Live From Tokyo is gearing up to head back to Tokyo in Summer 2008 to shoot a documentary on underground music. It will be bigger, better and brighter than the last film! We will soon be launching a fancy new website dedicated to music from Tokyo so keep checking livefromtokyo.net
Visit our myspace page (myspace.com/livefromtokyomusic) to view clips from the 2007 footage and be sure to add us as a friend to keep updated.
The innovative electronic art trio from Tokyo blends the borders of music and visual art with a rhythmically saturated sound of retro-digital compositions and vibrant geometric visuals. Visual artist Ymg (Takashi Yamaguchi) and drummers Itoken and Jimanica have come together in a highly entertaining collaboration of visual and performance art. Itoken and Jimanica’s polyrhythmic compositions, mixed with pre-recorded electronic tracks reminiscent of Nintendo, create an easily accessible musical component for live synchronization with Ymg’s visuals. Ymg’s programming allows triggers on Itoken and Jimanica’s drums to correspond with images and visualizations that range from colorful pop art to interactive games such as pinball and pong.
Picture this: Staring up at a projection screen in anticipation, Itoken stomps the kick drum a few times to bring his pong slider down to the proper position. A quick snare hit pushes his slider up and banks the ball over to the opposite side where Jimanica is in a full-on drum roll trying to bring his slider up for return. The grid squares change colors as the pong ball flies across the screen and what sounds like the soundtrack to a Gameboy blasts through the PA speakers. The game seamlessly dissolves into a head-bopping groove with tight rhythmic communication and a multi-colored visual assault as audience members wonder if they are at a concert, a video arcade or an art installation
In the spirit of Tokyo’s drive for advanced technology and new information, d.v.d. takes a step toward musical and visual integration with their interactive show. “In Tokyo, people are always concerned with what’s happening,” Jimanica says before a show at Super Deluxe in Tokyo. “Because there is so much information, people are used to so many things that they want something that is unexpected. Tokyoites react when they see something very vivid or new.” With one foot in visual art and the other in music, d.v.d.’s playful attitude and innovative synchronization makes for a contemporary act that continues to push music forward via technological and artistic vision. Recently returning from a European tour, d.v.d. has also (ironically) released a DVD, 01 > 01 (01 Less Than 01).
Website: http://www.dvd-3.com
Myspace: http://www.myspace.com/dvditokenjimanicaymg
Looking for an under the radar artist who’s deeply under-appreciated? Well in the Tokyo hip-hop scene it’s group_inou. The two member group consists of CP the MC and Imai who runs the tracks. While the group consists of only two members they pack a sound that rivals groups much larger then them.
The group released the first single BPA (Black Police Academy) in 2006. Then, within a year they turned out their first mini-album Foods, which contained five tracks including their single “COIN.”
“COIN” demanded group_inou some attention. The song starts off simply enough, a slightly off-kilter beat accented by electronic piano and CP dropping monotone lines over the music. Then the music takes a turn. The beat switches and CP’s rhythm follows. The lines come faster, the beat picks up. Then Ilmari throws in some old-school noise with scratching. Just as you’ve adjusted to the beat they mix it up again throwing in a more electronic, dance style piano that gets your head bobbing in unison to the beat. The rhythm continues to change. Imari manipulates the pace and style effortlessly while CP adjusts his speed and style to accommodate the new flow working out to be an intriguing listen that has you hitting the repeat button.
CP and Ilmari followed up the success of Foods with their first full album FAN with lead singles “Coming Out” and “SHIP.” When the album dropped in 2008 it only verified that group_inou is greatly over-looked. They proved that underneath the glorified gangster-fashionista front the hip-hop scene puts up, there is true talent lurking
The single “SHIP” revisits the style of “COIN” where the beat is constantly changing up. Beginning with an upbeat, fast pace provoking you to move in rhythm it continues to slow down and pick it up again keeping your ears hooked to the sound. CP once again delivers his lines with an astounding speed and is able to drop it down, where at points he is almost in song leaving the rap style behind.
While “SHIP” showcases the bands talent, “Coming Out” is the diamond of the record. Aptly titled since it will likely push them further towards fame, the track gets you hooked from the start. The beat is more uniform and catchy enough to stick to your eardrums, having you humming along. While Imari pulls impressive tricks out of his music bag, CP’s level of diversity in deliverance is what is truly astonishing. He jumps from fast paced line spitting to being on the verge of an old-school crooner.
