In addition to commemorating ten years of me putting on events and parties in Japan, the show on September 27th is also partly a release event for the bands Jebiotto and Futtachi, whose albums came out on my Call And Response label last month. With all that in mind, Metropolis magazine were generous enough to devote a double-page spread to an interview with me and a short rundown of five of my favourite Japanese albums. This interview gave me a good opportunity to think a bit about what my philosophy with the label and my events was, and I think the key quote is:
“I love music like Futtachi’s, that takes something avant-garde and draws you in; or Jebiotto’s, that takes something really pop and sabotages it.”
What I describe as the “tension between discord and harmony” is what I keep coming back to. People are so used to thinking of themselves as consumers who should be served by musicians, and that can make them lazy listeners. The (true, actually) idea that pop music is just as deserving of critical attention and praise as “serious” music can seep through into a state where we unconsciously start judging pop and underground by the same standards, allowing ourselves to write nonsense about the supposed subversive nature of pretty mundane pop (yes, guilty, although I do usually try to express that strictly in the context of pop), or slipping into the Internet-assisted habit of skimming through a few seconds of a new indie or underground track on Soundcloud and picking up or dismissing it based on its immediate appeal.
Futtachi in one of their incarnations are a thrilling heavy psychedelic rock band, and songs like Kaiko no Oto (from Call And Response’s Dancing After 1AM compilation), Siam, and their version of Sabbath’s Paranoid are top class freakouts. However, their first CD, Tane to Zenra, takes a different, more minimal approach. It is an album composed on a single thirty-minute track, Kako wo Omou Monoga Mita Yume, and it’s not something designed for easy access. It’s something you have to meet halfway, but which is accessible enough to then reel you in. Performed live as a stripped-down guitar and keyboard duo, this material was mesmerising, and on disc it’s hypnotic. The short, edited sample here is just a teaser: