Susumu Hirasawa

2.1. Childhood and Family

Born on April 1, 1954, in Adachi, Tokyo, Hirasawa grew up with his older brother, 平沢 裕一_{Yūichi Hirasawa}^Japanese, known by his moniker "YOU1," born on October 5, 1950. Their father, 平沢 清_{Kiyoshi Hirasawa}^Japanese, was a firefighter and a calligrapher who, under the penname 峰石_Hōseki^Japanese, designed the cover art for P-Model's album Potpourri. Yūichi played a significant role in Susumu's early career, forming a stage effects team for Mandrake and serving as P-Model's art director for its first nine years. He also contributed lyrics to P-Model songs like "For Kids" and "Sunshine City" from In a Model Room and backing vocals on "Rocket" from The Ghost in Science. From 2013 onwards, Yūichi occasionally provided artwork for his brother's projects and later opened a new wave-themed café bar called Gazio in Tsukuba, Ibaraki, which displayed many of Susumu's studio and stage items.

Since childhood, Hirasawa harbored aspirations of becoming an engineer, driven by his fascination with machinery. He was an avid RC plane enthusiast, dreaming of becoming a pilot, and often repaired broken devices such as radios and flashlights given to him by his parents. Around the age of 10, inspired by surf and instrumental rock bands heard on radio and TV, he developed an interest in the electric guitar. Despite initial parental disapproval, his father eventually permitted it, viewing the electric guitar as "manly." Hirasawa secretly practiced guitar in his brother's room before acquiring his own red electric guitar. By fifth grade, his guitar skills led him to join bands with older middle and high school students, sessioning at local shrines and riverbanks. He developed an interest in composing music at the age of 12. Hirasawa also pursued motocross as a hobby in high school, but a truck accident prompted him to return to guitar playing. He recalls experiencing physical and mental distress during elementary school due to being forced to eat meat, which he disliked, but now views this challenging environment as having fostered his growth.

2.2. Education

Hirasawa pursued his technical interests through formal education. He studied in the electronics department of 東京都立本所工業高等学校_{Honjo Technical High School}^Japanese, where he was the first in his class to complete the graduation project: the construction of a television, despite not fully understanding the circuits at the time. In 1972, he enrolled in the 専門学校東京デザイナー学院_{Tokyo Designer Gakuin College}^Japanese, from which he graduated *cum laude* in 1975 with a degree in interior design. His graduation project was a distinctive dome-shaped stage set hall designed for Tangerine Dream performances, titled "Hall for Tangerine Dream: Return to Cosmic Consciousness from the Womb." These early experiences in electronics and design laid a foundational understanding of technology that would later become integral to his innovative musical and performance practices.

3.1. Early Musical Endeavors

In 1973, Hirasawa co-founded Mandrake with Fumiyasu Abe, initially as a guitarist. The band explored progressive rock, incorporating elements of heavy metal and krautrock. As one of the few Japanese progressive rock bands of its era, Mandrake struggled to achieve widespread success and did not release any albums during its active period. When original vocalist and lyricist Fumiyasu Abe disappeared, Hirasawa unexpectedly took on both roles. During Mandrake's early days, Hirasawa worked part-time as a carrier at a fruits and vegetables market in the mornings and at a Pepsi warehouse at night.

In 1978, Hirasawa secured a part-time lecturer position at the Yamaha Music Foundation, where he taught at the Yamaha Synthesizer School until 1983. This role allowed him to connect with various musicians who would become future collaborators. He also engaged in composing commercial jingles throughout the 1980s, which exposed him to diverse musical styles, contributing to the eclectic nature of his later solo work. In 1978, Hirasawa's piece "Temptation of the Required Bee" won a synthesizer multi-track recording contest held by Weekly Playboy magazine, leading to its release on the compilation album Amazing Brain Group. During this period, he also collaborated with Yasumi Tanaka on Baroque music arrangements using a Moog synthesizer, which were later released as Aria on Wiring under the Pre P-Model moniker. He experimented with a KORG 800DV, creating a sound he dubbed "Acrylic Pop (Musical Hotchkiss)," characterized by noise similar to the Jōban Line.

