Yugo Sato: Live. Uncut

Yugo Sato, the true Werewolf of the Tokyo underground. Here he is at Diglight playing his opening warm-up set for the Cyber Blues back in April.

And for a lil' foot stompin' Honky Tonk Women:

Ghetto yet awesome footage courtesy of Alex Brooke and the Learn Japanese Pod.

More footage to come soon so please stay tuned!

Hip-Hop Japan meets Giant Robots

Anyone interested in music and Japanese pop culture (i.e. ME) should take a look at Hip-Hop Japan written by anthropologist and MIT professor Ian Condry. The book was first recommended to me by a Yale professor when I was putting together my soon to be doomed Fulbright application back during senior year. (Fulrbight didn't work out, but a year later, the Werewolf was born...)

The book is an inspiring in-depth analysis of Japanese Hip-hop culture as observed directly from the streets. Condry spent years following and researching underground rap groups at the most legit Tokyo clubs and late-night spots. The perspective of the book is of an ethnographer who sees Hip-hop in Japan as the unique result of modern globalization.

I picked up the book last week and read it once again cover to cover. It resonated with me even more strongly this time around, considering that many of the places he writes about are hangouts in and around my scene. On a whim the other day, I decided to email Condry about the Werewolf project and see if he would be around Tokyo in the near future. He responded to my message promptly. As luck would have it, he is in town this very week with an MIT theater troupe. The group is performing a play that he wrote, "Live Action Anime: Madness at Mokuba." He invited me to the performance this past evening.

The show is a somewhat nonsensical modern piece woven together by Japanese pop cultural stereotypes and over-the-top costuming. The main character is a Japanese school girl and the villians are two salarywomen who attempt to brainwash children with the siezure-inducing flashing lights of a Pokemonesque video game. Various anime and Japanese character clichés are worked into the plot, with a finale battle royale between giant styrofoam robots of quite brilliant adhoc construction.

I'm not one to read into such things too much, but I think the point of the show was to create an amusing high tech satire that simultaneously celebrates and mocks stereotypes of this nation's popular culture. I was really into the performance, but I worry one would have to be privy to all the references to get it.

I stuck around for the cast and crew after-party for a few hours and met some very interesting people, many of whom knew of Condry through the academic world. I brought along my copy of Hip-Hop Japan and approached Condry later in the night for an autograph. He had had a few drinks and was noticeably buzzed with a little rose color in his cheeks. The conversation went as follows.

"Would I be a total loser if I asked you to sign my book." I said pulling out the volume and a black marker.

"I love that shit. It makes me feel important," he replied with a hint of slurred speech. He grabbed the book and marker, sat down, and opened to the first page to sign. "Jonathan, right?"

"No. Ethan," I corrected him.

He then wrote in my book "To Ethan- キープ・リアル！！P.E.A.C.E." The Japanese transliterates to keepu rearu, of course meaning keep it real.

I have to say it was very cool for me to meet someone who has made a career out of this kind of research. The Tokyo Werewolf takes a humble bow.

Rock Chick (or Your Girlfriend on a Bad Day)

Last night, I attended Rock Chick, an event hosted by Metropolis, the biggest English language free paper in Tokyo. The magazine holds a periodic live music series called Saiko. This time, the theme was female rock musicians.

I was signed up as staff for Natccu, an up and coming indy rock songwriter. Last month, she played a show in LA and then did a series at South By Southwest in Austin. In the coming weeks, she's off to England for a 3 month tour arranged by her English husband and manager. She's a nice girl too. For my duties as roadie, Natccu treated me to a bowl of ramen after the show. Her webpage is pretty awesome. Tell me what you think of the music.

Next on the roster were my homegirls, Bo-Peep, never ceasing to rock the house down. Here is a snapshot of them goofing off before the show:

For being a bunch of nice polite Japanese ladies, you would not believe how heavy their sound is. Check out my all-time favorite song, B-Level Motion.

