Last Saturday saw a couple of CAR bands stepping out live on opposite sides of Tokyo, so I headed out east to Akihabara to see synth-punk trio Jebiotto in the afternoon, who were playing a memorial event to the melodramatic, ultra-glam synth-kayokyoku nonsense of Techma, who died suddenly and unexpectedly a couple of summers ago.
I wasn’t particularly close friends with Techma, although we certainly knew each other, and he had played at one of my events many years ago. Tsuchi, the guitarist from Jebiotto, was a big fan though, and you could tell he was affected by it, so it was nice of the organisers to invite Jebiotto to play the event. Most of the lineup was composed of Techma’s old friends going back 20 years, though. When I started going to Goodman regularly around 10-12 years ago, I was a late arriver to a scene where the network of friends and relationships was already established, so the party was very much about people who are now deeply immersed in middle age wrapping themselves up in memories. Obviously, as a memorial to a dead friend, it was entirely appropriate that a powerful sense of nostalgia hung over the event.
I didn’t stay long though, because over on the other side of town, at the new venue Jam in Nishi-Eifuku, Tropical Death had an event, so I dashed over there as soon as Jebiotto departed the stage.
Actually, Jam isn’t strictly a new venue, since there was an old Jam in Shinjuku that closed down several months ago. The new venue feels like a completely different place with different staff, a different system, a totally different layout, and much bigger. It really just felt like the owners, rehearsal studio chain Rinky Dink Studios, were just leveraging the brand and reputation of the old venue for a completely unrelated venture.
What Tropical Death seem to have been aiming for with their event, entitled “Fresh off the Boat”, was to try to point a way forward, looking for a way of breaking the sense of stalemate that can pervade the Tokyo music scene. They were joined as co-organisers by Fukuoka post-rock band Macmanaman, whose bassist Takeshi Yamamoto also plays guitar in Sea Level, who put out the excellent album Dictionary (Handwritten) through Call And Response in July. The Sea Level release party and the Macmanaman/Tropical Death show last Saturday had a few things in common, in that they both sought to mix electronic and more conventionally “rock” music (sometimes within the same band, as in Paris Death Hilton's explosive electro squalls), and put varying emphasis on DJs as an important part of the overall mix of the event.
Of course “freshness” and “youth” aren’t necessarily the same thing, and I think we ought to be wary of conflating them. Young musicians produce some of the most derivative music out there, and it can take a long time for them to really find their own voices. Still, as we get older, we tend to bring a crowd of our contemporaries with us, and breaking through generational boundaries should be part of keeping a scene lively.
Breaking through national boundaries should as well, so having the excellent Escuri from the Philippines playing, both solo and as part of a session including turntable-noise maestro DJ Memai, and members of progressive rock collective Musqis and Kansai-based art-punk band LLRR, was great. That said, I get a lot of emails from foreign bands asking for my help with their Japan tours, and, while I do listen to everything people send me, my main priority is still finding new local bands I can form a long-lasting relationship with. As a result, most of the overseas requests that land in my inbox fall by the wayside.
With the release of the first Velvet Ants album, Entomological Souvenirs I, tomorrow, I’ve naturally been fretting about that a lot too, sending out emails to record stores, media and suchlike. As I’ve mentioned before, getting taken seriously by record stores is a painful and usually futile struggle, but the only way that situation is going to change is if people actually go to stores and buy the stuff we (and other small labels like us) release. You’re helping keep record stores alive, and you’re also helping keep a vital lifeline open for artists and labels to reach outside their immediate circles of friends or the quid-pro-quo circle of purchases that goes on among musicians themselves.
If you’re in Nagoya, where the Velvet Ants are from, File-Under Records is a great record store and is I think the only place in town carrying the album. In Tokyo, my distributor tells me Disk Union ordered it although I have no information on which specific branches. Hopefully, there will be a couple more outlets soon.
Showing posts with label MacManaman. Show all posts
Showing posts with label MacManaman. Show all posts
Tuesday, 18 September 2018
Tuesday, 11 September 2018
The sweet spot
The next big thing on the Call And Response calendar is the event Tropical Death are organising at the new Jam in Nishi-Eifuku. I met up for some yakitori in Koenji with bassist Shingo and guitar/vocal Eugene last week, along with visiting Filipino sound artist Escuri, who’s staying in Yokohama for a couple of months to do a sort of artist residency.
