Adventures In Record Shopping: Japan Edition

Recently I was lucky enough to visit the Land of the Rising Sun. I had an amazing time taking in all the sights and sounds of Tokyo, touring Nagano Prefecture, and making the treacherous, snow covered climb to Jigokudani Monkey Park to see the snow monkeys in the hot springs.

Aaaaaaand….. I went record shopping!!!!!! It was so much fun digging through records I had no idea about (aside from the fact they were helpfully organised by genre in English). I was a little hesitant at first, but my husband convinced me that buying a bunch of Japanese records without any prior knowledge would be a wild and funky ride when we finally got home and listened to them.

As it turns out, he was right! Not one of the records we took a punt on was a dud. And some of them rocked my world. So I’ve made a list of my favourites.

Supercar - ‘Jump Up’ (1999) and ‘Futurama’ (2000)

‘Jump Up’ and ‘Futurama’ were the last (and most expensive) records we bought on our trip. They were also the only ones that weren’t second hand. We bought them from a Disk Union store in Ochanomizu, Tokyo. Disk Union is kind of like JB HI-FI with stores in multiple locations, except they sell second hand records as well as new ones, and there are specialist Disk Union stores, like the Shinjuku Soul/Blues Hall and the Ochanomizu Hard Rock/Heavy Metal Building.

Supercar were a Japanese rock band, active from 1995 to 2005, and their first three albums had recently been issued on vinyl for the first time. The covers are very bright and caught my eye. I’ll admit I cheated a little here. I didn’t want to spend up big on a couple of fancy looking records and take them home only to find out that they weren’t my bag. Disk Union had a bunch of copies of both albums, so that night back at the hotel, I looked them up on YouTube and listened to a few of their songs. I’m so glad I did! They made awesome 90’s shoegazing, electro, indie rock that blew me away. I’m a fan of Jesus and Mary Chain and My Bloody Valentine, so Supercar are totally my thing. The next day we headed back to Disk Union, and it’s lucky we did because we picked up the last two copies that were left. Phew!

Southern All Stars - ‘Tiny Bubbles’ (1980)

I picked up ‘Tiny Bubbles’ in a Cash Converters type store in Ueno, Tokyo for 300 JPY (roughly $3 AUD). ‘What the hell,’ I figured, ‘ there’s a cat on the cover and if it turns out to be crappy, it was only three bucks.’ Later on we saw the same record hanging on the wall at Disk Union. ‘That’s got to be a sign,’ said my husband. ‘It’s either really good, or really cheesy.’ We found out afterwards from a Japanese friend of ours that Southern All Stars were huge in Japan. They formed in 1974 and were active through to 2008. They have since reformed in 2013. ‘Tiny Bubbles’ is a fantastic funky, jazz rock album with a 1970’s sound that made me think of Supertramp. It was definitely a $3 gamble that paid off big time.

Der Zibet - ‘Electric Moon’ (1987)

‘Electric Moon’ was a recommendation from the super helpful guy working at Good Times , a record shop in Nagano. I was buying a Pet Shop Boys record (I know, I know… I didn’t just buy Japanese records!) and asked for suggestions of Japanese bands that were similar. His English wasn’t great, but it wasn’t bad and was much better than my Japanese, and between the two of us and my husband, we managed to come up with some options for 1980’s Japanese indie rock and 1990’s Japanese punk. The 80’s stuff was cheaper, so we settled on a couple of those. One had a 1980’s hair band sound with a cool frontwoman (awesome!) and the other was Der Zibet’s ‘Electric Moon,’ which is classic, 80’s electro, new romantic, like Spandau Ballet or Adam and the Ants.

Hajime Tachibana & Low Powers - ‘Low Powers’ (1997)

Hajime Tachibana was the guitarist in the short-lived but highly regarded Japanese new wave band The Plastics in the late 1970s - early 1980s. After the band broke up, he released several solo albums. ‘Low Powers’ was the only album he released with the band, Low Powers. The album, ‘Low Powers’ is mellow, lo-fi, 90’s indie rock and has a great version of the Beatles’ ‘Eight Days a Week’. I found this gem while flicking through the Japanese 90s indie rock section at Coconuts Disk in Ekoda, Tokyo.