While group_inou possesses raw talent and a knack for great delivery, the best part of their gig is performance. They’ve put out a live performance DVD titled One Camera No Cut in 2006. Watching these performances you’d think Def Leppard was on stage in the early 80s. Imari completely loses himself in the flow of the song with limbs flying everywhere as the beats drop. Meanwhile CP fulfills the part of front man, throwing himself completely into his lines, his whole body moves with the delivery of each word. In true 80s hair band style CP is not afraid to inform you of his presence by leaping into the crowd or hyping up the crowd with ear-piercing yells into the mic.
Whether it’s a simple listen or a full on view of a live performance, group_inou is worth exploring. While they mostly fly under the radar presently it’s doubtful they’ll stay that way for long
-Amber Clark
Staff Writer
MYSPACE:
http://www.myspace.com/groupinou
WEBSITE
http://g-a-l.jp/group_inou/
Lurking in the circuits of Tokyo’s underground rock scene is the renowned duet known as KIRIHITO. Composed of two musicians who are equally established as solo artists, Takehisa “Ken” and Hayakawa “Kovu” Shunkuke have been making their mark in the Tokyo music scene for over a decade. Bouncing around punk, progressive new wave and heavy quirk-rock, Kirihito slams rock with a satirical conviction and an entertaining collaboration of artists
Percussionist Kovu plays his drum set standing up and without a bass drum. Right from the start, this gives Kirihito a unique edge and the means for creative invention and innovative music. Kovu’s body becomes one with his set and his sticks roll from one drum to the next without hesitation. His arms flow like butter and whirl through full-bodied rhythms that keep a punk intensity without ever succumbing to boredom via simplicity.
Next on the roster is guitarist/singer Takehisa Ken (also of Umi No Yeah! and Group). Maybe I should say guitarist/singer/keyboardist, as Ken will often incorporate a small keyboard played with his feet. At first it was a little confusing to see this duet play and hear keyboard chords ringing out while Kovu was occupying the drums and Ken was singing and riffing on guitar. Who is playing the synth? However, the muddy keyboard sounds added an aurally interesting texture to the overall sound of Kirihito. Ken’s guitar interweaved flawlessly with Kovu’s rolling rhythms. Bouncing riffs that locked the duet into a groove would be complimented with distorted chords of rock persuasion. Ken’s style is quirky but precise and has a witty light-heartedness that keeps it entertaining. Kirihito radiates a similar aura as Les Claypool. They can keep heavy rock precise and maintain a charming strangeness that allows for a fresh slant on a tired genre
Kirihito will remain a staple of the Tokyo underground rock scene, but I hope they can find success in America as well. Their skillful approach to creative quirk-rock is just as relevant to the American music scene as it is in Tokyo. As a duet, Kirihito manages to pack full-bodied complexity of both rhythmic and melodic phrase into a package of charming idiosyncrasy and eccentric rock.
Website: http://kirihito.com/
Myspace: www.myspace.com/kirihito0o0o
LOOK OUT: DMBQ is slamming through your eardrums. DMBQ rocked a packed house at MILK this weekend with heavy psychedelic rock in the spirit of Black Sabbath and Jimi Hendrix. However, DMBQ also had nuances of metal and punk that sometimes superceded their classic rock influences.
This was the first show that I’ve been to that resembled a show in America. Most shows in Tokyo start early, often around 7pm. The bands play on a tight, regimented schedule that usually ends around 11pm. DMBQ did not hit their first distorted chord of dissonance until well after midnight. There were no opening bands and DMBQ hung out back stage until the house was full.
I had a chance to interview these guys before the show. On and off stage they were nothing short of rock stars. The clothes, the attitude, the music. From the opening chord, they had the energy of an arena rock band that had slammed a case vodka Red Bulls before the show. I think each member had broken a solid sweat within one minute of being on stage. Slam! Pow! A slap in the face, a bucket of cold water to the head, Dynamite Masters Blues Quartet.
Although all members were overflowing with stage presence, guitarist Toru Matsui provided most of the showboat entertainment. Playing guitar behind his back, over his head, or using a violin bow instead of a pick, he certainly kept the show entertaining. His signature move was to hold his Fender Stratocaster in his mouth. I tried to do this trick at home, and either Toru has a slimmer Stratocaster than I do, or his mouth is enormous. He would grab the body of the guitar with his mouth and hold it with no hands. Quite impressive.
All in all, there is no doubt about it: these guys rock. There’s not much else to say, and I don’t think they would have it any other way. DMBQ plans to tour America, where they like playing better than Tokyo because “the audience go crazy”. If you’re in America and see DMBQ scheduled to play at your local venue, LOOK OUT: it’s time to rock.
