吉田达也 Yoshida Tatsuya - 鼓 Drums
那须野满 Nasuno Motsuru - 贝斯 Bass
木户夏树 Kido Natsuki - 吉他 Guitar
Video：YES medley by KOREKYOJINN
“这是一个集合了日本前卫摇滚圈三位最棒的乐手的一个重要团体。”
——Prog Archives
由吉田达也组建于1998年，来自日本的是巨人（Korekyojinn）是一个决心重新定义复节奏合奏（polyrhythmic ensemble）的前卫爵士摇滚乐队。乐队名的英译为“This Giant（这个巨人）”，实则是一个灵感来源于This Heat和Gentle Giant这两支乐队的双关语；在日语中，“kore”意为“这是”，“kyojinn”意为“巨人”。尽管吉田达也的乐迷可以从乐队的风格中辨认出其痕迹，是巨人也已然创造了自己独树一帜的声音。这支三重奏犹如在刀刃上舞蹈，又如图钉般尖锐——令人折服的演奏能力将他们抛向外围极限，在那里，前卫摇滚与当代爵士相碰撞，聚变为一种令人窒息的、充满未来感的硬摇滚放克。
是巨人是一个“全明星”组合，由活跃于东京炽热的前卫摇滚舞台上的最伟大的天才们组成——
吉田达也已经无数次证明了自己是日本当代音乐的中坚力量。作为Ruins、高円寺百景（Koenjihyakkei）乐队创始人、Zeni Geva乐队成员，吉田达也与许多乐队有过合作，如Acid Mothers Gong、Samla Mammas Manna以及John Zorn的Pain Killer，更被John Zorn评价为“日本地下音乐圈毋庸置疑的大师级鼓手”。
木户夏树是现象级的前卫摇滚乐队Bondage Fruit的领队兼吉他手。他的另一支乐队——“前卫探戈乐队”Salle Gaveau，则在2007年的Rock in Opposition音乐节[1]的演出中震惊了全欧的观众。
Ground Zero乐队的传奇贝斯手那须野满展示了这个充满力量的三重奏的无限可能。在他的另外两支乐队——广受好评的Altered States乐队和前卫摇滚乐队Unbeltipo中，他也以惊人的实力为人称道。
Video：Korekyojinn - Arabesque
“… 比如歌曲Arabesque中，是巨人能够熟练地掌握任何属于现代Bruta Prog风格的表演，这体现在他们可以将12个不同的部分串联到一首仅5分钟的曲子中，并且不会让人感觉杂乱无章或不连贯或听起来过于疯癫。”
——美国线上音乐杂志 Pitchfork评04年专辑《Arabesque》
“…as Arabesque could school any number of modern “brutal prog” acts on how to string together 12 disparate sections into a 5 minute tune and not have it come out a) disorganized, b) disjointed or c) too fucking insane to listen to.”
——Pitchfork
“专辑《Tundra》勾起一些令人感到难以置信的复杂的瞬间，而且其中的一些重复乐节听起来出奇地难以演奏；他们的数字前卫声响，伴随着一些经典摇滚片段，厚实的吉他声带来更为丰富的色彩。这张专辑不容易听懂，但确是十分杰出的作品，一旦开始听就不舍得把它结束。如果你也喜欢前卫、数字或甚至经典摇滚乐，或者你只是想听听与众不同的音乐，那么是巨人的音乐绝对让你无法忘怀。”
——Room Thirteen评11年专辑《Tundra》
“<Tundra> conjures up some mind bogglingly complex moments on and some of the riffs sound shockingly difficult to play; their mathy prog sound is also backed by some really solid Classic Rock moments with chunky guitars giving a more meaty edge. This is hardly easy listening, however these are brilliantly played pieces, which you just can’t turn off once you start listening. If you appreciate prog, math or even classic rock – or are just looking to hear something a bit different Korekyojinn are sure to impress.”
——Room Thirteen
从音乐的角度上来说，《ISOTOPE》这张专辑显然是吉田达也的结晶：所有的曲子都由他谱写，并且所有的曲子都带有吉田达也独一无二的烙印，即带有复节奏合奏，戛然而止且乐风突变，充满活力，放克并充满先锋前卫乐趣的。其中的乐曲都相当复杂，并且看得出自始至终在作曲上下了功夫。参照以上种种，你可能不会认为这张专辑真的这么有趣，但这恰恰是吉田达也天才的部分证明。吉田达也，一位定位准确的旋转的苦行僧般的鼓手。而那须野满，则拥有强大厚重、有力量的贝司声响和杰出的弹奏技巧。木户夏树也许没有那么有名，但他绝对是个非常棒的吉他手，他可以灵活地弹奏谱曲，当乐曲中有空隙时，他还能够进行美妙的独奏（即使很短）。这些曲子也许弹奏起来非常有挑战性，但听起来却都非常有趣，而当你发现这是一张现场录音专辑时（除第一首曲外），你就知道乐手们的技艺是多么精湛。吉田达也或Ruins（废墟）的粉丝一定会对这张专辑大快朵颐，其他对朋克或放克音乐，或数字摇滚音乐感兴趣的乐迷，也应该听一听。
Musically, this is clearly Yoshida’s baby: He wrote all the tunes, and they all bear the stamp of his patented polyrhythmic, stop-on-a-dime-and-change-direction, bouncy, funky, avant-prog fun. The songs are all fairly complex, and clearly composed pretty much all the way through. Given those parameters, you might not think this album would be as fun as it is, but that’s part of Yoshida’s genius. He’s a precision-oriented whirling dervish of a drummer, and Mitsuru’s got a big, fat, punchy bass sound and chops to spare. Natsuki may not be as well-known, but he’s a damn good guitar player who nimbly plays the composed parts and gets in some nice (albeit brief) solos when the tunes give him a bit of room. The songs may be challenging to play, but they’re a lot of fun to listen to, and the virtuosity of the band really becomes apparent when you realize that Isotope was recorded live (except for the first track). Yoshida/Ruins fans will eat this up, but anyone interested in punk/funk instrumentals or math rock should really check this out.
