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Faaip_De_Oiad View Drop Down
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Direct Link To This Post Posted: September 16 2006 at 03:38
Haha

Whoa, That's a pretty powerful thing to feel after that record... I'm guessing you dont play it too often?





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Direct Link To This Post Posted: September 16 2006 at 03:52

I've been stickin' to a bit of Bondage Fruit lately Faaip ! Have you heard 'Sono-Bank' from Bondage Fruit 4 ? Around the 13 minute mark there is a couple of minutes of what it must feel like to take a walk near a fountain in The Kingdom of Heaven

Kido Natsuki is playing diminished thirds from another world on that one !
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Direct Link To This Post Posted: September 16 2006 at 04:11
Ah same here!

Yup. Sono Bank surely is an odd song. Haha im sure sure what im hearing at te 13 minute mark. Sounds like's it's dry heaving while having a spasm attack maybe?

I bet if your lost in the desert and inches from death from Dehydration, That song appears. But then of course you die and play in that fountain your talking about!



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Direct Link To This Post Posted: September 16 2006 at 04:30

Bondage Fruit do that ascent into progressive heaven with alarming ease


          
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Direct Link To This Post Posted: September 16 2006 at 04:34

             Worth a holiday to Japan jus' to see 'em live Faaip ! They play out here all the time !
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Direct Link To This Post Posted: September 16 2006 at 07:21

I noticed that Bondage Fruit's last cd (Bondage Fruit VI) released at the end of 2004 hasn't made it on here yet. Shame, as it is a real masterclass of musicianship
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Direct Link To This Post Posted: September 16 2006 at 07:30

                         Found a link from Katsui Yuuji's Maboroshi no Sekai label website:

http://www.katsuiyuji.com/mabonetwork/019.html
          


                                       Also Disk Union's page:

http://diskunion.net/progre/search_result.php?type=2&for=1&kwd=25313
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Direct Link To This Post Posted: September 16 2006 at 07:41

Decent review of Bondage Fruit IV (from Aural-Innovations) :

Bondage Fruit - "IV"
(Gazul [A division of Musea] 1999, GA 8627.AR)

From Aural Innovations #11 (July 2000)

Bondage Fruit are a Japanese ensemble who have been described as being one of the best examples of zeuhl music today. On "IV", there are certainly zeuhl influences, but Bondage Fruit's talents lie in their ability to incorporate traditional music such as blues, jazz, and rock, into manic and complex avant-progressive instrumental passages that are well structured, but have a freeform "jam" feel as well. The bands consists of Kido Natsuki on guitar and synthesizer, Okabe Youichi on trap drum and percussion, Ohtsubo Hirohiko on bass, Takara Kumiko on vibraphone, percussion, and organ, and Katsui Yuji on violin and vocals. Apparently female vocals were once integral to their sound, though there are none on "IV".

The opening track, "Minus One", hints at traditional rock rhythms, and the opening guitar bit reminds me of an old Edgar Winter tune I can't quite place. An interesting analogy given that the whole of the track explores early Zappa territory, particularly its cool scratchy "Willie The Pimp" violin. Percussion, vibes, violin, and guitar all function in a gorgeous instrumental stew in which the instruments work independently but cooperatively. Kind of a zeuhl and Crimson meet Zappa and Beefheart comglomeration.

"Prayer" opens as a sort of avant-bluesy piece, though it too gets a bit into the Zappa realm, but also has some heavy, but all too brief, power-rock segments. The music builds in intensity and becomes a freeform and quite fiery jam that utilizes a lot of off-kilter but well constructed rhythms, until its last minute when it closes with a more standard rock, but Zappa-oriented feel. Bondage Fruit delve deeper into the blues on "Screen Game". Delta blues slide guitar and violin lead the fray in this swinging party tune. The combination of instrumentation helps make this Bondage Fruit's own, again blending traditional music with a free-for-all avant-progressive styling. And for something really different, "Old Blind Cat" combines Middle Eastern influences with blues. Imagine harem girls chanting at the banks of the Mississippi. Add some mucho spacey synths and you've got a way cool tune that stray miles away from the norm.

The CD's epic track, hottest music, and my runaway favorite, is the 19 minute "Sono-bank". Bondage Fruit has performed in the past with Happy Family, and there are strong similarities to that bands' manic style here (though without the punkish tendencies), and the zeuhl influences are more apparent here than on the rest of the album. The music opens with lots of fiery guitar and percussion work. You can feel the momentum building and can sense that an explosion is imminent. Yet the music holds this state for an extended period which kept me on the edge of my seat in a hyper-alert condition as my brain was pounded to a pulp. Love that crazed wah guitar! This is a rapid-fire hurricane of a piece that is relentless in it's assault. Each musician is locked in a duel for brain bashing intensity that still manages to result in a band effort. An enjoyable mixture of crazed instrumental prowess and majestic Magmaesque zeuhl segments. I was exhausted by the song's end. Absolutely smokin'.

In summary, fans of intense, complex progressive rock, often played at lightening but controlled speed, and with hints of zeuhl and even traditional musics, should check this band out. You won't be disappointed.

http://www.aural-innovations.com/


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Direct Link To This Post Posted: September 16 2006 at 07:43
Originally posted by Yukorin Yukorin wrote:


I noticed that Bondage Fruit's last cd (Bondage Fruit VI) released at the end of 2004 hasn't made it on here yet. Shame, as it is a real masterclass of musicianship
 
 
whoops...
 
This is my fault. We (the discographies team) are now going over all of the bands listed in PA by the alphabetical index and I am in charge of A-G, so Bondage Fruit is under my responsibility.
I must have skipped them going over B (I am now in C).
 
Here is the album:
 
Tell me if the details are correct, and if not I will correct them.
 
 
Assaf
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Direct Link To This Post Posted: September 16 2006 at 07:46

Looks ok to me avestin..!

      




                                   (Have you heard it yet) ?
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Direct Link To This Post Posted: September 16 2006 at 08:00
Originally posted by Yukorin Yukorin wrote:


Looks ok to me avestin..!

      




                                   (Have you heard it yet) ?
 
No, I only have the album Skin.
 
