taiyou-kai
МУЗЫКА / MUSIC
Ningen Isu 35th anniversary “Mystery and Fantasy” tour (10.29 – 11.18.2024).
А pilgrimage report.
Tatiana Romanova and Matthew Thompson
11.28.2024
It has been almost five years since I wrote my very first article about Ningen Isu. This world has turned upside down several times since then, and only one stable thing is Ningen Isu, who deserve huge respect.
Please evaluate a short introduction what I kindly asked AI to assist me.
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Ningen Isu (人間椅子) is a Japanese rock band that formed in 1987, known for blending hard rock, heavy metal, and elements of traditional Japanese music with dark, literary themes. Their name, Ningen Isu, translates to "Human Chair," which is a reference to a short story by famous Japanese author Edogawa Rampo (a pen name of Tarō Hirai), who was known for his works of horror and mystery.
The band's music often incorporates themes from Japanese literature, mythology, and horror, creating an atmospheric and eerie vibe in their songs. They are also recognized for their distinctive sound, which combines traditional rock elements with a deep appreciation for the grotesque and macabre.
Key aspects of Ningen Isu's music and style:
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Musical Influence: They draw on a mix of heavy metal, hard rock, and progressive rock, with nods to classic bands like Black Sabbath and Deep Purple, as well as traditional Japanese influences.
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Lyrics and Themes: Their songs often explore dark, eerie, and fantastical subjects, much like the themes found in the works of Edogawa Rampo and other classic Japanese horror writers. They sing about topics like madness, death, and supernatural phenomena.
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Lyrical Style: Their lyrics are sometimes surreal or metaphorical, exploring human nature, existential questions, and fears.
In the early 1990s, Ningen Isu honed their musical identity, embracing a mixture of hard rock, heavy metal, and progressive rock. Their early music had a raw, energetic sound, but they gradually began experimenting with more complex arrangements, longer compositions, and more intricate guitar work. Their lyrics, often reflecting on human psychology, alienation, and dark philosophical themes, set them apart from the typical rock bands of the era.
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Not bad at all. Then I asked about Ningen Isu album and.. AI gave a lot of fantastic titles and conceptions what deepened my mistrust of this miraculous method. Enough experiments for a while.
Not bad at all. Then I asked about Ningen Isu album and.. AI gave a lot of fantastic titles and conceptions what deepened my mistrust of this miraculous method. Enough experiments for a while.
Ningen Isu members:
Shinji Wajima (guitar, vocal),
Ken-ichi Suzuki (bass, vocal),
Nobu Nakajima (drum, vocal).
Further in the text: Wajima-san, Suzuki-san. Nobu-san.
Five years has passed, and two amazing albums were born during this cruel time, and 2024 is the year of 35th anniversary of the band live, which is celebrated by spring and autumn national wide tours in the most beautiful seasons: Sakura blooming season and Red Momiji seasons. We believe it was a special gratitude to the fans for their many years of loyalty.
怪奇と幻想 / Kaiki to Gensō / Mystery and Fantasy
The title could be a reference to Japanese magazine of horror and fantasy literature "Fantasy and Mystery" published between April 1973 and October 1974.
10.29.2024 - Osaka
The tour begun from October 29 in Osaka Umeda TRAD, the venue that is about to close soon and Ningen Isu was the one of bands which played
the final gigs on that stage.
One by one, Shinji Wajima dressed in his special formal dark colored hakama with his family kamon (family coat of arms) on it, Nobu Nakajima in new colorful shirt and Ken-ichi Suzuki who has been constantly in a Buddhist monk robe for almost two decades, appeared on the stage under entry song 新青年まえがきShin Seinen Maegaki (新青年まえがき; Preface of New Youth, 2019). They regular entry song is Shigan Goeika – Hymn of This World, 2013), but this time was a special occasion – the band anniversary.
After they played several songs (see below) and discussed some funny stuff, Shinji Wajima surprised the audience with his new Gibson Explorer, made in natural color with saining goldish parts. James Hetfield of Metallica and some other musicians use this guitar, but his purchase has been made as a dedication to Johnny “Guitar” Watson.
