First up, I need to be clear that I’m not going to attempt to review this because I helped make it, but on the other hand, I love this band more than almost anything on Earth, so it’s obviously still an endorsement. Hyacca were one of the first bands I ever released on Call And Response Records and they’re regular features at my events when I’m in Kyushu and whenever I can get them up to Tokyo. I first met them in Fukuoka in July 2006. I’d just been through a rough patch and decided to take a trip for a few days to get away from it. I met up with Shuichi Inoue from the band Folk Enough, who I knew from his shows in Tokyo, and he invited a few of his musician friends along. The next thing I remember was waking up with a tremendous hangover and my pockets full of CDs by local bands. One of the CDs was a plain CD/R with just two Chinese characters written on it, that contained the best music I’d ever heard out of a Japanese band. Later, it turned out that this band was called Hyacca (literally “one hundred mosquitoes”, although there’s a pun on the Japanese word for encyclopaedia in there as well) and I started working with them.
The most recent thing they’ve done for me is the song Uneko, which they contributed to Call And Response’s Dancing After 1AM compilation album, released last October. Given the rather, um, easygoing pace at which the band work, this first new recording in three years wasn’t that unusual a time lapse, but I was determined that at least one song from the compilation would have a video made for it (actually She Talks Silence had already made a video for their song Long Ways, although the version on the video is slightly different to the album version). Since we had no budget, no time (just a couple of hours in the afternoon before their gig with Bo Ningen in Fukuoka), and no equipment apart from my wife’s small digital camera, this was never going to be a slick or professional looking shoot, so instead, I tried to go the other way entirely and make the footage exaggeratedly wobbly and unfocused. The key thing for me was that it should just look as if everyone was having fun and that it should show the band members naturally as the sort of people they actually are.
Most of it was shot in a karaoke box opposite the venue where they were due to play later, with some shots filmed later, at the izakaya next door (featuring cameos from a few other members of the Fukuoka indie scene and probably the backs of the heads of some of Bo Ningen, although honestly I can’t really tell). I want to point out at this juncture that as shitty and chaotic as the footage looks, I did have a pretty clear idea of how it was going to cut together as I shot it, and it’s to the great credit of Matt Schley, who did the tough job of editing it all together (and who also put together the video for Zibanchinka’s Nagisa no Hors D’oeuvres based on a similarly minimalist, no-budget concept), that he instantly saw what I was trying to do when he looked at the footage.
As far as the song goes, I don’t want to go on about it because you already know I love it, but I think it’s a great example of everything I love about Hyacca. They way they make music that’s structurally complex, almost math-rock, but play it with such energy and never forget to make it fun, always making sure there are neat little pop hooks or goofy ideas embedded in the arrangement.
As a postscript to this, you can see from the video that we got through quite a lot of beer in the karaoke box, and that may have taken its toll on the band, who went on to put in one of the most bizarre and chaotic live performances I’ve seen from them in years. Yeah, my fault.