 
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Direct Link To This Post Posted: September 16 2006 at 08:14

                check your e-mail...wink...wink...!
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Direct Link To This Post Posted: September 16 2006 at 08:20
Originally posted by Yukorin Yukorin wrote:


                check your e-mail...wink...wink...!
 
LOL 
 
 
Big smile
 
 
 
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Direct Link To This Post Posted: September 16 2006 at 08:25





The Japanese Avant-Prog

By Dominique Leone

Interview with Hoppy Kamiyama

Review: Japanese Independent Music


Back to 1-0 Music The modern underground music scene in Japan is arguably the most interesting and diverse on the planet. Though Japanese pop has generally been an exercise in Western idolatry, the musicians in the underground tend to favor their art above all other concerns. Ironically, the diversity and seemingly endless collection of strange music coming from this scene is contrary to its spirit: that of community and collaboration. Even between various genres, say punk and progressive, underground musicians have been known to stray.

The progressive rock scene in Japan could be grouped into two camps. The traditional symphonic sound, influenced by classic 70s groups such as YES, ELP, and GENESIS, maintains the greatest popularity. Japanese bands like KENSO, ARS NOVA, AIN SOPH, and BI KYO RAN appeal mainly to fans of those classic prog bands. The music is still underground, in the sense that the acts rarely achieve a Top 40 type of success, but is based on an established genre.

The other camp of prog musicians rests nearer the avant-garde. This group of artists takes the influence of the classic prog bands, but filter it through a modern experimentalist screen. Outsiders like CAPTAIN BEEFHEART and KEIICHI HAINO shape their sound as much as Yes or Genesis. This does not mean that the musicians in the avant-prog circle have no communication with those in more orthodox circles, and perhaps that is the most unique aspect of the Japanese underground.

RUINS are the brawny brainchild of drummer TATSUYA YOSHIDA. Sometime in the summer of 1985, he formed the band, originally supposed to be a power trio, but when the guitarist didn’t show for their first rehearsal, bumped down to a rhythm-section-only duo. At the time, he was also performing with YBO2, along with avant-alternative guitarist K.K.NULL. The seeds of the present-day communal atmosphere of Japanese underground musicians were sprouting with this early moonlighting affair, as Null would go on to play with ZENI GEVA, among others, and of course Yoshida has played with just about everyone. Ruins
Refusal Fossil %281997%29 By far Yoshida’s most well known project, Ruins produce a unique fusion of punk and progressive rock. Ironically, its leader has stated that while he admires punk’s energy, he has no desire to play pure punk, and in fact grew up on a steady diet of prog bands such as GENESIS, ELP, and GENTLE GIANT. However, his true inspiration came from France’s MAGMA. Magma’s trademark odd-metered motives, faux operatic signing, and especially CHRISTIAN VANDER’s extroverted drumming have certainly made their way into Yoshida’s consciousness, although the jazzy undertones and relatively atmospheric group sound did not.

From an early point, Ruins appealed more to an avant-garde listener than the more traditional ‘progger’ (a claim that may apply to many of the artists profiled here). On their first recordings, they teamed up with NYC experimental sax-icon JOHN ZORN, and eventually put out albums on his Tzadik label. Their sound was dense mix of industrial noise, prog theatrics, and free-improv. Some critics have used the term ‘jazzcore’, but there really is no describing the duo’s sound. Tatsuya Yoshida
Symphonica %281998%29 Yoshida has stuck with his bass/drums formula throughout the group’s history (except for the one-off Symphonica project, with KENSO’s keyboardist and two singers), but has switched bassists when needed. The bass in Ruins performs double duty, covering every end of the sonic spectrum, melody, bottom, white noise, etc. Currently, Hisashi Sisaki holds the position, though true blue fans may prefer previous anchorman Ryuichi Masuda.

Yoshida performs with a vast number of other projects. His KOENJIHYAKKEI is more of a traditional prog band, with added guitar, keys, and a female singer. Magaibutsu, Yoshida’s website, calls the band a ‘Japanese Magma.’ HIGH RISE and MAINLINER not only share the hard psyche-prog style, but the same members! KOREKYOJIN is collaboration with BONDAGE FRUIT guitarist Kido Natsuki and GROUND ZERO/ALTERED STATES bassist Nansuno Mitsuro. Other projects include AKATEN, TAIRIKUOTOKO VS SANMYAKUONNA, SEIKAZOKU, MUSICA TRANSONIC, SUNKICH, and ZUBI ZUVA. These are not to mention his solo performances – true one-man shoes, wherein he drums, sings, plays keyboard, and guitar simultaneously! Viva Young Florida %281998%29

Magma seems to have been at the core of influences for a number of Japanese prog bands. Besides Ruins, two bands in particular have taken the zeuhl heritage and run with it: HAPPY FAMILY and BONDAGE FRUIT. However, as per the modern stylistic mish-mash of much of the underground music in Japan, these bands have taken different aspects of the same group of influences, and the end result is something new in either case.

HAPPY FAMILY formed in the late 80s while still in college (an aspect of the Japanese music scene that is significantly different from America’s). Founding members Kenichi Morimoto (keyboards), Shigero Makino (guitar) and Tatsuya Miyano (bass) were joined by drummer Keiichi Nagase in 1990. They had released two cassettes by 1994, and finally found worldwide exposure with their 1995 Cuneiform Records self-titled debut CD. Happy Family
Happy Family %281995%29 Happy Family takes the hard-edged sound of “De Futura”-era Magma, and adds a healthy dose of aggressive fusion to the mix. At times, similar to Ruins, there is a punkish edge to the music, but whereas Ruins may revel in chaotic group improvisation, Happy Family roots lie closer to traditionally structured instrumental prog/fusion a la MAHAVISHNU ORCHESTRA and Red-period KING CRIMSON. The overall sound can be very exciting.