Website: www.dmbq.net
Myspace: www.myspace.com/dmbq
eX-Girl took the stage in plastic silver dresses, white platform sneakers and pink wigs. Don’t let the cute girls fool you, these extra-terrestrials can bring the rock and bring it hard. Hailing from Planet Kero Kero (ribbit ribbit), eX-Girl hovers in a heavy rock spaceship through galaxies of experimentation, caves of punk-operatic vocals and clouds of catchy rock candies that make it impossible to stop bobbing your head.
Each member took the stage one by one starting with drummer Chihiro. She opened the show with a drumbeat that had a similar pulse to the foot stomping and hand clapping of Queen’s “We Will Rock You”. I couldn’t believe how much brute force such a little woman could slam out of the drums.
All three members sang and provided stage antics to liven up the show. Arms flailing every which way, synthesizer soup and alien samples in multiple languages occupied the time in-between songs. There was never a dull moment. Absolute entertainers.
They really put a lot of thought into their music and making it as unique as possible. Upon interviewing bassist/singer/synth player Kirilo, she said that the band is always trying to stretch their music. For the past 10 years, eX-Girl has been rocking on the edge of the rock and roll world and pushing into uncharted territories. They will continue to test the boundaries and make music from their home planet of Kero Kero. Kirilo also mentioned that it takes more than music to be successful abroad. The costumes, the gimics, the antics and the image are all testaments to this. For “Entertainment Super Kero Rock”, make sure to check out eX-Girl. Their new album Endangered Species can be found here.
Website: www.exgirl.jp/
Imagine if you can, a Japanese version of The Shins and Gomez with a touch of folk. What you’re picturing is more then likely very close to musician Shugo Tokumaru. Tokumaru, born in 1980, is a Japanese singer/songwiriter who possesses one of the most unique and unusual sounds in the present music scene in Tokyo.
Tokurmaru started out as almost any other average teen male, fantasizing about becoming a rock god. While Tokumaru had already begun producing his own sound he pursued this dream in the Tokyo rock band called The Gellers.
Tokumaru performed vocals and guitar for the indie alternative rock band, which released a self-titled album in 2007. The Gellers had a slightly haphazard sound with vocals relying on a decent amount of screaming so it wasn’t much of a surprise that after their first album they went on a hiatus. After The Gellers put things on the backburner, Tokumaru moved forward with his own sound, which couldn’t have been farther from that of his previous bands.
Tokumaru took his music down a few octaves and over to the mellower side of the spectrum. In his music he relies very little on his voice, choosing to instead focus on softer musical sounds through a vast variety of instruments. Each song hits your ears like a bright collage of sound occasionally laced with Tokumaru’s light, airy voice, which whispers through songs.
Songs like “The Mop” and “Paparazzi” off his second album Night Piece are light, upbeat and reminiscent of something you’ve heard before while at the same time being a completely new musical experience. They focus mostly on the instrumental sound with little to no vocals. Then just when you think you can peg Tokumaru’s music and believe you know what to expect the track changes and so does the game. Tokumaru jumps easily from one sound to another. He moves from the fresh, bubbly beats in “The Mop” onto a completely different and intriguing flow in “The Button” off his latest album Exit. Tokumaru possesses the ability to create a completely new sound from track to track while not wavering from his distinct sound. However, his incredibly unique sound is not the most impressive aspect of this rising artist.
Every lyric, whistle, ding of a bell and pluck of a string in Tokumaru’s songs are performed by him. He is a one-man band playing around 100 various instruments, some traditional Japanese and others modern. One listen to any song with this knowledge impresses upon you Tokumaru’s vast talent.
Tokumaru’s first full-length album Night Piece dropped in 2005 and was quickly followed by his sophomore effort L.S.T. later on in 2005. With his first effort Night Piece, Tokumaru burst onto the modern Tokyo music scene with an unusually different sound. The album was full of a new sound and tracks, which kept its audience captive. He avoided the sophomore slump with L.S.T., which equaled his first album in creativity and individuality. His third album Exit, which is currently only released in Japan, promises to take Tokumaru’s music to the next level.
Tokumaru’s is certainly beginning to command attention in the Tokyo music scene and internationally, as he has recently toured with Deerhoof and Tenniscoats and is in the process of starting a 2008 US summer tour. With his skill level and distinctive sound it’s doubtful his music will fade from the scene anytime soon.
