There haven’t been any updates on the book in ages, although the work I’ve been doing for The Japan Times and other places is dovetailing with the book on a number of points. Still, I haven’t really been discovering anything new or at least anything that seemed worth sharing so I’ve been quiet. I finally decided to return to Japanese pop and rock history for a bit though, and so I thought a quick update could be worthwhile.Les Rallizes Dénudés: Night of the Assassins
Now 70s rock was the bit I really wasn’t looking forward to writing, partly because Julian Cope has already done such a bang-up job on it, and partly because I don’t really like any of it that much. Bands like Les Rallizes Dénudés/Hadaka no Rallizes, Murahachibu, Speed, Glue & Shinki, Flower Travellin’ Band et al are all artists you’re sort of expected to like: bands who you revere like religious artifacts and who you’ll look really uncultured if you admit that you find them boring, boring, boring. It’s not that they’re no good, it’s just that while Rallizes’ feedback fury can be incredibly exhilarating, 70s riff merchants of whatever stripe — Flower Travellin’ Band, Shinki, whoever — have never chimed with me. I’ve never really enjoyed Led Zeppelin or Jimi Hendrix and I enjoy bands who sound like them even less. So my summary of “new rock” goes something like this: Rallizes are OK but the rest can go hang.J.A.Seazer: Ootori no Kuru Hi
I’m going to take a little moment out here and add that J.A.Seazer (sometimes J.A.Caesar) is amazing. His position as a theatrical composer perhaps puts him in a special position, but his work is transcendent (the fact that he did the extraordinary and delightfully weird choral rock compositions for Revolutionary Girl Utena, the greatest anime of all time, is an added bonus).Rouge: New York Baby
What I have a bit more time for is some of the really uncomplicated, dumb rock’n’roll that the 70s threw up. I interviewed Sheena and Makoto from Sheena & The Rokkets the other week and in the course of that, found myself thinking about Japanese 70s rock’n’roll for perhaps only the second or third time in my life. Again, most of it bores the shit out of me, but it has a bit more charm than the see-my-seriousness-and-tremble pomp of the heavy riffsters. New York Dolls copyists Rouge are a lot of fun, although I’ve always found Carol to be massively overrated. Out of the Fukuoka mentai rock crowd, I’ve always had time for Sonhouse. I find Sheena & The Rokkets’ leap headfirst into pop to be a bit confusing from a musical point of view — not so much that it isn’t good (it’s Hosono, so it’s always going to be interesting) and not because I don’t understand why it was necessary, more that I’m just not sure what it’s saying. Anyway, they were an interesting band to interview and there’ll be more on them when the interview’s published.Sonhouse: Lemon Tea
The best thing about 70s rock is that I’m halfway done with it, anyway. I still have to talk about “new music”, another deeply respected genre which is always guaranteed to fill me with inertia, but I also get to talk about 70s kayoukyoku, which is always much more fun. More on that later.