Tag Archives: New House

CAR-84 – V/A: Dancing After 1AM

Dancing After 1AM

CD, Call And Response, 2012

This is part of a series of posts talking about music I’ve released through my own Call And Response label. I explain in a bit more detail here.

As 2012 rolled around, I started thinking it was time to do a new compilation. It had been four years since my last one, the Post Flag Wire covers album, and obviously I’d discovered a load more bands since then and picked up new audiences along with them, so it was time to lay down another marker about where Call And Response was. I settled on the title Dancing After 1AM in response to Japan’s absurd anti-dancing laws that saw a bunch of club owners arrested in 2011 and 2012, and completely devastated the club scene in Osaka. In Tokyo we weren’t affected, but on tour in Kyushu you could see the poisonous effect it had had on the club scene there. I added the subtitle “Japanese electric music in the year 2012” as a way of instantly dating it, and then wrote some text in Japanese for the sidecap/obi strip reading “Compilation albums are a waste of time because they’re already out of date as soon as they’re released”. I did a little illustration of a dancing policewoman with a hippy flower in her hair and N’toko contributed by designing the sleeve around my drawing. I kept it to Japanese bands, which meant the design was his only contribution, but I tried to get all the other bands from the label involved. Praha Depart were very much doing their own thing by this point though, and when I mentioned it to them, they gave the impression that it would be difficult to get any new recordings done. Zibanchinka agreed to do something and then promptly imploded, but vocalist Iguz was keen to keep things moving with her new band Futtachi, who contributed a thundering psychedelic monster of a track in Kaiko no Oto. (One other band I really wanted to get on the album was the brilliant blues/Krautrock band Buddy Girl and Mechanic, but they were absorbed in the recording of their own album, which they released finally in early 2013 and was one of the best albums of the year, so they obviously used the time well.) Neither Mir nor Hyacca had released anything for a long time, so getting them involved was essential for more than just their role as the heart and soul of the label. They both needed a kick up the arse to get on and do something. Mir had lost their drummer somewhere between their recording of Wire’s Mannequin for 2008’s Post Flag and 2010 when some electronic recordings they’d done as a duo emerged. It was from these sessions that the version of their perennial closing number Dance (which naturally closed out the album too) came from. I chose that over their excellent 2010 version of the song TV partly because of its appropriateness to the compilation’s title, and partly because Mir’s TV is a song I’ve over the years become very superstitious about. it’s a beautiful song and the 2010 version of it is brilliant, but there’s a sadness at its heart that starts sucking you into itself the more you think about it, and the closing refrain of “Sayonara, sayonara” feels way too much like tempting fate. In Hyacca’s case, the bassist, Seiji Harajiri, was by this time managing the coolest and best venue in Fukuoka, Yakuin Utero, and so he and his band used Utero and its PA engineer to record a new song, Uneko. Uneko was exactly the kind of thing I was looking for from them, both catchy and musically intelligent — the exact right balance of smart and dumb that only they can really pull off in this particular way. The video we later made for it where I filmed them with a cheap pocket camera just goofing around and getting drunk in a karaoke box was actually one of the spare ideas for Zibanchinka that their indefinite hiatus had left us with, and Hyacca attacked it with gusto. Looking to the label’s future, Hysteric Picnic went on to record an EP/mini album for Call And Response, while hopefully Jebiotto and Slow-Marico will follow in one form or another.Hyacca: Uneko There were a lot of other bands on DA1AM who were in similar positions, having been out of the recording game for a while and happy for the opportunity (and the deadline) that the compilation gave them. Extruders had just recorded a wonderful live album at a Buddhist temple, and were looking to go into the studio to record an album proper soon (the result, Colors, was another of 2013’s best) and so they came up with Collapsing New Buildings (translate it into German and see what you get) with its constant electric buzz running through the whole song in the background, causing me and the friend who was helping make the master copy to spend a while debating whether it was intentional or not (it was). The Mornings’ debut had been my album of the year back in 2011, and they were just starting to put together material for the follow-up (Christ alone knows what’s going on with that — I heard a full album’s worth of rough mixes last summer but no final version has yet emerged) so Fu-ji was what got them back into gear. Puffyshoes contributed the short and sweet girl-group garage rocket Oh My God, went on to have a busy 2013 and released a great cassette album before exploding in a shower of unfulfilled potential, while Otori recorded the brilliant Hanten (which is their best song and I’m incredibly smug that I got it), Anisakis did the XTC-esque Popcorn Bata ni Kuroi Kage, She Talks Silence gave the album the eerie Long Ways, and New House did the sampledelic Natural Blessings (the last song to arrive, just a couple of days before the album went off to press, and which much to my shame I misprinted as “Nature Blessings” on the jacket — and which also ensured I’d be an insufferable grammar nazi come time to print the Hysteric Picnic CD jacket the following year).She Talks Silence: Long Ways The main problem was in knowing exactly what was going to be on the album, and as with the New House track, right up until the final day or so it wasn’t completely fixed. It wasn’t just a problem for printing the track listing, but also for the CD itself. Bands like Futtachi and macmanaman delivered songs that ran to over seven minutes, and at one point there was real danger of it becoming a double album (I went as far as making an alternative track list where I worked out how the tracks would divide over two discs just in case). There were also moments where tensions ran a bit high. New House didn’t make a fuss over the mistake on the jacket, but one of the other bands (no, I’m not naming names: they did a very good song and it didn’t turn into any kind of feud) was very particular about every aspect of how they wished to be presented with tempers flaring on both sides. The problem of projects like this where everyone (myself included) is working pro bono is that you never have the cushion of money to fall back on, so everything comes down to self satisfaction, and often in a related sense to pride. In a small society like the indie/underground scene, however, the axiom of “don’t piss people off” is a solid general rule. It’s a contradiction of rock’n’roll and punk: both bands and labels are in it in the first place because they’re in some way dissatisfied or disaffected, but within the circle you find yourself, you often have to keep under control the same impulses that led you there in the first place. In addition to Hyacca, fellow Fukuoka crazies macmanaman (the best band named after a twinkle-toed former Liverpool winger in the whole world) recorded a live version of their song Michael, which I retitled Michael in Utero partly because it was recorded at a venue called Utero and partly because the combination of a Michael Jackson reference and a Nirvana reference amused me. Along with Tokyo postpunk trio Tacobonds’ superb Ane with its deft boy-girl vocal call and response (by now you must know how I dig that sort of thing) and slowly building dynamic tension, that made three superb recordings at Utero by the same engineer. You want to do good recordings cheap? Get yourself your own live venue and get the staff to do it.Tacobonds: Ane Still in Kyushu, Kobayashi Dorori and cynicalsmileisyourfavorite from Kumamoto are also on there. The former contributed an oddball nursery rhyme about whales called Shepherd, while the latter contributed the baffling Carnival. I’m still not sure what I think of Carnival now. It has so much going on, with the insistent dance beat, the post-hardcore shrieking, and you’ve got to admire the balls of the way the one guy just throws everything he’s got into his bit of the vocal melody with zero regard for whether he even gets close to the right notes. But at the same time, cynicalsmileisyourfavorite are one of those bands that are all about what happens in the moment. Carnival is usually a chaotic babble of freshly improvised nonsense, but for the recording they tried to work something out and make a proper song of it, and so while the results are, well, they’re something, they’ don’t quite sound like the band when they’re just left to be themselves. Jebiotto are a very similar kind of band in that regard, but their track, Deacon Punk, with its mad cat meows, dirty synths and semi-inebriated sounding vocals, treads that path more assuredly. But like I said, with cynicalsmile you can’t not admire the sheer weight of passion they hurl at it and for some reason I always come out of hearing Carnival with a smile on my face. I’m just not sure why.The Mornings: Fu-ji One of the biggest motivating factors for me while putting DA1AM together was the existence of Nagoya label Knew Noise’s wonderful Ripple compilation of local Nagoya bands. Throughout the production process I was listening to Ripple and my gradually forming compilation and comparing them. I would just not be beaten by this collection from one mere city (and not even Tokyo!) Pop-Office contributed to both Ripple and DA1AM, and it’s interesting that both they and Extruders off this CD went on to make albums for Knew Noise. In any case, both albums to me seem to come from a similar kind of taste, and I’ve been keen to make more connections in Nagoya ever since. On the current rate, Call And Response’s next proper compilation is due towards the end of 2015, which will be just in time for the label’s ten year anniversary. In the meantime, there were new Mir and Hysteric Picnic releases to think of.

