Diary of a Japan tour part 4: March 16th secret gig at at Koenji Art Bar Ten

The day after Nagoya, we were back in Tokyo for a secret gig. The event was Tententen, a show I organise together with my friends Eric and Julian, a.k.a. Gotal and Ralouf from the band Lo-shi on the third Sunday of every month at a tiny little music bar in my home neighbourhood of Koenji called Art Bar Ten. I do two monthly parties in Koenji, the other being the DJ party Fashion Crisis at the nearby Koenji One. Since Ten has a proper drum kit, we focus more on live acts, but we also incorporate video, art and DJs into the show, while at One it’s more about chilling out and listening to the DJs, although we do sometimes have live electronic or semi-acoustic performances. One and Ten are not connected in any way other than being down the street from each other; the naming is just coincidence.

Koenji Kitty

Koenji Kitty

Anyway, there are a couple of advantages to having these regular events going on. One is that it anchors my activities in the Koenji neighbourhood, which helps establish an identity for what I do. The Internet does great propaganda about breaking down boundaries, and to an extent it does do something along those lines, but region and locality are still very important, even within Tokyo itself. Just look at the way anime over the past 10-15 years has increasingly focussed on real locations, almost fetishising the sheer locality of the place. Koenji itself has played stage to a few anime series, the tedious looking (I haven’t watched it) Accel World and notably parts of the bizarre Penguindrum. Hello Kitty has a special mascot for practically everywhere in Japan (Koenji again has its own version, dressed in Awa Dance costume) and everywhere has its own “special” ramen and manju or biscuit souvenir. Locality still carries weight, and local music scenes have a lot of appeal, perhaps more so the more the Internet appears to make them irrelevant.

The other advantage of these monthly events is that they gradually build their own audience. Fashion Crisis has been going for five years now, and while Tententen only started last September, it carries over a lot of the same audience. It helps foster a core audience for Call And Response events and provides a slightly looser environment for me to try new or different things that wouldn’t fit easily into any of my bigger and more strictly genre-focussed events.

With the N’toko tour I didn’t want to skip Tententen, but at the same time I didn’t want to be promoting another N’toko gig in Koenji just a couple of weeks before his big Tokyo release party at the nearby 20000V/Ni-man Den-atsu on the final day of the tour. Ten costs me nothing to do, but do something at a proper live venue and you have to guarantee about ¥100,000 in takings, so I didn’t want people looking at the tour schedule and thinking, “Let’s see, the release party is on the 29th, but oh, I can see N’toko for a quarter of the price two weeks earlier. I’ll just go to that instead!”

So N’toko was a secret guest at Tententen, although a lot of our regular crowd (the people who tend to show up to my events anyway) already knew he’d be there either because I’d told them or just through the simple art of deduction. We needed an event that would work on its own regardless though, so Eric suggested Communication Breakdown, a sample-based instrumental hip hop unit formed by two of the guys from avant-garde rock band Bathbeer and indie-dance band Nacano. I was wary of booking another hip hop act with N’toko, but their sound was reassuringly old-skool and since they were from an indie background, it helped smooth the transition to the next act, Gloomy. Gloomy is basically Aya Yanase, an indiepop singer with a synthesiser in the mould of someone like Grimes. She is sometimes joined on drum pads by Kohei Kamoto of indie bands DYGL and Ykiki Beat, leading to some charming stage interactions that remind me of nothing so much as a couple in a car arguing over a map but trying to keep their voices down unless they disturb the kids. Aya has also worked with N’toko before, albeit remotely, providing guest vocals to mine and his band Trinitron’s Valentine’s Day cover of Paranoid by Black Sabbath.

Anyway, the room was packed more tightly than any Tententen so far, which is to say there were about 35-40 people over the course of the night in a room that can really hold comfortably about 25 max. If there’d been a fire, people would have died, but the only fire was in the hearts of the musicians and audience. We were all burned, but it was a nice burning, like eating a spicy curry, or drinking strong liquor. Gloomy would have finished the show perfectly in their own right, but N’toko put in one of his best shows of the tour, and the Tententen crowd proved themselves one of the best audiences he could have asked for.