3.2. P-Model Era

After encountering punk rock and delving into synthesizer-focused projects, Hirasawa decided to transform Mandrake into the electronic rock band P-Model in 1979. The band made its major debut in July 1979 with the single "Art Mania" (美術館で会った人だろ_{Bijutsukan de Atta Hito Daro}^Japanese). P-Model quickly rose to prominence as part of the "Techno Gosanke" (Three Great Techno Families), alongside Yellow Magic Orchestra, becoming a central force in Japan's techno-pop and new wave scenes. Despite initial success, Hirasawa's adverse reaction to fame led the band to shift towards less popular post-punk and experimental rock genres. With Hirasawa at its helm, P-Model underwent numerous lineup changes and maintained a significant presence in the Japanese independent music scene.

In December 1988, P-Model declared a "freeze" of its activities, effectively going on hiatus. During this period, Hirasawa continued to compose under various pseudonyms, including "Ibohanmyo" for the professional wrestler Riki Choshu's entrance theme "Power Hole," and "Yoshio Fukurai" for Strong Machine's theme "Hurricanes Bum." In 1979, he notably performed "synthesizer rakugo" with traditional storyteller Enchō Sanyūtei, integrating synthesizer sound effects into the traditional comedic storytelling. He also produced the female unit "Shampoo" (Masami Orimo and Mari Adachi), who were his students at the synthesizer school, and collaborated with Orimo on the song "Christmas in Africa" in 1990.

P-Model "unfroze" and reunited in September 1991, but ultimately declared "cultivation" in December 2000, signifying a final cessation of activities with no intention of resuming.

3.3. Solo Career Launch

In January 1989, Susumu Hirasawa officially launched his solo career, signing with Polydor and releasing his debut album, Water in Time and Space. His solo work immediately showcased a broader musical palette, incorporating diverse genres alongside themes rooted in philosophy and analytical psychology. Concurrently with his solo releases, Hirasawa began composing for film and anime, starting with the robot science fiction anime Detonator Orgun (1991). He also created music for other media, including HTB's Kamui Mintara and the live show Lost Legend at Shima Spain Village, as well as a music box for a karakuri clock tower in Chino, Nagano Prefecture in 1992.

In 1994, Hirasawa established his independent label "DIW/SYUN" within Disk Union. That same year, he pioneered the "Interactive Live Show" concept, a multimedia concert experience designed for audience participation. He also hosted his first radio program, "Susumu Hirasawa's Techno Experiment Studio," on FM Gunma from 1994 to 1995. In 1996, he founded another independent label, "TESLAKITE," within Nippon Columbia, releasing the single "Siren *SIREN*" and the album Siren. Driven by a desire for greater artistic autonomy and affected by the demanding schedules of major labels, Hirasawa left I3 Promotion in 1997 to establish his personal management company, Chaos Union.

3.4. Continued Solo Work and Projects

Hirasawa's solo career has been characterized by continuous innovation and the development of unique artistic projects. In 1984, while still active with P-Model, he formed the experimental sampling unit Shun, releasing six works by 1996. For this project, he ingeniously created a self-made sampling machine called "Heavenizer" by modifying two radio cassette recorders. From around 1987, Hirasawa began a unique long-distance collaboration with Kenji Konishi of the techno unit 4-D, exchanging floppy disks to compose music. These compositions were later released in 1996 as the album Is Happiness? under the "Project of Misfortune" moniker.

In 2004, Hirasawa initiated Nuclear P-Model, a project designed to inherit and evolve the musicality of P-Model. This project has continued to release music, starting with Vistoron, and performs sporadically. From 2017, Hirasawa also began performing as "Hirasawa Susumu + EJIN," a unit featuring mysterious support members known as "EJIN." These "EJIN" members appear in various guises, including "Black EJIN" wearing welding masks, "White EJIN" in plague doctor masks, and "Rubedarian EJIN" in Rubedo masks, with their appearances often changing for each performance. The unit has performed at major events like Fuji Rock Festival in 2019 and 2021. In 2023, Hirasawa released RUBEDO/ALBEDO -Songs for FUJI ROCK FESTIVAL 2019, 2021- on Bandcamp, featuring studio recordings of songs re-arranged for his Fuji Rock performances.

3.5. Associated Acts and Collaborations

Throughout his career, Susumu Hirasawa has engaged in numerous collaborations and led various musical groups, shaping his diverse artistic output.