The band released Toscco in 1997 with a new guitarist. Sadly, all reports seem to confirm that they are not active now. Since Happy Family’s last live performance (Oct.18 1998), Morimoto has been away from any musical activity to study law. Nagase has been very busy as a pop session musician, Miyano has been pushing himself as an actor, and their second guitarist has concentrated on his solo project. Officially, the band has not disbanded, yet it is doubtful they will tour again. Between the recording of Toscco and their last gig, they did play much new material on stage, though it looks like it may not see the light of day. Toscco %281997%29
Bondage Fruit II %281996%29 Guitarist Kido Natsuki, violinist Katsui Yuji, and bassist Hirohiko Otsubo formed BONDAGE FRUIT in 1990. Over the next few years, the personnel of Bondage Fruit changed frequently. However, in 1993, they added additional musicians: Takara Kumiko (Vibraphone), Yoichi Okabe (Percussion), Aki Kubota (vocalist, later of KOENJIHYAKKEI) and Saga Yuki (jazz vocalist). Finally, the band’s line-up was settled as a seven-piece band.

The band’s sound retained the adventurous flavor of Kohntarkosz-era zeuhl, while adding elements of alternative rock, RIO, and even South American music. Although led by guitarist Natsuki, perhaps the primary feature of their early sound was that of the female vocals. Often, the “lyrics” consisted of no actual words, but percussive syllables doubled on marimba or guitar. Aki’s operatic style is of note on the first album, and Yuki’s more experimental style on the second (Aki had left by that point). Bondage Fruit III: Recit %281997%29
Bondage Fruit IV %281999%29 When Yuki left after the second album, the band was left without a vocalist. Without missing a stride, they released Bondage Fruit III: Recit, showing more of their improvisational and avant-fusion sides. The band have often been lumped in with other acts like Happy Family and Ruins, but ultimately, Bondage Fruit may be simultaneously more accessible and yet more willing to embrace various music styles than either. Their latest record features an even greater synthesis of influences than before, ranging from Afro-Cuban music to techno!
Imago %281999%29 Violinist Katsui Yuji has been involved in several prog-related projects, including NOVO TONO (with Otomo Yoshihide, HACO and Seiichi Yamamoto), Tairikuotoko Vs. Sanmyakuonna (with Tatsuya Yoshida), and ROVO. Rovo is something of a Japanese "post-rock" band, specializing in lengthy, beat-driven atmospheric pieces, often similar to the music of krautrock bands like Can or Neu. The band also features ex-Ground Zero drummer Yoshigaki Yasuhiro, Koenji-Hyakkei guitarist/bassist Harada Jin and Boredoms guitarist Yamamoto.
God Says I Can't Dance %281996%29 While zeuhl, fusion, and traditional progressive rock have influenced more than its fair share of musicians in Japan, some bands exhibit more of an affinity for the experimental. TIPOGRAPHICA is something of a modern RIO/Canterbury group, specializing in highly complex, often dissonant pieces for rock ensemble and horns. The band formed in 1986, led by guitarist Tsuneo Imahori, initially under the influence of NYC avant-garde outfits like MASSACRE and the GOLDEN PALOMINOS. Their sound evolved into a kind of modern rock counterpoint, with interlocking percussion, guitar, bass, and horns, and a very advanced improvisational sense. They are at once more refined than contemporaries such as Ruins, yet with a looser group dynamic than Bondage Fruit, often using humor in their music. Some have made comparisons between this band and IL BERLIONE.

After Tipographica broke up in the late 90s, saxophone player Kikuchi Naruyoshi formed two outfits: TOKYO ZAWINUL BACH and DATE COURSE PENTAGON ROYAL GARDEN. The former is a keyboard/sax duo specializing in explorative improvisation and avant-garde composition, while the latter is a virtual supergroup (also featuring OTOMO YOSHIHIDE, Yasuhiro Yoshigaki, and many other very established players from the scene) that plays avant-garde, heavy trance-influenced music mixed with more typical jazz-rock fusion and group improvisation. Their first full-length release was actually a split CD with Rovo in 2001.
Tipographica
Ground Zero %281993%29 GROUND ZERO, featuring guitarist/turntablist Otomo Yoshihide, was one of the most well known groups in underground Japan. Yoshide was an admitted ‘non-musician’, though one would be hard-pressed to find a more inventive rock outfit. Ground Zero specialized in an eclectic blend of the avant-garde, popular, and the surreal. They cannot be classified as ‘progressive’ in the same sense as Happy Family or Bondage Fruit, in that they do not often feature dramatic time-signature shifts, or flashy solos (although it certainly isn’t for lack of ability). Instead, the band takes elements such as found/sampled sound, noise, and improvisation to create a hybrid. Much of what they play is entirely non-reproducible, a fact that puts them well outside the domain of most progressive acts. Yoshide has performed with most of the musicians in this article, as well as a great number of American experimental musicians. Plays Standards %281997%29

Nasuno Mitsuru (bass, vocals) and Yoshigaki Yasuhiro (drums), both of Ground Zero, later formed ALTERED STATES. This band could more easily be tagged "prog" than the former group, though they're no less adventurous. Their sound is something of a mix of King Crimson, Boredoms, and free jazz, with an occasional dash of the psychedelic. Another splinter group from Ground Zero was P.O.N., which featured Junji Hirose (sax), Masahiro Uemura (drums) and Natsuki Kido (guitar) from Bondage Fruit. P.O.N. played complicated compositions very much in the vein of John Zorn's Naked City with rapid style and tempo changes. Another band in this vein is MU MU, an avant-jazz trio (keyboards, trombone, drums) also featuring Masahiro Uemura. Mosaic %281995%29
Jyoji Sawada JYOJI SAWADA is a bassist and composer who has played with most of the players in the Japanese experimental scene. His Base of Fiction CD featured members of Ruins, Boredoms, Ground Zero, and many others. Unlike most of the avant-prog musicians in Japan, he approached the music from more of a modern classical perspective, even incorporating a string quartet into much of his work. Sawada’s strongest connection to the scene may be his relentless genre hopping. ‘Post-modern’ may be the best term, and John Zorn fans will doubtlessly enjoy his work. The overall sound is something of a cross between BELA BARTOK, Ruins, and Zorn’s classical works.