Yura Yura Teikoku - ‘Into The Next Night’ (2006)

Okay, so this is not a record or even an album… it’s a CD single. I’m including it though, because every record and music store we went to, we were specifically looking for anything by Yura Yura Teikoku and this was the ONLY THING WE COULD FIND!!! Yura Yura Teikoku is a Japanese psychedelic rock band that was active from 1989 - 2010 and fronted by Shintaro Sakamoto. My husband and I first heard about them after buying Shintaro Sakamoto’s debut solo album ‘How To Live With A Phantom,’ which is now one of the most played records in our house. It’s like the best, most interesting lounge music I have ever heard! We wouldn’t normally buy a CD single, but made an exception in this case because we were so excited to find it. And to be fair, it has two songs that are both over 7 and 9 minutes long respectively. Also, it’s pretty freaking cool.

I want to give a special mention to Blankey Jet City. Sadly, I discovered them too late to buy any of their music, but they are the Japan’s answer to The Strokes… except they formed eleven years before The Strokes were even a band. So, I guess The Strokes is North America’s answer to Blankey Jet City. You totally rock, Japan!

Album Review: Songhoy Blues' 'Résistance'

2017
12 songs
Length: 44:59
Available to buy from Bandcamp

Songhoy Blues are a desert blues band from Timbuktu, Mali. Their second album ‘Résistance,’ which was released this year, is guitar-driven blues rock with elements of funk, jazz and psychedelic rock thrown into the mix.

Songhoy Blues comprises four members; Garba Touré, Aliou Touré, Oumar Touré and Nathanael Dembélé. The band was formed in Mali’s capital city of Bamako after guitarists Garba and Oumar, and singer Aliou (no relation) were exiled from their home in northern Mali by the jihadist group ‘Ansar Dine,’ who took control of the region and outlawed cigarettes, alcohol and music. Garba, Aliou and Oumar identify as Songhoy people, a West African ethnic group that was once-prominent, but is now marginalized by Islamist militias who’ve imposed an incredibly strict reading of Sharia rule. The band’s name is a hybrid of their ethnicity and the style of music (desert blues) they play.

Songhoy Blues are heavily influenced by western styles of music and name Jimi Hendrix, John Lee Hooker and BB King among their inspirations. The band also worked with Yeah Yeah Yeahs’ guitarist Nick Zinner on their 2015 debut album ‘Music in Exile.’

‘Résistance’ could be described as a ‘world music’ album, and the tracks ‘Ici Bas’ and ‘Badji’ certainly have world folk music appeal. But to label it ‘world music’ would be dismissive of it’s retro, psychedelic rock/funk essence and the myriad of other styles the band dabble in.

The album’s opening track ‘Voter’ is quintessential psychedelic rock, charged with whimsical, extended guitar solos. ‘Bamako’ is a beautiful acid jazz/ psychedelic rock hybrid, with an uber-funky bassline reminiscent of George Clinton’s Funkadelic. ‘Sahara,’ incorporates a bluesy swagger with some English lyrics that add an almost post-punk feel. ‘Sahara’ is one of the few tracks on the album on which English is heard; ‘Mali Nord,’ is another that includes English in the form of a rap, telling of the band’s longing to return to a home they have been banished from.

Songhoy Blues are as diverse in their use of sounds and instruments as they are in their exploration of styles. ‘Yersi Yadda’ shifts between synths and brass, and Santana style rhythm guitar. The lovely folk sounding ‘Hometown’ pairs banjo with strings. ‘Dabari’ is driven by a steady guitar rhythm, interspersed with chanting and some well placed crescendos.

Songhoy Blues effortlessly blend psychedelic rock, funk, jazz, blues and folk on ‘Résistance’ to create a groovy, smooth sounding album with some intricate guitar work and an old school sound. It’s a fantastic album from a very promising band.

The Influence of Science Fiction In Popular Music

Science fiction has long been influential in popular music. Experiencing a ‘Golden Age’ in the 1940’s and 1950’s, science fiction appealed to society’s changing attitudes towards technology, space and the Earth’s place within it. Science fiction film was flourishing, and with the advent of television, it was making a name for itself within mainstream popular culture. It was only a matter of time before science fiction would begin to infiltrate mainstream popular music in the late 1950’s, coinciding with the beginning of the great space race.

The 1940’s and 1950’s saw a sub-genre of pop music now referred to as ‘atomic platters’, which was influenced by the atomic bomb, concerns of an imminent World War Three, and flying saucers. ‘Atomic platters’ was kitschy and short lived, but undoubtedly influenced Sheb Wooley’s 1958 novelty hit ‘Purple People Eater,’ a cheesy tune about a one-eyed, one-horned, flying alien that eats purple people. Love and relationships was standard subject matter for popular music of the time, but ‘Purple People Eater’ is characteristic of the bug-eyed monster space-invader science-fiction craze of 1950’s America.