Dancing After 1AM is available now from Call And Response’s online shop.

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Top 20 Releases of 2012: No.15 – New House – Burning Ship Fractal

Burning Ship Fractal

CD, Second Royal, 2012

Based in Tokyo but associated closely with Kyoto’s eclectic Second Royal label, New House are leading lights in a generation of Japanese indie music that takes its cues just as much from the club scene as it does from rock, a fact evidenced by the members’ regular turns at DJ events in and around Tokyo and the central role electronic beats, samples and effects take in their music.

There are obvious similarities to Animal Collective in New House’s preference for electronic bleeps, spacey atmospheric effects, and rolling rhythms with a little swing on the off beat, and this could perhaps be a big problem if there were a whole, vast scene of bands in Japan who all sounded like Animal Collective. There aren’t though, so complaining about the resemblance in this case seems a bit petty.

It’s also a lazy way to analyse New House’s music, because their approach to songwriting marks them out as an unusual band in the Japanese music scene. Their melodies follow none of the standard J-Pop melodic clichés, and neither do they follow the big-on-emotion-but-low-on-melody alt-rock pattern of impassioned dying-cat yowling. Instead, New House’s songs channel folkish melodies and harmonies that betray an influence of Sublime Frequencies’ series of southeast Asian pop and folk music compilations.

The most obvious standout track and the one that captures the core essence of Burning Ship Fractal, is Small World, which made its first appearance in a slightly different form on Second Royal Records’ 2011 Vol.6 sampler, and the band return to similar themes in both subsequent tracks, Cold Water and Soft Sea. There’s more to the band than that though, with Empty Shop (Plug Up The Hole) an intriguing diversion into a sort of yodeling electropicalia and Lost slipping and sliding through a series of distorted, cut-up beats. Given the wider canvas of a full album to play with, they also demonstrate a talent for ambient electronic instrumental tracks in the mould of Eno circa Another Green World, particular on Collage of Season.

There’s something ramshackle and chaotic in how Burning Ship Fractal all falls together (and sometimes seems on the verge of falling apart), which some might find offputting, but its an undeniably imaginative album with an approach to songwriting and a mixture of sounds that combine electronics with an atmosphere that feels like it could have been drawn right out of a mosquito-ridden riverboat ride through a Thai jungle.

(Full disclosure: A new song by New House, Nature Blessings, appeared on my own label Call And Response Records’ 2012 “Dancing After 1AM” compilation album.)

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