As in the spring tour, during autumn they played many old songs in the down tuned mode. Maybe someday, they will re-record their albums of 90’ and release as a “Mature Ningen Isu”.
Beautiful and very loved by most of fans “Imomushi” (The Caterpillar), which is a treasure. Last time, as I aware, Ken-ichi Suzuki sung this song in 2019. Well, it was the time to repeat. This song is short, has an unforgettable bass and intro, an absolutely beautiful guitar solo, and to be immersed into it is necessary to read the novel.
“The Caterpillar” was originally presented in the January 1929 issue of Shinseinen (New Youth) under the original title Akumu, or “nightmare.”
It is a short story written by Edogawa Ranpo about a war veteran who returns home after losing his arms and legs, his hearing, and his ability to speak. His last remaining pleasures in life were sex and food. His wife struggled to be "this caterpillar" caregiver, but soon she begins to develop her newfound sadistic tastes. Sounds creepy, doesn’t it? I will gradually dissect more songs.
10.31.2024 - Fukuoka
I skipped their gig in Hakata (Fukuoka) and was envious of a lot for those fans, who were able to see the band members via glass window in the during their radio interview on FM FUKUOKA “Hyper Night Program GOW!!” on the day before the gig.
11.02.2024 - Takamatsu
Around noon I headed to Haneda airport with strong plane to arrive to Takamatsu Olive Hall right on the time, when the tour goods sales will be open. Unfortunately, our flight was delayed for one and a half hours, and we happily arrived to the venue when staff already were calling inside by tickets numbers. My one was close to 100 and I was naïve to be sure for nice place with perfect view. Well, I am going to share my humble experience about the venue latter.
On the way to Takamatsu city, I have been chatting with one of Ningen Isu International Fan Club (on FB) member, who kindly wanted to contribute to our community flowers sending initiative and we decided to meet after the gig, which was not difficult for two strange looking people on the entire floor. Below is very detailed report by Matthew Thompson.
Matthew Thompson. Ningen Isu at Olive Hall, Takamatsu – November 2nd, 2024.
Having first been introduced to Ningen Isu through my musician friend from Nagasaki in late 2019, I found their style very interesting and their musicianship masterful. Immediately, I sought out their then-recently released greatest hits album to mark the occasion of their 30th anniversary and was blown away. The band’s unique mix of doom metal, progressive rock and lyrics covering traditional Japanese literature and folklore was like nothing I’d ever heard before. They also wear their influences on their sleeve, with Black Sabbath being the most obvious, as well as Budgie – who’s song ‘Breadfan’ was re-worked for their first album with Japanese lyrics under the new title ‘Hari no Yama’ (‘Hell’s Mountain of Needles’). The Budgie connection is close to my heart, as I come from Wales in the UK, and Budgie are considered the first Welsh hard rock/heavy metal band. I even referenced Budgie’s influence on Ningen Isu during my interview for my first English teaching job in Japan, as evidence of Welsh culture having an impact on Japanese culture (it must have worked, because I was offered a position under the government’s JET program!)
Fast forward to 2024, I am now in my second year of teaching English in Japan and am making the arduous journey from Miyazaki Prefecture in the southernmost tip of ‘mainland’ Japan to Takamatsu, on the island of Shikoku, for my third Ningen Isu concert. The total travel time by car and train
is about 6 hours, such is the joy of living in the Japanese countryside, however I strongly recommend anyone travelling to Shikoku travels by train from Okayama. The Marine Liner rapid train service is one of the most fun train journeys you can take in Japan, crossing one of the highest bridges I’ve ever been on (the Great Seto Bridge), which is 8 miles over smaller islands and inland sea. The views are fantastic, although I wouldn’t fancy travelling on it during a storm!