It was an interesting comparison with Bar Ripple in Nagoya the previous night, with both shows in similar small bars with no stage, both shows bringing in a mix of Japanese and foreigners in the audience, and both shows having a decidedly non-”scene” vibe without compromising the essentially nerdy musical atmosphere. You could have transplanted ONOBLK and Rock Hakaba from Nagoya to Koenji and done the same show and it would have felt very similar even with totally different audiences.

By this point in the tour, it was starting to feel like the motors were beginning to run. Most of the shows had been in unusual places and were far from typical gigs in proper live venues with the exception of the first night at Shibuya Home, which had been on a weekday night, but there was plenty of that to come. The next few dates would all be very far from home so we had many hours of planes and trains to look forward to. The next block of gigs, which would form the core of the tour would be in Kyushu, where Call And Response at least has fairly credible past form, so there was a lot to look forward to. I’d never done so many dates there all at once though, so we were trying a few new things too. In Hollywood terms, this was the end of Act 1.

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Diary of a Japan tour part 3: March 15th at Nagoya Bar Ripple

Nagoya was the first night really and truly on the road. N’toko had been able to get a Japan Railways travel pass so he could use most of the Shinkansen lines freely for a period of two weeks, which would see him through the worst of the travel, but as a resident of Japan, I was disqualified from such cost-saving niceties, which meant I had to bus it. Now for my North American and continental European friends I realise that a six hour road journey is just what you do to go and buy pretzels, but it’s a long journey for a Brit. It’s also the cheapest way to get to Nagoya, so that’s what I did. Other cost-saving measures included both of us cramming into the same hotel room, quite against the hotel’s rules. Usually you can sneak in and out easily, but this hotel was more vigilant than most. We managed it, but not without some suspicious glances. Net cafés are another option, but for two people, the difference in cost was negligable so the hotel won out — anyway, suffice to say that cost nearly always trumps comfort.

Bar Ripple

Bar Ripple

Nagoya is still kind of new territory for me. I did a show there in early 2013 with one of my favourite local bands, Pop-Office, I went there in my capacity as Zibanchinka’s label manager in 2012, and in 2011 N’toko played a quiet Wednesday night there at which I wasn’t present. The 2013 show had a bit of the atmosphere of a holiday booze cruise from all the visiting musicians from Tokyo and Fukuoka, which was huge fun but I didn’t come out of it feeling I’d made any real inroads into what was happening locally. N’toko’s previous show had been a pretty low-key event but he came away from it with some of the recordings that formed the basis of the track Nagoya off his new Mind Business album.

There are good reasons why Nagoya should be a good home away from home for Call And Response Records though. Local indie record shop File Under Records has been very good to Call And Response over the past few years, selling more CDs for me than every Tower Records in the country combined. It’s closer to Tokyo, so there is more two-way musical traffic between the two cities than any of the other places I deal with, and Nagoya-based music journalist Toyokazu Mori of the web site Cookie Scene is the only person in the Japanese language music press who’s ever paid even the blindest bit of attention to what Call And Response does.

My local hookup this time was my friend Joe, a.k.a. Japanese noise musician VVDBLK (pronounced “vivid black”), who organises shows under his A Ghostly Ghost Productions moniker. He and I talked quite a bit before the show to make sure we were on the same page about how the event should be, what sort of acts, good places, etc. I cannot emphasise enough how important this is: as the Yokohama gig showed, if everyone’s on the same page, things go off OK regardless of how many people show up. If there are people left thinking, “Why am I here? What’s this even about?” you’ve lost. I sent Joe the link to N’toko’s album and talked a bit about the other places he was playing and the kinds of bands he was playing with. As I had throughout the promotion of Mind Business, I emphasised the industrial and EBM aspects of N’toko’s music, which aren’t necessarily the most obvious ones, but I’ve found through trial and error that with their combination of electronic and underground sensibility they’re the ones that are most likely to get organisers thinking about him and conceptualising his position in the right way. Cookie Scene’s review of the album was massively helpful in this regard because it had instantly latched onto the parallels with 80s industrial music and used that as a framework for its analysis of the record (I’ve said this before and I’ll say it again, Cookie Scene write the best, most detailed and most intelligent music reviews in Japan, and not just because they’re nice to me!)Rock Hakaba