• Mandrake (1973-1978): Hirasawa's first band, a progressive rock group that laid the groundwork for his later electronic explorations.
• P-Model (1979-2000): The influential electronic rock band that established Hirasawa as a central figure in the Japanese techno-pop and new wave scenes.
• Shun (1984-1996): An experimental sampling unit Hirasawa formed concurrently with P-Model, known for its innovative use of self-made sampling machines.
• 4-D (1987-1996): A collaborative project with Kenji Konishi of the techno unit 4-D, involving remote music production via floppy disk exchanges.
• Shampoo (1982): A female unit consisting of his synthesizer students Masami Orimo and Mari Adachi, whom Hirasawa produced. Orimo later became a frequent collaborator and guest performer in his interactive live shows.
• Jun Togawa (1990-1994): Hirasawa collaborated with Togawa, the leader of Yapoos, on her projects and she frequently appeared as a guest vocalist in his live performances. Hirasawa expressed deep respect for Togawa's music and activism.
• Riccardo Brett (2008): An Italian death metal vocalist with whom Hirasawa co-created the maxi-single Tetragrammaton.
• Hans-Joachim Roedelius (1999): A German electronic musician, who collaborated with Hirasawa and Kenji Konishi on the internet-based project Global Trotters.
• Nuclear P-Model (2004-present): Hirasawa's solo project that continues the musical legacy and themes of P-Model.
• Hirasawa Susumu + EJIN (2017-present): A unit formed with mysterious support members ("EJIN") who perform alongside Hirasawa in live shows, often wearing unique masks.

He also composed entrance themes for professional wrestlers Riki Choshu ("Power Hole") and Strong Machine ("Hurricanes Bum") under pseudonyms. In 1979, Hirasawa performed "synthesizer rakugo" with traditional storyteller Enchō Sanyūtei, integrating electronic sounds into the performance. His work on commercial jingles throughout the 1980s also significantly broadened his compositional scope.

4.1. Compositional Themes and Inspirations

Hirasawa's music draws deeply from a wide array of concepts, including analytical psychology, particularly the works of Carl Jung, Hayao Kawai, and Erich Neumann. His compositions often explore the interplay of yin and yang, the principles of nature versus machines, and themes related to alchemy and mythology. An avid reader of science fiction novels since the 1970s, he has been profoundly inspired by authors such as Frank Herbert, George Orwell, Wilhelm Reich, Antoine de Saint-Exupéry, Theodore Sturgeon, Nikola Tesla, and Kurt Vonnegut. These influences contribute to the intricate, often dystopian, and thought-provoking narratives embedded within his albums.

4.2. Literary and Philosophical Influences

Beyond the broad scope of science fiction and analytical psychology, specific literary and philosophical works have left a clear imprint on Hirasawa's lyrical themes and conceptual frameworks. The works of Japanese poet and author Kenji Miyazawa have particularly influenced his approach to lyric writing, evident in his distinctive use of specialized terminology and his construction of elaborate, immersive worldviews within his songs. While Hirasawa frequently incorporates concepts from Shinto, Buddhism, and other Asian religions and philosophies into his music, he maintains that these are primarily for artistic process and do not define his personal beliefs, stating that his position should not be conflated with existing categories or collectivist narratives.

4.3. Thai Culture and Social Commentary

A profound and transformative influence on Hirasawa's music has been his engagement with Thailand. A trip to Phuket in 1994, which he described as a "Thai shock," left him amazed by the country's culture, especially its transgender cabaret performers, known as SP-2 (สาวประเภทสอง_{Saao Praphet Song}^Thai, "second type of woman"). He invited some of them to sing on his albums and perform as guests in his concerts throughout his career. After numerous visits, Hirasawa became increasingly identified with the Thai transgender community, incorporating their societal challenges and experiences into his work. This deep connection is exemplified by his 2004 album SWITCHED-ON LOTUS, a tribute to nine SP-2 friends who passed away. His experiences in Thailand also influenced his dietary choices, leading him to refer to his vegetarianism as "Pythagorean."

