Mandrake (Japanese band)

Mandrake

Company type	Ensemble
Industry	Music
Founded	1973
Headquarters	Tokyo , Japan
Products	Progressive rock music

was a Tokyo-based Japanese progressive rock ensemble established in 1973. Active during the height of the genre's popularity, they distinguished themselves by adopting a sound that was notably more aggressive than the usual jazz fusion blends prevalent in Japan.

During their active period, they did not issue any official albums; by the time record labels expressed interest, most members had moved on artistically, feeling that progressive rock no longer matched their creative ambitions. With the rise of New wave music in Western markets, the group viewed this new direction as better suited to their evolving vision. Following a final performance on New Year's Eve 1978, the majority of the lineup transitioned into forming P-Model.

Of all members, guitarist Susumu Hirasawa remains professionally engaged in music, incorporating progressive rock elements without fully returning to the genre. In 1997, two albums containing bootleg and demo recordings from Mandrake's archive were officially released, representing the band’s sole authorized discography.

Origins and initial formation

By early 1972, high school students from Shitamachi and Susumu Hirasawa were seeking outlets for their unconventional musical preferences. After some initial reluctance, Hirasawa accepted Abe’s suggestion to start a band following Abe’s motorcycle accident that rendered him unable to ride. Their first venture was an improvisational group focusing on original compositions inspired by white blues rock, featuring Abe on vocals and Hirasawa playing electric guitar and blues harmonica, both utilizing custom-built electronic equipment. They performed only once before attempting to recruit similarly minded musicians from Tokyo's established rock circles but mostly encountered individuals connected to the entertainment industry.

In late 1973, two musicians responded to an advertisement for heavy rock players near Higashi-Koganei Station: bassist Yasumi Tanaka from Tama and drummer Sadatoshi Tainaka, an immigrant with experience in local music scenes. The four rehearsed weekly and debuted by performing five Black Sabbath covers at a Takashimaya employee dance event. Drawing inspiration from the Third Ear Band and an alchemy text, Abe and Hirasawa named their group "Mandrake." The band’s style evolved toward progressive rock after Abe began playing violin and completed a 19-minute composition.

Mandrake’s debut concert featuring original material at a Rikkyo University festival faced hostility; audience members intoxicated and expecting Deep Purple covers threw trash cans onto the stage, injuring Tanaka. Abe’s volatile behavior led to his departure after personal difficulties impacted his performances. This event prompted Mandrake to reorganize and modify their musical direction.

Second formation and scene challenges

Prior to restructuring, Tanaka secretly learned piano to express his ideas more fully and took on keyboard duties. Tainaka expanded his drum setup by adding eight concert toms. Hirasawa reluctantly assumed responsibilities as lead vocalist and lyricist. With these adjustments, Mandrake embraced progressive rock influences more completely than before. Seeking a bassist, Hirasawa enlisted college peer Hiromi Seki, who admired Eikichi Yazawa’s rockabilly band Carol. After some persuasion involving Pink Floyd's Atom Heart Mother, Seki joined despite having no prior bass experience.

Mandrake gradually cultivated a local following within the progressive scene through performances and self-promotion across Tokyo and Saitama prefectures. They secured regular gigs in areas such as Kichijōji, Shibuya, and Warabi, sharing stages with groups including Shingetsu, Anzen Bund, Space Circus, and Blues Creation. A notable event was their well-received 1977 Tajimagahara Outdoor Concert in Sakura where rain ceased during their set and a rainbow appeared behind them.

Despite these achievements, Mandrake contended with a fragmented cultural environment: no unified progressive rock community existed locally, and the genre lacked commercial viability as Tokyo bands operated independently. The prog-centric venue Mirage had a stage too small for Mandrake’s Mellotron; nonetheless, they set an attendance record there with 30 spectators. Bookings often came from unconventional locations such as an event hall within a consumer electronics store or a restaurant.

Hirasawa experienced conflicts with other progressive musicians due to differing artistic goals and social divisions; he found their emphasis on artistic refinement and poetic lyrics "tedious," citing bands like Camel as examples. Competition often revolved around costly imported instruments—Mellotrons could cost up to 980,000 yen new; Mandrake acquired theirs second-hand for 250,000 yen while balancing part-time employment.