One of the things we talked about was the perennial issue that dogs event organisers: what order to put the acts in. There are often unspoken assumptions that certain bands by virtue of seniority get the sweeter spots, and you risk offending them if you drop them below a newer band on the bill. At the same time, though, if you’ve got bands travelling a long way to play, you don’t want to bury them in a quiet slot.
There’s also audience behaviour to consider. If the event’s an all-nighter, it’ll likely climax somewhere around 1:00 or 2:00 in the morning and then fade out towards the end, but if it’s an evening event, it’ll tend to build to a climax right at the end.
Then there’s the kinds of bands on the bill. At least chez CAR, we try to avoid putting bands who are too similar on back to back. Especially if a band is doing one thing in a particularly intense way, you’ll often want another band to work as a palette cleanser between them and anything else slightly similar.
Finally, you have to consider all the annoying but inevitable requirements bands themselves will drop on you, insisting that you organise the timetable around their job schedules, or members booking other gigs with different bands on the same day and trying to juggle both shows.
Talking to Tropical Death, the bands at their event seemed pretty cool about what times they played, so it was just a case of shuffling the pieces round like Tetris pieces or a tile game until the picture looked right. However the lineup ends up going, it should be a pretty sweet event anyway, with post-rock lunatics Macmanaman coming down from Fukuoka, local electro-punk-noise duo Paris Death Hilton, progressive rock collective Musqis, as well as the man Escuri. A chaotic-looking agglomeration of artists are going to do a jam session as well, which is usually an absolutely horrible idea, but hey, it might be good this time.
The Fashion Crisis event on Friday the 7th was weirdly well attended, partly due to our buddy Comicbook Sean (not to be confused with Sean Drums and Indiepop Sean) celebrating his birthday at the same event. It passed through several party stages, including karaoke with a random weird old guy we picked up in a bar, and ended with me and Julien from Lo-shi flaked out on my sofa, listening to Deserters’ Songs by Mercury Rev and making bold, nonsensical pronouncements about the death of music.
Naturally Saturday was a write-off, while on Sunday my wife and I let some fashionable young musicians use our house as a photo studio (we have a cinema screen and projector, so they were able to do funky things with video projections). Listening to these kids and their promoter buddy talking afterwards was educational and a reminder that even the faintest connection to the music industry proper puts you in contact with a very different world to the basement-dwelling underground scene that’s my normal. They’d casually drop the names of popular record labels or bands whose names are jokes to most of my friends because their world seems so inaccessible. One of them asked me what sort of music I’m into and I said something contrarian like, “In an ideal world, all music would sound like a cross between This Heat and Red Transistor.” They just blinked at me and changed the topic.
There’s a very visible change that happens when music steps into the “music industry” sphere (which includes larger indie labels as well as the majors) and you can see it in the fashion and music videos. You can tell when a band isn’t choosing their own clothes anymore, and often what happens is that suddenly everything in their videos is either in slow motion or shot with all fast cuts with that high-contrast, metallic sheen and maybe a wind machine. It looks like total garbage.
One of the musicians was getting bombarded with offers from record labels and fashion brands but had so far resisted them, preferring to do things themselves, while the other had signed with a large-ish indie. Typically, what musicians who don’t want to fall into the homogenising J-Pop trap aim to do is work with overseas producers and sign with a foreign label — ideally one in the UK or US. It doesn’t always work though, because the bands most enamoured with, for example, British music tend to be the ones who offer the least to a British label that they can’t find from a hundred local bands. Something that conforms to the brightly-coloured, energetic and (sorry) “wacky” Japanese stereotypes that still persist in the west stands a far better chance, as evidenced by how the good but annoying Chai were able to sign with UK label Heavenly recently.
The whole conversation left me a bit dazed though, to be honest. Bands fretting over whether this gig or that gig is the right direction for them, whether such-and-such a band is the right band for them to share a bill with, scheduling out their releases to best manage media interest, planning out their careers like military operations, none of it sounds fun and the deeper involved in the industry an artist gets, the less they look like they’re having fun when you see them play (or if they do, it’s with the glazed smiles of trained salesmen).
