“Although on the outside I was blessed with perfect good fortune, in reality my life … has been but a succession of dark and weary pessimism …” (Hagiwara quoted by Hayes, 1996, p. 34).
In the extended introduction of Sakutaro Hagiwara, we introduced the ill-fate that pervaded Sakutaro’s life. In the introduction we underlined that this ill-fate, a fate he felt succumbed to, instigated his affiliation with European nihilistic philosophy (Nietzsche, Schopenhauer) and the poems of Baudelaire, Verlaine and Mallarmé.
In this short article we aim to explore the way Sakutaro Hagiwara gave expression to this/his fate. It should come as no surprise that Sakutaro “saw signs” that proved his ill-fated destiny. He sought to prove his ill-fate, his destiny, … . We could even propose that he sought, by proving his fate, a valid reason for the existential despair and anxiety he experienced. In the extended introduction we also explicated that his fate is intrinsically connected with “poetic temperament”; And that being a poet for Sakutaro was in a way fated by his ill-fate.
Before formulating certain aspects on how Sakutaro saw his fate proven, we are obliged to explore the yin-yang theory. The yin-yang theory presented here is just a mere general overview of the theory and is thus only an introduction.
This short and brief report on Mono’s concert in Bruges (3/12/2014) doesn’t entail a review by all means. It aims at giving a possible explanation on the effectivity of their music, the effectivity of their instrumental post-rock. I’m not a music expert, nor did I wade through theory to be able to write this. You could say that what will be written here comes primarily from the heart. Their music, in a way, fated – to evoke Sakutaro Hagiwara – me to write this. And even though writing about Mono is condemned to fail in all sorts of ways, I’ll nevertheless try to fail as smooth as possible.