4.4. Views on Genre and Musical Identity

Hirasawa expresses a clear disdain for conventional Western genre classifications when applied to his music. He has stated, "I dislike it when I hear someone describe [my music] as weird rock, or weird techno." He believes his sound is difficult to define within the standard music scene because it does not conform to Western music chart norms. He views attempts by Western rock critics to categorize his work as merely "ambient music" or "music to take drugs to" as reductive. Hirasawa aims for his music, which he sees as born from Japanese culture, to reach a broader audience beyond the confines of established music scenes. He emphasizes that his musical rhythm patterns are influenced by the "feel of the Japanese language," citing the Japanese national anthem "Kimigayo" and early Showa-era kayokyoku (popular songs) as examples of music that beautifully integrates Japanese linguistic rhythm. He also states that his solo work intentionally diverged from P-Model's sound, notably by extensively incorporating string sections and acoustic guitars, a shift that initially surprised many fans.

5.1. Interactive Live Shows

Since 1994, Hirasawa has staged "Interactive Live Shows" to accompany his main solo albums. These innovative concerts merge computer graphics with his music to narrate a story, with the narrative flow determined by audience participation. For example, in Interactive Live Show 2000 Philosopher's Propeller, the audience navigated a maze by choosing directions, and during one song, they could call specific phone numbers to trigger corresponding ringtones, creating an an improvised harmony with the background music. Since 1998, audience participation has also been possible via the internet.

Hirasawa's live music is constructed from samples he activates using various hand-crafted machines and pre-recorded tracks without vocals. He has gradually reduced the number of live performers, performing primarily solo since 1995, though he has recently re-introduced support performers, notably the mysterious duo "EJIN" and drummer Yuji Rerure Kawaguchi. The "EJIN" members adopt different masked personas for each performance, including "Black EJIN," "White EJIN" (wearing plague doctor masks), and "Rubedarian EJIN" (wearing Rubedo masks). Hirasawa states that his use of self-made instruments and emphasis on movement on stage aims to realize the "physicality of music in the digital world," questioning the meaning of live performance when music can be created without physical presence.

5.2. Instrumentation and Equipment

Hirasawa is known for his eclectic and often unique choice of instrumentation, many of which he built himself, drawing on his background in engineering and machinery.

For guitars, Hirasawa has favored models designed by Japanese manufacturers. In his early career with Mandrake and P-Model, he used distinctive models like the H.S. Anderson Rider, Fernandes Art Wave, and ESP Random Star, often painting them in bright colors. From 1983, he primarily used Tokai Gakki's aluminum-bodied Talbo guitars for 11 years, drawn to their unique material and design. When Tokai discontinued the Talbo in the mid-1990s, Hirasawa commissioned Fernandes to create a wooden, Talbo-shaped guitar called "PHOTON" in 1994. In 2004, he acquired "ICE-9," a Talbo of his own design, which became his main guitar for the next eight years and inspired an eponymous mini-album. He continues to collaborate with TALBO Secret FACTORY, converting an early Tokai model into the "ASTRO" in 2011 and renewing the "PHOTON." In 2012, he adopted the "EVO 0101Z," designed by HISASHI, as his new main guitar, later creating "EVO-PHYTO ELECTRON" (2018) and "EVO-PHYTOELECTRON SEED" (2021) with Jazzmaster pickups. Other guitars he has used include MIDI guitars (Ibanez X-ING IMG-2010, Casio MG500), acoustic and classical models, classic surf guitars like the Mosrite and Fender Jaguar, and the Aria AS-100C/SPL silent guitar. In 2020, he acquired a matcha-colored "Mosrite PHYTOELECTRON" and in 2024, he unveiled "PLANT-EVO," a wooden EVO model currently under development. He also uses a Godin Grand Concert Duet Ambiance (2017) and a Backlund400 (2018).

For MIDI triggers and performance devices, Hirasawa has developed several unique instruments. In 1992, he created "Tubular Hertz" by modifying a Casio FZ-1 to control sounds through tubes arranged like organ pipes. For his Solar Live concerts in 2001, he used "Graviton," a MIDI trigger powered by electricity generated from a modified bicycle wheel. In 2008, he introduced "The Musical Tesla Coil Zeusaphone Z-60," a musical Tesla coil. From 2009, he began using a laser harp that manipulates MIDI by interrupting light beams; this was updated to a Torii-shaped design with advanced sensors in 2021. Since 2017, his support members "EJIN" have utilized Novation Launchpads for their performances. Hirasawa was also a user of the Yamaha Miburi, a motion-sensing instrument that allows a performer to control synthesizers through movements while wearing a special garment.