Mika: quiet and reserved in person, give her a guitar and she goes completely insane...
Ryoko: frail and delicate, but with drumsticks in hand she will smash through concrete blocks...
Take: quirky on stage, quirky off stage...
Third on the roster was Aiha Higurashi from the successful 90's alternative band, Seagull Screaming Kiss Her Kiss Her.

Last was Mass of the Fermenting Dregs (totally sweet name!), a well known punk band. I see their ads all over the major record stores and music magazines. I didn't believe it was possible, but these guys were even heavier than Bo-Peep.

Conclusions for the night: As my friend bluntly put it, "Not all Asian chicks play the violin."

After the show when the audience had taken off, Bo-Peep, Natccu, their managers, their significant others, and myself got a little wild dancing and drinking. I probably should try a little harder to limit my exposure to alcohol and loud music.

Beatlemania

Last night, I was introduced by an American friend to a Japanese Beatlemaniac who has been an obsessive fan and collector since the 1960's. Together, we went to his favorite spot in Tokyo, The Cavern Club, a Beatles-themed club and bar with a retro atmosphere, memorabilia decorating the walls, and Beatles tribute bands playing every night of the week.

This type of focused mania is distinctly Japanese. I don't think you would ever come across a similar place anywhere in the world.

The real unique charm to the place was the band, Shirokuma Company, a fab group of four Japanese guys with mop tops, vintage black suits, and original period instruments. They played set after set of extremely well rehearsed note-for-note interpretations of all of the famous hits. From the sound of their amplifiers, the growl in their voices, and the shaking of their hair, these guys were as close to the Beatles as it gets.

Let's take a closer look:

'Paul', with his violin bass and puffy McCartney hairdo doesn't look so bad. He could also sing pretty well. 'John' however is a different story.

The guy's stage name is Mabu John (Mabu short for Hidemasa Mabuchi). His performance was a near perfect interpretation and his striking resemblance to John Lennon is absolutely uncanny, if not a bit eerie. 

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.

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.

Juice: 10th Anniversary

After catching Prague's show last week, I got in touch with their manager and offered to take pictures at any upcoming show if he was interested. He invited me to catch one of his bands, Tobaccojuice, at a concert held tonight at Ebisu Liquid Room.

The event was the 10th anniversary party for Club Juice, a Japanese language free magazine that covers the music scene in Japan. I gathered from Fumi, my radiohost housemate from Osaka, that all the bands in tonight's lineup were moderately popular.

First up was a lively rock band, Otogibanashi, which my dictionary tells me means "fairy tale."

Tobaccojuice was second on the lineup. They play stoner rock with a bit of a country twist.

Last up was Flower Companies, a lively punk band that cranked the volume up a notch.
Yes, I know what you are thinking, Japanese band names don't sound all that cool in American English. I think that is their only weak point. You wouldn't believe how much energy these guys put into their shows.

Being Unofficial Photog was an experience. You may have noticed that I never turn down a slot on the guestlist. This time though, I got myself into trouble. Twice, Japanese staff members at the venue came up to me and told me to stop taking pictures. The first guy even told me to delete all of my data. Both times, I name dropped the manager which seemed to shut them up.

Between sets, I ran into Mika and Ryoko from Bo-Peep. They are still buzzing from their experience playing in LA and Austin's SXSW festival. They agreed to do an interview for my blog sometime so stay tuned.

Vinyl Soul

I went to check out LA Latin Jazz/Soul hybrid band, Vinyl Soul, tonight in Okubo. Their trumpet player is a Japanese gal and they've done extensive touring over here. Check out their myspace. The best song I think is Sabor a mi.

Yugo Sato

Yugo Sato, one of the most talented musicians I've met in the Tokyo scene. Born and raised in Japan, yet he can play the blues better than any American I know. He's been a reoccurring character in this blog as well as my life here in Tokyo; an incredible musician and a true friend.

This track illustrates his musical brilliance and sense of hybrid creativity. The song is titled "Ronin Blues,"  ronin being the Japanese word for a masterless samurai vagabond. In it, he cries out with his masterfully bluesy voice while strumming the Shamisen, a traditional Japanese stringed instrument. 