After checking in to my hotel in Takamatsu, I’ve very impressed with how developed the city is compared to what I’m used to in the Kyushu countryside. The Olive Hall venue where the band is playing is refreshingly spacious and comfortable, unlike some of the other concert venues I’ve been to where it feels like being packed into a sweaty sardine can! Coming from the UK it’s also very refreshing to see that none of the crowd are taking photos of videos of the band from their phones, making for a more intimate interaction between the band and the audience. As this is the band’s 35th anniversary tour (one year older than me!) the crowd eagerly awaits with anticipation of what songs they’ll play tonight. Having released over 20 albums in their career, there are a plethora of potential ‘dream’ set lists from the hundreds of tracks in their illustrious back catalogue
(I’m still waiting for them to play my favorite off the latest album – ‘Ikiru’ (‘Live’) – which sounds like Sabbath playing ZZ Top!).
I don’t think any of the audience leaves disappointed. The set spans their entire 35-year career so there’s something for the die-hard old school fans who love the older, more experimental material all the way to the younger fans like myself who prefer the newer albums with the modern production technology (I have a similar opinion with Motörhead’s discography). Wajima-San reveals to the audience early in the set that he’s down tuned his guitar that evening, which gives the older songs in particular a thicker, fuller, heavier sound and allows me to give them a fairer comparison to the more recent tracks. Songs like ‘Suibotsu Toshi’ (Submerged City) with its sludgy doom riff sound like the world coming to an end, whilst the more progressive sounding songs like ‘Ningen Shikkaku’ (No Longer Human) and Led Zeppelin-influenced solos of ‘Tokyo Bondage’ sound far more aggressive and menacing. Speaking of the more progressive numbers, the extended instrumental passages in these songs make me really appreciate how proficient the band are, particularly Suzuki-san and Nobu-san on bass and drums respectively, having taken up both instruments during the pandemic period myself. Not once do I feel bored or exasperated during the ‘jamming’ sections of songs like I have with other bands in the past. Every note seems to have poise and purpose within the song – nothing is wasted – which shows with how captivated the audience seems. Another interesting dynamic is all three members sharing lead vocals (Nobu should get more songs!), with each of them bringing a different dynamic. From memory the only other band I’ve seen do this live is KISS, so this brings another uniqueness to their music.
The intimate setting also extends between band members who share jokes between songs and are genuine friends off-stage. It makes the audience feel part of the show when they talk about new gear they’ve bought and launch into impromptu covers of Judas Priest and Deep Purple. The crowd acts as the fourth member, particularly on songs with ‘gang’ style backing vocals like ‘Dottoharai’ (That's All for Tonight) and ‘Kamigami no Koushin’ (March of the Gods). There is a real sense of community with both the band and fans, which extended after the performance, where fans invited me to join them at a local izakaya. It reminded me that heavy metal is the closest thing music has to following a sports team.
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They replaced some songs and one of very rare and non-released song was “Sarumen kaja" (猿面冠者) inspired by Osamu Dazai story “The Monkey-faced Man” (1947). This is one of the early Ningen Isu songs, which is rhythmic yet progressive, and written by Wajima-san when he was a high school student, and it was not the only one of his “childhood” creations that they included in the tour set list.
Speaking of the venue, probably it is only my poor luck, but I was surprised that with a pretty good ticket number I found myself in the “tuna can” in the second half of the place. I could hardly see anyone on the stage. Furthermore, the Olive Hall had very restricted and strange policy: during waiting inside was prohibited to read SNS and strongly prohibited to take a photo before and after the gig (during gig it is prohibited always). I kindly tried to ask the venue staff for one shot of the empty stage for this report in very polite way “…dear sir, would you kindly…” but response was unacceptable rude. Such kind of restrictions work against the band’s interest. I think Olive Hall, Takamatsu is not on my list to visit any more.
The same time outside of the venue something really amazing happened to me. I have been honored to talk with the legendary Ken Sakaguchi –The Man Who Designs Rock’n’Roll (ロックをデザインする男)! I could not resist to ask him about his personal story of Ningen isu.
Ken Sakaguchi, SAKAGUCHI KEN FACTORY, Inc.