In terms of electronics and software, Hirasawa extensively used Amiga computers from 1987 until 2003 for computer graphics production, album creation, and live show operation, utilizing applications such as Say, SCALA, Bars & Pipes, SuperJAM!, and OctaMED. He even composed the boot sound for AmigaOS 4.0 in 2005. Due to the high cost of maintaining Amiga systems, he transitioned to Microsoft Windows (and briefly Ubuntu) environments. His current software setup includes Delay Lama, Vocaloids, Bars'n'Pipes, Cakewalk Sonar (now Studio One), and Synth1. When selecting string tones, Hirasawa seeks unstable pitches and a "dark sound," favoring instruments like the Mellotron, Kurzweil synthesizers, and EASTWEST's Symphonic sound libraries. He also utilized vocal synthesis from the late 1980s, first with Amiga's Say program and later with LOLA for songs like "Daughter of Byakkoya."

5.3. Recording Environment and Energy Projects

Hirasawa progressively shifted his music production from professional facilities to his home, establishing his personal workspace, "Studio WIRESELF," across various residences. By the recording of his 2000 album Philosopher's Propeller, he had fully transitioned to his home studio. The following year, in 2001, he launched the "Hirasawa Energy Works" project, committing to record all his music using solar energy. To minimize carbon emissions, Studio WIRESELF was equipped with a photovoltaic system consisting of two solar panels (later expanded to four) and two car batteries for energy storage (later retired).

Initially, Studio WIRESELF operated with large analog and digital equipment. However, with advancements in technology and the streamlining of production under Hirasawa Energy Works, the studio transitioned to primarily using software synthesizers. This change significantly reduced power consumption, shrinking the physical elements of the studio to a single recording booth and two workstations: one for Hirasawa and another for his long-time engineer, Masanori Chinzei. His current studio, "House of Aroru," operational since 2013, features a 4kWh solar panel system on its roof that powers the entire house, though it does not store energy independently. Hirasawa claims that his self-sufficient energy system has allowed him to maintain power during large-scale blackouts. He views "Hirasawa Energy Works" not as an effort in "environmental protection" but as an "exciting exploration" into accessing the abundant energy already present in nature, asserting that humanity is the one being protected by the environment. This philosophy extends to his personal life, as he sold his Citroën Xantia to purchase a Toyota Prius and later a Toyota Mirai, a hydrogen car. He also uses bicycles, including an upright and a recumbent bicycle, for local travel.

6.1. Charitable Activities

In 1988, Hirasawa sold a cassette book at a flea market in Yoyogi, Tokyo, containing three original songs and a 36-page booklet analyzing his dreams and current experiences. All proceeds from this sale were donated to "Human Earth - Awakening Village" (人間大地・めざめの里_{Ningen Daichi Mezame no Sato}^Japanese), a volunteer welfare facility for the mentally ill in Gunma Prefecture, founded by the psychologist who provided Hirasawa with counseling during the period he created the P-Model albums Scuba and Karkador.

In 2001, after a pregnant stray cat appeared at his studio, Hirasawa took her in and helped manage four of her pregnancies between 2001 and 2002. Unable to care for all the kittens himself, he created a temporary website to find adopters and monitor the welfare of the various cats. Furthermore, the sales from the DVD of his 2007 "World Inspection Team" (Banboku Tenkentai) tour, titled P-0, were donated to local nursing homes, deaf schools, and stray dog shelters in Thailand, reflecting his commitment to supporting communities in regions that have deeply inspired his work.

6.2. Anti-War and Peace Advocacy

Hirasawa has maintained a critical stance on war and violence, particularly in response to international conflicts. Following the September 11 attacks and the subsequent American retaliation and Japan's support for such actions, which he viewed as leading to excessive carnage, Hirasawa offered free downloads of online banners and two of his songs as tools of objection. These included a re-recording of his 1994 song "Love Song," which addresses children in battlefields, and "High-Minded Castle" from his album Blue Limbo, which explores a man's struggle to discern truth beyond media narratives in a dystopian world.

In 2011, he launched a free music archive for freelance journalists and independent media, intending for his instrumental tracks to be used as background music for independent news reports. This initiative included songs from his album Vistoron, which delves into themes of false realities propagated by mass media. Hirasawa explicitly states that he does not emotionally endorse pacifism or political interests, but rather expresses his personal dissent against his nation's acceptance of slaughter, particularly when children are victimized.