As jazz fusion gained traction in the late 1970s and was frequently confused with progressive rock, Mandrake was often booked alongside fusion bands despite divergent objectives—a situation Hirasawa found degrading. Following one festival performance, he requested to perform solo at a restaurant where only three attendees remained throughout; these were members of Abikyōkan, a trio influenced by The Nice and Emerson, Lake & Palmer. The two bands developed a friendship with Abikyōkan’s leader Katsuhiko Akiyama who occasionally helped as road crew; Abikyōkan sometimes opened for Mandrake.

After graduating in 1975, Seki returned home to Niigata Prefecture to join his family business but commuted weekly back to Tokyo for about two years. Eventually, his family forbade him from continuing due to suspicions regarding yakuza connections.

Final lineup and disbandment

The third and last bassist to join Mandrake was Tohru Akutu, previously part of the recently dissolved Emerson, Lake & Palmer-inspired trio Hatenkō. His musicianship and vocal input enriched the band’s sound and contributed to increased audience turnout at live performances. The group completed the track Happening by the Windowsill, and with these advances, Akiyama believed they were nearing their debut. An A&R representative from Victor Music Industries, who was scouting progressive rock bands, made contact with them and initially aimed for an album release by April 1978; however, this plan was delayed.

In early 1978, Hirasawa was employed by Electro Sound corporation, one of Japan’s rare independent studios specializing in synthesizers. The company managed Yamaha Music Foundation courses and produced a teaching aid titled Synthetic Study, which was recorded in collaboration with Mandrake and a colleague. This instrumental covers collection featured three pieces reflecting Mandrake’s style and stood as the only album issued during the band's active years. Hirasawa later voiced dissatisfaction regarding this project.

Hirasawa participated in a Weekly Playboy competition for amateur synthesizer musicians submitting multitrack recordings. Judged by the Bach Revolution, his piece Temptation from Necessity Bees received commendation from chief judge Isao Tomita, who regarded it as professional quality. All winners’ works were compiled and released in 1978 on the album Synthetic Space.

As punk and new wave trends gained momentum in Western music scenes, Mandrake gradually incorporated elements of these genres. Hirasawa viewed new wave as significant and believed he could pursue it with the same intensity as progressive rock. While his peers in prog bands dismissed new wave, he looked up to Split Enz as an example of successfully merging prog and new wave influences.

Assignments from Electro Sound enabled Hirasawa and Tanaka to explore a fresh synthesizer style. They composed numerous new wave tracks utilizing this approach, which Mandrake performed live. By September 1978, during the Tajimagahara festival, Mandrake members appeared disengaged; three had cut their long hair short and expressed frustration with the music scene. Hirasawa felt that progressive rock had lost its societal impact, becoming mere entertainment with limited potential for growth or media attention. Their largest audience numbered around 150 attendees. Following the festival, the A&R coordinator suggested recording an album as a "souvenir" since they intended to shift musical direction; Hirasawa declined, viewing this as contrary to his artistic goals.

Mandrake’s final act was a special three-hour performance at Shibuya Jean-Jean on New Year’s Eve 1978, designed by Hirasawa as an act of defiance against commercialism. The show included two and a half hours of progressive rock songs, followed by a theatrical sketch symbolizing transformation, then concluded with half an hour of new wave material. On New Year’s Day 1979, band members gathered with Susumu’s brother Yūichi at the Hirasawa family residence in Kameari to discuss their future plans and Akutu’s departure.

The band functioned by pursuing common objectives without explicit communication. While Hirasawa, Tanaka, and Tainaka gravitated toward new wave styles, Akutu did not share this vision. Akiyama speculated that Akutu had expected a progressive rock debut and struggled to adapt to simpler genres. Tainaka described him as "prog through and through." Ultimately, Akutu was dismissed from the group; the remaining members chose to continue under the name P-Model. Like much of Mandrake, Akiyama had grown disillusioned with progressive rock and became interested in emerging musical styles. Despite his lack of experience on bass guitar, Hirasawa invited him to join P-Model as their bassist.