"I discovered them as many other people did in 1989 thanks to popular TV program on TBS "Ikasu Band Tengoku". Since that time, they have released solid works and at present time could be named as a Japan representative in their music genre. The photography the red Sun on their the best 30 years anniversary album cover was taken by me and I wish them a Worldwide TOUR in the nearest future!"
11.05.2024 - Nagoya
This one I skipped as well and were suffering with envy again because they played ‘The Guillotine at Dawn’ (Akatsuki no Dantoudai, The Guillotine at Dawn, 暁の断頭台) and ‘Baptism’ (Senrei, 洗礼) first time during this tour and. This song and MV I always recommend to listen first of all to people, who might be wondering “what is Ningen Isu?”. I like the riff very much, and I feel this song tightly connects Wajima’s and Suziki’s university backgrounds (Wajima studied Buddhism and philosophy of religions, Suzuki is linguist from Sophya University, what was founded by the Jesuits, the first Catholic university in Japan).
I think this song impressed many people and one of my comrades is Artiom Kuritsin who we interviewed earlier.
Artiom Kuritsin, YOMI (Latvia)
I discovered Ningen Isu around 2015, when my friend showed me the music video for Senrei. At first, I didn't get the appeal at all, but gradually I got into it. And then, song by song, I REALLY got into it.
First and foremost, I have an utmost respect for the sheer productivity of the band - releasing an album every one or two years for more than 35 years straight requires true passion, true talent and true work. I really like their ventures into different genres - NI's discography includes whole swathes of rock history. And, of course, as a fan of traditional Japanese culture I particularly enjoy their inclusion of folk themes, melodies and instruments into their songs.
Given the length of their career, my main hope is that NI continue making us happy with new music for many years to come. Music-wise, my favourite album is "Kaidan Soshite Shi to Erosu" for its many folk music elements, and I would like to see them delve into this sub-genre even more. And last, but not least, seeing them live on an extensive European tour would be a dream come true.
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And I could not wait for my journey to Aomori.
11.09.2024 - Aomori
I had the worst ticked number yet very strong expectation diving into the unique vibe of their performance in the homeland. Last spring everything was unforgettable: the Sakura blossoms in Hirosaki castle, the city where Wajima-san and Suzuki-san were born, raised and formed as we know them nowadays; the energy of the gig and the especially hyper erotic performance expression by Suzuki-san. This time the absolutely psychedelics of their representative song ‘No Longer Human’ (Ningen Shikkaku, 人間失格) was played downturned. This song is based on well-known novel by Osamu Dazai (1948), that also has been turned into manga and the same titled movie (2019). This is one of their the most famous, and is the band’s representative song. Check it out!
Another unreleased song –‘Dream Girl’ - (Yume Onna, 夢女) they played with enthusiasm. There a story has been shared with us: this song written by young Wajima when he was a school student and a very certain erotic cassette tape were passing from one hand to another, which probably was a catalysator. This song is such a folk / enka style and main line played by Suzuki on his bass, which imitated an acoustic guitar. I wish they will release this song, along to other unreleased old songs someday.
Inside of the venue many their old friends and classmates were present, and Wajima and Suzuki tried their best to keep the inner atmosphere fun in their way. Suzuki mentioned on a little ghost involved accident that happened to him, where some supernatural power suddenly pulled away a futon from under him one night. Then he said that something similar will happen to us this night.
Next day after the show I headed to the sacred town, that each fan strives to visit as Mecca and pilgrimed through several spots: Hirosaki High School, Hirosaki MAG-NET live house, KEEP THE BEAT live house and Bar Asylum, where Suzuki-san talked about rock music many times with legendary Hiroshi Saito. I have been honored to ask him some questions.
Hiroshi Saito, Apple Wave FM 78.8 “I WANNA ROCK”, JOY POPS, Bar “Asylum”.
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There is a story known among NI fans, that you were working in a music store and young Ken-Ichi was visiting the store often. Can you introduce yourself?