All of which sounds quite negative, although these were some cool bands that I’m very fond of. However, as a window into a way of thinking that’s normal for a lot of people, it definitely reminded me of how naive and simplistic the way I and a lot of the artists I work with think is.
One of the things we talked about was the perennial issue that dogs event organisers: what order to put the acts in. There are often unspoken assumptions that certain bands by virtue of seniority get the sweeter spots, and you risk offending them if you drop them below a newer band on the bill. At the same time, though, if you’ve got bands travelling a long way to play, you don’t want to bury them in a quiet slot.
There’s also audience behaviour to consider. If the event’s an all-nighter, it’ll likely climax somewhere around 1:00 or 2:00 in the morning and then fade out towards the end, but if it’s an evening event, it’ll tend to build to a climax right at the end.
Then there’s the kinds of bands on the bill. At least chez CAR, we try to avoid putting bands who are too similar on back to back. Especially if a band is doing one thing in a particularly intense way, you’ll often want another band to work as a palette cleanser between them and anything else slightly similar.
Finally, you have to consider all the annoying but inevitable requirements bands themselves will drop on you, insisting that you organise the timetable around their job schedules, or members booking other gigs with different bands on the same day and trying to juggle both shows.
Talking to Tropical Death, the bands at their event seemed pretty cool about what times they played, so it was just a case of shuffling the pieces round like Tetris pieces or a tile game until the picture looked right. However the lineup ends up going, it should be a pretty sweet event anyway, with post-rock lunatics Macmanaman coming down from Fukuoka, local electro-punk-noise duo Paris Death Hilton, progressive rock collective Musqis, as well as the man Escuri. A chaotic-looking agglomeration of artists are going to do a jam session as well, which is usually an absolutely horrible idea, but hey, it might be good this time.
The Fashion Crisis event on Friday the 7th was weirdly well attended, partly due to our buddy Comicbook Sean (not to be confused with Sean Drums and Indiepop Sean) celebrating his birthday at the same event. It passed through several party stages, including karaoke with a random weird old guy we picked up in a bar, and ended with me and Julien from Lo-shi flaked out on my sofa, listening to Deserters’ Songs by Mercury Rev and making bold, nonsensical pronouncements about the death of music.
Naturally Saturday was a write-off, while on Sunday my wife and I let some fashionable young musicians use our house as a photo studio (we have a cinema screen and projector, so they were able to do funky things with video projections). Listening to these kids and their promoter buddy talking afterwards was educational and a reminder that even the faintest connection to the music industry proper puts you in contact with a very different world to the basement-dwelling underground scene that’s my normal. They’d casually drop the names of popular record labels or bands whose names are jokes to most of my friends because their world seems so inaccessible. One of them asked me what sort of music I’m into and I said something contrarian like, “In an ideal world, all music would sound like a cross between This Heat and Red Transistor.” They just blinked at me and changed the topic.
There’s a very visible change that happens when music steps into the “music industry” sphere (which includes larger indie labels as well as the majors) and you can see it in the fashion and music videos. You can tell when a band isn’t choosing their own clothes anymore, and often what happens is that suddenly everything in their videos is either in slow motion or shot with all fast cuts with that high-contrast, metallic sheen and maybe a wind machine. It looks like total garbage.
One of the musicians was getting bombarded with offers from record labels and fashion brands but had so far resisted them, preferring to do things themselves, while the other had signed with a large-ish indie. Typically, what musicians who don’t want to fall into the homogenising J-Pop trap aim to do is work with overseas producers and sign with a foreign label — ideally one in the UK or US. It doesn’t always work though, because the bands most enamoured with, for example, British music tend to be the ones who offer the least to a British label that they can’t find from a hundred local bands. Something that conforms to the brightly-coloured, energetic and (sorry) “wacky” Japanese stereotypes that still persist in the west stands a far better chance, as evidenced by how the good but annoying Chai were able to sign with UK label Heavenly recently.
The whole conversation left me a bit dazed though, to be honest. Bands fretting over whether this gig or that gig is the right direction for them, whether such-and-such a band is the right band for them to share a bill with, scheduling out their releases to best manage media interest, planning out their careers like military operations, none of it sounds fun and the deeper involved in the industry an artist gets, the less they look like they’re having fun when you see them play (or if they do, it’s with the glazed smiles of trained salesmen).
