Since this past fall, I've been working with American filmmaker Aaron Jenkin on a music video for Bo-Peep. Our original idea was to do a simple live promotion video and we met with the girls in early November to discuss our plans. Over a few drinks during a late night out with the band, we brainstormed ideas, one of which was captured by Aaron on a napkin.
We shot live footage at a Shibuya performance two weeks later. Thankfully, our array of HD cameras weren't pulverized in the process. Soon after, Aaron returned to his work in the States. The napkin idea was quick to burgeon into and incredibly elaborate setup that he's been working on patiently ever since. I'm not allowed to reveal too much to you, but I will say that the extended plot involves sheep, dolls, rockets, telekinetic energy, and of course rock 'n' roll.
Two nights ago, I had the band over at my place where we set up a makeshift movie studio and filmed a quick scene. Filming took a few hours and the girls had to wear some heavy costumes, but they were great sports and we all had a blast. Afterwards, we cracked open a few beers and goofed off until the last train.
Production should be wrapping up within the next few weeks. You can guess whose blog the final product will appear on first.
Also, if you are interested in Aaron's work, including the video he shot for Tokyo-based band, The Watanabes, check out his webpage here.
Showing posts with label The Watanabes. Show all posts
Showing posts with label The Watanabes. Show all posts
Friday, January 29, 2010
Wednesday, April 15, 2009
The Watanabes: Independent Social Power
I've owed the Watanabes an album review for quite a while, actually since January. Sorry guys for being late.But the more I think about their album, the less I want to "review" it. Most music journalists in this city are total quacks. Typical reviews look something like this: This band is a japanese version of [insert famous Western band here] mixed with [insert other famous Western band]. Unfortunately, my blog isn't much better. Me pretending to be a rock critic isn't going to help these guys a bit. Honestly, they just need to keep doing what they're doing; touring, promoting, recording, and spreading their message.
A month ago, Japanzine, one of the major free English language publications, gave their album a lack-luster review. I say giving a negative review to an up-and-coming unsigned indy band is a pretty dick move. I call it a classic case of "failed journalist moves to Japan and has no good beat to write about," or "shitty writer rises to editor at a major publication because there aren't many English speakers around."
I've been following bands around for quite some time now and I know that The Watanabes are the best Gaijin band in Tokyo. Most foreign musicians I know get far too much credence for having white skin. I'm going to have to punch somebody next time I have to pay 2000 yen for a lame show with foreigners who think they rock.
The Watanabes on the other hand have their money where their mouth is. The first time I saw these guys was Sleeping on the Dayshift back in the November. It was a solid show and they played to a full house of friends and fans. Last week at Sleeping on the Dayshift Vol. 2, the house wasn't as crowded, so I went right up to the front row with my camera, leaned on the bar, and soaked in their wall of sound. Regardless of what you think, or what they think, I thought that the show was incredible. They have a driving yet introspective indy rock sound. How about you stop reading and listen for yourself:
Stick It In A Novel - Most definitely my favorite song on the album
This Year - A rock song with driving indy bass
Nice Guy - A well-composed, quirky, yet introspective song with cute lyrics
Chin Up - A track that illustrates what their sound is all about
If you like what you hear, pick up their album on iTunes.
As I see it, the band has two unique strengths. 1) Their music, but you can judge for yourself. 2) Their background. As I understand it, English brothers Duncan and Selwyn were teaching out in the sticks of Shikoku where they met Ashley and started the band. Through a few changes in lineup and sound, they eventually shifted into high gear, did a national tour, and made it to Tokyo. They unashamedly bring their alienated gaijin feelings to the characters in their songs.
Sunday, April 12, 2009
Sleeping on the Dayshift: Vol. 2
Shots from last night's show, Sleeping on the Dayshift: Vol.2.
I'm working on the article. Check back soon!
Toshi from Sunset Drive
Alastair
Duncan (foreground) and Ashley (background) from The Watanabes
Brothers Duncan and Selwyn Walsh
Selwyn
Hydrant House Purport Rife on Sleepy (a.k.a. Sleepy Head)
On the left is comedian, Makoto Izubuchi, one half of the famous Japanese comic duo, Razor Ramon.
Friday, January 30, 2009
Best Tracks from the Tokyo Underground
I've been getting repeated requests to post music to the blog. I can write as many good reviews as I want but it's the music that will do the real talking. I'll try to keep up with this more in the future.
