HN vol.1 Interview: Hatis Noit

Japanese vocal performer hailing from distant Shiretoko in Hokkaido who now resides in London. Hatis Noit’s accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists.

By Sean Roe
Hidden Notes vol.1
September 2019

You grew up in Hokkaido, in the far north of Japan - I was curious if the musical singing tradition of the Ainu - Rekuhkara (singing tones into another person’s mouth ) was familiar to you or perhaps a kind of inspiration to you? What are you memories of Hokkaido? Do you ever go back there?

I’ve never tried Rekuhkara but I’ve heard about that. When I lived in Shiretoko, Hokkaido, I had Ainu friends as well and could see their culture everywhere, such as their language, their old shrine in the village, their culture of hunting, the cuisine and how to use animal skin and bone after cooking etc. There is a lot of respect for their tradition. I love going back to Hokkaido. It always reminds me why it is important to live and make music.

What piece of music or musician most inspired you to take up singing when you were younger? How were you introduced to the music that influenced you most?

The biggest influence on my singing is of course Meredith Monk. The first time I heard her music I was a teenager and I thought; ‘Is this music?’ It was so raw, strong, free and primal. Since then, my idea of singing and voice music has been expanded and changed totally.

Is there any way you like to define your music? You seem to cross over into so many genres which makes it all the more fascinating....Do you see yourself moving into a different direction in the future?

If there is some way to define my music, it would be music that I just want to listen to. My music is all about voice, the oldest and most primal human instrument. I mix many vocal traditions from all over the world. I believe I can never be bored of this theme.

It's really interesting how hard it is to pinpoint a specific language you're using - do you speak a number of languages? Do you use invented words? Is you concern more with the idea of language as "sound" less intricately linked to "meaning"? (I really like your song titles - like mini tone poems in their own right)

Actually, my least favourite thing about making music is using words and naming songs. Because I always try to catch some feeling that hasn’t been translated into words yet. Like the temperature and humidity of our mother’s skin and the feeling we felt in her arms when we were a baby. We can never find the right word to define that feeling, I think. So sometimes I use a title which is completely different from what I imagined the song is about as I want to let the listener have space to imagine its meaning. That’s also the reason why I don’t have any lyrics. I use invented words, but interestingly, sometimes people can hear or catch some meaning from it. I love those moments. It’s like telepathy or sharing a collective unconscious.

Hatis Noit, Hidden Notes vol.1, September 2019 by Tom Jacob

Your new EP also has a remix of Illogical Lullaby by electronic duo Matmos, - how did they make contact and what was it like to work with them? Were you surprised by the result?

I was looking for someone to remix my song when I made that EP and sent an email to them as of course, I am big fan of Matmos. When I received a reply from them, I even screamed! I was more than happy just for them to have heard my song! The vocal was mine but the sound was totally Matmos’ signature. After that we’ve met in US and Japan, they even helped me on my US tour as a driver. I know, it’s crazy. They are always so sweet and humorous and have great sarcasm. I love them.

You appeared on Lybomyr Melnyk's last album - did you enjoy it?

I enjoyed that so much. His way of facing music inspires me very much as a solo artist and an improviser. He always purely commits himself to the moment on the stage.

The acoustics in St Laurence Church are interesting - do you tailor your performances to fit a space? What do you have planned for your concert in Stroud?

My performance is half composed and half improvised to fit the space and accommodate an audience. I love communicating with them by energy and creating something new. I am open for you and look forward to see your energy. Let’s create something special together…

W: hatisnoit.com Label: erasedtapes.com

Sean Roe runs Sound Records with Tom Monobrow. He is also an artist and musician and member of Wool Heads – a new musical collaboration with performance artist Uta Baldauf.