is a Japanese musician and composer. He is well known for his work for the films of director Satoshi Kon and the animated adaptations of the Berserk manga series, alongside his work as a solo artist and as the lead member of P-Model.
Early life Hirasawa was born on April 2, 1954, to his father , a firefighter as well as a calligrapher. Under the penname , he wrote the names of album and band for the cover art of the P-Model album Potpourri. Hirasawa lived with his older brother, artist , who goes by the moniker "YOU1". He formed a stage effects team for Mandrake and appeared at the band's final show, running on a treadmill. 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" (from In a Model Room), and for doing backing vocals on "Rocket" (from The Ghost in Science).
Since childhood, Hirasawa had an interest in machinery, and thought of himself as an engineer. He was an RC plane enthusiast, 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 of , 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 had motocross as a hobby.
He enrolled in the in 1972 and graduated cum laude in 1975 from the university's interior design course. According to the Tokyo Designers' Gakuin College '75 Design Annual, his graduation project was a dome-shaped stage set hall for Tangerine Dream's performances.
Career In his fifth year of elementary school, Hirasawa learned to play the electric guitar, inspired by the surf and instrumental rock bands he heard on the radio and on TV, later joining his junior high school's band. In 1973 he formed Mandrake, a progressive rock band that incorporated elements from heavy metal and krautrock together. 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 of Mandrake, he worked as a part-time carrier on a fruits and vegetables market during the morning and at a Pepsi warehouse during the night, alongside Mandrake co-founder Fumiyasu Abe. In 1978, Hirasawa applied for a part-time lecturer position at Yamaha 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. After leaving his position as teacher, he took to making commercial jingles for the rest of the decade to make ends meet.
After discovering punk rock and working on synthesizer-heavy projects, Hirasawa decided to change the band into the electronic rock band P-Model in 1979. Initially met with success, they changed to the unpopular post-punk and experimental rock genres 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 Japanese independent music scene.
In 1989, Hirasawa launched his solo career with the release of the album Water in Time and Space. His music incorporated elements from other genres, alongside themes from philosophy and psychology. 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 been actively releasing new music since then.
Compositions Hirasawa's music takes from such concepts as analytical psychology, advances in digital technology, the philosophies of yin and yang and principles of nature versus machines. As a fan of science fiction novels since the 1970s and an eclectic reader overall, he's been inspired by the works of Frank Herbert, Carl Jung, Hayao Kawai, Kenji Miyazawa, George Orwell, Wilhelm Reich, Antoine de Saint-Exupéry, Theodore Sturgeon, Nikola Tesla and Kurt Vonnegut.
A constant source of inspiration for his music has come from Thailand. On a 1994 trip to Phuket, Hirasawa went through a "Thai shock", amazed by the country's culture, namely its transgender cabaret performers, 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.
On having his music categorized based on western trends, Hirasawa has said:
Performances 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 Propeller was formatted as a maze, and the audience was asked to choose which direction to go in. Provided with phone numbers to four cellular phones during 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. 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 the Solar Live concerts, 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 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 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, from Mandrake's last days to the early P-Model phase, he used the H.S. Anderson Rider, Fernandes Art Wave and ESP Random Star, painting them in bright colors (burgundy, yellow, blue and white). In 1983 he settled on Tōkai Gakki's aluminum guitars as his main ones, attracted by their unique material and design. 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 called PHOTON, a Talbo-shaped guitar with a wooden body. 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, called ICE-9 (named after the material of the same name from Kurt Vonnegut's novel Cat'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, the ASTRO, in 2011 and asking for the renewal of the PHOTON with new specifications after two decades of usage. In 2012, Secret FACTORY co-founder HISASHI gifted him a Talbo of his own design, the EVO 0101Z, which Hirasawa adopted as his new main guitar, click on the photo above 平沢 進 / 核P-MODEL. owning standard copies as well as two equipped with single coil guitar pickups for selective usage.
Besides those, Hirasawa has also used different types of guitar for specific purposes, playing MIDI guitars like the Ibanez X-ING IMG-2010 and Casio MG500, various acoustic and classical models, classic surf ones like the Mosrite and the Jaguar, and the Aria AS-100C/SPL silent guitar.
Electronics Hirasawa has used Amiga computers extensively in his work, starting out with CG production in 1987, and later on applying it on his albums and live shows, using applications such as Say, SCALA, Bars & Pipes, SuperJAM! and OctaMED. He stopped using Amigas with the LIMBO-54 shows of 2003 and the Byakkoya/Paprika albums of 2006, since "maintaining an Amiga now is, like maintaining a classic car, costly".
In the '90s he started a gradual transition to Microsoft Windows (later on dabbling in Ubuntu for a time), using programs such as Delay Lama, Vocaloids, Bars'n'Pipes (an unofficial continuation of the Amiga program), Cakewalk Sonar and Synth1.
When choosing string tones Hirasawa aims to find ones with unstable pitches and a "dark sound", which he finds harmonious, such as the Mellotron, Kurzweil synths and EASTWEST's line of Symphonic sounds.
Recording/production 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's Philosopher's Propeller. The following year he undertook the sustainable energy project "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 a photovoltaic system of 2 solar panels,Morgan, Jonah. "ANS Exclusive Interview: Berserk Soundtrack Composer Susumu Hirasawa". Anime News Service. Retrieved 11 February 2010. with 2 car batteries to store extra energy. Years later, Hirasawa added 2 more panels to the studio and retired the batteries.
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 to software 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.
Activism and charity In 1988, Hirasawa sold a at a flea market in Yoyogi for 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 volunteering welfare facility for the mentally ill in Gunma Prefecture, founded by the psychologist who gave Hirasawa counseling around the time he made the P-Model albums Scuba and Karkador.
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.