6.3. Environmentalism and Sustainable Energy

Hirasawa's commitment to environmentalism is deeply intertwined with his artistic practice and personal lifestyle. His "Hirasawa Energy Works" project, launched in 2001, is a testament to this, as he records all his music using solar energy generated at his home studio, "Studio WIRESELF." This initiative involves the use of solar panels and, in its early stages, car batteries for energy storage, significantly reducing his carbon footprint.

Beyond his studio, Hirasawa has made conscious choices to reduce his environmental impact. He sold his gasoline-powered Citroën Xantia to purchase a Toyota Prius, a hybrid vehicle, and later acquired a Toyota Mirai, a hydrogen car. For shorter distances, he opts for bicycles, including a standard upright bicycle and a recumbent bicycle. Hirasawa views his energy projects not as acts of "environmental protection" but as an "exciting exploration" into harnessing the abundant energy already present in nature, asserting that humanity is the one that benefits from this "protection."

6.4. Post-Disaster Contributions

In the aftermath of the 2011 Tōhoku earthquake and tsunami and the subsequent Fukushima Daiichi nuclear disaster, Hirasawa actively engaged with the crisis. He traveled across Japan with a Geiger counter, measuring and reporting radiation levels on his Twitter account. In June 2011, he controversially released a song titled "Nuclear Power" (原子力_Genshiryoku^Japanese), a re-recording of the P-Model song "Boat" (from 1984's Scuba) with altered lyrics protesting Japan's use of nuclear power and criticizing the government and media. The song, credited to the alias "Stealthman," was available for free download for only six days, with redistribution permitted if unaltered and non-profit. Hirasawa publicly distanced himself from the track, claiming on Twitter that he was assaulted and his computer hacked by "Stealthman."

Beyond this direct commentary, Hirasawa also offered spiritual support. While staying in Thailand during the 2011 disaster, he arranged for monks at the Wat Raikching temple to offer prayers for the victims and the safety of the Japanese people, sharing the video of the ceremony online.

7.1. Solo Studio Albums

• Water in Time and Space (1989)
• The Ghost in Science (1990)
• Virtual Rabbit (1991)
• Aurora (1994)
• Sim City (1995)
• Siren (1996)
• Technique of Relief (1998)
• Philosopher's Propeller (2000)
• Blue Limbo (2003)
• White Tiger Field (2006)
• Planet Roll Call (2009)
• The Secret of The Flowers of Phenomenon (2012)
• The Man Climbing the Hologram (2015)
• Beacon (2021)
• RUBEDO/ALBEDO -Songs for FUJI ROCK FESTIVAL 2019, 2021- (2023)

7.2. Soundtracks and Collaborative Works

• New Japan Pro-Wrestling Super Fighter's Themes (wrestling matches, 1980)
• X-Bomber (anime, 1980)
• Model House Works (assorted adverts, 1985)
• Detonator Orgun (anime, 1991-1992)
• Glory Wars (light novels, 1993)
• Sword-Wind Chronicle Berserk (anime, 1997)
• Lost Legend (theme park stage show, 1999)
• Sword of the Berserk: Guts' Rage (video game, 1999)
• Millennium Actress (anime, 2002)
• AmigaOS 4 (operating system, 2004)
• Paranoia Agent (anime, 2004)
• Berserk: Millennium Falcon Arc - Chapter of the Holy Demon War (video game, 2004)
• Vistoron (as Kaku P-Model, 2004)
• Paprika (anime, 2006)
• Gipnoza (as Kaku P-Model, 2013)
• Dreaming Machine (anime)
• Berserk: The Golden Age Arc (anime, 2012-2013)
• Berserk (anime, 2016-2017)
• Kai=Kai (as Kaku P-Model, 2018)
• Opus (anime)

8.1. Books and Essays

• Landsale - Record Copy Full Score (with Yasumi Tanaka & Katsuhiko Akiyama, 1980)
• P-Model (1992)
• ura P-mania - P-model no kako ha ikaga? (1995)
• Music Industrial Wastes (by Kasiko Takahasi, 1999, 2 volumes & 1 CD-ROM; revised and expanded reissues in 2005 and 2010)
  • P-Model Side - Open Source
  • Hirasawa Side - 卓上のウロボロス_{Takujō no Uroborosu}^Japanese (Desktop Ouroboros)
• SP-2 (2008): A mix of photography and essays documenting his interactions with Thai transgender women.
• Near Future Never Come (2012): Material originally posted on FAMIGA from December 1998 to March 2002.