Ronin Blues

Prague: The Band Formerly Known As Sound Coordination

About two weeks ago, I went to see Sunset Drive play on the same lineup as an up and coming indy group, Sound Coordination, who are currently in the process of changing their name to Prague. It turns out that their manager also owns the company who represents Bo-Peep. He is a cool Japanese guy who has years of experience in the music industry. After the show, we all went out for a few drinks.

Tonight, I went to see Prague at a live house in Shibuya. The other bands were more or less weak, but Prague on the other hand has a totally awesome sound, hard to categorize but something like a Japanese version of Bloc Party. I really dig them and hope to be following them around more often.

After the show, I said hi to the guys in the band. The drummer actually remembered me from before and remembered that I also play drums. I guess being a gaijin comes in handy. Would he have even cared if I was just another member of the crowd?

Being a weeknight, there was no afterparty this time around. But next time who knows...

(This shot is from the first show)

Shout Out to Bo-Peep

I just found out that Bo-Peep, the all girl Japanese punk band I've hung out and partied with here in Tokyo, received a few mentions in the New York Times from their recent appearances at the American music festival, South by Southwest.

SXSW: A Surprise from Japan

Stoking Careers in Frenzy of South by Southwest

My college roommate, Sandeep, currently lives in Austin and told me he would check out their show for me. Apparently, the place was so overcrowded that he couldn't even get in!

Congratulations and a shout out to my home girls Ryoko and Mika! Glad to know you guys rocked the house down!

Vinyl Pornography

Like the guitar stores in Ochanomizu, the record shops in Shibuya are equally as salivating. This afternoon, I took a little field trip to the music block. A bib would have been helpful. I had to keep reminding myself that A) I have no money, and B) I have no record player (at least at the moment), or else I would have cleaned out the shops.

The best one I found was Recofan, a glutinous mess of incredible music covering a whole floor of an office building. The store was so overloaded with CD's and vinyl that it was difficult to browse through. Some sections were filled with boxes of cheaply priced albums organized solely by genre, as if the management didn't have time to properly catalogue their monstrous inventory. Hipply dressed DJ looking types could be seen everywhere flipping through hundreds of boxes searching for that one gem.

My litmus test for any record shop is letter "P" under Soul. If I'm impressed by the Prince and Parliament selections, then I know I've come to the right place. Sure enough, they had something like 4 copies each of Purple Rain, 1999, Parade, Around the World in a Day, and many many more, all reasonably priced.

This photo captures just one row of many in the store.

Another shop I saw sold DJ mixers and turntables. This sign was hanging outside.

It says, "Fuck PC. Real DJ's play vinyl."

Damn straight.

Baby M Exclusive

More exclusive photos from yesterday:

Hard at Work: Baby M studying lyrics, producer Takanashi concentrating on his computer, and manager Toyama in the background reading.

Baby M laying down a track in the recording booth.

Exclusive Live Update

I'm currently in the studio with Baby M. Like right this very second. I snapped these photos with my laptop camera.

Here is the control room.

Here is the booth with Baby M rockin' the mic.

清水翔太 - Shota Shimizu

I got lucky today.

As I mentioned before, my first gig in town has been teaching the owner of a boutique advertising/creative firm how to use digital media software. He also manages a few major J-Pop artists including well known Miliyah Kato and Baby M, who's show I saw two weeks ago.

I called the owner this afternoon to arrange our lesson.

"Hey, I have an extra ticket for Shota Shimizu tonight if you want," he told me over the phone. Shota is one of his artists.

I was on it in a flash. After our lesson, we drove over to Shibuya AX, one of top venues in town, entered through the back door, and received our backstage passes. VIP's were up in the balcony overlooking a floor packed completely to capacity, probably with 1000 people or so.

The reaction from the crowd when Shota first took the stage was a tangible shock of excitement. He dove right into their energy playing this song, a super hip mix of J-R&B and J-Rap. It's been stuck in my head since. The video doesn't do justice to the character of the moment. Even I was totally star-struck.

I was dreaming of making this song a hit in America.

