In respect to Japan, here are a couple of clips of three different Japanese artists from different types of genres.
Boadrum 77 - The Boredoms
On July 7, 2007, Japanese noise-rockers, the Boredoms, held 77 Boadrum, performing with 77 drummers at Empire-Fulton Ferry State Park in Brooklyn, NY. This the sort of performance that demonstrates the band's exuberance, and although their music isn't exactly accessible, it's one hell of a ride. The Boredoms would perform 88 Boadrum the next year on August 8, 2008.
Farewell - Boris (Pink 2006)
Metal cult-favorites, Boris, are one of the loudest bands on Earth, as seen and heard in this clip. Farewell was the introduction track on 2006's Pink, an album worthy of a comparison to My Bloody Valentine's Loveless in terms of layering sounds and textures. But this is Boris's version, loud with downtuned basses, pounding war-like drums, and heavy guitar riffing from the one and only, Wata.
Chapter 8- Seashore and Horizon - Cornelius (Fantasma 1998)
One of the best artists of Shibuya-kei, a Japanese pop phenomenon, Cornelius is often compared to Beck. Although this isn't really a clip, this song (which features back vocal harmonies from American indie band, Apples in Stereo) is one of the best of his catalog and the centerpiece of this classic album, Fantasma. Shibuya is one of the most popular and trendy shopping districts in Tokyo, and the artists incorporated pop from the West, and eclectic fashion.
This sounds like a Japanese anime version of the Beatles, and as playful as Cornelius and the rest of the Shibuya artists are, there is a sweet innocence and youth to the music that makes it so attractive and endearing.
Tuesday, March 22, 2011
Friday, March 18, 2011
Clip of the Week Mar 16: Deltron 3030
Virus - Deltron 3030 (Deltron 3030 2000)
Deltron 3030 is comprised of turntablist Kid Koala, producer Dan "the Automator," Nakamura, and rapper Del the Funkee Homosapien, an underground hip hop supergroup. The concept album is set in the year 3030, a post-apocalyptic world ruled by large corporations, and Deltron Zero's fight against them.
I recently bought a reissue of the album on vinyl, and it inspired me to post this cool music video from the group. The Automator production is brilliant, Koala's work on the turn tables are top notch, and Del's lyrical imagery and flow are out of this world, demonstrated on "Virus."
The three would go on to work on the Gorillaz's first album in 2001.
Wednesday, March 16, 2011
My bloody St. Patty's Day
From the Irish folk-punk fusion of The Pogues' “Rum Sodomy and the Lash” to the political protest of U2's “War,” Ireland has produced a variety of great records.
While many St. Patrick's Day celebrators may be caught in the local pubs butchering “Sunday Bloody Sunday,” others may rejoice with the band from the other side of Dublin, My Bloody Valentine.
“Loveless,” released in 1991, is the best example of the shoegaze movement, where bands stood motionless during performances, staring at their feet, similar to what the many St. Patrick's Day celebrators will be doing on the latter part of their fun night.
The luscious and textured arrangements meshed with airy melodies and sonic experimentation manifested a soundscape that almost feels tangible. The boy-girl vocals of Kevin Shields and Bilinda Butcher only add to the sensual experience that oozes provocativeness, something that may be hard to find in a local bar.
“Only Shallow” kicks off the record with whipping guitars contrasting with Butcher's sleepy vocals. It’s a good rocker to play while pre-gaming back at the dormitory or pounding those Irish Car Bombs at a party with your buddies.
The lush “To Here Knows When” serves as a St. Patrick's Day celebrator's motto for the night, and shows off the talents of the band, meshing Butcher's vocals with layers of feedback and guitar distortion that still feels ventilated and beautiful.
At the end of the night or the morning after, self-reflect with the distorted and piercing ballad of “Sometimes.”
Shields sings, “I don't know, when I lay down on the ground, you will find the way it hurts to love,” with imagery of post-party activities and exploration of reasons that might have impacted a crazy St. Patrick's Day night.
The hangover of “Loveless” proved to be difficult for Shields, and his collaborations with other acts like Yo La Tengo were good, but never lived up to the grand expectations left by My Bloody Valentine's last work. Then again, there are few records that do.
“Loveless” is a hazy masterpiece that plays like a forgotten dream or a St. Patrick's Day celebration that was good enough to not be remembered.
- James Vu
While many St. Patrick's Day celebrators may be caught in the local pubs butchering “Sunday Bloody Sunday,” others may rejoice with the band from the other side of Dublin, My Bloody Valentine.
“Loveless,” released in 1991, is the best example of the shoegaze movement, where bands stood motionless during performances, staring at their feet, similar to what the many St. Patrick's Day celebrators will be doing on the latter part of their fun night.
The luscious and textured arrangements meshed with airy melodies and sonic experimentation manifested a soundscape that almost feels tangible. The boy-girl vocals of Kevin Shields and Bilinda Butcher only add to the sensual experience that oozes provocativeness, something that may be hard to find in a local bar.
“Only Shallow” kicks off the record with whipping guitars contrasting with Butcher's sleepy vocals. It’s a good rocker to play while pre-gaming back at the dormitory or pounding those Irish Car Bombs at a party with your buddies.