Aftermath

Although P-Model intended to move in a new direction, the band maintained a strong connection to progressive rock. The Hirasawa brothers drew creative influence from groups like Split Enz and Jethro Tull when developing the band's concept. Hirasawa found it challenging to compose straightforward songs, which resulted in arrangements that were more intricate than typical new wave music. When searching for a record label for P-Model, Hirasawa presented their demo to Victor’s A&R coordinator, who had shown interest in Mandrake but ultimately rejected the band's newer style. For their first album In a Model Room, Hirasawa brought on Masahide Sakuma, a member of Tokyo’s leading prog ensemble Yonin-Bayashi, who was transitioning toward new wave with Plastics. Subsequent members included Tadahiko Yokogawa and Kenji Konishi, both veterans from the 1970s Kansai progressive scene who later embraced new wave.

Hirasawa adapted three songs originally written for Mandrake for P-Model’s repertoire: "Deranged Door" was transformed into "The Great Brain" on In a Model Room, featuring a quicker pace; "Alien," deemed too heavy for their debut album, underwent significant revision for Landsale. Additionally, a Mellotron segment from "A Strange Egg" was reworked into the synthesizer melody for "Looping Opposition" on Scuba.

As new wave rapidly became mainstream within the industry, Hirasawa worried that P-Model might be dismissed as merely a passing trend and sought to preserve his "prog accent" to ensure lasting appeal. The 1984 concept album Scuba revisited his 1970s musical roots with prominent guitar elements. In 1988, while preparing for his solo career, he recorded "Happening by the Windowsill" entirely on his own. His solo projects continued to explore concept albums featuring elaborate arrangements, which garnered critical acclaim.

With P-Model's expanding audience and growing interest in Japanese progressive rock, demand for Mandrake's material intensified. Bootleg recordings circulated extensively; an independent progressive label even produced an unauthorized limited edition single during the mid-1980s. The first official Mandrake release arrived in 1987—a cassette featuring "Deranged Door"—but it failed to sell. Throughout Mandrake's existence, Hirasawa owned a 4-track recorder and produced numerous private recordings.

For nearly twenty years following Mandrake's dissolution, Hirasawa resisted releasing its catalog until health issues prompted him to reconsider. In 1997, two albums focusing on progressive rock were officially issued with his involvement; he supplied archival tapes and modified some tracks. These releases comprised one song from the original lineup, five from the third lineup, along with "Temptation from Necessity Bees" and his solo piece "Happening by the Windowsill". He excluded the ballad . The first album showcased complex compositions; the second emphasized experimental works. Both were reissued in 2006 through Hirasawa's independent label. Several Mandrake tracks remain unreleased.

Among Mandrake’s six members, only Hirasawa continued pursuing a professional music career. Tainaka officially retired in 2000; Tanaka exited the industry in 1983 but contributed intermittently after 2013. In 1986, Hirasawa noted that Abe had become a chef but maintained an interest in music. Later collaborations included Hirasawa and Seki working together on the 1987 Shun mini-album Shun・4. Akutu joined Shingetsu offshoot projects after Mandrake and appeared on the 1980 recording featured in the 2005 box set.

Creative approach

Hirasawa viewed progressive rock as a genre where music's significance is derived from its role within society. He appreciated the style not merely for its auditory qualities but also for its visual elements and conceptual depth, striving for Mandrake to be recognized as more than just a musical act. Masaki Takazawa from Urawa Rock 'n' Roll Center highlighted Mandrake's uniqueness, characterizing their prog sound as a complex blend of aesthetic immersion intertwined with a desire for escape, revealing an underlying sense of frustration.

Musicianship

Tanaka credits the transition from heavy metal to progressive rock largely to Tainaka’s influence, pointing out their mutual appreciation for the genre and Tainaka’s enthusiasm for collecting rare and eclectic records. Tainaka himself attributes this shift to his fascination with King Crimson.