Shota, only 20 years old, was an awesome performer. His musical influences, mainly American R&B and Motown, show through in his articulate and wide ranging voice. His style is simultaneously edgy and smooth, stepping in time to the rhythm with an awesome pair of high top kicks.

His style and appeal was apparent to everyone. All the girls in the room wanted him and all the guys wished they had his moves and apparel.

After the show I got to go back stage and give him a quick thank you and a nod. One of the advertising guy's friends works for Nike and gave Shota a free pair of kicks. Tough life.

Go!Go!7188

Here are a few links. Tell me if you link these songs!

This one is the best video I found: Kikyori Renai

(Point Blank Love)

This one is there most famous song: Koi no Uta

(Love Song)

Here is one that captures their concert energy: Otona no Kusuri

(Adult Medicine)

Obviously, tiny YouTube video's don't do justice to how huge this band's sound is, but they do show you a little taste of their energy and style.

WARNING: ROCK N' ROLL MAY DO DAMAGE TO YOUR FACE

This month, Bo-Peep are on their way to South by Southwest, the hottest annual indy music festival in the States.

So Texas be warned, you are in for a facial scorching by three Japanese ladies.

Seriously though, if any of you guys are in Texas during the festival, make sure you catch Bo-Peep. The track featured on the SXSW website was their second to last song at Sunday night's concert. I can vividly imagine the American audiences who are going to be completely blown away by this track. It just simply rocks hard.

Here is the link: B-Level Motion

Go!Go! 7188 + American Sexism

Last week, I mentioned Daniel, the music exec I know from the UK who brings Japanese bands on tour. It was through him that I met the girl group Bo-Peep who invited me to their show with Electric Eel Shock in Shimokitazawa last night.

Knowing he would be the guy to ask, I once picked his brain about who he thought was the best J-Rock band. "Go!Go! 7188," he responded, were currently the best band in the world.

Daniel invited three of Go!Go!'s managers to the Bo-Peep show and we were all making friendly conversation. One of the guys, Shinji, gave me a free ticket to the band's show tonight at Shibuya's O-East.

I didn't know a thing about the group minus that one English guy loved them and that they were very popular in Japan. The throngs of people in and around O-East confirmed my suspicions.

And here is why I am a sexist piece of shit. When the band was ready to take the stage, a hot young Japanese girl in a black Go!Go! 7188 t-shirt carrying a Go!Go! banner walked on stage. "This band even has their own cheer-girls," I was thinking.

Then a roadie handed the woman a bass and plugged her in. I felt like a real asshole. It didn't cross my mind that the best band in Japan could have a female front lineup. It's like that old riddle where the punch line is that the surgeon is a woman.

Go!Go! is a hard rock pop-punk trio with rocker-chicks Akko on bass and Yumi on guitar, with rocker-dude Turkey on drums. And for the billionth time since I came here 4 months ago, stereotypes I didn't even know I held about gender and music broke down before me.

Yumi- holy smokes could she wail!! She was a totally amazing guitarist with a unique and commanding style, crossing raw power from the Stooges, MC5, and AC/DC, with J-Rock/J-Pop harmony. The front-center of the stage had a small platform with bright pink trim. Yumi, with her matching pink t-shirt, would step up on the platform during her solos, elevating her status and commandeering the audience. I bet that even Toshi from Sunset Drive would have been mesmerized.

After the show, I stuck around and pretended to be somebody important. When the crowd thinned, my music exec friend introduced me to Turkey and Akko. I swallowed my butterflies and told both of them about the Tokyo Werewolf project.

So Akko, if you are reading this, sorry that I misjudged you at first. You guys rocked my world!!

Electric Eel Shock and Bo Peep

I went to see two huge bands in the Tokyo underground scene, Electric Eel Shock and Bo Peep. Eel Shock is huge. I heard about them all the way back in the States. They've toured the world.

Since I had already met Bo Peep a few weeks ago, they were happy to introduce my friend and I to everyone. I got to party with both bands after the show. I'll tell you all about it once I get a chance to complete this article later in the week. For now though, I need to hit the sack...