The lush “To Here Knows When” serves as a St. Patrick's Day celebrator's motto for the night, and shows off the talents of the band, meshing Butcher's vocals with layers of feedback and guitar distortion that still feels ventilated and beautiful.
At the end of the night or the morning after, self-reflect with the distorted and piercing ballad of “Sometimes.”
Shields sings, “I don't know, when I lay down on the ground, you will find the way it hurts to love,” with imagery of post-party activities and exploration of reasons that might have impacted a crazy St. Patrick's Day night.
The hangover of “Loveless” proved to be difficult for Shields, and his collaborations with other acts like Yo La Tengo were good, but never lived up to the grand expectations left by My Bloody Valentine's last work. Then again, there are few records that do.
“Loveless” is a hazy masterpiece that plays like a forgotten dream or a St. Patrick's Day celebration that was good enough to not be remembered.
- James Vu
Tuesday, March 15, 2011
A record label Fiasco
After a series of delays and disputes with the Atlantic Records, on March 8 Lupe Fiasco released “Lasers,” a collection of overwrought tracks that plays on rap's worst musical trends.
Fiasco, who has been an industry rebel from the beginning, was apparently forced to compromise some of his artistic vision on “Lasers,” and it really shows on tracks like “The Show Goes On.”
Not only does it have a bad, sped up sample of an indie rock staple, Modest Mouse's “Float On,” Fiasco raps like a T.I. impersonator. This sounds like a record label's step-by-step process of how to make a rapper sound credible while appealing to the masses.
On “Words I Never Said,” Fiasco criticizes both sides of the political spectrum, calling Glenn Beck a racist, and trumpeting not voting for Barack Obama, while taking shots at the media, “If you turn on TV all you see's a bunch of what the fucks, dude is dating so and so blabbering about such and such, and that ain't Jersey Shore homie, that's the news.”
Although Fiasco displays some of his lyrical wizardry on the song, the music itself is muddled down by heavy synthesizers and a chorus sung by Skylar Grey, who sounds like Rihanna without an accent.
The dance-poppy “I Don't Want to Care Right Now” recalls a bad Timbaland production, with another vocal guest, MDMA.
If ecstasy were a singer, it would not be MDMA, and his singing with the cheesy synthesizers during the chorus create a bad European club atmosphere.
One of the better tracks, “Till I Get There,” sounds like the Fiasco of 2006's “Lupe Fiasco's Food and Liquor” with ideas of staying positive and working through difficult times.
“Doctor, doctor please, the fame ain't painless enough, that's 'cause you ain't famous enough, you got a little name, but your name ain't ringing enough,” Fiasco raps about what seems to be his frustrations throughout the whole process of “Lasers.”
In 2007, “The Cool” received four Grammy nominations and a Billboard Top 40 hit in “Superstar,” one of Fiasco's best songs.
What more does an artist have to do to have more creative reins over their music? Atlantic Records should take a tip from Sean “Diddy” Combs who allowed Janelle Monáe complete control over her genius debut last year, released under Bad Boy Entertainment.
Not only was her album completely original, it was refreshing, and Fiasco who has been a breath of fresh air in mainstream rap with his clever rhymes and unique outlook, should not have to sacrifice his imagination to sell records.
- James Vu
Fiasco, who has been an industry rebel from the beginning, was apparently forced to compromise some of his artistic vision on “Lasers,” and it really shows on tracks like “The Show Goes On.”
Not only does it have a bad, sped up sample of an indie rock staple, Modest Mouse's “Float On,” Fiasco raps like a T.I. impersonator. This sounds like a record label's step-by-step process of how to make a rapper sound credible while appealing to the masses.
On “Words I Never Said,” Fiasco criticizes both sides of the political spectrum, calling Glenn Beck a racist, and trumpeting not voting for Barack Obama, while taking shots at the media, “If you turn on TV all you see's a bunch of what the fucks, dude is dating so and so blabbering about such and such, and that ain't Jersey Shore homie, that's the news.”
Although Fiasco displays some of his lyrical wizardry on the song, the music itself is muddled down by heavy synthesizers and a chorus sung by Skylar Grey, who sounds like Rihanna without an accent.
The dance-poppy “I Don't Want to Care Right Now” recalls a bad Timbaland production, with another vocal guest, MDMA.
If ecstasy were a singer, it would not be MDMA, and his singing with the cheesy synthesizers during the chorus create a bad European club atmosphere.
One of the better tracks, “Till I Get There,” sounds like the Fiasco of 2006's “Lupe Fiasco's Food and Liquor” with ideas of staying positive and working through difficult times.
“Doctor, doctor please, the fame ain't painless enough, that's 'cause you ain't famous enough, you got a little name, but your name ain't ringing enough,” Fiasco raps about what seems to be his frustrations throughout the whole process of “Lasers.”
In 2007, “The Cool” received four Grammy nominations and a Billboard Top 40 hit in “Superstar,” one of Fiasco's best songs.
What more does an artist have to do to have more creative reins over their music? Atlantic Records should take a tip from Sean “Diddy” Combs who allowed Janelle Monáe complete control over her genius debut last year, released under Bad Boy Entertainment.
Not only was her album completely original, it was refreshing, and Fiasco who has been a breath of fresh air in mainstream rap with his clever rhymes and unique outlook, should not have to sacrifice his imagination to sell records.
- James Vu
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