Tag Archives: Coet Cocoeh

Top 20 Releases of 2016: No.5 – Masami Takashima – Fake Night

MASAMI TAKASHIMA - FAKE NIGHT

CD/cassette, Twin Ships, 2016

Fake Night is singer-songwriter Masami Takashima’s first album under her own name, although for a long time she has been perorming under the name Coet Cocoeh, first in Fukuoka (yes, another Fukuoka connection) and in her adopted home of Takamatsu in Shikoku. Fake Night isn’t really a debut, with the song Tsukiyo no Dance Party having already appeared on Coet Cocoeh’s 2015 album Glass Collage and an older version of the closing In a Fog dating back even earlier. The same blend of pop balladry and distant club vibes informs the songwriting too, but there is nonetheless a sense of a new start about it.

It’s a richer album from a production point of view for a start, with Takashima’s synth bass throbbing powerfully in contrast with the spacious piano that it shares the album with as its twin dominant defining sounds. At her heart a pop songwriter, Takashima nevertheless delights in juxtaposing these two elements, with the chanson-like piano ballad Romantics following right hot on the heels of the aforementioned synth-heavy Tsukiyo no Dance Party, while the beautiful Somewhere bounces back and forth between sparse piano chords and a sudden intrusion of thundering bass. Cosmic Sea, meanwhile, sets a simple, looping piano line over a lackadaisical club backdrop.

Piano aside, Takashima’s rich singing voice is the other most distinctive aspect of her work, and a common thread linking Fake Night to both Coet Cocoeh and her band Miu Mau. Here, shorn of the harmonies provided by her Miu Mau bandmates, she stretches her range to cover subdued rapping/spoken word on Cosmic Sea and the just-short-of-melodramatic tour de force performance that is Romantics. There’s a world-weary quality to Takashima’s voice that ensures that even uptempo songs like the bouncy On the Town Square/Machi no Hiroba de are imbued with a faintly melancholy, dreamlike quality.

This way of these disparate elements — piano balladry, house music, reggae, electro, hop hop — are integrated with such assurance and such a distinctive atmosphere is perhaps what makes Masami Takashima such an interesting musician. She’s one of those artists who creates a world of her own through her music — a beach, illuminated by the setting sun from the west and the lights from a party at a nearby beach house to the east: where you’re a bit lonely but never completely alone.

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Ten Years of Live Music in Tokyo Part 4: Miu Mau

Another band with roots in Kyushu who are playing at my ten year anniversary event on September 27th are Miu Mau. I know Miu Mau through guitarist Hiromi Kajiwara, who I’m familiar with through through another band she’s in, although both drummer Miwako and keyboard /vocalist Masami both have venerable backgrounds in the Fukuoka music scene too, with Masadayomasa and Coet Cocoeh respectively. With Masami now living in Takamatsu, the group is split between different islands, but they continue to write, record and play together.

In fact, Miu Mau are a band who I’ve never quite been able to believe my luck that I’m able to book, because they really should be huge. They have great tunes, a sophisticated sense of style, and they’re female (which in this idol-obsessed pop cultural environment is marketing catnip). But perhaps due to their geographical remoteness or the relative connectedness of their scene, they’re an oasis of fabulous pop, somehow out their on their own.

Which like I say is lucky for me, because in a lineup that leans so much towards noisy, energetic things, having something so purely but idiosyncratically pop gives the whole experience an extra edge of excitement and interest.

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Diary of a Japan tour part 10: March 27th at Takamatsu iL

Death disco at "Noise café" Takamatsu iL.

Death disco at “Noise café” Takamatsu iL.

The final date on the road in this tour was Takamatsu. To be honest, I didn’t even really know where Takamatsu was when I booked it other than that it was in “Shikoku somewhere”. At the beginning of March I had helped organise a Tokyo release party for the Fukuoka new wave indie supergroup Miu Mau, and during the post-gig drinking session I had suggested, probably rather aggressively, that it would be lovely if the group’s leader Masami (a.k.a. Coet Cocoeh), now a resident of Takamatsu, could organise a show for N’toko there towards the end of the month. I promptly forgot about it, only to receive an email from her a week or so later saying we could do a show at a very cool little bar called iL.