HOPPY KAMIYAMA has not only made a name for himself as a musician (PUGS, OPTICAL*8) and producer (television and commercial music), but has also acted as label owner. His God Mountain issued recordings by Koenjihyakkei, Altered States and Jyoji Sawada. Kamiyama is a highly charismatic performer (known for his cross-dressing almost as much as for his music), and his projects are usually rather unique. PUGS have no loyalty to a particular genre, able to play anything from Crimson-style prog to New Wave to Korn-style alt-rock. Optical*8 (with Otomo Yoshide) specialize in an aggressive psychedelic music, with much improvisation and long jamming. Juice and Tremolo %281998%29
God Mountain Kamiyama’s God Mountain was just one of many independent record labels associated with the genre. Some of the musicians formed their own labels (e.g., Tatsuya Yoshida’s Magaibutsu), and other labels were seemingly formed merely to issue a single band’s recordings (Nani Records, for Ground Zero). It is important to remember that even in Japan, where it is seemingly easier to find an audience for progressive music than it is in the U.S., the musicians have exactly the same – if not more -- financial difficulty. Perhaps the communal environment contributes to the health of the scene, but nonetheless does not contribute to the security of the players.

Kamiyama has also made a reputation as a producer for other acts, including EX-GIRL, a female trio recording for Mike Patton's Ipecac label that plays a scattered brand of prog/pop/punk. Group members Kirilo (bass), Keiko (guitar) and Fuzuki (drums) do produce a fair amount of racket on their instruments, but are probably best known for their operatic if not acrobatic singing, which is really quite extraordinary. Kamiyama's label has also released albums from DEMI SEMI QUAVER who create a kind of noise-funk/avant-prog, and feature vocalist extraordinaire Emi Eleonola. Eleonola, who has worked with both Tatsuya Yoshida and Otomo Yoshihide, is known for her sandpaper-smooth voice. Back to the Mono-Kero %282001%29

The most telling characteristic of the Japanese underground may be the ‘live-house’ system. Typically, unproven artists will actually pay club owners to play until their shows generate a profit. Obviously different than the American scene, this ensures two things: firstly, only the strong survive. Bands that end up in the red will most likely lose their chance to be heard, while those that attract a following can be boosted into international limelight. One of the most popular bands on the live-house circuit today is MELT BANANA, an experimental punk outfit. Their local success has led to fairly wide exposure, on tour with MR. BUNGLE, and even a release on John Zorn’s Tzadik label. Secondly, acts are generally ‘finely tuned’ before they hit the stage. A great example is MOTOR HUMMING, an avant-prog group influenced by Ruins and Boredoms. Before succeeding in front of an audience and having their debut released by Tzadik, the band had rehearsed and recorded a demo. Ultimately, the music has overcome seemingly impossible odds to find an audience, most likely due as much to persistence and discipline as to talent.

Thanks to Naotsugu Ito, Hoppy Kamiyama and Hiroshi Masuda.

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Hoppy Kamiyama

Interview with Hoppy Kamiyama

Conducted via email, November 30, 2001

1-0: When and where were you born?

Kamiyama: I was born in Saitama, Japan, on Feb. 22nd, 1960.

1-0: What kind of music did you listen to growing up?

Kamiyama: My father is a classical music fan. He took me to classical concerts in big halls starting in 1963 when I was a child. I still love classical music & modern experimental music. I've worked with big orchestras for my compositions, and for film, TV commercials and pop music arraingements.

1-0: What did your parents think about your decision to become a musician?

Kamiyama: They accepted my decision when I was 18 or 19 years old, when I became a professional musician.

1-0: Can you talk about the difficulty of starting and running your own record labels?

Kamiyama: I did lots of recording sessions in 80's. I was involved with many labels in 80's, too, so I had some knowledge of starting my own label. I also had a lot of good connections with independent labels around the world. My own labels tend to taste like a mixture of new music and experimental music. I'm sure we have lots of listeners for those kinds of music in the world, but it is a small world with a tiny capacity for new things. I think it's so hard to survive making independent music. We have to keep to making great new music, it is an important mission.

1-0: What are the challenges of playing original music in Japan?

Kamiyama: Actually Japanese music is like a mixture, which means it often features very distorted and strange characteristics. It's a normal situation for Japan in the world. I just play my music my own way.

1-0: In your opinion, what is "underground" music?

Kamiyama: It's a big, particular sound for music. And it's the isolation from commercial music.

1-0: Who are your favorite musicians from Japan? Elsewhere?

Kamiyama: I like Toru Takemitsu, a Japanese composer. Elsewhere in the world, I like Luciano Berio, Karlheinz Stockhausen, Iannis Xenakis and Mauricio Kagel. I also like Brian Eno. Fortunately, I was able to see him this past summer, and we spoke together about the future music.

1-0: How often do you play in the U.S.?

Kamiyama: I have a lot of projects and bands working at same time. I've had a lot of concerts & recording sessions in United States in the past. I've played with John Zorn, Marc Ribot, Gary Lucas, Zeena Parkins, God is My Co-pilot, and more. I've also had a couple of recording projects that featured American musicians. Those are Fomoflo (with Amy Denio), the Bubble Man project with Bradford Reed, and the Poool with three video artists. I also had a couple of big tours with Japanese bands in U.S. I played with my band Pugs at the Lollapalooza Festival five years ago, too.

1-0: Of your own music, what are you most proud of?

Kamiyama: My motto is "freedom, humor, passion and Frogs." Frogs take me to a musical spaceship anytime.

1-0: What does that mean?

Kamiyama: "Science eats the bible, drops out in the star." (From the lyrics of my song on the King of Music 2 LP.)

1-0: What music are you currently working on?

Kamiyama: The SABOTEN, my psychedelic techno unit, toured in Europe in December. We joined the Batofar Festival in Paris, too. The SABOTEN will record a new album with 10 brass players in February 2002. Then, our theme is "Sun Ra meets Kraftwerk." It will be fun.