I actually just starting playing in a band with her too. Our first rehearsal is next Monday.
Sleepy Head - Pure shoegaze. One of my favorite bands in the Ruby Room scene but unfortunately I've only seen them take the stage once.
Sunset Drive - Toshi, Alastair, and Shin, three of my good friends in town. Remember all the obnoxiousness I've attributed to Toshi? Listen to his guitar squealling and you'll see why.
The Watanabes - These guys are Tokyo's answer to The Smiths, quirky and indy with introspective and well thought out songs, a rock solid stage presence, and a huge fanbase
Qypthone - lead singer Izumi Ookawara has quite the resume. She even has a song on the Grey's Anatomy Season 2 soundtrack.
Bankin Garu - Guitar monster Kei's band. I don't write enough about their vocalist, Shin, one of the more unique voices in town. Listen for yourself.
Little Turtles - This guy hangs out on the streets of Ikebukuro and plays love songs to passing teenyboppers. Pure, unadulterated J-Pop. One day I happened to walk by and heard him playing this absolutely beautiful tune.
Friday, November 28, 2008
Sleeping on the Day Shift
This post is more than two weeks late. Sorry to lag, but it would be really unfair of me to fail in recounting this event. The concert illustrated below was an awesome experience, and I've spent quite a bit of time with the people I met that night. Follow along carefully. The following is a collaboration between my immediate impressions of the concert and my new perspective from two weeks later...
It turns out that Tokyo's Ruby Room and Syracuse's Funk n' Waffles have more in common than I previously realized. Both clubs have spawned their own scene of musicians and dedicated followers, most of whom are open mic regulars. Open mics are always full of rich interactions. Amateurs and newbies come by to put mileage behind their machines while the seasoned players drop in to try new songs in the low key atmosphere. After their sets, they sit patiently behind their drinks and scope out the up-and-coming acts. If you ever play at an open mic, no matter how good or bad you perform, chances are some cat will ask you if you are interested in starting a band and taking the world by storm.
I took Kayo's invitation to her boyfriend's rock show which was held Thursday night at Shibuya's O-Nest, a club in the middle of the love-hotel district. The show was called "Sleeping on the Day Shift" and Kayo was actually MC for the evening. Five acts were scheduled on the main stage while a line-up of DJ's were set to play in a lounge area upstairs. During the show, I ran into the entire who's who of the Ruby Room. All the artists in the line-up were also plugging the open mic. Even Kei was there, perched on a railing unassumingly in the back of the audience.
The O-Nest is the most legitimate club stage I've seen so far. The main space has room for a few hundred people, a stage fit for a full piece band, a professional lighting deck, and a fully adequate sound system. The roster of groups that play there is extensive, stretching from local indy gems to major label acts.
The first little gem up for the night was Nano, a 20-year-old Japanese singer-songwriter from New York City. After moving to Tokyo a year ago, she has already built up a small fan base, first through playing gigs and open mics at the Ruby Room and recently through online networking. I heard only good things about her from quite a few songwriters around town so I was excited to finally see her take the stage.
After Nano's performance, I approached her and introduced myself. We traded information and I told her that she should make it up to Syracuse sometime and play Funk n' Waffles.
Next up was Kat McDowell and her four piece band, a power-pop ensemble with great tunes and an absolutely wonderful front-woman who was extremely photogenic. Seriously, my camera struggled to contain her smile.
She is one of the few foreigners I've met here who can switch between fluent English and Japanese like a native. I know she is originally from New Zealand, but one of these days I'm going to have to ask her why her Japanese is so good. [*note: I learned later that she is half-Japanese, was born in Tokyo, and raised in New Zealand. This much I assumed before but I don't like speculating on people's race.]
A week later at Cozmo's Cafe, I saw her play a solo set with a few of the same songs. Take it from me, her music is incredible. On top of that, I honestly think she was born for the stage. You should see the way she commands the audience. She sings to the mic like it's a child. Her guitar strumming and body movements are in perfect sync. Kat's stage presence is straight up phenomenal. We had a chat the other day and I was very surprised to learn that she is only 24. Not that she looks older, but her maturity as a musician is way beyond that age in my opinion.
In the middle of the roster was Primal Concrete Sledge, a fairly weak hardcore band. I'll dazzle you with a great picture of them, but don't expect their music to have the same effect.