DJ Masami

DJ Masami

Now since N’toko had a rail pass, this was no big deal, since he could just hop on the Shinkansen to Okayama and take a relatively short train from there across the water to Takamatsu, but it meant more planes and other expenses for me. The first thing I did was plunge into attempts to get a show in Osaka again to see if we could make a couple of nights in the region out of it. I’d had a gig in Osaka tentatively planned, before the organiser suggested doing it in Kyoto instead and then announced that actually she couldn’t do it at all, so I’d taken that as a message from the heavens that it wasn’t to be. Still, if we were going to be in the area, I figured it might be worth looking around again, so I spoke to Club Noon, where some of my friends had done shows in the past. They seemed amenable to doing something, but it was pretty clear they expected me to shoulder the burden of promotion, and without someone well connected with the local scene there on the ground I decided against it. Better to do nothing than to do something poorly organised and promoted.

Kotetsu: manic

Kotetsu: manic

And the show Masami put on in Takamatsu once again reinforced the benefits of someone who understands your music and ethos, and knows both the local scene and what they themselves are doing. iL was a tiny place just off the side of Takamatsu’s vast, kilometres-long roofed shopping arcade, but it was immaculately organised and put together. The venue had brought in a powerful sound system to ensure N’toko’s music played out without a hitch, Masami very kindly ran home at one point to get her own keyboard stand when things looked like they might get a bit complicated, and the DJs she booked were massive fun. Masami’s own stuff tilted towards postpunk like the Slits and New Age Steppers, while Oka took a smoother, more sophisticated tack and Kotetsu careered between a manic selection of Japanese new wave, latin, pop and curios that I couldn’t place if I tried. For my own set, I played the same basic stuff I usually play at Fashion Crisis, but since I was playing in front of a completely unfamiliar crowd edged it more towards the poppier, more uptempo stuff in an attempt to keep people’s attention.

The interesting thing about playing here was the way that people really seemed to be listening. Usually when I play, there are a handful of people coming up to me saying, “Hey, what’s this?” and a lot of people just having conversations with each other and not really paying attention, so soundtracking those conversations and dropping in enough weird or interesting stuff to keep anyone else interested is more or less what I think my job is. In Takamatsu, nearly everyone seemed to be sat, listening intently — not dancing or asking me questions, just sat there with their ears tuned into everything I was doing — which made it a bit of a weird experience, although not by any means a bad one.

N’toko played his usual 30-minute touring set, and could really have played double that time given the reaction the crowd gave him. The sound was superb and in the tiny, narrow room with the crowd surrounding him on three sides, it gave the performance a dynamic feel that isn’t really there when you’re on a stage, facing the audience behind a barrier, either physical or metaphorical. N’toko is a performer who laps up attention and I think he finds it psychologically impossible to ignore part of the audience, so playing to a 180-degree spread of people like this, he was constantly aware that wherever he was playing to, there was someone behind him and this made him mobile at all times.

Ritsurin-koen

Ritsurin-koen

So the party ended up being one of the highlights of the tour in its own right, and since we were only there for one night, I’d booked a late flight back in order to do some sightseeing. Takamatsu was the only place on the tour where we really did any sightseeing, and it was fascinating. The shopping arcade is a thing of wonder, a vast roofed enclosure apparently 2.7km long that took us nearly to the famous Ritsurin-koen, a glorious garden that was so absurdly, fastidiously beautiful that we both kept bursting out laughing at it.

Takamatsu castle grounds

Takamatsu castle grounds

Takamatsu is this:

Takamatsu is this:

At the other end of the shopping arcade was the castle ruins and the seafront, where we chilled for a few hours, and even the station concourse was lovely. In fact even the airport was lovely, with the souvenir stall in the departure lounge serving locally brewed ale on tap. I realise that this is becoming more like a travelogue than a rock’n’roll tour diary, but seriously, Takamatsu is really, really nice city. Anyway, the gig at Takamatsu joined a growing list of other amazing shows that set the bar absurdly high for the final night of the tour, back in Koenji tomorrow, and as the day went on, the fear continued to rise that my own cherished event that I had tried so hard to make the highlight of the tour would fall short of the mark.

Takamatsu seafront

Takamatsu seafront

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