Without a big surprise, Youtube quickly removed the Jun Togawa live video because someone complained about copyright violation... Sorry it is now missing here.
Fuck low battery, fuck cheap camera, I was anyway missing the pinnacle: Jun Togawa's high lands of sweetness and screams on the two-sided Mushi no onna mind-blowing live version: almighty queen raising the live from the fragile first track attempts to the fury tears and shocking lashes of the last one. Not even music anymore: life is on stage, borderline, bright and pure, both weak and strong, and sincere as so few can be: almighty queen.
Nylon 100%'s was a legendary early-eighties club when it was headquarter of a whole side of japanese creative scene and it seems these two nights raised many questions about the meaning of such a celebration, for audience as for contributors themselves.
Indeed, everybody seemed to wonder how it could be possible to keep on and give a proper live testimony considering how these guys used to be so glamourous, fresh, innovative and creative 30 years from now ?
As much replies as musicians, courses and histories, of course some of them better than others.
As years go by, it seems that many of the attitude and visual relevance was lost in way, to focus more on the musical content itself, with both positive and negative consequencies.
Hikashu probably gave one of the best astonishing set, full of humour, ideas, nonsense, from experimental sides to legendary hits. For someone who heard Makigami Koichi radical yet cartoonesques acapella solo recordings, I have to say live appearance reveal their whole meaning and power.
A pleasure also to hear the fancy-full parade of Space Ponch friends again live after their french tour two years ago (you can check detailed article just below).
Saeki Kenzo & Boogie the mach motor's:
Plastics-ex:
Kera (Nagomu label founder):
Affichage des articles dont le libellé est japanese independant music. Afficher tous les articles
Affichage des articles dont le libellé est japanese independant music. Afficher tous les articles
25/05/2008
La Veuve Moustachue report
A few pictures taken from La Veuve Moustachue live events in Rotterdam (Worm) and Brussel (Nova cinema)
With a special magical feeling I had in watching this concert into a real Cinema venue, among such a nice and enthusiastic audience.
With a special magical feeling I had in watching this concert into a real Cinema venue, among such a nice and enthusiastic audience.
04/05/2008
Kishino Yuichi - La Veuve Moustachue
! La Veuve Moustachue back to Europe !
boomp3.com
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15/05 - WORM - ROTTERDAM (20h30 - 6 euros) - www.wormweb.nl
LA VEUVE MOUSTACHUE (jp)
PLAONG DJ (aka Gangpol, fr) - selected japanese records
+ SELECTED SHORT MOVIES & ANIMATIONS PROGRAM
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16/05 - NOVA CINEMA - BRUSSEL (22h - 7,5 / 6 euros) - www.nova-cinema.org
LA VEUVE MOUSTACHUE (jp)
DJ DEREK SEIN
PLAONG DJ (aka Gangpol, fr) - selected japanese records
BLIND BEAST (Moju) - Movie by Yasuzo Masumura, Japan, 1969, 35mm, vo st ang / ov eng ond, 86'
+ Gangpol & Mit new short movies
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21/05 - INFAMOUS & CARTILAGE - POINT EPHEMERE - PARIS (20.30 - 10 euros) - www.infamouslabels.com/ - www.myspace.com/cartilagerecords
DICK EL DEMASIADO (Argentina) - experimental cumbia
LA VEUVE MOUSTACHUE (jp)
36 15 GILOU v.s. DJ ALFRED HITCHCOCK MAGAZINE (chocomix)
+ GIRAGIRAKNIGHTS projections (jp)
+ LUDOVIC BOULARD LEFUR (Fr)
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Strong and unique character, highly involved in the japanese music scene since years, Kishino Yuichi is back with La Veuve Moustachue project, unique ultra easy pop karaoke show, merging cabaret chanson, easy-retro orchestrations and dada attitude in a sweet and humoristic gender-confusion.