这些有着绝妙的作曲和强大的冲击力、千回百转的器乐作品，足以使前卫摇滚吉他大师Robert Fripp战栗。乐曲中没有虚弱的连结，只有强大的力量，它来自于吉田达也巨大的推进力，木户夏树快速有力的吉他演奏，以及那须野满意想不到的转调和声与厚实的贝司音色。这个惊人紧密和专注的乐队，让人重新忆起摇滚是十分正面的、高能量的音乐。
These are incredible compositions, precise twisting-turning instrumental pieces with a momentum that should make Robert Fripp shudder. There are no weak links, with enormous strength drawn from Tatsuya’s massive propulsion, Kido Natsuki’s quick sinewy guitar lines, and Nasuno Mitsuru’s unexpected pivots and fat bass sound. This is one amazingly tight and concentrated band that remembers that rock is ultimately upbeat, highly energetic music.
[1] Rock in Opposition（RIO）是一场70年代末期前卫乐队集结反抗音乐产业的运动，当时的音乐产业拒绝承认他们的音乐。这场运动由英国前卫摇滚乐队Henry Cow发起，在1978年3月，他们邀请了四支来自欧洲大陆的乐队参加在伦敦举办的RIO音乐节。RIO音乐节后陆续举办了三届，并重组为一个组织。1979年末，作为组织的RIO悄悄淡出了人们的视野。2007年4月，一场RIO的“回归”音乐节在法国举办。RIO音乐节的原始精神得以保留和延续，登台的都是高质量、具有创新精神并且敢于“叫板”商业音乐产业的艺术家。其阵容包括：Magma、Faust、Peter Blegvad三重奏（包括Chris Cutler）、 Present、Zao、Mats/Morgan、Guapo、NeBeLNeST、Salle Gaveau和GMEA。
Video：KOREKYOJINN au Rock in Opposition 2013
"An essential collaboration between three of the best players on the Japanese progressive rock scene.” – Prog Archives
Formed in 1998 by Yoshida Tatsuya, Korekyojinn from Japan is a progressive-jazz-rock band determined to redefine the polyrhythmic ensemble. The band’s name translates to “This Giant”, a sly pun inspired by This Heat and Gentle Giant. In Japanese the word “kore” means “this”, while “kyojinn” is “giant”. While the style of Korekyojinn could be recognizable to fans of other acts of Yoshida Tatsuya, the band has carved out a sound all its own. The trio dance on razors, are sharp as tacks, and their overwhelming ability jettisons them into the outer limits, where progressive rock and contemporary jazz collide into a breathtaking, futuristic, hard rock funk.
Korekyojinn is an all-star ensemble, comprised of the greatest talent Tokyo’s fervent avant/prog rock scene has to offer:
Yoshida Tatsuya has proven himself a major force many times over in Japan’s contemporary music scene. The founder of Ruins and Koenjihyakkei, a member of Zeni Geva, Yoshida has performed with Acid Mothers Gong, Samla Mammas Manna, John Zorn’s Pain Killer, and has been cited by John Zorn as “(the) indisputable master drummer of the Japanese underground”.
Kido Natsuki is leader and guitarist of the phenomenal cult prog rock band Bondage Fruit. His “progressive-tango band” Salle Gaveau performed at the Rock in Opposition Festival[1] in 2007, shocking audiences across Europe.
Ground Zero’s legendary bassist Mitsuru Nasuno demonstrates the limitless potential of the power trio. Nasuno is renowned for his uncanny abilities in the critically acclaimed band Altered States and his experimental progressive rock outfit Unbeltipo.
[1] Rock in Opposition (RIO) was a movement representing a collective of progressive bands in the late 1970s united in their opposition to the music industry that refused to recognize their music. It was initiated by English avant-rock group Henry Cow in March 1978 when they invited four mainland European groups to come to London and perform in a festival called “Rock in Opposition”. Three further RIOs festivals were held and it was reconstituted as a collective. By the end of 1979, RIO as an organization had “quietly slipped away”.
A “reunion” festival took place in France in April 2007. The spirit of the original festival was preserved in that only artists of quality, innovation and the willingness to be “in opposition” to the commercial music industry performed. The line-up at this event included: Magma, Faust, the Peter Blegvad Trio (including Chris Cutler), Present, Zao, Mats/Morgan, Guapo, NeBeLNeST, Salle Gaveau and GMEA.
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