8.2. Newsletters and Special Releases

• Newsletters
  • Moire Club (1985-1989, 12 volumes)
  • Hirasawa Bypass (1989-1996, 19 volumes)
  • Green Nerve (1997-present, 37 volumes)
• Special Releases
  • Another Papers (1983)
  • Bookmark's Banquet (宴の栞_{Utage no Shiori}^Japanese, 1994): Two 16-page booklets.
  • tokyo paranesian (1994)
  • Sim City Photographs (1995)
  • Interactive Live Show Vol.5 (1996)
  • p-model 1996 (1996)
  • Day Scanner of Susumu Hirasawa (1997)
  • deranged door (錯乱の扉_{sakuran no tobira}^Japanese, 1997, 2 volumes)
  • World Cell - History of Interactive Live Show (1998)
  • A Young Person's Guide to Mandrake 1973-1978 (2006)
  • Live Byakkoya (2006)

9.1. Family and Personal Habits

Born on April 1, 1954, Hirasawa has an older brother, Yūichi Hirasawa, who has also been involved in his artistic endeavors. Hirasawa quit smoking in 2001 and has since become an avid user of electronic cigarettes. He is a teetotaler, finding that even a small amount of beer makes him feel as though his head will "explode." Although he previously drank wine to preserve his voice before singing, he has since replaced this habit with throat lozenges.

Hirasawa resides in a house in Tsukuba with his pet calico cat named テビン_Tebin^Japanese. His home features a garden where he grows some of his own food and cultivates bacteria to make soy yogurt. His father's will, which described birthdays as a day to express gratitude for surviving and connecting with all beings, micro-organisms, minerals, humans, and the unknown, inspired Hirasawa to post an annual video titled "OKAGESAMADE" on his birthday, as a gesture of thanks.

9.2. Dietary Choices and Beliefs

Hirasawa is a vegetarian, a dietary choice he has maintained since childhood due to a physical aversion to meat. He has remarked, "At any rate, meat is unappetizing and gross. Eating meat makes me tired and makes me throw up." Following his experiences in Thailand, he began referring to his vegetarian diet as "Pythagorean."

While his musical themes frequently incorporate concepts from Shinto, Buddhism, and other Asian religions and philosophies, Hirasawa has never publicly specified his personal beliefs. He maintains that these concepts are primarily utilized for his artistic process. However, at one point, he expressed support for the return of the imperial cult of the Emperor of Japan as a "psychological measure" for a "healthy process of collective consciousness," clarifying that his position should not be associated with militaristic ideologies.

10.1. Critical Reception and Awards

Hirasawa's work has received significant critical acclaim and recognition. His Interactive Live Show 2000 Philosopher's Propeller was honored with the highest award in the "Works Award" category, the METI Minister's Award, and the Best Entertainment Award at the Digital Content Grand Prix 2001. His soundtrack for the 2006 anime film Paprika earned him the Individual Category - Music Award at the Tokyo Anime Awards 2007, and the film's ending theme, "Daughter of Byakkoya," was nominated as a candidate for the Original Song category at the 79th Academy Awards in the United States.

On Rate Your Music (RYM), a prominent international music review site, Hirasawa's solo album Technique of Relief is ranked 8th among the "Greatest Japanese Music Albums of All Time" and 5th in the Progressive Pop genre globally. His Nuclear P-Model album Kai=Kai is ranked 10th in the Electro-Industrial genre, and his 2021 solo album Beacon achieved a 4th place ranking in RYM's global Progressive Pop albums chart for that year. Additionally, Aurora was listed as the 14th best album of 1994 by Paste Magazine.

10.2. Influence on Music and Culture

Hirasawa's unique artistic vision has left a profound impact on subsequent generations of musicians and artists. Japanese musician Kenshi Yonezu cites Hirasawa's song "MOTHER" as a life-changing track, describing Hirasawa's music as "new yet somehow nostalgic," possessing a universal quality. Hajime Fukuma, a fellow musician, regards Hirasawa as the leading artist in Japan for consistently embracing new challenges. The rapper DAOKO praises Hirasawa's music as a distinctive blend of techno and ethnic sounds, calling him "Japan's coolest computer older brother" for his singular worldview. Noko of Shinsei Kamattechan views Hirasawa as embodying the true spirit of rock, creating music solely for himself, and standing as a singular, unparalleled figure alongside Jun Togawa. Yasuhiro Nakano, owner of the record shop Shop Mecano, describes Hirasawa's sound as "modern progressive rock."