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Japanese Independent Music

2001


Japanese Independent Music

Featuring:
Wono Satoru
Yuko Nexus6
Haino Keiji
Harpy
Gaji
Hoppy Kamiyama
Furudate Tetsuo
Hair Stylistics
KK Null
Nakamura Toshimaru / Sachiko M.
Kangaroo Paw
Sawada Jyoji
Haco
Bondage Fruit
Ruins
Acid Mothers Temple
eX-Girl
The*Saboten

Japanese Independent Music is an ambitious undertaking by the French label Sonore. Although there have been samplers of experimental Japanese music before, it's never been easy for Western audiences to find information about the music. Sonore head Franck Stofer packaged this album with a book of the same title that's a virtual godsend to anyone who was ever frustrated trying to find out about a band like Ruins. The book is an encyclopedic reference, with an extensive, alphabetical listing of hundreds of fringe Japanese bands/artists, featuring full discographies, essays on various sub-scenes, and even an appendix with label addresses and contact info. And best of all, it's in English, unlike the first French-only edition. I'll let you find it on your own-- and you will, if this is your bag-- but for now, let's talk about the most important stuff: the music.

The CD features tracks from 18 of the most important contributors to Japan's independent music scene. It covers a lot of ground, conceptually speaking: modern-classical, avant-prog, IDM, neo-trad Japanese folk, noise, punk-- basically, anything John Zorn has been preaching since he started his inter-continental commute in the 80s. It's a much more varied collection than others such as Bad Sun Rising or Tokyo Flashback, and perhaps most comparable to the excellent double-disc Virgin UK release Cosmic Kurushi Monsters: Tokyo Invasion Vol. 1 from 1996. This stuff goes out on a limb, and be forewarned that a little artistic levity is required before entering.

Standout tracks for me include Gaji's "Trippin' Under a Changin' Sphere" and Hoppy Kamiyama's "Fantasm B." Gaji is an experimental punk band from Tokyo who actually started out as kind of an eclectic mix of Wire, krautrock and Boredoms, but here sound much more focused and traditionally wound. The band's female vocalist, Hasegawa Yuko, reminds me of a less girly Patty Donahue (Waitresses), but the band's sound here is full-on aggressive, totally assured poly-punk-- think Minutemen crossed with 80s King Crimson. Too many reference points? How about moving on to Kamiyama, and about a dozen more?

Hoppy Kamiyama's tune is a great representation of many of his favorite musical outlets: Bartok-influenced chamber classical, horror soundtracks, Rock in Opposition, and no wave. The guy has seemingly been around forever, and covers a lot of bases in his 4½ minutes on this CD. If you never have the fortune of hearing some of his work, you'll probably run into him indirectly when investigating the scene anyway because he's head of the excellent God Mountain label (Pugs, Koenji-Hyakkei, Optical*8, Demi Semi Quaver), as well as producer for dozens of acts elsewhere. He's also worked with Zorn and Maceo Parker in the West, so I wouldn't try to hide from him.

Electronic music gets its props here, too, as tracks by Wono Satoru, Yuko Nexus6, Furudate Tetsuo and Nakamura Toshimaru demonstrate that not all of the best new computer-generated madness is coming out of Chicago or Germany. Nakamura's track is straight sine-wavey stuff, produced entirely from a mixing board with no inputs. Satoru's "Allegro" was done using only a phonograph plexus, while Yuko Nexus6's minimalist "N.S.K.K." sounds as if created more from the muse of a computer scientist than an experimental turntable magician. Lest these descriptions sound a bit technical, Furudate's piece brings in a little royal courtyard sturm-und-drang to spice up its strains of pounding sheet metal and reverberated signal beacons. I suppose some of this stuff would work well in a Mad Max movie, but I'm just using it to get pumped about going back to work tomorrow.

There are some "big" names here as well, like Ruins, Keiji Haino and Acid Mothers Temple, but I don't want to bore you with the "mainstream" (!) stuff. Or, it could be that I just don't want to go on like a crazed fan, forcing this stuff down your throat. Instead, here's something I read from an interview with Oshima Dan: "I think that Japanese indie music is based on absolutely absurd spirit. I mean, it's built on nothing, it contains no culture." On the one hand, I think Dan undersells the impact this music has on its audience, because I can tell you first-hand that whatever the music is built on is certainly weightier than most anything else I've heard. However, he has a point; this is music that is not of a culture, but rather appears to be creating one. Whatever scenes you subscribe to, ask yourself how many of them could remain as vital when even the chance to hear the music was an obstacle. How many could overcome little-to-no documentation or familiarity with the principal actors involved? Right now, I can only think of one, and if you blink, you could miss it.

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Direct Link To This Post Posted: September 16 2006 at 08:27

    above from http://www.geocities.com/1-0/REVIEWS/article.html


The 'Japanese Independent Music' book is quite a nice read an' the accompyaning cd is excellent
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Direct Link To This Post Posted: September 16 2006 at 08:29

Bondage Fruit IV and VI are shockingly good...wish they were more easily available
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Direct Link To This Post Posted: September 16 2006 at 08:35

        avestin...I've seen them play in Tokyo over a dozen times (once to an audience of 15...) an' they reproduce their album sound note-for-note. Watching Kido play guitar is an object lesson in disbelief
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Direct Link To This Post Posted: September 16 2006 at 08:36


      Oh....an' will tell Kido-san that he has some fans outside Japan !



                                            (won't believe me 'tho...)
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Direct Link To This Post Posted: September 16 2006 at 11:11

   Helluva interesting chart from http://www.scaruffi.com/


Happy Family is rated higher than Selling England ! 


