*The following is a translation using translation software. I hope you can understand.*

 

Since their debut in 1988, Asturias has been pursuing new paths in progressive rock, adding different forms such as the chamber music arrangement "Acoustic Asturias" and the rock band arrangement "Electric Asturias". Yoh Ohyama, who continues to work in a variety of fields as a composer and multi-player, has positioned this multi-track suite as his life's work and is thoroughly particular about it. Seven years have passed since "Jurei", which presented a new form of 21st century progressive rock with his own interpretation while following the worldview of early Mike Oldfield. The long-awaited new work is finally complete!

This year marks the 28th year of activity as Asturias and the 30th anniversary as a music producer. As I began composing this time, I have turned 50 and looked back on my life and thought again about what I have accomplished so far, what I can accomplish in the rest of my life, and what I should accomplish. I regret what I should have done at that time, the irretrievable feelings I have lost, and I truly feel that I have lived a life full of shame, not like Osamu Dazai. I am proud that I was able to leave behind the work of Asturias, and I once again felt that my mission as a musician is to create as many pieces of music that I can be satisfied with, music that only I can create, and I have tackled this work with renewed determination.

While the theme of the previous work "Tree Spirit" was a journey of wandering through the forest, the theme of this work is a "journey of the heart" that looks back on one's life, and it could be said to be a work of autobiography filled with extremely personal thoughts. In a sense, I feel that the obsessive attention to detail and atmosphere that are common to Mike's early works have been naturally expressed in my own way.

The Japanese title "Lack" was chosen with the positive idea that things that have been lost in life experiences, and the shortcomings that everyone has as a human being, should be related to all of life, including music, and have a positive effect. It's a heavy word, but I hope it will be a guide to expand the listener's imagination.

Of course, creating two parts that are over 20 minutes long is no easy task, and it was a repeated process of connecting and discarding parts that came to mind. Overcoming the mind-boggling task of overcoming the theory of composition, and focusing on the composition and development of the songs, we finally completed a suite of just over 50 minutes. Although the suite can only be discussed as a single piece, the CD is divided into 10 indexes. Below is an explanation of each part. Part 1: Beginnings The introduction to the journey inside the heart. In order to embody the mental landscape, the piece develops with mystical harmonies and minimal 5/8 to 11/8 time signatures, switching keys and instruments. Obao's percussion and Tei's violin liven up the song and move on to the next development. Departure A traditional rhythmic part featuring Tsutsui's recorder and clarinet. The exciting triplet rhythm evokes the image of departure and departure. Sign Ueno's multiple choruses and Eleas' band sound. This part can be considered a turning point in the journey. Hirata takes over from Kawagoe with a solo that is characteristic of both of them, and then it leads straight into a gentle melody. A bright path to the future is shown and we move on to the next part.
ⅳ journey
The recorder appears again. The pastoral and lovely melody transforms into the usual microphone guitar in the second half, and the climax of the first half is colored by the passionate soul that pioneers the journey of life.
ⅴ lost
The main theme of this work came to mind with the image of "something important that has been lost." Is this progressive rock? Putting aside the question, the beats change one after another, and the melody that unfolds as it pleases is filled with various thoughts. The performances of the guests, including the cellist Hoshi-san, heighten the emotions and move towards the climax. I hope that each listener will feel something from their own perspective.

ⅵ alone
Looking back on my life, I think I have been blessed with meeting many different people and have lived to this day, but even so, I have often felt lonely since I was a child. I am aware that I have an objectively imperfect personality flaw... This is an introspective part that contains such thoughts.
ⅶ rebirth
Overcoming loneliness and being reborn. I tried to express the spirit of rebirth with a band sound with an odd time signature. It is neither dark nor fusion, but Asturias-style progressive "rock". The time signature switches between 13/8 and 4/4, and Tanabe's sharp drumming shines.
ⅷ wandering
In a complete change, there is a tranquil part mainly composed of strings and violin. It is a song about wandering aimlessly through the wilderness, searching for salvation, but also catching a glimpse of a ray of light.
ⅸ missing piece
The minimalist piano, which can be said to be the color of Asturias, gradually increases the emotion, and the glockenspiel, percussion, and all the instruments shine brightly, gradually moving towards the climax of the album. The violin and guitar sing to the fullest, all emotions are concluded, and the journey to recover the "lost fragments" finally draws to a close.

ⅹ Resolution

After overcoming hardships, they break away from the past and move towards a new future. The cello intertwines with the melancholy theme, raising emotions. The theme of "loneliness" is reproduced, and the suite's final chapter is filled with tragic determination in the rapid beats of the tom drums.

In today's music world, where shallow, short, and stereotypical things are demanded and consumed one after another, this is my own faint resistance to the idea that this kind of music should exist. All that remains is to hope that this piece will remain in the memory of the listeners for a long time. 

July 8, 2018 Yoh Ohyama