All of which sounds quite negative, although these were some cool bands that I’m very fond of. However, as a window into a way of thinking that’s normal for a lot of people, it definitely reminded me of how naive and simplistic the way I and a lot of the artists I work with think is.
Friday, 22 January 2016
TENSION! (January 23rd, 2016)
最高に興奮する音楽にはいつも「緊張(Tension)」が付きものだ。緊張(Tension)は、押したり引いたりする力から生まれる。さらに言うと、緊張は(Tension)は、摩擦と不確実さを創造し、音をひねって歪め、驚きと喜びを吐き出し、エネルギーで音楽を満たし、時には爆発的な力で抑圧し、時には爆発的な力で解き放つ。
緊張(Tension)は演奏者と観客の間にも存在する。
双方で何かを与え合おうとするが、お互いのやり方で、お互いの欲望や情熱で、お互いが思い思いに音を感じる。ライブ中に存在するその緊張(Tension)は、恋人との間の緊張のようなものだ。喜ばせるための欲望と、自らが喜ぶための要求を織り交ぜ、独特なスリルが生まれる。
このイベントで鳴り響く音楽は、ずばり「緊張(Tension)づくし」だ―精密さ vs 無謀さ、構造 vs 無秩序、コンセプト vs 直感、精神 vs 身体。これらの2極がこのイベントを通じ、交わり輝かしく完璧な瞬間に変わっていくことだろう！
The most exciting music is always about tension. Tension can come from forces pulling apart or pushing together ― it creates friction and uncertainty, it twists and contorts music, it throws up surprises and delights, and it fills music with energy, sometimes repressed and sometimes released with explosive force.
Tension also exists between performer and audience, each giving something, but each also living the experience in their own particular way, with their own desires and passions. The tension that exists during a live performance is like the tension between lovers ― the desire to please and the need to please yourself intertwining to create a unique thrill.
The music at this event is all about tension ― precision versus recklessness, structure versus disorder, concept versus intuition, mind versus body ― and unifying those opposing forces into one glorious, twisted, perfect moment. Be ready to rock strangely!
Future MusicをオーガナイズしてきたテッセンドリコのメンバーであるマユミとCall And Response Recordsのイアンはここ数年の間、同じような音楽性のライブイベントを別々に企画してきました。ある意味、今回チームを組んだのは自然な流れで、日本中にいる大好きなバンドを集め、何か大きなことが起こることを願ってます。このイベントはアーティーなパーティーですが、無理にはしゃがなくても、無理にカッコつけなくてもよいのです！ご来場お待ちしてます！
Through the Future Music events and Call And Response Records, Mayumi and Ian have been for years independently promoting similar kinds of events. In a way, it was natural to team up for this show, bringing together bands we love from all over Japan in the hope of making something bigger and better. We want to show that you don't have to be funny to be fun, you don't have to be hip to be cool, and you can still be arty and party!
Date: 1/23 (Sat)
Place: Shibuya Milkyway
Time: 15:30 open / 16:00 start
Cost: ¥2000 (+ 1 drink order)
LIVE:
- Melt Banana (Tokyo)
- 百蚊 (Fukuoka)
- Jailbird Y (Hiroshima/Yamaguchi)
- マクマナマン (Fukuoka)
- BLONDnewHALF (Kobe)
- Waikiki Champions (Sendai)
- o'summer vacation (Kyoto)
- FALSETTOS (Tokyo)
- PINPLE(Tokyo)
DJs:
- Bang The Noise
- chiLLaLone (a.k.a PLUSNUG)
- Daizo Hirano
緊張(Tension)は演奏者と観客の間にも存在する。
双方で何かを与え合おうとするが、お互いのやり方で、お互いの欲望や情熱で、お互いが思い思いに音を感じる。ライブ中に存在するその緊張(Tension)は、恋人との間の緊張のようなものだ。喜ばせるための欲望と、自らが喜ぶための要求を織り交ぜ、独特なスリルが生まれる。
このイベントで鳴り響く音楽は、ずばり「緊張(Tension)づくし」だ―精密さ vs 無謀さ、構造 vs 無秩序、コンセプト vs 直感、精神 vs 身体。これらの2極がこのイベントを通じ、交わり輝かしく完璧な瞬間に変わっていくことだろう！
The most exciting music is always about tension. Tension can come from forces pulling apart or pushing together ― it creates friction and uncertainty, it twists and contorts music, it throws up surprises and delights, and it fills music with energy, sometimes repressed and sometimes released with explosive force.