Best progressive-rock albums of all times

continued from the list of rock albums | send suggestions
(only one album per band)
  1. Soft Machine: Third (CBS, 1970)
  2. Faust (Polydor, 1971)
  3. King Crimson: In The Court Of The Crimson King (1969)
  4. Pink Floyd: Ummagumma (Harvest, 1969)
  5. Van Der Graaf Generator: Pawn Hearts (1971)
  6. Gong: Radio Gnome Invisible (1973)
  7. Third Ear Band: Third Ear Band (1970)
  8. Popol Vuh: In Den Garten Pharaos (1972)
  9. Roxy Music: Roxy Music (1972)
  10. Can: Future Days (Spoon, 1973)
  11. Magma: Mekanik Destruktiw Kommandoh (1973)
  12. Mike Oldfield: Tubular Bells (Virgin, 1973)
  13. Phish: A Picture Of Nectar (Elektra, 1992)
  14. Birdsongs Of The Mesozoic: Magnetic Flip (Ace Of Hearts, 1984)
  15. Henry Cow: Unrest (Virgin, 1974)
  16. Art Zoyd: Phase IV (1982)
  17. Univers Zero: Heresie (Cryonic, 1979)
  18. Djam Karet: Reflections From The Firepool (HC, 1989)
  19. Amon Duul II: Yeti (1970)
  20. Ozric Tentacles: Strangeitude (Demi Monde, 1991)
  21. Clearlight: Clearlight Symphony (Virgin, 1974)
  22. Yes: Close To The Edge (1972)
  23. Dream Theater: Images And Words (Atco, 1992)
  24. Algarnas Trabgard: The Garden Of The Elks (1972)
  25. Voice Of Eye: Vespers (Cyclotron, 1994)
  26. Bo Hansson: Lord of the Rings (1970)
  27. Alboth: Liebefeld (Permis De Construire, 1992)
  28. Cyrille Verdeux: Messenger Of The Son (Musea, 1984)
  29. After Dinner: Paradise Of Replica (Recommended, 1989)
  30. Einsturzende Neubaten: Zeichnungen das Patienten (PVC, 1983)
  31. Material: Memory Serves (1981)
  32. Mofungo: Out Of Line (Zoar, 1983)
  33. Ordinaires: One (Restless, 1989)
  34. Ruins: Stonehenge (Shimmy Disc, 1990)
  35. Caravan: In The Land Of Grey And Pink (1971)
  36. Iceburn: Hephaestus (Revelation, 1993)
  37. Matching Mole (CBS, 1972)
  38. Nucleus: Belladonna (Vertigo, 1972)
  39. Hugh Hopper: 1984 (CBS, 1973)
  40. Ragnarok: Ragnarok (1976)
  41. Traffic: Dear Mr Fantasy (UA, 1967)
  42. Rake: The Art Ensemble Of Rake/Tell-Tale Moog (VHF, 1995)
  43. Porcupine Tree: On The Sunday Of Life (Delerium, 1992)
  44. Family: Entertainment (Reprise, 1969)
  45. Heldon: Electronique Guerilla (Urus, 1974)
  46. Steve Hackett: Voyage Of The Acolyte (Charisma, 1976)
  47. Happy The Man: Happy The Man (Arista, 1977)
  48. U Totem: U Totem (1990)
  49. Between: Dharana (Vertigo, 1974)
  50. Motor Totemist Guild: Infra Dig (Rotary Totem, 1984)
  51. Rick Wakeman: The Six Wives Of Henry VIII (A&M, 1973)
  52. Jethro Tull: Thick As A Brick (1972)
  53. Art Bears: Hopes And Fears (Re, 1978)
  54. Cerberus Shoal: Mr Boy Dog (Temporary Residence, 2002)
  55. The Scene Is Now: Tonight We Ride (1988)
  56. In The Labyrinth: The Garden Of Mysteries (Ad Perpetuam Memoriam, 1997)
  57. Glass: No Stranger To The Skies (Relentless Pursuit, 2000)
  58. Gary Lucas: Skeleton At The Feast (Enemy, 1991)
  59. Fish & Roses: We Are Happy To Serve You (Homestead, 1989)
  60. Buckethead: Bucketheadland (Disk Union, 1992)
  61. Tractor Hips: Tractor Hips (Friction Media, 1996)
  62. Cartoon: Music From Left Field (12-Tone Productions)
  63. Boud Deun: The Stolen Bicycle (Cuneiform, 1998)
  64. V-Effect: Stop Those Songs (Rift, 1984)
  65. Happy Family: Toscco (Cuneiform, 1997)
  66. Samla Mammas Manna: Klossa Knapitatet
  67. Focus: Moving Waves (1972)
  68. Genesis: Selling England By The Pound (Virgin, 1973)
  69. Miriodor: Elastic Juggling (Cuneiform, 1995)
  70. Lounge Lizards: Lounge Lizards` (EG, 1981)
  71. Massacre: Killing Time (Celluloid, 1982)
  72. Fred Frith: Speechless (Ralph, 1981)
  73. Death Organ: Universal Stripsearch (Ad Perpetuam Memoriam, 1997)
  74. Steve Hillage: L (Virgin, 1976)
  75. Slapp Happy: Acnalbasac Noom (Polydor, 1973)
  76. Lindsay Cooper: Gold Diggers (SyncPulse, 1983)
  77. Grits: As The World Grits (Cuneiform, 1993)
  78. Ensemble Nimbus: Scapegoat (Record Heaven, 1998)
  79. Echolyn: Suffocating The Bloom (Bridge, 1992)
  80. Hatfield And The North (Virgin, 1974)
  81. Amboy Dukes: Survival Of The Fittest (1971)
  82. National Health: Of Queues And Cures (Healthy, 1979)
  83. Allan Holdsworth: Metal Fatigue (Enigma, 1983)
  84. Audience: House On The Hill
  85. Curved Air: Phantasmagoria (Warner, 1972)
  86. Shylock: Gialorgues (Musea, 1977)
  87. Gentle Giant: Power And The Glory (1974)
  88. Schicke, Fuhrs and Frohling: Symphonic Pictures (1976)
  89. Agitation Free: Malesh (1972)
  90. Jade Warrior: Waves (Island, 1975)
  91. Dyzan: Time Machine (Bellaphon, 1973)
  92. Emerson Lake And Palmer: Tarkus (Island, 1972)
  93. Xaal: En Chemin (1991)
  94. White Willow: Ignis Fatuus (Laser's Edge, 1995)
  95. Wallenstein: Blitzkrieg (1972)
  96. Kit Watkins: Labyrinth (Azimuth, 1980)
  97. Anglagard: Epilog (Hybris, 1994)
  98. Brand X: Unorthodox Behaviour (1976)
  99. Flock: Flock (CBS, 1969)
  100. Pangee: Hymnemonde (Pangee, 1995)
  101. Camel: The Snow Goose (1975)
  102. Jon Anderson: Olias Of Sunhillow (Atlantic, 1976)
  103. Dark: Dark (CMP, 1986)
  104. Cassiber: Man Or Monkey (Riskant, 1983)
  105. Bill Bruford: Feels Good To Me (1978)
  106. Present: Certitudes (Cuneiform, 1998)
  107. Philharmonie: Nord (Cuneiform, 1994)
  108. Volapuk: Slang (Cuneiform, 1997)
  109. Egg: The Polite Force (Deram, 1971)
  110. Pavlov's Dog: Pampered Menial
  111. Rush: 2112 (1976)
  112. Marillion: Script For A Jester's Tear (Capitol, 1983)
  113. UK (Polydor, 1978)
  114. Asia (Giffen, 1982)
  115. Premiata Forneria Marconi: Storia di un Minuto (Numero UNo, 1972)
  116. Area: Arbeit Macht Frei (Cramps, 1973)
  117. Banco del mutuo soccorso: Banco Del Mutuo Soccorso (Ricordi, 1972)
  118. Isotope: Illusion (1975)