Anime director Satoshi Kon, a long-time fan, stated that Hirasawa's music was the most significant influence on his own expressive style, characterizing Hirasawa's worldview as the "coexistence of opposites." Psychiatrist Tamaki Saito notes Hirasawa's consistent defiance of trends and his deliberate maintenance of distance from his audience, often "betraying" fans periodically to encourage independent thought.

10.3. Pioneering Digital Technology and the Internet

Susumu Hirasawa is widely recognized as a visionary artist for his early adoption and innovative use of computers and the internet. From the late 1980s, he extensively utilized Amiga computers for computer graphics production, music creation, and live show operations, despite having no prior knowledge and learning programming and design independently. He pioneered interactive multimedia concerts, live streaming, performances featuring virtual avatars, and remote collaborative composition via the internet.

In 1999, Hirasawa became the first major Japanese artist to distribute his music directly via MP3 files through his "P-PLANT" website, bypassing traditional record labels. He has been a vocal critic of conventional copyright management organizations like JASRAC, advocating for direct artist-to-listener communication and independent distribution. He believes that while subscription services have issues regarding the equal footing of professional and amateur music, discerning listeners will still seek out and appreciate well-crafted albums. Hirasawa also actively uses his Twitter account not only for communication but also to intentionally "betray" his followers when his popularity grows too much, aiming to prompt critical thinking and maintain a certain distance, referring to himself as "Stealth Major." His pioneering efforts established him as a significant figure in the digital age of music.

11.1. Live Concerts and Tours

11.2. Interactive Live Shows

11.3. World Inspection Team (Banboku Tenkentai)

The "World Inspection Team" (万国点検隊_{Banboku Tenkentai}^Japanese) were fan club tours, primarily set in Thailand, that incorporated interactive, game-like elements, often serving as continuations of his interactive live shows or album narratives.

11.4. Guest Live Appearances

12.1. Television Appearances

• Animamundi (Narration, 1994, TBS)
• Kagayake! Uwasa no Ten Best SHOW (1996, Nippon Television)
• NEWS23 (Interview, 2001, TBS)
• 80s New Wave Special "P-MODEL" (LIVE SOLAR RAY broadcast, interview, 2001, NHK BS2)
• News 10 (Interview, 2001, NHK General)
• FUTURE TRACKS (Interview, 2002, TV Asahi)
• Cinema Tsushin (Interview, 2006, TV Tokyo)
• Strongest Dark Fantasy "Berserk" TV Series July 1st Start Memorial Special (Interview, 2016, WOWOW)

12.2. Radio Appearances

• Susumu Hirasawa's Techno Experiment Studio (Personality, 1994-1995, FM Gunma)

12.3. Internet Streaming and Appearances

• Susumu Hirasawa's Ashu-on TV (2004-present, teslakite.com)
• "Berserk Golden Age Arc II" Release Commemoration: Watch "Sign" fan videos with Susumu Hirasawa! (June 2012, Nico Nico Live Broadcast)
• "Berserk Golden Age Arc III Descent" Release Commemoration: Exceed (`Д´)WAZI! "Aria" Lyrics Net Standard Certification Festival (November 23, 2012, Nico Nico Live Broadcast)
• Susumu Hirasawa's Back Space Pass (May 31, 2014-present, Ustream, YouTube (archives available))

12.4. Contributions

• Eureka December 2008 Special Issue: "Hatsune Miku - An Angel Descended on the Net"
• Gendai Shisō September 2011 Special Issue: "Emergency Reissue Imago: The Great East Japan Earthquake and the Future of the Mind"
• Ido no Nippon May 2016 Issue
• Shueisha kotoba Autumn 2021 Issue: Special Feature "Does Human Augmentation Create Neo-Humans?"
• Neo-Sapiens Birth: Detox for Escaping Dystopia (February 7, 2022)
• Bungakukai September 2022 Issue: Special Feature "Voice and Literature" (August 5, 2022)