It turned out that one of the musicians N’toko had worked with on his previous visit to Nagoya played in a noise duo with Joe called ONOBLK, so that sealed the deal that this was a show that we could make work. He brought in one more band, Rock Hakaba, some DJs from the local underground event Boredom (not to be confused with the live event Tokyo Boredom), and then Joe and I completed the DJ lineup.

ONOBLK

ONOBLK

We settled on Bar Ripple for the venue. It’s a small venue, but one of the coolest places in Japan, so I was thrilled (the bar name has been immortalised in Knew Noise Records’ excellent Ripple compilation album of Nagoya bands). It’s not ideally equipped for loud electronic music though, which led to some quite intense messing around with the equipment beforehand in order to give N’toko’s sound the requisite boost. There was going to be no low-key intimacy tonight: he needed to be loud. The owner of Ripple had none of the squeamishness many bar owners have about letting things get noisy, so he, Joe and N’toko managed to re-organise the sound, putting much of it, including the vocals, through Ripple’s vintage amps, creating a raw, scuzzed-up punk sound.

As I say, it was necessary. ONOBLK put in a loud and by the end utterly thrilling noise-improv set, while Rock Hakaba did thirty minutes of really quite exceptional psychedelic skronk in what felt at the time like a sort of Rocket From the Tombs vein. In the end, whatever difficulties it put N’toko through (his lyrics were indecipherable amid the fuzz and skree of his set), it had the visceral power it needed to follow what had gone before.ONOBLK: full live set at Bar Ripple on March 15th

My first DJ set was hampered by problems with my own equipment, with an external sound card that I was using for the first time, and by the second set, I was too easily distracted by two or three separate conversations I was having at the same time as playing. Basically, if I was hoping to impress people with my DJ skillz, I failed. On the other hand, the fact that I was involved in so many conversations throughout the night meant that I’d succeeded at least a little in forging connections with the scene there. It was also a genuinely thrilling and exciting night. The owner of Ripple, who I gather is a legendary figure in his own right, was fiercely into the stuff that was going on, and several people I knew, either in person or online, were there. The musicians I spoke to were very cool people, and all-in-all lots of credit to Joe for getting everyone together. It was fun, the music was great, and more than that, it felt like progress.

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Diary of a Japan tour part 2: March 13th at Yokohama Shicho Shitsu2

The second night of the tour was in Yokohama. This was really a pet project of mine since there are a lot of bands I really like in the area and I thought a small show there would be a nice warmup before the more demanding travel requirements to come.

Shicho Shitsu during soundcheck

Shicho Shitsu during soundcheck

Yokohama is a weird place for gigs really, being just a little too close to Tokyo to really have the full sense of being a different place, but just a little too far to be worth travelling to of an evening. This was partly intentional on my part, since after the opening night in Shibuya, I was keen to channel as much of N’toko’s Tokyo audience as possible into the closing night at Higashi Koenji 20000V. I worked with a local Yokohama musician, Kouhei Itou from the bands Servals and Come To My Party to book the show, since I didn’t know the lay of the land as well as he, and we settled on the lovely Shicho Shitsu2, the Yokohama arm of a venue that also has a branch in Tokyo. Kouhei agreed to play with Come To My Party, and I booked one of my favorite new bands, Sayuu. Local experimental/improv weirdo Kitsch Hitori Gakudan completed the live bill, who I’d been keen to get since more than any of the other artists on the bill, he not only lived nearby but was at least a semi-regular feature on the Yokohama/Kanagawa scene.