Featuring Miura Yoko as piano player, the live also develops a very particular relationship between songs and video screening. Deeply related to japanese lyrics of the songs, the video space turns into a theatric background, where the use every effect becomes obvious, funny and meaningfull, where sampling of some Japanese movies never was done in such a proper, respectfull and emotive way.
And beware, above the overall light humour and live energy, you could be surprised to discover some hidden feelings: light-years away of any trendy clichés, unique universe for unique experience.
Born in 1963, Kishino Yuichi happened to work with many other head characters of the Tokyo independant scene.
Among countless Kishino-san activities, we notice an appearance on K-Hin Bros Hare Hare night compilation (1989) under the name "Constance Towers", K-Hin bros being described as "a music study group, which president is Yuichi Kishino", and Constance Towers involving people like keyboardist Mint-Lee and Kimitaka Matsumae. This track already stucks with his chansonesque reappropriation songwriting, very specific voice and overall fresh and out of time spirit.
With Kimitaka Matsumae, and also Yamaguchi Suguru (composer, Expo band member), Hibiki Tokiwa (photograph, designer), holy collectors of mondo vinyl records, they play under Space Ponch, who happened to realease spicy tiki-moog record on Jim o' Rourke label Moikai.boomp3.com
Mint-Lee (previously member of Constance Tower) is now member of Watts tower (keyboard), among other Itoken (drums, also member of Harpy and d.v.d.), Jon the dog (dance) and many more...
It is said Kishino-san got involved in Nagomu records activities, though I need more details regarding it. He's now running his own label Out One Disc who happened to release a wide diversity of artists, including Yoshihide Otomo, Oorutaichi's astonishing LP, a Sparks guide book - officialising a kind of creative international moustache connexion - and of course Les Vacances de La Veuve Moustachue cd.
Another beloved activity of Kishino-san consists in collecting 7inches among the hardcore collectors of Gira Gira Knights, very special unit involving Nagata Kazunao (Transonic), Himitsu Hakase among other members, all Focused on sweaty shiny Enka and early Kayo (here, an overview of the wonderfull giragira suit used during 2007 french tour)
boomp3.com
Amazingly multi-task, he had an important production as a critic, with various articles and reviews regarding japanese subculture and artists.
He's also film actor (happened to work with Kiyoshi KUROSAWA, Akihito Shiota, Isshin Inudou...) and professor at the Faculty of Music and Plastic Arts at the University of Tokyo.
www.myspace.com/gamakazz
Kishino website
Strong and unique character, highly involved in the japanese music scene since years, Kishino Yuichi is back with La Veuve Moustachue project, unique ultra easy pop karaoke show, merging cabaret chanson, easy-retro orchestrations and dada attitude in a sweet and humoristic gender-confusion.
Featuring Miura Yoko as piano player, the live also develops a very particular relationship between songs and video screening. Deeply related to japanese lyrics of the songs, the video space turns into a theatric background, where the use every effect becomes obvious, funny and meaningfull, where sampling of some Japanese movies never was done in such a proper, respectfull and emotive way.
And beware, above the overall light humour and live energy, you could be surprised to discover some hidden feelings: light-years away of any trendy clichés, unique universe for unique experience.
Born in 1963, Kishino Yuichi happened to work with many other head characters of the Tokyo independant scene.
Among countless Kishino-san activities, we notice an appearance on K-Hin Bros Hare Hare night compilation (1989) under the name "Constance Towers", K-Hin bros being described as "a music study group, which president is Yuichi Kishino", and Constance Towers involving people like keyboardist Mint-Lee and Kimitaka Matsumae. This track already stucks with his chansonesque reappropriation songwriting, very specific voice and overall fresh and out of time spirit.
With Kimitaka Matsumae, and also Yamaguchi Suguru (composer, Expo band member), Hibiki Tokiwa (photograph, designer), holy collectors of mondo vinyl records, they play under Space Ponch, who happened to realease spicy tiki-moog record on Jim o' Rourke label Moikai.boomp3.com
Mint-Lee (previously member of Constance Tower) is now member of Watts tower (keyboard), among other Itoken (drums, also member of Harpy and d.v.d.), Jon the dog (dance) and many more...