The penultimate band was The Watanabes, a fully gaijin rock band based in Tokyo. Of all the groups on the roster, I have the feeling that they have the biggest following. I can't put my finger on it, but I know I've read about them somewhere before.
Their music and lyrics were heavily influenced by The Smiths, which may even be the inspiration for their name. (Smith is the common surename in the English world, whereas Watanabe is common in Japan). They put on an excellent set and got really positive feedback from the crowd, many of whom were dedicated followers.
I have one educated criticism. Their lyrics are too candid. "Show me, don't tell me," also applies to music. The Watanabes had great tunes, but they illustrated their themes in too direct a manner. For example, take this lyric from one of their best songs, "I hate it when girls go for guys who treat them like dirt... I'm just a nice guy." The song was catchy, creative, and well written, but such obvious lyrics hamper the introspective qualities of good rock music.
The headline act was Sunset Drive, a power trio comprised of New Zealander Alastair on vocals and bass (I know him from open mic), Kayo's boyfriend Toshi on guitar, and drummer, Shin. The crowd was juiced up just about as soon as they plugged in. Once again I was witness to the wild side of Japanese culture. Even Kayo, who in a prior blog post impressed me as being so refined and professional, was completely sloshed and dancing around like a madwoman. Miyuki was there too going bonkers. I have no right singling them out considering the whole crowd of at least 150 people were in the same state. Most surprising was Toshi's pint-sized Japanese mom standing right up in front at the stage watching her son rock the house down.
If one thing truly bodes well for Sunset Drive, it's that the people at the show knew most of the lyrics and were singing along the whole time. Alastair is an awesome rock songwriter. If Kat had the best pop music in the line-up, I would say Alastair balanced things out with incredible rock-sensibility. He likes to label his act as indy, but from my perspective, I see their music as heavily influenced by rock from the cusp of the 70's and 80's, intense, raw, and loud.
Behind this sound was Toshi's original 1973 Gibson Flying V, a guitar worth at least the entire price of my trip to Japan plus a few gold chains. He bought it from a old man in New Zealand who wasn't aware that he possessed a nearly priceless vintage instrument coveted by collectors the world over. They say that old Gibsons have a characteristic noisy sound because their pickups aren't wound with modern precision. True or apocryphal? Don't ask me. But when Toshi plugged in, all I can say is that the sound is like painting the Mona Lisa with mud. Still beautiful, but simply a dirty mess.
I got to spend a little time with Toshi a few weeks later. Let me just say, he can be a vulgar mother-f*ker. While trying to learn some good and proper Japanese from his friends, he grabbed my book and started writing all kinds of really obscene slang phrases. I think I'm worse off for knowing these things...
Anyway, Sleeping On The Day Shift was quite the night. I've got my fingers crossed that one of these days I'll be in a similar line-up.
And for one more shot...
Here's a closeup of Toshi doing a little "Behind the Head" Hendrix style solo. Check out those awesome locks!
It turns out that Tokyo's Ruby Room and Syracuse's Funk n' Waffles have more in common than I previously realized. Both clubs have spawned their own scene of musicians and dedicated followers, most of whom are open mic regulars. Open mics are always full of rich interactions. Amateurs and newbies come by to put mileage behind their machines while the seasoned players drop in to try new songs in the low key atmosphere. After their sets, they sit patiently behind their drinks and scope out the up-and-coming acts. If you ever play at an open mic, no matter how good or bad you perform, chances are some cat will ask you if you are interested in starting a band and taking the world by storm.
I took Kayo's invitation to her boyfriend's rock show which was held Thursday night at Shibuya's O-Nest, a club in the middle of the love-hotel district. The show was called "Sleeping on the Day Shift" and Kayo was actually MC for the evening. Five acts were scheduled on the main stage while a line-up of DJ's were set to play in a lounge area upstairs. During the show, I ran into the entire who's who of the Ruby Room. All the artists in the line-up were also plugging the open mic. Even Kei was there, perched on a railing unassumingly in the back of the audience.
The O-Nest is the most legitimate club stage I've seen so far. The main space has room for a few hundred people, a stage fit for a full piece band, a professional lighting deck, and a fully adequate sound system. The roster of groups that play there is extensive, stretching from local indy gems to major label acts.
