Tag Archives: Jesus Weekend

Interview: Jesus Weekend

In The Japan Times a couple of weeks back I interviewed Osaka indie trio Jesus Weekend in advance of the release party for their mini-album/EP Agleam in Tokyo. The album actually came out towards the end of 2013, but the article in the end took longer to put together than I’d anticipated so we decided to use the release party as the event to hang the article off instead of the CD’s release.

That’s actually one of the things I always find a bit awkward about writing about music. The Japan Times is very good at taking music seriously, and it doesn’t take part in the Japanese music press practice of taking money from labels in return for coverage. It’s also a a big no-no to have me writing about bands I personally have on my label, although it’s got to the point now where I’ve released so many bands that it’s also deeply unfair to ban my acts from appearing in the paper at all, so sometimes other writers write about them (and I stay out of their way). In any case, ethics are important and foremost among those is maintaining the distinction between journalism and PR. The thing is, however, that because music journalism is journalism, it basically has to be writing about something new or in some way tied to events that are happening now, i.e. bands who have a new release or a big event or festival appearance to promote. This means that basically everything we do kind of is PR whether we like it or not, because we will only write about bands who are currently trying to sell something.

Of course with interviews, I don’t think there’s necessarily much of a conflict there, since your interest in making the article interesting for readers and the band’s interest in making themselves seem interesting to a potential audience are closely aligned. As a writer, you want to find the story in what they say, and to tease out something from their comments that sheds light on their music. I do wonder sometimes whether by focussing on releases, we miss something important sometimes, denying coverage to bands who’ve simply chosen not to release anything and focus on developing their sound live, while bands like Jesus Weekend who have taken the equally admirable approach of developing their sound out in public in the recorded medium are fair game.

Anyway, Jesus Weekend are an odd band. The bit about animal suicides and my subsequent discovery that contrary to the band’s claims, suicide is apparently a well-observed occurrence in the animal kingdom was a fascinating discovery for me and honestly, callous bastard that I am, made me laugh out loud in some instances. Personally I feel the song in question, Animal Suicides, is more eerie than sad, but then the article’s about them, not me.

I mention in the article about the album sounding like fragments of a picture, but it was recorded last summer and when I went to the release party in late February and saw them live, you could see that there was this coherence that was far better developed than on the album. Puberty Bell sticks out as a particular oddity in the album, but live it became apparent that they now have other songs that place it in more of a context. There’s also a confidence and assurance in how they play that gives you a sense up close that while the sounds may be diverse, they are all aspects of the same group of people.

It was a very short set, although a bit longer than when I saw them in Tokyo last year, and this underscores just how early Jesus Weekend have been picked up and hyped (not least by me). The gap between a cool new band appearing and everyone on the scene scrambling to get a piece of them is getting shorter and shorter, especially among the indie or crowd (as opposed to the slightly more traditional alternative crowd — I’m not going to go into the differences here) and while at the moment I don’t see too much of a problem given how small that scene is to begin with, there is the danger that when a band becomes cool too early, it can stymie their creativity, subtly influencing them towards just making more of what people already like and unconsciously holding back their own development. I don’t see that happening with Jesus Weekend, who seem very serious about what they’re doing and appear to be quite earnestly exploring how to express themselves. They’re in a musical adolescence, which is exciting and interesting in the possibilities it presents, but it would be a waste if they were to become trapped there.

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Top 20 Releases of 2013: No.16 – Jesus Weekend – Agleam


CD, Fancy That!, 2013

One of the most fascinating and hard-to-categorise bands to emerge over the past year or so has been Osaka’s Jesus Weekend. Once I’d got over my disappointment that they weren’t a gospel-themed Vampire Weekend tribute group, what I discovered was a lo-fi band playing a mixture of fragile, low-key guitar pop songs and mysterious synth instrumentals. I’ve heard them compared to Stereolab, Broadcast and Laika, although given that the band’s members would have been in pre-school when those bands were making waves, a direct influence seems tenuous. At first glance it seems half-formed and untidy, but you find yourself coming back anyway as the depth and richness in ideas can’t help but filter through.

The two sides of Jesus Weekend’s sound are best illustrated by the sparkling, guitar-driven, whisper-voiced indiepop of Puberty Bell and the eerie John Carpenter soundtrack soundalike of Animal Suicides, with the opening Virgin acting as the nexus, the central node that demonstrates both sensibilities and spins them off in their respective directions. Agleam is a mysterious album and Jesus Weekend are a mysterious band. After listening you may be none the wiser about what lies beneath, but successive visits to their world are no less compelling for that.

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Jesus Weekend: Demo


CD, self-released, 2013

Osaka lo-fi trio Jesus Weekend have been getting a lot of attention in indie circles lately, partly thanks to their association with buzzy web label Ano(t)racks and their appearance on a split cassette with Miila and The Geeks. This four-song demo CD/R suggests a lot of potential if and when they decide what kind of band they really are. Most of the EP is characterised by harsh yet melodic, droning synth, with opening track Prisoner of Lies layering the vocals 4AD-style over the simple four-note melody, while the instrumental Sunshine Lake has a more subtly nuanced melody and closing track Animal Suicides has the faintly menacing edge of an 80s John Carpenter soundtrack.

The odd one out is Puberty Bell, also featured on the Miila and The Geeks split, and here Jesus Weekend sound like a completely different band. It shambles along like The Raincoats, vocalist Seira starting out cooing the lyrics in that childlike, over-precisely enunciated way that many Japanese indiepop bands have, before the melody shifts into a more bluesy register and she reveals a hidden side to herself that resembles a sort of teenage Japanese Tanya Donelly. The shift to the more sexually mature sounding, world weary blues melody from the sweet and girly intro is a short step but also an unexpected one, which crosses an invisible line, sending a little thrill with it, a subliminal sensation of transgression.

It’s hard to judge from this demo EP what kind of band Jesus Weekend are or will become, and which direction they go from here is anyone’s guess. Their Soundcloud page also has stuff ranging from what you could almost call industrial to material skirting the fringes of krautrock, but at the very least, this collection demonstrates that the band have options.

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Filed under Albums, Reviews