It is said Kishino-san got involved in Nagomu records activities, though I need more details regarding it. He's now running his own label Out One Disc who happened to release a wide diversity of artists, including Yoshihide Otomo, Oorutaichi's astonishing LP, a Sparks guide book - officialising a kind of creative international moustache connexion - and of course Les Vacances de La Veuve Moustachue cd.
Another beloved activity of Kishino-san consists in collecting 7inches among the hardcore collectors of Gira Gira Knights, very special unit involving Nagata Kazunao (Transonic), Himitsu Hakase among other members, all Focused on sweaty shiny Enka and early Kayo (here, an overview of the wonderfull giragira suit used during 2007 french tour)
boomp3.com
Amazingly multi-task, he had an important production as a critic, with various articles and reviews regarding japanese subculture and artists.
He's also film actor (happened to work with Kiyoshi KUROSAWA, Akihito Shiota, Isshin Inudou...) and professor at the Faculty of Music and Plastic Arts at the University of Tokyo.
www.myspace.com/gamakazz
Kishino website
(Portrait by Guillaumit, photos thanks to Sandra V. & Jean Picon, b&w pic from Yuriika magazine issue august 05)
23/01/2008
Kenji Endo
Great. After some posts on european material, I can now focus on some views on japanese music without look like a pathetic nerdy compulsive sucker.
So here starts a bunch of short posts regarding several items or people, already planned in different areas or styles.
Kenji Endo is probably less known than Mikami Kan or Tomokawa Kazuki outside of Japan.
However, he also appears as a striking character for Hideo Ikeezumi (P.S.F. label founder). Ikeezumi seems to often talk about his true love and strong interest for popular singers, and that's great and usefull because he's carrying the light for foreigners fans of his label in their attempts to enter the realms of acid-folk or enka.
These two opposite videos probably show the two sides of the character in a good way, who happened to both attend haunted raw folk areas and kayo sunsets.
With beautifully strange lyrics about wife cooking curry rice.
If some of you have more infos, they are welcome...
So here starts a bunch of short posts regarding several items or people, already planned in different areas or styles.
Kenji Endo is probably less known than Mikami Kan or Tomokawa Kazuki outside of Japan.
However, he also appears as a striking character for Hideo Ikeezumi (P.S.F. label founder). Ikeezumi seems to often talk about his true love and strong interest for popular singers, and that's great and usefull because he's carrying the light for foreigners fans of his label in their attempts to enter the realms of acid-folk or enka.
These two opposite videos probably show the two sides of the character in a good way, who happened to both attend haunted raw folk areas and kayo sunsets.
With beautifully strange lyrics about wife cooking curry rice.
If some of you have more infos, they are welcome...
27/11/2007
Kokusyoku sumire
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Kokusyoku sumire live / Bordeaux / L'Inca
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(with all my deep apologies for such bad quality videos)
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I have to say I first heard about Kokusyoku Sumire just a few days ago, thanks to Maruta's invitation to go to their show.
As Maruta is member of Phnonpenh MODEL, and also organised Juicy Panic tour in Japan, I was very curious about this event.
A quick look on youtube and website highlighted their belonging to a japansese gothic-lolitas scene, but it also appeared to be really much stranger and stronger than most of the current production in this area.
And their live act really proved they go far beyond any visual aspect, developping a unique chansonesque and neo-opérette instrumental universe with only violin, vocal, accordion and some piano parts, driving a whole set without any drums, from children song to polka, from showa military sides to Nina Hagenesques lyricism or even a kind of Rondo Venezziano humour (with wonderfull musical earrings).
Delighting and precious is the way they can play virtuoso in the freshest and simpliest way, their interpretation sometimes reaching such striking and powerfull peaks that you'll forget everything and be ready to follow them anywhere.