Tension also exists between performer and audience, each giving something, but each also living the experience in their own particular way, with their own desires and passions. The tension that exists during a live performance is like the tension between lovers ― the desire to please and the need to please yourself intertwining to create a unique thrill.
The music at this event is all about tension ― precision versus recklessness, structure versus disorder, concept versus intuition, mind versus body ― and unifying those opposing forces into one glorious, twisted, perfect moment. Be ready to rock strangely!
Future MusicをオーガナイズしてきたテッセンドリコのメンバーであるマユミとCall And Response Recordsのイアンはここ数年の間、同じような音楽性のライブイベントを別々に企画してきました。ある意味、今回チームを組んだのは自然な流れで、日本中にいる大好きなバンドを集め、何か大きなことが起こることを願ってます。このイベントはアーティーなパーティーですが、無理にはしゃがなくても、無理にカッコつけなくてもよいのです！ご来場お待ちしてます！
Through the Future Music events and Call And Response Records, Mayumi and Ian have been for years independently promoting similar kinds of events. In a way, it was natural to team up for this show, bringing together bands we love from all over Japan in the hope of making something bigger and better. We want to show that you don't have to be funny to be fun, you don't have to be hip to be cool, and you can still be arty and party!
Date: 1/23 (Sat)
Place: Shibuya Milkyway
Time: 15:30 open / 16:00 start
Cost: ¥2000 (+ 1 drink order)
LIVE:
- Melt Banana (Tokyo)
- 百蚊 (Fukuoka)
- Jailbird Y (Hiroshima/Yamaguchi)
- マクマナマン (Fukuoka)
- BLONDnewHALF (Kobe)
- Waikiki Champions (Sendai)
- o'summer vacation (Kyoto)
- FALSETTOS (Tokyo)
- PINPLE(Tokyo)
DJs:
- Bang The Noise
- chiLLaLone (a.k.a PLUSNUG)
- Daizo Hirano
Thursday, 30 April 2015
Sayuu (左右) and Umez in Kyushu - May 2nd-May 10th
Call And Response is in Kyushu for some action this Golden Week, including two short tours by bands from the Tokyo and Yokohama area and a rich roster of the finest bands Kyushu has to offer. Of particular note, joining Sayuu for two dates are Hakuchi (白痴) from Saga, who are currently preparing a debut album to be released from Call And Response in June. Meanwhile, Neue Sanssouci (ノイエサンスーシ), who dazzled and confused Tokyo audiences at the last Call And Response event in Tokyo, are hosting the final show of the tour with Umez on May 10th.
STAGE 1: Sayuu (左右)
5/2 (Sat) Rockride (Saga)
18:30/19:00, ¥1500+drinkLIVE: 左右 / 白痴 / The Utero / Be Here Now
DJ: Ian Martin (Call And Response Records)
5/3 (Sun) Utero (Fukuoka)
18:00/18:30, ¥2000+drink
LIVE: 左右 / 白痴 / 赤虫 / z/nz / マクマナマン
DJ: Kaname K (Trinitron) / Ian Martin (Call And Response Records)
5/4 (Mon) Navaro (Kumamoto)
20:00/20:30, ¥1500+drink
LIVE: 左右 / 石頭地蔵 / 小林どろり / カルトス
DJ: 通行人
STAGE 2: Umez
5/8 (Fri) Utero (Fukuoka)
18:30/19:00, 1800+drink
LIVE: Umez / ナルコレプシン / Family Computers / Abyssal (ex. Azma Shoegaze Explosion) / Zarest
DJ: malamura (Eiffel Tower) / Ian Martin (Call And Response Records)
5/10 (Sun) Panic Paradise (Nagasaki)
17:30, ¥1500+drink
LIVE: Umez / 三回転とひとひねり / Friend of Trip / ノイエサンスーシ / + moreTuesday, 16 September 2014
Koenji vs. Kyushu Pop Festival -- 10 FUCKING YEARS!!!! (September 27th, 2014)
My first event in Japan was exactly 10 years ago on September 27th 2004, so on the anniversary, I'm celebrating this landmark with old and new friends from my home in Tokyo and my home-away-from-home in Kyushu in this sure-to-be-legendary postpunk/new wave/alternative festival.
