His only musical credits are for writing the lyrics of "For Kids" and "Sunshine City" (from In a Model Room), and for doing backing vocals on "Rocket" (from The Ghost in Science).
He studied in the electronics department of Honjo Technical High School [ja], where he was the first to finish the graduation project, the construction of a TV, despite the fact he did not fully understand the circuits.
Initially met with success, they changed to the unpopular post-punk and experimental rock genres after Hirasawa went through an adverse reaction to his fame.
Hirasawa's music takes from such concepts as analytical psychology, advances in digital technology, the philosophies of yin and yang, and principles of nature versus machines.
As an avid fan of science fiction novels since the 1970s and an eclectic reader overall, he's been inspired by the works of Frank Herbert, Carl Jung, Hayao Kawai, Kenji Miyazawa, George Orwell, Wilhelm Reich, Antoine de Saint-Exupéry, Theodore Sturgeon, Nikola Tesla and Kurt Vonnegut.
After many trips back to the country Hirasawa grew to be increasingly identified with the Thai trans community, incorporating their problems and experiences in society into his work.
With a movement in the early '80s of electric guitar makers moving away from mass-producing copies of foreign designs and towards original ones, Hirasawa played many unique models.
Anderson Rider, Fernandes Art Wave and ESP Random Star, painting them in bright colors (burgundy, yellow, blue and white).
[10][11] In 1983 he settled on Tōkai Gakki's Talbo [ja] aluminum guitars as his main ones, attracted by their unique material and design.
Hirasawa has continued to work with the TALBO Secret FACTORY, requesting the conversion of one of his early Tōkai models into a new design of his, the ASTRO, in 2011 and asking for the renewal of the PHOTON with new specifications after two decades of usage.
Hirasawa has used Amiga computers extensively in his work, starting out with CG production in 1987,[16] and later on applying it on his albums and live shows, using applications such as Say, SCALA, Bars & Pipes, SuperJAM!
[24] In the '90s, Hirasawa gradually moved his work from professional facilities to home, dubbing his workspace on various residences "Studio WIRESELF".
To reduce carbon emission, Studio WIRESELF was outfitted to be powered completely by a photovoltaic system of 2 solar panels,[26] with 2 car batteries to store extra energy.
All proceeds were donated to the Human Earth – Awakening Village (人間大地・めざめの里, Ningen Daichi Mezame no Sato) volunteering welfare facility for the mentally ill in Gunma Prefecture, founded by the psychologist who gave Hirasawa counseling around the time he made the P-Model albums Scuba and Karkador.
Since he could not take care of all the kittens, Hirasawa created a temporary site to recruit possible adopters and keep up with the welfare of the various cats.
[28] One of them is a rerecording of 1994's "Love Song", which is about children in the battlefield; the other is "High-Minded Castle", about a man who "can not know the truth and true background through media, he tries to face the real tragedy on the other side of the world".
The files uploaded were instrumental mixes of songs by both musicians, including some from Vistoron, which revolves around the propagation of a false reality by mass media.
[31] In the aftermath of the 2011 Tōhoku earthquake and tsunami and the Fukushima Daiichi nuclear disaster, Hirasawa started traveling around the country with a Geiger counter, measuring the radiation levels and reporting them in his Twitter account.
In June 2011, a song was posted on his site, titled "Nuclear Power" (原子力, Genshiryoku): A rerecording of the P-Model song "Boat" (from 1984's Scuba) in the style of "The Aggregated Past – Kangen Shugi 8760 Hours" project, with the lyrics changed to protest against Japan's use of nuclear power and to criticize the government and the media.
As these events occurred, Hirasawa told a story on Twitter of being assaulted and having his computer and website hacked by "Stealthman".
Hirasawa made exclusive content for it and, as he gives his brother most things he has no need for at a given moment,[34] many studio and stage objects were displayed in the café.
However, at one point in time, he supported the return of the imperial cult of the Emperor of Japan as a psychological measure: "I think His Majesty needs to recover his glorification.