Although progressive rock traits are prominent, Mandrake did not imitate any particular international band directly, setting them apart from peers like Shingetsu and Bi Kyo Ran. Hirasawa described their robust sound as a hybrid of Van der Graaf Generator and King Crimson, while Akiyama likened it to the styles of Yes and Genesis. Their rehearsals featured covers such as "Mirrors," "Larks' Tongues in Aspic," and "Mood for a Day." Critics have also identified echoes of Tangerine Dream, Nektar, Emerson, Lake & Palmer, Eloy, Beggars Opera, and krautrock influences.

Hirasawa’s guitar playing shows clear inspiration from Robert Fripp and Steve Howe; Tanaka admired Tony Iommi’s precise, mechanical tone. Vocally, Hirasawa drew from Inga Rumpf and Demis Roussos but was often regarded as a hesitant singer with limited vocal power. For lyrical content, he followed advice from Yūichi’s bandmate Jōji Maion to study Kenji Miyazawa. Abe penned English lyrics that Hirasawa frequently adapted into Japanese. Their early songwriting is distinguished by poetic expression and a strong narrative voice.

Tanaka approached instruments pragmatically, viewing them as means to an end; inspired by Keith Emerson’s showmanship, he developed a keyboard style reminiscent of Emerson and Rick Wakeman. Akutu modeled his technique and equipment choices after Greg Lake.

With the exception of Akutu, Mandrake’s members did not prioritize technical showmanship but were accomplished musicians nonetheless. Their compositions were carefully designed and tightly arranged, bearing Black Sabbath’s influence. Significantly, they avoided improvisation—a departure from most Japanese prog bands at the time—reflecting Tanaka’s preference for accuracy over improvisational freedom.

Visual presentation

Mandrake customized their gear by painting it in a variety of colors. They worked alongside , a lighting and stage effects group led by Yūichi with support from four additional members. Their visual effects incorporated custom-built lighting rigs, disco balls, fog machines, and enormous floating rock props. Partially inflated weather balloons were used during performances as projection surfaces for slideshows and animations created directly on 8 mm film. Yūichi estimated their success rate at roughly half.

The band’s final show featured an enormous picture frame that was dismantled during a costume change skit starring Yūichi and Akiyama portraying mad scientists, accompanied by a treadmill and an illuminated multicolored fetus.

Legacy

Mandrake faced challenges in achieving commercial success, as their albums were frequently criticized for substandard recording quality. Despite this, they earned acclaim as trailblazers in Japanese progressive rock, recognized for their innovative approach during that era.

The 1973 track "Deranged Door" garnered attention due to its intense and dark sound, drawing comparisons to prominent British progressive rock bands that emerged later.

Their compositions are often examined in conjunction with the works of P-Model and Susumu Hirasawa, highlighting shared musical characteristics present across all three.

Members

• – vocals and violin (1973–1974)
• – guitar (1973–1978), vocals (1974–1978)
• – bass (1973–1974); synthesizer, Mellotron, Hammond organ (1974–1978)
• – drums (1973–1978)
• – bass (1974–1977)
• – bass and vocals (1977–1978)

Archival albums

Title	Release information
Unreleased Materials vol.1	Released: 25 March 1997 Label: Marquee, Belle Antique Format: CD
Unreleased Materials vol.2	Released: 21 May 1997 Label: Marquee, Avalon Format: CD

Collaborative album

Collaborators	Album title	Release information
The Bach Revolution Takashi Kokubo (小久保　隆)	Synthesizer Study	Released: 1978 Label: Teichiku, Overseas Records Format: 12-inch vinyl

Bootleg single

Title	Release information
"Happening by the Windowsill" (飾り窓の出来事, Kazari Mado no Dekigoto)	Released: circa 1984–1985 Label: Athene, Diskport, Made in Japan Format: 7-inch vinyl

References

Notes

Citations

Bibliography

• .
• .
• .
• .
• .
• .
• .
• .
• .
• .

External links

• Teslakite Online Shop (official store of Susumu Hirasawa) listings for the 2006 reissues of
  • Unreleased Materials Volume One (Japanese | international)
  • Unreleased Materials Volume Two (Japanese | international)