It is like sewing, the rhythm of stitching by hand, which also exists in country blues. When I last met Keiji Haino, we talked about Syd Barrett’s particular, cutting kind of guitar playing. If only the on-beat is used, the song kind of stands still, but with playing off, or behind or ahead of the beat, it can move forward, like sewing. This kind of discovery makes it possible to animate ordinary songs.

…

Error itself can not be a purpose. There is nothing better than not to error. We always try hard to play well, and it is legitimate. However sometimes an error may contain more information than music that is commercially distributed. That is not because of the matter of the error itself, rather it is because of the frame of word that is put on the music by forcing the listener to ask the question why the person had failed. That is why traditional music have no error no matter how it were gauche. The error is a modern outcome. The frame of word as information is an unavoidable matter since the occurrence of the tableau down to contemporary music. Error has two aspects. One is that economic and temporal leeway is necessary for acquiring craftsmanship skills, and that is impossible for multitude. Error is a matter of poverty, and its incentive is not to be attributed to individual laziness. We are alienated from a group of “professional musicians” who are dressed artistically indeed, and most of us except who are allowed to stay home as social withdrawal or who withdraw money from illegal dealings, will finish our whole life without being able to even learning how to play heavy metal shred. Therefore it could be said that errors by our side are revenge against society. It alone could not get empathy of fellows, though. So, another aspect of error is a purely musical strategy. Error is an unexpected event, and is a chain of terrorism and its restoration in music. Now, it could be said that a performance without any accident has no social meaning.

– Tori Kudo