CDs sold in garbage bags

CDs sold in garbage bags

Things started to go wrong a couple of days before the show, when a flu epidemic that had been sweeping the country claimed Kitsch Hitori Gakudan and ruled him out of the gig. It was helpful in a way because it shifted the start time of the event later, but it meant we were relying rather more on friends than we’d hoped. The next problem was a vicious storm that hit the Yokohama coast on the afternoon of the event, ruling out any but the most dedicated visitors. I’ll spare you the suspense here and just say outright that four people showed up, which in addition to the six musicians, two DJs and two venue staff gave us a grand total of 14 people in the room.

This is the sort of thing that’s a disaster in Tokyo and any venue where you’re paying the venue a rental fee. Fortunately we weren’t, which meant that the event turned over into something else: that special kind of atmosphere where everyone there knows they’re trapped in a situation that’s now only going to go as well as they make it, the peculiarly intense camaraderie that only really happens in the face of utter disaster. The battering rain, harsh winds and apocalyptic skies outside just emphasised the welcoming warmth that existed inside.

Scenes from a Chinese ballet

Scenes from a Chinese ballet

Shicho Shitsu in Yokohama is part live venue, part art studio, part used clothes shop, part record store, part bookshop, part cafe, part bar. Wandering around the venue, you find different corners devoted to different things, all of them in their own way fascinating. I was able to pick up a book of Chinese communist propaganda art for ¥500 and spend a few minutes browsing a comic book series about the adventures and scrapes of a porn actor.

Sayuu

Sayuu

The venue is better equipped for acoustic or at least relatively gentle sounds though, and Sayuu had to fight a valiant battle against a constantly sliding bass drum throughout their set. Given that their music was channelled almost exclusively through the onstage amps, however, they were able to control their sound and sounded great. They’re a duo who seem to thrive on awkwardness and discomfort, wither eschewing or else subverting through their delivery most of the standard inter-song pleasantries that most bands in Japan feel compelled to engage in. The only thing I can remember them saying was telling me to get out of the way of the camera they’d set up. What they did do that was of more value than a thousand tedious stories about ramen they ate or funny things that happened to their dog last week was stick around and pay close attention to all the other artists performing. A genuine interest in music and sense that they’re part of the event even when they’re not onstage is a precious thing in a band.Sayuu: Yellow Hate (Live at Shicho Shitsu2 — note the moving bass drum)

N'toko

N’toko

N’toko had no access to the amps and had to rely on the PA instead for his entirely electronic set. This meant it was considerably quieter than Sayuu’s performance as the PA staff, always wary of complaints from neighbors and visits from police kept volume to a minimum. In order to make the set work the best way it could, N’toko and the staff had arranged to set up his gear on the floor rather than the stage, so he was performing with audience on both sides of him, on the same level as them, fostering a sense of intimacy that would hopefully counterbalance the lack of the viscerally of noise. He’s a versatile performer and was able to re-jig his set to focus on the more experimental, less dance-orientated tracks, and it worked.

Come To My Party

Come To My Party

Come To My Party are a poppier concern than Kouhei’s other band, the behavior, more psychedelic Servals, and they were more comfortable playing a quieter set in the first place. Clearly heavily influenced by the indie rock and synth-based dreampop elements of Supercar, but with less of an urge to rock out like a stadium band, they brought the live music to a close in a way that was both pleasant and better than the word “pleasant” makes that sentence sound.