Edited by Yukorin - September 16 2006 at 14:51
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Direct Link To This Post Posted: September 16 2006 at 11:36

A nice overview of the Japanese Zeuhl/Avant/Rio scene (from Ground and Sky http://www.progreviews.com/) :




Japanese Avant-Prog, by Dominique Leone

The modern underground music scene in Japan is arguably the most interesting and diverse on the planet. Though Japanese pop has generally been an exercise in Western idolatry, the musicians in the underground tend to favor their art above all other concerns. Ironically, the diversity and seemingly endless collection of strange music coming from this scene is contrary to its spirit: that of community and collaboration. Even between various genres, say punk and progressive, underground musicians have been known to stray.

The modern progressive rock scene in Japan could be grouped in two camps. The traditional symphonic sound, influenced by classic 70s groups such as Yes, ELP, and Genesis, maintains the greatest popularity. Japanese bands like Kenso, Ars Nova, Ain Soph, and Bi Kyo Ran appeal mainly to fans of those classic prog bands. The music is still underground, in the sense that the acts rarely achieve a Top 40 type of success, but is based on an established genre.

The other camp of prog musicians rests nearer the avant-garde. This group of artists takes the influence of the classic prog bands, but filter it through a modern experimentalist screen. Outsiders like Captain Beefheart and Keiichi Haino shape their sound as much as Yes or Genesis. This does not mean that the musicians in the avant-prog circle have no communication with those in more orthodox circles, and perhaps that is the most unique aspect of the Japanese underground.


Ruins are the brawny brainchild of drummer Tatsuya Yoshida. Sometime in the summer of 1985, he formed the band, originally supposed to be a power trio, but when the guitarist didn't show for their first rehearsal, bumped down to a rhythm-section-only duo. At the time, he was also performing with YBO2, along with avant-alternative guitarist K.K. Null. The seeds of the present-day communal atmosphere of Japanese underground musicians were sprouting with this early moonlighting affair, as Null would go on to play with Zeni Geva, among others, and of course Yoshida has played with just about everyone.

By far Yoshida's most well known project, Ruins produce a unique fusion of punk and progressive rock. Ironically, its leader has stated that while he admires punk's energy, he has no desire to play pure punk, and in fact grew up on a steady diet of prog bands such as Genesis, ELP, and Gentle Giant. However, his true inspiration came from France's Magma. Magma's trademark odd-metered motives, faux operatic signing, and especially Christian Vander's extroverted drumming have certainly made their way into Yoshida's consciousness, although the jazzy undertones and relatively atmospheric group sound did not.

From an early point, Ruins appealed more to an avant-garde listener than the more traditional 'progger' (a claim that may apply to many of the artists profiled here). On their first recordings, they teamed up with NYC experimental sax-icon John Zorn, and eventually put out albums on his Tzadik label. Their sound was dense mix of industrial noise, prog theatrics, and free-improv. Some critics have used the term 'jazzcore', but there really is no describing the duo's sound.

Yoshida has stuck with his bass-n-drums formula throughout the group's history (except for the one-off Symphonica, with Kenso's keyboardist and two singers), but has switched bassists when needed. The bass in Ruins performs double duty, covering every end of the sonic spectrum, melody, bottom, white noise, etc. Currently, Hisashi Sisaki holds the position, though true blue fans may prefer previous anchorman Ryuichi Masuda.

Yoshida performs with a vast number of other projects. His Koenjihyakkei is more of a traditional prog band, with added guitar, keys, and a female singer. Magaibutsu, Yoshida's website, calls the band a 'Japanese Magma.' High Rise and Mainliner not only share the hard psyche-prog style, but the same members! Korekyojin is a collaboration with Bondage Fruit guitarist Kido Natsuki and Ground Zero/Altered States bassist Nansuno Mitsuro. Other projects include Akaten, Tairikuotoko Vs Sanmyakuonna, Seikazoku, Musica Transonic, Sunkich, and Zubi Zuva. These are not to mention his solo performances - true one-man shows, wherein he drums, sings, plays keyboard, and guitar simultaneously!


Magma seems to have been at the core of influences for a number of Japanese prog bands. Besides Ruins, two bands in particular have taken the zeuhl heritage and run with it: Happy Family and Bondage Fruit. However, as per the modern stylistic mish-mash of much of the underground music in Japan, these bands have taken different aspects of the same group of influences, and the end result is something new in either case.

Happy Family formed in the late 80s while still in college (an aspect of the Japanese music scene that is significantly different from America's). Founding members Kenichi Morimoto (keyboards), Shigero Makino (guitar) and Tatsuya Miyano (bass) were joined by drummer Keiichi Nagase in 1990. They had released two cassettes by 1994, and finally found worldwide exposure with their 1995 Cuneiform Records self-titled debut CD.

Happy Family takes the hard-edged sound of "De Futura"-era Magma, and adds a healthy dose of aggressive fusion to the mix. At times, similar to Ruins, there is a punkish edge to the music, but whereas Ruins may revel in chaotic group improvisation, Happy Family's roots lie closer to traditionally structured instrumental prog/fusion a la Mahavishnu Orchestra and Red-period King Crimson. The overall sound can be very exciting.