Things started to ramp up in the 1960’s when psychedelic rock was born. Influenced by psychedelic culture and mind altering drugs such as LSD, psychedelic rock incorporated electronic sound effects, feedback, wah wah and extreme reverb to produce some space age sounds. It was perfectly suited to subsume science fiction. Folk rock band,The Byrds, who were influential in originating psychedelic rock, released ‘Mr Spaceman’ in 1966 and ‘Space Odyssey’ in 1968, which speak of a clear yearning for contact with alien life. Pink Floyd’s ‘Set the Controls for the Heart of the Sun’ released in 1968, uses space travel as a metaphor for an acid trip.

Then in 1969, the same year of the first moon landing, David Bowie released the album ‘Space Oddity,’ of which the title track would become one of four of his songs to be included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. ‘Space Oddity,’ with its main character Major Tom, is also one of the most distinctly science fiction songs in rock music. The video clip for ‘Space Oddity,’ bears many similarities to Stanley Kubrik’s 1968 film ‘2001: A Space Odyssey,’ which incidentally was based on the 1951 short story, ‘The Sentinel,’ by British science fiction writer, Arthur C. Clarke.

Bowie’s fascination with science fiction didn’t stop there though. Science fiction was a major influence on much of Bowie’s work. The hugely successful 1972 concept album ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars’ centres around the theme of extraterrestrial life. 1974’s ‘Diamond Dogs,’ was heavily influenced by George Orwell’s science fiction classic, ‘Nineteen Eighty-Four’. Major Tom also resurfaces in 1980 on ‘Ashes to Ashes’ and again in 1995 on ‘Hallo Spaceboy.’ Much has been written about Bowie’s work and it’s numerous connections to science fiction. As one of the most influential artists in rock history, I think it’s safe to say that David Bowie has played a huge part in making science fiction cool.

Afro-futurism is another significant example of the merging of science fiction and popular music. Stemming from African-American science fiction, Afro-futurism explores the African-American experience through literature, music and art. Author of ‘The World of Black Science Fiction and Fantasy Culture,’ Ytasha L. Womack explains; ‘Afrofuturism bridges so many aspects of our culture, from African mythology, art and hip-hop to politics, comic books and science. The name serves as an anchor from which we can build ideas and expanding our minds.’

Although the term Afro-futurism was not conceived of until 1993, the Afro-futurist approach to music began with American jazz composer Sun Ra as early as the 1950’s. Sun Ra, a pioneer of Afro-futurism, was known for his experimental jazz style and persona as a peace loving alien from Saturn. Ra led the musical collective, ‘The Arkestra,’ from the mid-1950’s until his death in 1993. ‘The Arkestra’ would often perform dressed in futuristic costumes inspired by ancient Egyptian attire and the space age.

Other well known Afro-futurist pioneers were George Clinton and Parliament Funkadelic. The collective began in the late 1950’s as a doo-wop group, but really came into prominence in the 1970’s as a funk and soul collective, and were incredibly influential throughout the 1980’s and 1990’s. Parliament Funkadelic were the originators of ‘P-Funk,’ (short for ‘pure funk’ and featuring ‘Afronauts, capable of funkitizing galaxies’ explains George Clinton) and they constructed a science fiction universe concerned with the black American experience. ‘Mothership Connection’ released in 1975, envisions a space-age setting in which black characters are the primary protagonists and cultural arbiters of the future. The black American experience of racism was explored in space-age, science fiction settings, particularly through clashes with alien races.

Since the early days, there have been many great musicians who have expanded Afro-futurism, such as hip hop pioneer and champion of social justice, Afrika Bambaataa, prolific R&B artist, Erykah Badu, psychedelic soul queen, Janelle Monáe, and funk/rock/jazz sensation, Esperanza Spalding.

Of course, science fiction has imbued the human psyche so completely that one doesn’t have to reach very far to hear it’s influence, and here I’ve only just scratched the surface. Not only in psychedelic rock or Afro-futurism; the influence of science fiction can now be heard everywhere. In the work of stadium rock band Queen (Flash Gordon and Highlander), alternative rock band, Radiohead (‘OK Computer’ with it’s numerous references to ‘The Hitchhiker's Guide to the Galaxy’), industrial music pioneer, Gary Numan (his 1979 concept album ‘Replicas,’ which is heavily influenced by the works of J.G. Ballard, William S. Burroughs, and Philip K. Dick), The Beastie Boys (Intergalactic), any number of Muse songs; the list goes on and on.

Much has been written about science fiction in music, and you can find lots of articles on the internet listing artists, songs and albums of all genres. So, if you always thought that science fiction wasn’t your thing, maybe now is the time to rethink that notion.

