The Beauty of Noises and Waves
Alex Foster
カナダ出身オルタナティブ、ノイズロック、ポストパンクバンドYour Favorite Enemies (YFE)のリードシンガー、アレックス・H・フォスター。本国カナダではバンドが名誉あるJUNO賞にノミネート、更に日本ではキングレコードと契約。 映像&音楽プロデューサーやライター、フォトグラファーなどの顔も持つフォスターは大の野球好き、ウイスキー好きとして知られ、2匹の愛犬LeonardとMacKayeを溺愛している。肩書きや活動は多岐に渡れど、本人はシンプルにアレックスと呼ばれるのを好む。
Alex Henry Foster is the lead singer and songwriter of the alternative, noise rock and post-punk international band “Your Favorite Enemies (YFE)”. Hailing from Canada, the band is a nominee at the prestigious Juno Awards and signed on Japanese label King Records. When not in studio or on tour with his band, Foster is also a writer, photographer, art designer, and video and music producer, as well as a true baseball fanatic, a skateboard and underground culture kook and an avid whisky lover. He’s also the proud daddy of two dogs named Leonard and MacKaye. But most of all, he likes to simply be called Alex.

<Vol.3>讃え、昇っていく自由な動き/Free Motions of Praise and Ascend


“Every creator painfully experiences the chasm between his inner vision and its ultimate expression.”
Isaac Bashevis Singer



I left Montreal as dawn was slowly taking the shape of the bright and magnificent colors of a day that quietly whispers its lights through the faded darkness of the remaining shades of a night, from purple, to blue and orange. This luminous canvas made of lively shades turns the horizon into a comforting velvet sky, another miracle of sorts, spectacular display of splendors so radiantly alive that you know how blessed you are to witness them all, to lose yourself into them and to wish you had enough faith to suspend time from moving, from changing so fast, hoping images would stand still, contemplative as I was, if only for a few seconds.



I disappeared in the silence of this dazzling morning, moment of peace, made of high hopes and promises. Daybreak has always been the moment I like to leave home the most; it’s too early to grievingly wave goodbye and too late to selfishly keep the night alive. That’s why I find this moment very romantic, actually. You dwell into the fragile balance of innocence and uncertainty. Or maybe that’s why I have never been quite good with “au revoir”. I have never been into vows confessed in shadows and never been into fake secrets crafted with half mysteries to behold. Even if I have dropped pennies in fountains at times, faith doesn’t know right or wrong, but the heart does. That’s why it was good to leave without the sensation of leaving anyone behind. To simply go, to walk in the joyful gleam of a greater return physically refreshed and emotionally rejuvenated, breathing life for the wonder it is, for the beauties I now freely embrace, or at least, that I more often accept than I ever did before…


これまで、あまり休むことを良しとしなかった僕だけど、今まで以上に休息が必要だった。正直言って、『Between Illness and Migration: Tokyo Sessions』は、すごく時間がかかったんだ。多分、自分で理解したり、認めてる以上にね。でも、やりきった。”Tokyo Sessions”の制作中、スタジオではこれまで経験したことないくらい素晴らしく、満ち足りた時間を過ごしたよ。”Tokyo Sessions”ほど、僕の心と魂が深く望んだままをアーティスティックに表現しながら作詞し、レコーディングできたことはない。他のバンドメンバーとも、今まで以上に絆を強められた。けど、昔の悪魔と向き合い、過去の亡霊を解き放ち、長いこと心の奥底に閉じ込めてきた感情に身を委ねるのは、僕にとっては最高に激しい乱気流の旅だったんだ。”胸の内に語られない物語を抱え込むほどの苦悩はない”と言ったのはマヤ・アンジェロウだった。だから、分かってる。たとえ、どれだけ酷く痛みを覚えたとしても、『Between Illness and Migration』の旅は、素晴らしく僕を解放してくれたって。

The idea of having time to rest, even if this has never been easily welcomed from me in the past, was more than necessary this time and I knew it more than anyone. To be honest, writing “Between Illness and Migration: Tokyo Sessions” took quite a lot out of me, probably more than I would ever fully understand or admit. But it did. And as much as I have never had such a great and fulfilling time in studio as when producing “Tokyo Sessions”, as much as I have never felt so close to artistically express what my heart and soul so profoundly longed for like I did through the “Tokyo Sessions” writing and recording time, as much as I have never been so close to the other band members as during the whole “Tokyo Sessions” process, facing old demons, letting go of past ghosts, surrendering to all the emotions and feelings we kept shattered deeply inside for so long. It was an incredibly intense odyssey of turbulences for me. “There is no greater agony than bearing an untold story inside you” said Maya Angelou. That’s why I know that regardless of how dreadfully painful it’s been at times, that whole “Between Illness and Migration” journey has been amazingly liberating for me.