The band released Toscco in 1997 with a new guitarist. Sadly, all reports seem to confirm that they are not active now. Since Happy Family's last live performance (October 18, 1998), Morimoto has been away from any musical activity to study law. Nagase has been very busy as a pop session musician, Miyano has been pushing himself as an actor, and their second guitarist has concentrated on his solo project. Officially, the band has not disbanded, yet it is doubtful they will tour again. Between the recording of Toscco and their last gig, they did play much new material on stage, though it looks like it may not see the light of day.

Guitarist Kido Natsuki, violinist Katsui Yuji, and bassist Hirohiko Otsubo formed Bondage Fruit in 1990. Over the next few years, the personnel of Bondage Fruit changed frequently. However, in 1993, they added additional musicians: Takara Kumiko (Vibraphone), Yoichi Okabe (Percussion), Aki Kubota (vocalist, later of Koenjihyakkei) and Saga Yuki (jazz vocalist). Finally, the band's line-up was settled as a seven-piece band.

The band's sound retained the adventurous flavor of Kohntarkosz-era zeuhl, while adding elements of alternative rock, RIO, and even South American music. Although led by guitarist Natsuki, perhaps the primary feature of their early sound was that of the female vocals. Often, the "lyrics" consisted of no actual words, but percussive syllables doubled on marimba or guitar. Aki's operatic style is of note on the first album, and Yuki's more experimental style on the second (Aki had left by that point).

When Yuki left after the second album, the band was left without a vocalist. Without missing a stride, they released Bondage Fruit III: Recit, showing more of their improvisational and avant-fusion sides. The band have often been lumped in with other acts like Happy Family and Ruins, but ultimately, Bondage Fruit may be simultaneously more accessible and yet more willing to embrace various music styles than either. Their latest record features an even greater synthesis of influences than before, ranging from Afro-Cuban music to techno!


While zeuhl, fusion, and traditional progressive rock have influenced more than its fair share of musicians in Japan, some bands exhibit more of an affinity for the experimental. Tipographica is something of a modern RIO/Canterbury group, specializing in highly complex, often dissonant pieces for rock ensemble and horns. The band formed in 1986, led by guitarist Tsuneo Imahori, initially under the influence of NYC avant-garde outfits like Massacre and the Golden Palominos. Their sound evolved into a kind of modern rock counterpoint, with interlocking percussion, guitar, bass, and horns, and a very advanced improvisational sense. They are at once more refined than contemporaries such as Ruins, yet with a looser group dynamic than Bondage Fruit, often using humor in their music. Some have made comparisons between this band and Il Berlione.

Ground Zero, featuring guitarist/turntablist Otomo Yoshide, was one of the most well known groups in underground Japan. Yoshide was an admitted 'non-musician', though one would be hard-pressed to find a more inventive rock outfit. Ground Zero specialized in an eclectic blend of the avant-garde, popular, and the surreal. They cannot be classified as 'progressive' in the same sense as Happy Family or Bondage Fruit, in that they do not often feature dramatic time-signature shifts, or flashy solos (although it certainly isn't for lack of ability). Instead, the band takes elements such as found/sampled sound, noise, and improvisation to create a hybrid. Much of what they play is entirely non-reproducible, a fact that puts them well outside the domain of most progressive acts. Yoshide has performed with most of the musicians in this article, as well as a great number of American experimental musicians.

Nasuno Mitsuru (bass, vocals) and Yoshigaki Yasuhiro (drums), both of Ground Zero, later formed Altered States. This band displays more of the progressive influence than the former group, though no less adventurous for the change. Their sound is something of a mix of King Crimson, Boredoms, and alternative rock, occasionally with a dash of the psychedelic.


Jyoji Sawada is a bassist and composer who has played with most of the players in the Japanese experimental scene. His Base of Fiction CD featured members of Ruins, Boredoms, Ground Zero, and many others. Unlike most of the avant-prog musicians in Japan, he approached the music from more of a modern classical perspective, even incorporating a string quartet into much of his work. Sawada's strongest connection to the scene may be his relentless genre hopping. 'Post-modern' may be the best term, and John Zorn fans will doubtlessly enjoy his work. The overall sound is something of a cross between Béla Bartók, Ruins, and Zorn's classical works.

Hoppy Kamiyama has not only made a name for himself as a musician (Pugs, Optical*8) and producer (television and commercial music), but has also acted as label owner. His God Mountain issued recordings by Koenjihyakkei, Altered States and Jyoji Sawada. Kamiyama is a highly charismatic performer (known for his cross-dressing almost as much as for his music), and his projects are usually rather unique. Pugs have no loyalty to a particular genre, able to play anything from Crimson-style prog to New Wave to Korn-style alt-rock. Optical*8 (with Otomo Yoshide) specialize in an aggressive psychedelic music, with much improvisation and long jamming.


Kamiyama's God Mountain was just one of many independent record labels associated with the genre. Some of the musicians formed their own labels (e.g., Tatsuya Yoshida's Magaibutsu), and other labels were seemingly formed merely to issue a single band's recordings (Nani Records, for Ground Zero). It is important to remember that even in Japan, where it is seemingly easier to find an audience for progressive music than it is in the U.S., the musicians have exactly the same - if not more - financial difficulty. Perhaps the communal environment contributes to the health of the scene, but nonetheless does not contribute to the security of the players.

The most telling characteristic of the Japanese underground may be the 'live-house' system. Typically, unproven artists will actually pay club owners to play until their shows generate a profit. Obviously different than the American scene, this ensures two things: firstly, only the strong survive. Bands that end up in the red will most likely lose their chance to be heard, while those that attract a following can be boosted into international limelight. One of the most popular bands on the live-house circuit today is Melt Banana, an experimental punk outfit. Their local success has led to fairly wide exposure, on tour with Mr. Bungle, and even a release on John Zorn's Tzadik label. Secondly, acts are generally 'finely tuned' before they hit the stage. A great example is Motor Humming, an avant-prog group influenced by Ruins and Boredoms. Before succeeding in front of an audience and having their debut released by Tzadik, the band had rehearsed and recorded a demo. Ultimately, the music has overcome seemingly impossible odds to find an audience, most likely due as much to persistence and discipline as to talent.

Thanks to Naotsugu Ito.




Edited by Yukorin - September 16 2006 at 14:50
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