H.S: About 50 years ago, I worked at a record shop called "Takamura." They used to come as customers when they were in high school. I'm 10 years older than them, so I guess you could say I was like an older brother to them who owns a record store!
I started listening to music when I was about 10 years old, and I loved Western music. My favorite was the Beatles, and I also liked the hard rock of the time, like Zeppelin, Purple, and Sabbath. During summer vacation when I was 16, I went to Hakone by myself to see Pink Floyd, and when I saw their performance, I decided to work in music. I started working part-time at a record store when I was in high school, and I've only worked in music ever since. Now I work in a bar and record store, as a radio personality (Apple Wave FM 78.8), and coordinate music events!
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How rock / metal music was popular in Hirosaki back then?
H.S: Hard rock and metal were quite common among middle and high school students. I think it was more a generational thing than a regional thing. It was popular in Hirosaki too.
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How have they “grown” as musicians since then?
H.S: They started out in high school by covering other bands, but after they met again when they were a college student, they started making original songs. They have been going strong for 35 years since then. I think they are the best Japanese hard rock band!
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What can you say about entire Ningen Isu 35 years career?
H.S: Well, it's a business based on popularity so there were ups and downs, but it is amazing that right now Ningen Isu is at the peak in terms of both popularity and ability!
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What would you wish them in the future?
H.S: I wish them to continue as a hard rock band until their last day! They are now one of the leading hard rock bands in Japan. I want them to take flight and make it big in the world!
11.11.2024 – Sapporo
Even it 11.11 is the Bass Day in Japan, but I could not afford to be in Sapporo.
11.14.2024 - Sendai
It was their last stop of the tour, and I did not expect to see the stage well because my ticket’s number was 300. Fortunately, the venue Sendai Rensa is new and wide, so I got not a bad position on the left “Suzuki’s” side. The show was great as all before were!
The song “Song of Silphidae” (Shide-mushi no Uta, 埋葬蟲の唄), which has some connection with a short story "Sexton, Sexton, on the Wall" (1954) written by August Derleth and has an interesting riff, that, according to their explanation, simulates a dove song (the song of Streptopelia orientalis a.k.a. the Oriental turtle dove in particular). This is a sample.
It was at least the third time during the tour when they demonstrated this sound to auditory, that initiates laugh waves spreads from the stage side to the end of the venue. Just imagine that a Meiji-era looking sensei and a Buddhist monk with heavy white makeup compete to see who is better at sounding like a dove.
Then something unique happened, what I could not have imagined to be an eyewitness of! Suzuki-san played on Wajima’s new “Explorer” and Wajima-san played on his bass “Grabber”. They covered a little “Smoke on the Water” and the first part of “Paranoid”. Suzuki-san in his white robe with Metallica style guitar sings in Ozzy’s style! He also demonstrated some guitar solos!
At each venue for an encore two of them speedily appeared in the tour shirts. Wajima-san in a T-shirt to promote their new double disc DVD/Blu-Ray (what was released on the day before the Sendai gig) cover image on the front, and the tour schedule on T-shirt’s back. Nakajima-san in new long sleeve shirt with a small three faces logo on it’s left front and Ningen Isu classic logo on sleeves.
The tour was almost over and the next day they were heading to the capital, to home.
Speaking of the DVD, it contains many their ancient videos which are not possible to find on YouTube, including a very rare one with Iwao Tsuchiya on the drums. He spent a short time with Ningen Isu, but those two albums are my favorite, especially ‘Odoru Issunboushi” (1995).
Iwao Tsuchiya, Ningen Isu drummer 1995 - 1996
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When and how did you find out about Ningen Isu?
I.T.: I found out about them when I watched a TV program called "Yuji Miyake's Ikasu Band Tengoku" around 1990.
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What made you join the group?
I.T.: I had an acquaintance named K-san. We had known each other since high school, and he introduced us to part-time jobs, and we also played in bands. I heard that he became the manager of Ningen Isu because he was maintaining the instruments for "Yuji Miyake's Ikasu Band Tengoku". Ningen Isu was looking for a drummer because their record company contract was terminated and their second drummer, Masuhiro Goto, left the band.