Website: http://www.shugotokumaru.com/
Myspace: http://www.myspace.com/shugotokumaru
Amber Clark
Staff Writer
I think it is safe to say that some faces melted Saturday night at Pink Noise in Futako Tamagawa. Fans threw up their hands and banged their heads to the cacophony of noisy punk and sonic melting known as Melt-Banana.
Front woman Yako screamed and ranted undecipherable lyrics over heavy distorted sounds, which made the whole experience feel like an ass kicking. It was a frenzied ride of frantic banging and slamming that some people like to call noisecore.
In my opinion, guitarist Agata was really at the front of the band. His face was covered with a surgeon’s mask, and although it’s possible he just has allergies (people in Japan will wear these masks), I hear it is because of nosebleeds. Maybe it’s to let us know that a doctor of sound is on stage. I’ve never heard a guitar sound like his. Squeals and statics, electronic pings and pops, laser beams, stalagmites of distorted whizbangs, I thought my head was going to explode. Of course such talent couldn’t pass under the radar of contemporary jazz guru John Zorn. Agata’s solo album Spike was released on Tzadik records. Another interesting note is that all of Melt-Banana’s recordings were recorded in lo-fi due to Agata’s request. Apparently the rest of the band has decided that they must switch over to hi-fi, so their most recent studio albums have been recorded in hi-fi.
Although Melt-Banana’s new drummer may not have the same raw edge that previous drummer Sudoh had, the show was breathtaking and literally felt like have the wind knocked out of you. As far as Melt-Banana’s live show, you really have to be there to understand it.
Melt-Banana recently released a new album called Bambi’s Delight. They also wrote a song for Perfect Hair Forever, a TV show on Cartoon Network’s Adult Swim. They have a US tour lined up to promote their new album.
I think that Melt-Banana is more popular in the US than in Tokyo. They seem to be one of the bands from Tokyo that has broken into the music community of the US and experienced success. Many Westerners have heard of Melt-Banana, but their fame does not seem to be as widespread among Japanese people. This has been a common theme with the Tokyo music scene. You would think that any band that has experienced success abroad must be famous in their hometown. It has been my experience that this is not the case with many Tokyo bands. I’m not ready to give my opinion on why this is happening, but I think it is a crucial point for my project.
5/9/07
Website: www1.parkcity.ne.jp/mltbanan/
Myspace: www.myspace.com/azap
Is this a transmission from Planet Kero Kero? Are we meeting Buffalo Niece? Floating in the cosmos of extra-terrestrial Japanese creativity, Tokyo Pinsalocks are riding a new wave pop sensibility that harbors solid rock grooves and synthesizer driven melodies. They bring new meaning to David Bowie’s lyric, “In Space it’s always 1982.”
Naoko’s dreamlike vocals tease pop convention while distorted bass riffs, tight rhythms and synthesizer colors enforce that Tokyo Pinsalocks are far from sugary J-pop candy. They successfully blend a pop conscious with a revival of old styles centered on new wave synth-rock and ethereal krautrock.
Their ability to maintain psychedelic synthesizer grooves while simultaneously providing danceable pop catchiness suggests Tokyo Pinsalocks are in for a crossover audience in both mainstream and underground communities. Paying keen attention to visual aesthetics and fashion, these girls have harnessed the art of making pop-collage music that is reminiscent of 1990’s Shibuya-kei pastiche culture.
It’s about time for a new wave revival and what better place than Japan to get things going. Along with Polysics and Budo Grape, the music of Tokyo Pinsalocks promises an entertaining pop-revival of new wave synth-rock styles.
Website: www.pinsalocks.com
Myspace: www.myspace.com/tokyopinsalocks
Henrytennis surveys an eclectic background of improvisational, groove-oriented music that teeters between progressive rock and alternative jam. Touching on ethereal soundscapes that hint at subterranean Radiohead, Henry Tennis manages to weld jazz, rock and electronica into an ultimately full-bodied sound.
Henrytennis struggles for success in a Tokyo music scene that seems to pay little attention to alternative jam and progressive rock. I suggested they look into playing summer festivals in America because I think their talent would be given its due appreciation at one of these events.
The jamband genre, which embodies many rock-oriented improvisational bands in the US, seems to have little exposure in Japan. This may be partly because most jambands rely on audience energy for enthralling live performances, and this energy does not exist with your average Tokyo audience. This lack of energy is at the root of frustration among artists in Tokyo. Despite this frustration, Henrytennis manages to put on a compelling performance and create highly commendable music.
Myspace: www.myspace.com/henrytennis