だからこそ、この航海を終えたとき、たとえ完全に疲れ果てていたとしても、心を縛り付けていた鎖から外れたことで、改めて人生にはもっと色々なことがあるはずだと思ったんだ。アメリカの作家チャールズ・ブコウスキーが”もしあんたが自分の魂を失いかけていてそれが分かっていたら、あんたにはまだ失うだけの魂があるってことさ”と書いたように。本当の意味で生きるには、一度自分に対する執着をなくすべきだ。少なくとも、ここ数ヶ月はそんな風に感じてた。昨年11月に行った日本でのコンサートから、そのコンサートにインスパイアされたアルバム”Tokyo Sessions”の完成まで、僕は曲から曲へと自分自身を捧げ、妥協することなくアルバムのスピリチュアルな本質へと自分を浸していった。完全に解放し、コントロールすることなく、その没頭の流れへと身を浸していったんだ。再び戻ってこられるかなんて関係なく、僕は持っている以上を注ぐ覚悟ができていた。曲から曲へ、かつての状態から余分なものを剥ぎ取り、強く握りしめて離さなかったものを手放し、僕の秘密の痛みがわざと魂に与えていた悲しみ、罪の意識、嘆きから僕は贖われた。

Therefore, as totally exhausted as I was when I concluded the voyage, I now realize that I found way more to my life than the emotional chains I got freed from. As the American author Charles Bukowski wrote “If you’re losing your soul and you know it, then you’ve still got a soul left to lose.” To truly live, you need to die to yourself. At least, that’s how I felt the last few months, from our last concert in Japan, to the completion of the album ”Tokyo Sessions” that this concert inspired. I died from a song to another, uncompromisingly losing myself in the album’s spiritual essence, completely letting go, losing control to the uplifting and hollowing stream of its merciful immersion. Regardless of if I would ever be able to resurface or not, I was ready to give more than I knew I had. From one song to another, stripped down from what was or used to be, graced from everything I held onto so tightly, redeemed from the sorrow, the guilt and the grief I purposely let my hidden pain feed my soul with.


“Tokyo Sessions”は、全てを捧げることで生じる、感情の蘇りなような気がする。マイグレーション(変遷/移り変わり)が自由への再生であるように、ルネッサンスはどの音にも、ノイズにも、囁きにも、そして僕が再び命を見つけた言葉にも存在している。僕の親愛なる友人であり、姉妹のようであるSakikoが撮った素晴らしい梅の開花をフィーチャーしたアルバムジャケットのように。この写真はメキシコの詩人パブロ・ネルーダが希望と救済について言った言葉を完璧に表してる。”全ての花を切って取ることはできるが、春の訪れを止めることはできない”。改めて、これは決定版の”Tokyo Sessions”を含め、今や完了した『Between Illness and Migration』の旅の意味を完璧に表していると思う。

I found in “Tokyo Sessions” that emotional resurrection that lies within abandonment. Just as migration is the emancipating rebirth of self, that renaissance lives in every little sound, noise, whisper and word I died to and found life in. Just like the album cover art featuring blooming plums so magnificently captured by my dear sister Sakiko, which perfectly represents the living incarnation of Chilean poet Pablo Neruda’s saying about hope and salvation: “You can cut all the flowers but you cannot keep spring from coming.” Again, it’s the perfect representation of what the pilgrimage of “Between Illness and Migration” means to me, now that it’s completed, with “Tokyo Sessions” as its definitive incarnation.


実際、”Tokyo Sessions”が僕の最後のアルバムになっていたかもしれないんだ。そして、だからこそ、そうだったとしたら、穏やかな気持ちでいられただろうと思う。死と再生の本質、変遷と自由の本質を、穏やかな視点によって完璧に表現できた。僕が自分で思うよりも、もっと素晴らしく、僕の内省的な解釈よりも、もっと深く、悟りを開くような熟考よりも、もっとキラキラと輝いているんだ。そして、飛行機の窓側の席に着き、”Tokyo Sessions”のファイナルミックスを聞きながら、この言葉を書いている。際限なく自らに科していた惨めさから自分への執着を捨てたあと、人生へとオープンになって、一人の時間を持つために、カリブ海近くのプライベートな場所へと向かっている。今では、古く傷ついた追悼から生まれた歓声が聞こえ、影が光輝くようにデザインされた感謝祭を通して、僕の精神が高まるのを感じるよ。

In fact, that’s why “Tokyo Sessions” could be the last album I would ever write, and that’s why I would be serene if it was to be the case, the nature of death and rebirth, of migration and emancipation being perfectly incarnated by that peaceful perspective. It’s something way greater than what I might think of myself, way deeper than my introspective renditions, way more radiant than any of my epiphanic contemplations. And it’s seated in the plane, looking by the window and listening to the final mix of “Tokyo Sessions” that I’m writing those few words, heading for a moment of my own to an intimate place by the Caribbean seas, open to life after I died for what looks like a never-ending self-inflicted procession of misery. I can now hear an everlasting cheer emerging from old wounded eulogies and feel my spirit elevate through thanksgivings designed for shades to glow and shadows to shine.


アルバム”Tokyo Sessions”の、新しく生まれ変わった「Empire of Sorrows」を聴いてみて。僕が話している心と魂の状態を感じてもらえると思う。讃え、昇っていく自由な動きに輝く海もね:http://j.mp/TokyoSessionsJP

“水の音は詩の言葉よりも価値がある” – オクタビオ・パス

Listen to the new song incarnation of “Empire of Sorrows” on “Tokyo Sessions”, and you will immediately sense the state of heart and soul I am talking about, as well as feel the way the ocean shines in free motions of praise and ascend: http://j.mp/TokyoSessionsINTL

“The sound of water is worth more than all the poets’ words” – Octavio Paz

Website: http://www.yourfavoriteenemies.com
Facebook: https://www.facebook.com/alexhenryfoster
Instagram: https://www.instagram.com/alexhenryfoster/
Twitter: https://twitter.com/umitohanasuhito
LINE: http://line.me/ti/p/@sew9815s