At that time, I was active in underground bands such as "Yoshino Daisaku & Prostitute" (吉野大作&プロスティチュート) and "Sugiyama Shintaro Band" (杉山シンタローバンド). K-san asked Wajima-san if he would like to come and see "Yoshino Daisaku & Prostitute" at the Shibuya live house, La Mama. I was given about four songs to work on and asked if I would like to join Ningen Isu. As someone who was in an underground band, I wondered if it was okay for me to join a band that had walked such a glorious path as Ningen Isu.
Through the bond that K-san had made with me and the CDs he gave me to learn their previous works, I realized that we had been through the same era, so I decided to join the band.
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Which of the two albums from when you were the drummer for Ningen Isu do you think is the best?
I.T.: Both are like my children and are very precious to me. There are parts of "Odoru Issunboshi" that were left uncut at the time of track down because it was the sound, I liked, so I'd like to listen to it on vinyl.
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What do you think is the best Ningen Isu album?
I.T.: I think each album was a masterpiece at the time.
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How drumming technique of Nakajima-san has changed since he joined the band?
I.T.: I think Nobu's drumming is indispensable to Ningen Isu now.
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What would you wish them in the future?
I.T.: Health. Personally, I read the works of Yukio Mishima, a drinking buddy of Edogawa Ranpo and I would like to see the world of “Kurotokage” (The Black lizard*) interpreted through Ningen Isu music.
* "The Black Lizard", a 1934 novel by Edogawa Ranpo, a play by Yukio Mishima adapted from Ranpo's novel in 1961; and a film directed by Umetsugu Inoue (1962) adapted from Ranpo's novel.
18.11.2024 – ZeppDiver City, Odaiba, Tokyo
There were three types of tickets for the show: standing in front of the stage, sitting on the 1st floor and singing on the balcony. Five years ago, in Nakano Sun Plaza I had my seat in the balcony with great views but the sound was not perfect. This time I decided to take a risk and purchase a standing ticket in front of the stage with a hope to be close to the stage. I was unlucky once again and my entrance ticket number was 500, that guarantees me to see my rock idols in the size of a baby mantis.
The door open time was from 18:00 but I, by some business reasons, penetrated into the empty venue for short time and had a chance to inhale that atmosphere. There was a feeling in the air that something important was coming. There were two booths: one with Ningen Isu official tour goods, another presents their CDs, LPs and new DVD/Blu-ray. On the opposite side of the goods booth, a line of flowers was arranged.
We were waiting outside without coats but did not feel cold thanks to our excitement and high expectation. The venue was wide enough, which provided me an opportunity to appear in fifth line on the left side of the stage and I was enjoying seeing Suzuki in fully in front and Nobu right behind him. Background music included Aerosmith, Jimi Hendrix, Blue Oyster Cult, KISS, Deep Purple etc. and Black Sabbath, of course, chosen by Suzuki himself helped us to kill time before the show start.
At 19.00, three of them one by one appeared on the high stage. People’s screaming gradually developed up to a roar at the moment when Suzuki bowed to us. This happens each time, at each venue, not because he is so admired by many people only, but because all three altogether are finally on the stage.
It is not easy to describe my own feelings and the entire atmosphere, so I will try to give some details following to the gig’s set list.
1. Tetsugoushi Mokushi-roku (鉄格子黙示録, Apocalypse of the Iron Bar) – #1, 1990.
Joung Wajiima wrote this song when he was a high school student.
2. Akatsuki no Dantou-dai (暁の断頭台, Guillotine at Dawn) - #5, 1999.
After this Suzuki salivated while Wajima tied his hakama sleeve.
3. Ai no Kotoba wo Kazoe-you (愛の言葉を数えよう. Let's Count the Words of Love – #3, 2003.
In the middle Wajima suddenly performed his teeth playing style, which made the audience scream.