Another review and interesting interview (in french) from their live in Aix is avalaible here.
Kokusyoku sumire live / Bordeaux / L'Inca
----------------------------------------------------------------------------
(with all my deep apologies for such bad quality videos)
----------------------------------------------------------------------------
I have to say I first heard about Kokusyoku Sumire just a few days ago, thanks to Maruta's invitation to go to their show.
As Maruta is member of Phnonpenh MODEL, and also organised Juicy Panic tour in Japan, I was very curious about this event.
A quick look on youtube and website highlighted their belonging to a japansese gothic-lolitas scene, but it also appeared to be really much stranger and stronger than most of the current production in this area.
And their live act really proved they go far beyond any visual aspect, developping a unique chansonesque and neo-opérette instrumental universe with only violin, vocal, accordion and some piano parts, driving a whole set without any drums, from children song to polka, from showa military sides to Nina Hagenesques lyricism or even a kind of Rondo Venezziano humour (with wonderfull musical earrings).
Delighting and precious is the way they can play virtuoso in the freshest and simpliest way, their interpretation sometimes reaching such striking and powerfull peaks that you'll forget everything and be ready to follow them anywhere.
Another review and interesting interview (in french) from their live in Aix is avalaible here.
14/11/2007
WW019 / De!Nial
I didn't catch my copy yet, but Kania Tieffer new cd is freshly released on wwilko.
Those who happened to enjoy all over Europa her DIY disco-noise girl-power live events know what the deal is about.
Among thousands of myspace daily morning spams and emo-ragga requests bullshits, it was a delightment to find them.
And not meaningless that they share the same post between Belgium and Koenji, as it seem they have some things in common beyond detuned synth, proto-punk distorded drums, or devo influences.
Those who happened to enjoy all over Europa her DIY disco-noise girl-power live events know what the deal is about.
Among thousands of myspace daily morning spams and emo-ragga requests bullshits, it was a delightment to find them.
And not meaningless that they share the same post between Belgium and Koenji, as it seem they have some things in common beyond detuned synth, proto-punk distorded drums, or devo influences.
04/11/2007
Bright Young Museum Workers vol.1
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Bright Young Museum Workers vol.1 - Tokuma Japan - LP - 1984
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Despite it is exactly the kind of artwork you would never notice among hundreds of records, this strange compilation, highlited thourgh P-Vine techno-kayo reissue's work, deserves sharp attention.
No time to loose: the main thing is it contains the song Kaeru by mysterious band Children, definite childish poppy hit with marimbas, leads and a cheap drumbox low disco beat that would bring tears and happiness in the same time and whip ass of the thoughest speedcore-addict.
But also unique french-japanese duet "Paris" digs a giant hole in the best non-sense and "who dares ?" applied to music: this means accordion cliché layered with dumbest tribal dumdisco bongo beat, discussion in both french and japanese between lover and girl, and saxophone behaving as an elephant.
You'll still find the time for new wave addons, mellotron flute jingle, and strawberry fields accordion cover among many other things.
Avalaibility: Promo LP copies may appear through Eil.com
Full size CD reissue (Tokuma Japan label) released in 2005 and still avalaible
----------------------------------------------------------------------------
Bright Young Museum Workers vol.1 - Tokuma Japan - LP - 1984
----------------------------------------------------------------------------
----------------------------------------------------------------------------
Despite it is exactly the kind of artwork you would never notice among hundreds of records, this strange compilation, highlited thourgh P-Vine techno-kayo reissue's work, deserves sharp attention.
No time to loose: the main thing is it contains the song Kaeru by mysterious band Children, definite childish poppy hit with marimbas, leads and a cheap drumbox low disco beat that would bring tears and happiness in the same time and whip ass of the thoughest speedcore-addict.
But also unique french-japanese duet "Paris" digs a giant hole in the best non-sense and "who dares ?" applied to music: this means accordion cliché layered with dumbest tribal dumdisco bongo beat, discussion in both french and japanese between lover and girl, and saxophone behaving as an elephant.
