After months of too-ing and fro-ing, gathering materials, putting together and checking documents, sending out futile emails, and making stuffloads of mistakes anyway, my Call And Response label has two new albums out on the same day. In both cases, rather than being put together and put out by me solely, the releases were carried out in collaboration with the bands themselves. In theory, this offered a compromise between self-releasing and doing an actual label release in which everyone benefits, although in practice, it’s hard to tell to what extent that’s the case. The feeling you get at opening a box of CDs fresh from the manufacturer and seeing the physical product finally there and existing at you in all its glory is still the greatest feeling you can get as a label guy though.
Futtachi are a band I’ve been working with since they began and before even that through vocalist Iguz Souseki’s previous band Zibanchinka. They’re a psychedelic band whose music varies depending on which collection of members happen to be working together, from fierce, heavy rock at one extreme to this first album Tane to Zenra at the other. Based around Iguz and guitarist O-mi’s iteration of the group but featuring all members on the recording, it features a single thirty-minute track built around a throbbing, almost industrial beat and layered with spectral, kosmische sounds and effects. Watching Iguz and O-mi perform live as a duo on N’toko’s last Japan tour back in the spring, the material that now features on this album was spellbinding. As a half-hour track, it’s hard to provide any audio material to hear the album from, but there will be some sort of digest or edit up at some point to give you an idea. The physical CD is available via the Call And Response store here, and I’ve blogged a few other places where it’s available (including iTunes) here.
The second release of the day is Jebiotto’s Love Song Duet. With Jebiotto, the challenge of recording the album was in how to get a popular live band, whose appeal is to a great degree based around their unpredictability and general scuzziness, across on record. Added to that is the fact that most of the songs themselves are built around synth parts and melodies that are clearly coming from a much poppier place. So what do you do? Do you emphasise the scuzziness and make a lo-fi album that fans will at least understand as the same band they enjoy so much live, or do you try to make something that works as a pop album and accept that some of the raw energy of the band will be lost in the sheen. You can see these contrasting pressures in the way the recording credits are shared between Takaaki Okajima, who is a proper pop producer, and Yuichiro Kusaba, who is an engineer at legendary Tokyo punk venue Ni-man Den-atsu (20000V).
I think the balance worked out superbly, and makes Jebiotto a really fun band to write about. Some of the little journalistic turns of phrase I’ve used over the past couple of months to describe them include: “three punks who set out to be an 80s stadium band but got lost somewhere between Dan Deacon and Sonic Youth,” “like Bon Jovi wrapped in tin foil, falling down some stairs,” and “like TM Network in a washing machine with some rocks.” These sorts of phrases are the stock-in trade of music writers everywhere and once you break them down, they’re quite formulaic, but when you’ve got a nice image and a band that really suits it, they can be really fun descriptive tools. Again, the physical CD is available from the Call And Response shop here, and I’ve blogged a few more places here (no download release yet, but a Bandcamp is in the works). You can also listen to a couple of the poppier tracks from the album here:
We did something a bit fancy with the Jebiotto album by making an EP of remixes, featuring tracks by Nature Danger Gang, DJ Memai and Ataraw from Groundcover. as a free gift for people buying it from Disk Union, which was new territory for me. With Futtachi, I’m still hopeful to get some sort of live disc as a promotional extra for one of the indie record stores who’s been nice to us. As usual with any new releases, the time leading up to and around the release is fraught with stress, pressure, and usually edged with disappointment as ambitions and dreams give way to harsh realities of a local market that seems to be both shrinking and coalescing around a model for selling indie music that I both dislike on an aesthetic level and disapprove of on an ideological level, but in any case, we’ve done it now and no one can take that away from us.
Both Futtachi and Jebiotto are playing next month on September 27th at an all-day live extravaganza at 20000V along with many other friends of the label to celebrate ten years since the first Clear And Refreshing live showcase, so as one font of anxiety starts to dry up, another emerges. The cycle continues.