4. Shide-mushi no Uta (埋葬蟲の唄, Sexton, Sexton, on the Wall) - #4, 1993.
Once again, they tried to demonstrate that dove sound and Suzuki commented that he asked Wajima do not do it anymore, but Wajima could not resist to repeat it in front of thousands of people.
5. Dream Woman, Unreleased.
Suzuki played SG bass with calmly, and Nakajima used a tambourine only. Wajima made it during his school time and there is only one chance to hear it, and even see on the recently released DVD, disc 2, which contains a lot of old and unreleased videos.
6. Imomushi (芋虫, The Caterpillar) - #7,2000.
This is very emotional song, we were blessed to listen long and beautiful solo, accompanied with strong and deep bass line. Once I asked fans, what Ningen Isu song will you bring with to you one way trip to another planet (too surreal, I know), the ultimate choice, most of people said: “It will be "Imomushi”.
7. Kyoufu no Daiou (恐怖の大王, Great King of Terror) - #1, 2016.
This song probably inspired by “The King of Terror” (恐怖王, Kyōfu Ō) Edogawa Ranpo, 1931-32.
8. Kamidami no Kessen (神々の決戦, Battle of the Deities) - #2, 2023.
This song’s idea came from Hindu Pantheon, thanks to Wajima-san’s university education.
9. Suibotsu Toshi (水没都市, Submerged City) - #5, 1992.
This is very heavy, prog song which in down tuned mode was like a big water was coming from the stage to the audience side.
10. Shin Seinen Maegaki (新青年まえがき, Preface of New Youth) - #1, 2019.
During the break they were talking about their own youth, when they were in a different school band and at one event and Suzuki played so bad, that Wajima told him to stop.
11. Mujou no Scat (無情のスキャット, Heartless Scat) - #13, 2019.
The legendary song what gave them big wings to fly around the world. In November 2024 MV earned 16M views on YouTube.
12. Aka to Kuro (赤と黒, The Red and The Black) - #9, 2009.
Inspired by Stendal’s novel “The Red and The Black” (Le Rouge et le Noir), 1830. This is speedy song, what required a high vocal, but Nobu-san is great vocalist who always can do his best.
Last two songs of the show were again nostalgic, and the first song flowed into the final one in their classic way.
13. Tengoku ni Musubu Koi (天国に結ぶ恋, Love Connected to Heaven) - #6, 1990.
14. Hari no Yama (針の山, Hellish Mountain of Needles) - #2, 1990.
This is absolutely legendary song what is the best cover of “Breadfan” Budgie (1988), which prolonged the original riff’s live and has been the face of Ningen Isu for entire 35 years. We jumped up synchronized with Wajima’s flights over the stage and while Suzuki-san was preaching us about the Hell.
Encore
Wajima initiated a wave of roaring when he appeared on the stage with his new “Explorer”, and they played and sang “Paranoid” again. To hear this amazing song from the big stage is like a special gift for the audience.
15. Shinkei-shou I LOVE YOU (神経症 I LOVE YOU. Neurosis I LOVE YOU) - #5, 1989.
This is very old song, which young and recently hooked by Ningen Isu fans probably do not know. It was release on "This World is a Dream: 25th Anniversary Best Album" (2014) and before on DVD Yuigon-jou Housou (遺言状放送, Testament Broadcasting, 2006) and originally on VHS (1991).
16. Jigoku Fuukei (地獄風景, Hell View) - #11, 2000.
The song is very dynamic, maybe because it was inspired by the same title Edogawa Ranpo novel (1931).
And “unexpectedly’ quickly the final song came, which was long enough to enjoy all possible Suzuki’s grimaces and leg flashes demonstrated on both side of the stage.
17. Dottoharai (どっとはらい, That's All for Tonight) - #12, 2007.
In the end, they introduced each other in pretty funny yet respectful way and Suzuki-san could not resist to perform a little more. Before they left the stage, we have been blessed by optimistic news that a new album on the way to be ready in the next autumn, then a big tour has been promised to the audience.
We all are being absolutely happy and left the venue with feelings fool of positive energy, optimism and huge gratitude.