The first little gem up for the night was Nano, a 20-year-old Japanese singer-songwriter from New York City. After moving to Tokyo a year ago, she has already built up a small fan base, first through playing gigs and open mics at the Ruby Room and recently through online networking. I heard only good things about her from quite a few songwriters around town so I was excited to finally see her take the stage.
After Nano's performance, I approached her and introduced myself. We traded information and I told her that she should make it up to Syracuse sometime and play Funk n' Waffles.
Next up was Kat McDowell and her four piece band, a power-pop ensemble with great tunes and an absolutely wonderful front-woman who was extremely photogenic. Seriously, my camera struggled to contain her smile.
She is one of the few foreigners I've met here who can switch between fluent English and Japanese like a native. I know she is originally from New Zealand, but one of these days I'm going to have to ask her why her Japanese is so good. [*note: I learned later that she is half-Japanese, was born in Tokyo, and raised in New Zealand. This much I assumed before but I don't like speculating on people's race.]
A week later at Cozmo's Cafe, I saw her play a solo set with a few of the same songs. Take it from me, her music is incredible. On top of that, I honestly think she was born for the stage. You should see the way she commands the audience. She sings to the mic like it's a child. Her guitar strumming and body movements are in perfect sync. Kat's stage presence is straight up phenomenal. We had a chat the other day and I was very surprised to learn that she is only 24. Not that she looks older, but her maturity as a musician is way beyond that age in my opinion.
In the middle of the roster was Primal Concrete Sledge, a fairly weak hardcore band. I'll dazzle you with a great picture of them, but don't expect their music to have the same effect.
The penultimate band was The Watanabes, a fully gaijin rock band based in Tokyo. Of all the groups on the roster, I have the feeling that they have the biggest following. I can't put my finger on it, but I know I've read about them somewhere before.
Their music and lyrics were heavily influenced by The Smiths, which may even be the inspiration for their name. (Smith is the common surename in the English world, whereas Watanabe is common in Japan). They put on an excellent set and got really positive feedback from the crowd, many of whom were dedicated followers.
I have one educated criticism. Their lyrics are too candid. "Show me, don't tell me," also applies to music. The Watanabes had great tunes, but they illustrated their themes in too direct a manner. For example, take this lyric from one of their best songs, "I hate it when girls go for guys who treat them like dirt... I'm just a nice guy." The song was catchy, creative, and well written, but such obvious lyrics hamper the introspective qualities of good rock music.
The headline act was Sunset Drive, a power trio comprised of New Zealander Alastair on vocals and bass (I know him from open mic), Kayo's boyfriend Toshi on guitar, and drummer, Shin. The crowd was juiced up just about as soon as they plugged in. Once again I was witness to the wild side of Japanese culture. Even Kayo, who in a prior blog post impressed me as being so refined and professional, was completely sloshed and dancing around like a madwoman. Miyuki was there too going bonkers. I have no right singling them out considering the whole crowd of at least 150 people were in the same state. Most surprising was Toshi's pint-sized Japanese mom standing right up in front at the stage watching her son rock the house down.
If one thing truly bodes well for Sunset Drive, it's that the people at the show knew most of the lyrics and were singing along the whole time. Alastair is an awesome rock songwriter. If Kat had the best pop music in the line-up, I would say Alastair balanced things out with incredible rock-sensibility. He likes to label his act as indy, but from my perspective, I see their music as heavily influenced by rock from the cusp of the 70's and 80's, intense, raw, and loud.
Behind this sound was Toshi's original 1973 Gibson Flying V, a guitar worth at least the entire price of my trip to Japan plus a few gold chains. He bought it from a old man in New Zealand who wasn't aware that he possessed a nearly priceless vintage instrument coveted by collectors the world over. They say that old Gibsons have a characteristic noisy sound because their pickups aren't wound with modern precision. True or apocryphal? Don't ask me. But when Toshi plugged in, all I can say is that the sound is like painting the Mona Lisa with mud. Still beautiful, but simply a dirty mess.
I got to spend a little time with Toshi a few weeks later. Let me just say, he can be a vulgar mother-f*ker. While trying to learn some good and proper Japanese from his friends, he grabbed my book and started writing all kinds of really obscene slang phrases. I think I'm worse off for knowing these things...
Anyway, Sleeping On The Day Shift was quite the night. I've got my fingers crossed that one of these days I'll be in a similar line-up.
And for one more shot...
Here's a closeup of Toshi doing a little "Behind the Head" Hendrix style solo. Check out those awesome locks!
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