Albums To Get You Through A Sick Day

The last couple of days have been miserable. I’ve been holed up in my cosy living room with a serious case of the sniffles and a healthy dose of self pity. Thankfully, I have music to get me through these tough (and snotty) times, and so I’m sharing with you my sick day soundtrack.

Betty Davis 'The Columbia Years 1968-1969'

Nothing lifts my spirits like some classic funk and this album fits the bill perfectly. Released in 2016, this is mostly previously unreleased material that sees Davis working with the likes of Miles Davis, Herbie Hancock, members of Jimi Hendrix’s band and others. Davis is considered to be one of the most influential funk artists well ahead of her time. Just be careful this one doesn’t get you moving so much, you end up in a coughing fit.

Monster Magnet 'Dopes To Infinity'

Often when I find myself less than effervescent, I turn to the tried and true psychedelic, space rock overlords, Monster Magnet. ‘Dopes to Infinity’ was their 1995 breakthrough album with their first hit single ‘Negasonic Teenage Warhead.’ I remember watching the video clip on Rage when I was fifteen and thinking it was freaking cool. I don’t know what it is exactly about Monster Magnet that makes me feel so good, but I figure it’s best not to dwell on it.

Queen 'A Kind Of Magic'

Okay, this one is a no-brainer. If listening to Queen doesn’t make you feel better, I’m afraid nothing can. Queen are so epic and uplifting. Freddie Mercury, with his mind blowing voice, plucks at my heartstrings just like an angel on a harp (rest in peace, dear Freddie). There are so many good songs on this album, but ‘Friends Will Be Friends’ is one of my favourites.

Madonna 'The Immaculate Collection'

All of my favourite Madonna songs on one album? Yes please! I love this album, it makes me so happy, I almost forget I can’t breathe through my nose. From ‘Holiday’ to ‘Into The Groove,’ ‘Open Your Heart’ and ‘Express Yourself,’ this album encompasses all of the feels of my childhood. I was a hardcore Madonna fan before I hit my teens. Now, excuse me while I vogue.

Album Review: Melody's Echo Chamber LP

2012
11 songs
Length: 44:30
Available to buy from Fat Possum Records

French musician, Melody Prochet, released her debut album as Melody's Echo Chamber in 2012. Described as psychedelic rock/dream pop, it was produced by Kevin Parker of Australian rock and roll band, Tame Impala. With her second album 'Bon Voyage,' due to be released this year, I figured now would be the perfect time to revisit Prochet's stunning debut.

Prochet began as a classical music student. She met Parker while supporting Tame Impala on their 2010 European tour with her previous act, My Bee's Garden. Prochet claimed that she found the study of classicism restrictive, so it was a natural progression for her to collaborate with someone with a rock and roll background (Fat Possum Records). The result is a psychedelic, space rock/dream pop adventure.

Prochet delivers beautiful melodies and sings with a sugary sweet voice. 'I Follow You' has an ethereal quality to it, the sweetness ruffled slightly by fuzzed out guitars and finishing off with a noisy riff reminiscent of that signature Dinosaur Jr. sound. 'Crystallized' begins with dreamlike, echoing melodies, before descending into psychedelic, distorted space rock madness. 'You Won't be Missing That Part of Me' sounds like rock and roll chamber music from space.

Prochet's classical background is apparent, meshing nicely with a rock and roll sound. 'Some Time Alone, Alone' pairs beautiful arpeggios with a heavier rock sound and the album's quintessential reverb. 'Quand Vas Tu Rentrer' incorporates beguiling chord arrangements that create a 1960’s French pop feel; a bit like Francoise Hardy or France Gall. 'Bisou Magique' employs musical texture to great effect, imbuing it with a dark, otherworldly quality.

The album delves into experimental territory on, 'IsThatWhatYouSaid,'a mish mash of distortion and effects that has the feeling of a bad acid trip; and 'Snowcapped Andes Crash,' which sharply veers away from the album's mostly pop rock sound. On 'Be Proud of Your Kids' we are treated to the prattle of a cute, little French kid, while Prochet croons in her sweet, girlish voice that we should show our children love every chance that we get.

'Melody's Echo Chamber,' is an interesting ride. The overall dream pop/space rock flavour works nicely with Prochet's sweet sounding voice and enchanting arrangements. The first half of the album is definitely stronger, with the second half losing focus towards the end. But it's well worth a listen (or thirty) and I'm looking forward to hearing more from Melody's Echo Chamber in the very near future.