Place: Higashi-Koenji 20000V
Date: 9/27 (Sat)
Time: 3:00pm
Cost: ¥2000 adv / ¥2500 door (+1 drink)
Live:
- 百蚊/Hyacca（Fukuoka）
- JEBIOTTO（Tokyo）
- 経立/futtachi（Kagoshima）
- ウサギスパイラルアー/Usagi Spiral A（Tokyo）
- Miu Mau（Fukuoka/Takamatsu)
- Tropical Death Metal（Tokyo）
- 泣き顔ツインテール/Nakigao Twintail（Saga）
- Voided By Geysers（Tokyo）
- マクマナマン/macmanaman（Fukuoka）
- MIR（Tokyo）
DJs:
- James Hadfield
- 3TE1
Place: Higashi-Koenji 20000V
Date: 9/27 (Sat)
Time: 3:00pm
Cost: ¥2000 adv / ¥2500 door (+1 drink)
Live:
- 百蚊/Hyacca（Fukuoka）
- JEBIOTTO（Tokyo）
- 経立/futtachi（Kagoshima）
- ウサギスパイラルアー/Usagi Spiral A（Tokyo）
- Miu Mau（Fukuoka/Takamatsu)
- Tropical Death Metal（Tokyo）
- 泣き顔ツインテール/Nakigao Twintail（Saga）
- Voided By Geysers（Tokyo）
- マクマナマン/macmanaman（Fukuoka）
- MIR（Tokyo）
DJs:
- James Hadfield
- 3TE1
TIMETABLE:
3:00 Open
3:20-3:35 Voided By Geysers
3:45-4:05 Tropical Death Metal
4:20-4:45 Miu Mau
5:00-5:25 ウサギスパイラルアー / Usagi Spiral A
5:40-6:05 Mir
6:20-6:45 マクマナマン / Macmanaman
7:00-7:25 経立 / Futtachi
7:40-8:05 泣き顔 / ツインテールNakigao Twintail
8:20-8:45 Jebiotto
9:00-9:30 百蚊 / Hyacca
Thursday, 7 March 2013
"Dancing After 1AM" release tour final event, Nagoya KD Japon, March 15th
After the October Tokyo release party and January's successful Kyushu tour, there's one final promotional event for Dancing After 1AM, this time at the lovely KD Japon in Nagoya (seriously, it's a contender for nicest, most intimate venue in the country). There are four bands, three of whom featured on the album and one of whom is among my favourite bands in Japan. It's also the first event I've ever been involved in in Nagoya, so I'm obviously very, very excited about this.
The compilation featured a track by Nagoya band Pop-Office, who will of course be taking part in the event, while Tokyo's Tacobonds, who missed the October party due to UK tour commitments, and Fukuoka's macmanaman, who missed the Kyushu tour because the drummer was on tour with another band, are also both playing. Finally, we've invited one local special guest band, the brilliant Freedom, to take part. Although they didn't feature on DA1AM, they were one of the standout bands from last year's Ripple compilation of Nagoya music (on which Pop-Office also featured), and they're one of the best bands in the city, so it's a supreme pleasure and honour to have them.
Date: 3/15 (Fri)
Place: Nagoya KD Japon
Time: 6:30pm open / 7:00pm start
Cost: ¥1800 adv / ¥2300 door
Live:
- TACOBONDS (Tokyo)
- macmanaman (Fukuoka)
- Pop-Office
- Freedom
Wednesday, 31 October 2012
Dancing After 1AM gets some love from Tsutaya
Yukari from Kobayashi Dorori found this display in her local branch of the video and CD store Tsutaya in Kumamoto, so thanks to them for pushing it like that. It looks like the other albums on the display are Drugorbaseball by MacManaman, who also feature on DA1AM, and 51 Records' compilation/split album Underrated, featuring Lillies & Remains, Sekaitekina Band and Purple. All in all rather nice company to be in.