One curious point about Yokohama when compared to the far better-attended Shibuya gig the previous night was in CD sales. Shibuya resulted in a grand total of zero, while the closer interaction between artists, closer attention people seemed to be paying each other, and sense of everyone being in something together meant that there was more action on the merchandise table after the show. The venue staff too seemed to be genuinely interested in what people were doing there, and ended up stocking a few of Call And Response Records’ CDs for their small record store corner. It’s a pat truism that there are no such things as worthless gigs, and it’s of course nonsense — there are terrible gigs that benefit no one and should never have happened — but where the people involved are interesting, musically curious people who get what each other are doing, there’s always some value that you can get from it. In a wider sense, this is an argument for infrastructure and groundwork. The best venues are the ones where the staff have a musical vision, the best local scenes are the ones where there are organizers and cultural curators willing to do the work of sorting and filtering music according to something more than raw numbers — it’s what I’ve tried to do in my ten years of activity in the music scene, and when the rails I’ve helped lay down can allow an event to trundle along relatively painlessly when it’s gone horribly wrong from a commercial perspective, that gives me a little glow of satisfaction, not necessarily of a job well done, but at least of a job operating on the right principles.

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Diary of a Japan tour part 1: March 12th at Shinjuku Home

Booking a Japanese tour for an overseas musician is a difficult job and a task that I would never let myself get sucked into unless it was something I was strongly invested in it myself. In the case of N’toko, the Slovenian rapper and all-round underground/alternative partymaker, I’ve been releasing his English language material and hooking him up with shows in Japan for a few years now. When it came to the release of his latest album Mind Business, I was adamant that there be a Japan tour to support it.

The main reason for this is that record shops in Japan never seem to know where to file him, and without money and scene recognition supporting him, no one’s ever going to buy his CDs simply on the off-chance that they might like it. His fanbase in Japan was always going to be something we needed to build from the ground up.

There are advantages to though. As a solo artist whose gear all fits inside one travel case, it’s easy to get him from place to place, and his travel and hotel expenses are minimal. Not only that, but as an artist who while he’s an extraordinarily talented performer with bags of amazing music, he’s also a bit of a blank slate as far as the japanese music scene is concerned: they just don’t know what to expect of him. In short, cheap and crude as it is to put it like this, he’s an easy person to experiment with, and while I’ve booked piecemeal tours for him before, this short, compact tour was the first chance we’d had to test the results of the foundation work we’d done over the past few years. It was a test not just for him but for me, since most of the shows had been booked largely off my word and my reputation, so I made a point of accompanying him on all dates, many of which I took part in as a DJ.

The first and most important thing about the tour was the people we’d be working with. Of course you can just contact a venue and ask them for a gig, but that’s usually a waste of time. Venues in major Japanese cities have gigs on most nights, and there’s no way they’re going to be able to give your night the attention you want unless you’ve got someone in that town who buys into what you’re trying to do with the tour, knows the local scene and is able to find some way of tying those strands together. With that in mind, I as the tour manager have to be clear about what we’re bringing to the table and what benefit they can expect from us. When you’re introducing a new artist that no one in that city knows, you can’t in all honesty claim you’re offering them any financial benefit, so finding artistic common ground is of the utmost importance.

The first show on the N’toko tour was in Tokyo, at a small venue in Shibuya called Home. It was part of a fortnightly live music showcase that my friend Tomo a.k.a. live promoter Style Band Tokyo does, and Tomo in turn hooked up with another friend, DJ Rally a.k.a. former Mornings bassist Shingo, to do the show. Again, I remained in close contact with them and helped out with promotion, while another friend, Ayako, designed the flyers. These networks of friends, all working for free, are the key to what allows almost anything to happen in the Tokyo underground music scene.

Booking bands with N’toko always throws up problems. Since he’s a rapper, people’s automatic reaction is to book him with other rappers, but the Japanese hip hop scene has very little musically to do with the kind of thing N’toko does and even at home in Slovenia he always seems much more comfortable playing with punk, alternative, electropop and industrial acts. What Tokyo does have, however, is a grey zone between hip hop and punk/alternative that is inhabited by a number of acts whose interests lie on both sides of the divide. Also, increasingly there has been a growing awareness of how to promote music that crosses genre boundaries, which can basically be summarised as “subcul“.

