hoành (December 12, 2008).バーチャルな “Nữ tính” へ の dục vọng とは gì か[What is the Desire for a Virtual "Woman" ].Eureka Comprehensive Special Issue ♪ Hatsune Miku — an Angel That Landed on the Net(in Japanese). Vol. 40, no. 15. Seidosha. p. 60.ISBN978-4-7917-0187-2.
  23. ^ハードウェア の ミキサーやサンプラーは hết thảy sử っていませんおかげで điện lực sử dụng lượng は trước kia の 8 cắt giảm になりました[I Don't Use Any Hardware Mixers or Samplers, Thanks to That, My Power Isage is Now 80% Less Than Before]. PEOPLE & TOOLS — SUSUMU HIRASAWA.Sound & Recording Magazine(in Japanese). No. 299. Rittor Music. March 2006. p. 241.ISSN1344-6398.
  24. ^Bình trạch tiến INTERACTIVE LIVE SHOW 2013 “ノモノスとイミューム” siêu tiếp cận! ライブ& cơ tài レポート![Susumu Hirasawa INTERACTIVE LIVE SHOW 2013 "Nomonos and Imium" Super-Close! Live & Gear Report!].TALBO Secret FACTORY(in Japanese). Ikebe Gakki.RetrievedFebruary 20,2013.
  25. ^Cao kiều かしこ; thổ phòng thái một (February 2, 2007).ミュージシャン bình trạch thị ( trước biên ) ソーラー phát điện は sáng tác ý muốn をかきたてる lặc しい “Thú vị” なんです[Mr. Hirasawa, Musician (Part One) － A Fun "Hobby" Sparked the Creative Impulse of Solar Power Generation].ECO JAPAN(in Japanese).Nikkei Business Publications.Archived fromthe originalon July 15, 2015.RetrievedFebruary 28,2016.
  26. ^Morgan, Jonah. "ANS Exclusive Interview: Berserk Soundtrack Composer Susumu Hirasawa".Anime News Service.Retrieved 11 February 2010.
  27. ^"しまちゃん ngự hoài nhâm につき thân mộ tập"[Shima-chan is Pregnant, Foster Parents Wanted]. chaosunion. Archived fromthe originalon May 16, 2001.RetrievedJuly 6,2016.
  28. ^"Giết chóc へ の kháng nghị xứng tin" [ "Free Distribution Against the CarnageArchivedMay 15, 2013, at theWayback Machine"]. Chaos Union. Retrieved 11 February 2010.
  29. ^Hirasawa, Susumu (March 24, 2011)."Free music for free-lance journalists and independent media".NO ROOM.Chaos Union. Archived fromthe originalon July 11, 2011.RetrievedJanuary 20,2020.
  30. ^"Susumu Hirasawa(@hirasawa)/2011 năm 02 nguyệt 08 ngày - Twilog".twilog.org.RetrievedJune 28,2016.
  31. ^"Ashu-on in the Solar System: Vistoron Edition".Hirasawa Lyrics.
  32. ^"Who is Stealthman?".Tumblr.RetrievedApril 6,2013.
  33. ^ab"Interesting Developments on Twitter".Âm の mang 〜Phonon Belt.June 24, 2011.RetrievedApril 6,2013.
  34. ^Hirasawa, Susumu (February 12, 2016)."No. 2".Ustream.Back Space Pass (in Japanese).RetrievedMarch 15,2016.
  35. ^キミは đông danh cao tốc でガマンしたか?[Did You Endure in the Tōmei Expressway?].The Aggregated Past KANGENSHUGI 8760 HOURS(in Japanese). Chaos Union.RetrievedFebruary 23,2016.
  36. ^@hirasawa (January 13, 2019)."そして di động し, ほっとエクトプラズムを phun く. シャツがちょっと khổ しい."(Tweet) – viaTwitter.
  37. ^"Susumu Hirasawa(@hirasawa)/2012 năm 0 ngày 12 tháng 8 - Twilog".twilog.org.RetrievedJune 28,2016.
  38. ^Hirasawa, Susumu (November 2, 2008).Phạm nhân は âm hưởng kỹ sư[The Criminal Sound Engineer].NO ROOM.HIRASAWA tam hành log [Hirasawa Three-Line log] (in Japanese). Chaos Union.RetrievedFebruary 23,2016.
  39. ^"Twitter in Translation – Vegetarian Edition".Âm の mang 〜Phonon Belt.RetrievedApril 6,2013.
  40. ^"SHRINK RAP".Gargoyle(in Japanese). Vol. 1. Player Corporation. May 20, 1988. p. 87.RetrievedFebruary 28,2016.
Bibliography
  • Bình trạch tiến; cao kiều かしこ (May 14, 2012) [1 May 1992, 22 December 1998-15 March 2002, 3-6 December 2011],Tới なかった gần tương lai[Near Future Never Come] (PDF) (2nd ed.), Fascination.
  • CAP-iNA; chiểu điền tiến (November 13, 2013),"HIRASAWA SUSUMU kịch liệt インタビュー"[Susumu Hirasawa Intense Interview],Ikebe Music, Talbo Secret Factory,Ikebe Gakki, archived fromthe originalon December 30, 2015.
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