You'll still find the time for new wave addons, mellotron flute jingle, and strawberry fields accordion cover among many other things.
Avalaibility: Promo LP copies may appear through Eil.com
Full size CD reissue (Tokuma Japan label) released in 2005 and still avalaible
----------------------------------------------------------------------------
03/11/2007
Ohta Keiichi no Jingadaimakyo - Yen Records - 1983
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Ohta Keiichi no Jingadaimakyo - Yen Records - LP - 1983
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"If you take the long view of any art movement, it looks like a bunch of worms wriggling in one's place. No one's trying to break through; non one's aware of other places, of other planes of existence. And it all follows a circular path."
Keiichi Ohta, in Bananafish #14
It can be blessed, at first sight, as a para-Guernica record, and as the Ginwaha utau 7", this kind of aside piece revealing the whole project.
And although Guernica in itself constitues a major precious jewel, already blessed 10000 times, maybe this one already warms you up with a deeper, sharper, and stranger feeling.
This is one more step in the story of a geniuses association: Ueno composing, Ohta writing, Hosono producing, and several guests as Makigami Koichi or Sato Ikuko among others performing vocals, all out of fashion and out of time, from the first notes to last details of graphic design, stuck by the kind of VIEW you'll never find in the neighborhood of amnesiac times.
Everything is already here, believe it, in 1983: Ueno's unique composition style in the strictest way, retro-synth orcherstrations, haunted piano grounds, demented children's choir and vocals, taking care never to fall into easy harmonies. It's no place for Guernica's charged orchestrations nor fast tempo, here we follow bright lines, Showa obsession staying in the borders, as tempo keeps a strange slow mystery.
With less military and more poetry, and while Togawa's chilling whispers, set aside for a while, will hurt us with extatic pleasure until the end of times, here another erotisicm of lost past times is allowed to emerge along these madly warm opiates songs.
----------------------------------------------------------------------------
Avalaibility:
Awesome original vinyl sometimes appear on Yahoo auctions among various Ohta's related items.
Probably easier now to catch the Yen Box vol.1, and anyway to take part of the full story:
Ohta Keiichi no Jingadaimakyo - Yen Records - LP - 1983
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----------------------------------------------------------------------------
"If you take the long view of any art movement, it looks like a bunch of worms wriggling in one's place. No one's trying to break through; non one's aware of other places, of other planes of existence. And it all follows a circular path."
Keiichi Ohta, in Bananafish #14
It can be blessed, at first sight, as a para-Guernica record, and as the Ginwaha utau 7", this kind of aside piece revealing the whole project.
And although Guernica in itself constitues a major precious jewel, already blessed 10000 times, maybe this one already warms you up with a deeper, sharper, and stranger feeling.
This is one more step in the story of a geniuses association: Ueno composing, Ohta writing, Hosono producing, and several guests as Makigami Koichi or Sato Ikuko among others performing vocals, all out of fashion and out of time, from the first notes to last details of graphic design, stuck by the kind of VIEW you'll never find in the neighborhood of amnesiac times.
Everything is already here, believe it, in 1983: Ueno's unique composition style in the strictest way, retro-synth orcherstrations, haunted piano grounds, demented children's choir and vocals, taking care never to fall into easy harmonies. It's no place for Guernica's charged orchestrations nor fast tempo, here we follow bright lines, Showa obsession staying in the borders, as tempo keeps a strange slow mystery.
With less military and more poetry, and while Togawa's chilling whispers, set aside for a while, will hurt us with extatic pleasure until the end of times, here another erotisicm of lost past times is allowed to emerge along these madly warm opiates songs.
----------------------------------------------------------------------------
Avalaibility:
Awesome original vinyl sometimes appear on Yahoo auctions among various Ohta's related items.
Probably easier now to catch the Yen Box vol.1, and anyway to take part of the full story:
----------------------------------------------------------------------------
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