Defining subcul is difficult. In its most basic form, it’s just an abbreviation of “subculture”, i.e. anything that falls outside mainstream pop culture. However, subcul has all sorts of other associations in Japan. In some ways it has a faintly derogatory aroma to it, rather like “hipster” in English, yet subcul people aren’t fashion-conscious elitists in the same way. Subcul people are the mini-Tarantinos of contemporary Japan and the derogatory edge to the word I believe comes from the indiscriminate nature of their acquisitive trash culture magpie sensibility and the vague sense that this is somehow shallow. That by mixing so much culture together, they divest it of meaning. Subcul is cooler than “otaku” and far more welcoming of women. It is also far less right wing, simply by virtue of having no real values of its own to begin with, but otherwise the two share some of the same characteristics. Most importantly for us here, subcul is a marketing tool that enables the linking of aspects of music and pop culture that would otherwise be locked in their little boxes.Nature Danger Gang

Nature Danger Gang are a classic subcul band. Musically they’re a mixture of rap and cheesy 90s techno, wearing a paintsplatter of brightly coloured clothes that various members remove throughout the set to various degrees. The girl in the schoolgirl uniform whips it off to reveal bright red rope bondage beneath, the dude at the front drops everything and gets into a wrestling match with another member on the dancefloor completely naked, another girl seems to be a trained dancer although it’s hard to see what she’s doing behind the chaos of the other members. There’s something very appealing about the spectacle of a bunch of people bopping about onstage, none of them playing instruments, although as you might imagine, the spectacle completely overwhelms anything the music might have been doing. They’re great entertainment, they put on a spectacular show, the willingness of the guys to one-up the girls in the bare skin stakes helps blunt some accusations of sexual exploitation, and the whole thing doesn’t seem to really mean anything. If you want a definition of subcul, they are it.

The group leave as soon as their set is over, taking all their audience (including some of the staff of subcul bible Trash Up magazine, natch) with them as they head to Ebisu for another gig. This is an occupational hazard of booking anyone with a bit of a buzz about them: they’re always in demand.

Boys Get Hurt is on next. N’toko has past form here, with him having played at Boys Get Hurt events on past visits. Here the situation is the opposite. Boys Get Hurt is essentially part of a kind of indie-electro scene, and that crowd is usually a midnight crowd. With Nature Danger Gang having gone and most of the rest of the audience N’toko’s friends and fans, he was caught in an awkward position between two poles. It was a smart gamble, taking the subcul alternative/rap crossover of Nature Danger Gang, following it with the electro of Boys Get Hurt, and then leading into N’toko who combines elements of both, but the departure of half the audience early stopped the momentum from building. When you organise events, you make these calculations and it doesn’t always pay off.

It was the first night of N’toko’s tour though, so he was well represented. His audience were the bulk of what was left and they went crazy. It left the slightly surreal sight of a crowd of people in front of the stage going wild, crowdsurfing and generally hurling themselves about like lunatics, while the back of the room, where you’d usually expect to find the other artists’ fans drinking, talking and cautiously watching, was completely empty. At this point a couple of touring pop-classical musicians from Slovenia and Croatia wandered into the room and I have no idea what their impression was. Is N’toko popular in Japan or not? The room was giving contradictory messages. That’s the nature of Japan’s fragmented underground scene.

Signals for the tour so far then are mixed. N’toko has loyal followers and event organisers willing to think carefully and hard about how to promote him, but it hasn’t quite gelled. We’re still in Tokyo though, and N’toko is sleeping on the floor of my apartment, so (discounting the flight, which was always going to be a loss) the tour is in profit so far.

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Japanese music industry troubles in 2013

Last week I had an article up on Nippon.com about the fall in Japanese music industry revenue in 2013. A few places made a big deal last year about how Japan bucked the global trend and posted growth in 2012, but as I said at the time, those figures were a blip largely down to a load of albums and compilations by venerable oldies. In the article I break down the figures a bit more, but the gist of it is that they really have to start figuring out ways to make the Web work for them. Figures for online music sales have been disastrous and the Japanese music industry can’t keep relying on millions of what are essentially dummy sales from AKB48 and its sister groups to keep its numbers up.

It’s not a complete disaster, and as I mention in the article, the dramatic fall of 2013 is really just the fall that the trendline predicted for 2012 (and which was disguised by the confluence of comebacks and re-releases) plus another for last year. I still don’t know if Spotify and other streaming sites are the answer, and I’m kind of resentful of the way so many new platforms keep appearing and jostling to undercut each other by paying labels and artists less and less each time. All the arguments I see in favour of Spotify seem to fall into two main categories:

(1) Look at Scandinavia: labels make more money off Spotify than they ever did off real sales. My question here is, “Who is making that money?” If most of that is just people going back and listening to old artists they already know, or big artists that are promoted a lot, then it’s not working in the long run.

(2) Look at me: I didn’t use to make much money off CDs, but now I’m raking it in off Spotify plays. In this instance I’m instantly suspicious of any anecdotal arguments because there are so many reasons why something can take off and those conditions are not necessarily replicable.

Whatever happens in japan, the majors will find a way of sewing it up for their own benefit, while all the best, most talented, most interesting and imaginative musicians will be left fighting over scraps. In that sense, I don’t see things being that different for the music I actually care about. For pop, I’m sure if there’s a way of making it worse, someone is already busily working on making that happen, but it remains to be seen.

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Guardian Song of the Week: Kenta Maeno, “Nee, Taxi”

For The Guardian’s new music from around the world blog, this is a loving recreation of classic 1970s style Japanese folk.Kenta Maeno: Nee, Taxi

Nee, Taxi is a textbook contemporary example of the style of the style of folk/singer-songwriter music that flooded Japan in the early 1970s, by one of this current generation’s most talented and versatile songwriters. Largely out of fashion now, Kenta Maeno nonetheless dives headfirst into the genre, recreating with the utmost sincerity and affection the bittersweet melodrama, with both his vocals and the music itself shifting in and out of its own rhythmical constraints. While the songwriting is deeply rooted in the 1970s Japanese folk tradition of artists — in particular the legendary Yosui Inoue — Maeno’s approach, aided by producer and musical collaborator Jim O’Rourke, also owes a great deal to contemporary alternative and alt-folk in its delivery.

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Punk venues in Japan

The Japan Times ran a page on punk in Japan to coincide with the shitty Punk Spring event that happened on March 29th, and I was recruited to do something about the verious venues around Japan where you can go to see the local punk scene in its natural environment. I won’t repeat the stuff I’ve already written in the article, so just go read it on The Japan Times site here (if you run out of your free view allocation for the month, you can increase it to 20 articles by doing a free registration — they don’t spam you!)

In a music scene where there are very few venues dedicated to specific genres and event organisers and bands are constantly shopping around for the cheapest options, punk is a rare case where the scene does show a tendency to become fiercely loyal to particular places, once those places show themselves equally committed to the relationship. I think it’s a combination of the size (there are tons of punk bands all over the place) and the distinctive and subcultural nature of the music that allows this to happen.

I wrote the article in the airport in Fukuoka waiting for my flight back home from the tour I was on in Kyushu, where I’d been frantically picking the brains of everyone I met and texting and messaging local experts I knew all over the country. We were lucky enough that the show we were doing in Kagoshima was at a dyed in the wool punk venue, and the Fukuoka show featured Accidents In Too Large Field, who are punk royalty in their hometown, so I got good advice there. The photo for the piece is from 20000V/Ni-man Den-atsu near my flat in Higashi Koenji, which is one of the greatest punk venues in the country. The guy in the picture is one of the venue’s managment staff, Tak Ishida of the brilliant band Firebirdgass, who everyone should see live at least once in their lives. The man is so punk rock he actually has the words “punk” and “rock” tattooed across his knuckles.

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