Sunday, 6 May 2012
Kyushu x Nagoya Electric Pop Festival (June 2nd-3rd 2012)
DAY 1: KYUSHU NIGHT (Call And Response Records)
Date: 6/2 (Sat)
Time: 16:00
Place: Shinjuku Motion
Cost: 2000yen (3000yen for a two-day pass)
Live:
- Hyacca/百蚊 (Fukuoka): New/no wave disco blitzkrieg.
- cynicalsmileisyourfavorite
- MacManaman/マクマナマン (Fukuoka): Propulsive instrumental post-rock.
- Miu Mau (Fukuoka): Conceptual new wave avant-pop.
- Hakuchi/白痴 (Saga): Broken hardcore/postpunk.
- Kobayashi Dorori/小林どろり (Kumamoto): Poker-faced, angular, erotic new wave.
- z/nz (Fukuoka): Offbeat alternative/lo-fi rock.
- Zibanchinka/地盤沈下 (Kagoshima): Garage-punk through the looking glass.
- Chainsaw TV: Hack and slash post-hardcore.
DAY 2: NAGOYA/TOKYO NIGHT (Style Band Tokyo & 十代暴動社)
Date: 6/3 (Sun)
Time: TBC
Place: Shinjuku Motion
Cost: 2000yen (3000yen for a two-day pass)
Live:
- 6eyes (Nagoya): Tebasaki-funk.
- The Mornings (Tokyo): Jittery 400km/h spazzcore.
- Sika Sika (Nagoya): Fierce, heavy punk rock.
- Less Quantic (Tokyo): Post-Gang of Four disco-punk.
- Plasticzooms (Tokyo): Goth.
+more?
Wednesday, 8 February 2012
Call And Response bands with Bo Ningen in Kyushu
This coming weekend, UK-based psychedelic rock quartet Bo Ningen are on a short three-date tour of Kyushu, with Call And Response bands Zibanchinka and Hyacca supporting them on all dates, along with some other good friends of the label.
Date: Feb 10th (Fri)
Place: Kumamoto Navaro
Time: 8:00/8:30pm
Cost: 2000/2500yen + drink
Bands: Bo Ningen / Zibanchinka / cynicalsmileisyourfavorite / The Fruits / Ecology Kannon
DJs: Tomo (Style band Tokyo)
Date: Feb 11th (Sat)
Place: Saga Rag-G
Time: 5:00/5:30pm
Cost: 2000/2500yen + drink
Bands: Bo Ningen / Zibanchinka / Hakuchi / Strawberry Chocolate's Surf Club Band / Yaoyoruzu / Freaks / The Crunch Dog
Date: Feb 12th (Sun)
Place: Fukuoka Utero
Time: 6:00pm
Cost: 2000/2500yen + drink
Bands: Bo Ningen / Hyacca / MacManaman / The Fridays / Chainsaw TV / Nekuraman
DJs: Tomo (Style Band Tokyo) / Ian Martin (Call And Response Records)
Tuesday, 17 May 2011
Kyushu Pop Festival 2011
Hyacca
After the success of last year's Kyushu Pop Festival, Call And Response Records is very happy to present another evening of mentai-rock, kurobuta-punk and kabosu-pop, now with added basashi-disco.
All bands at this event are either travelling down from Kyushu for the show (the event features bands from Fukuoka, Kumamoto and Kagoshima), or they are Tokyo-based bands with key members hailing from Kyushu.
Date: May 21st (Sat)
Place: Shinjuku Motion
Time: 16:00-23:00Cost: 2000 adv/2300 door
Zibanchinka
Bands:
Zibanchinka (Kagoshima)
- Avant-garde garage-punk from the dark side of your imagination: video
Hyacca (Fukuoka)
- Dance-oriented post-punk/alternative. Metal bees attacking your brain: video
Zibanchinka (Kagoshima)
- Avant-garde garage-punk from the dark side of your imagination: video
Hyacca (Fukuoka)
- Dance-oriented post-punk/alternative. Metal bees attacking your brain: video
MacManaman (Fukuoka)
- Explosive post-rock instrumental quartet:video
cynicalsmileisyourfavorite (Kumamoto)
- Disco-hardcore scream freaks: video
bctnx (Fukuoka)
- Fukuoka's newest indie/alternative avant-pop stars: video
She Talks Silence
cynicalsmileisyourfavorite (Kumamoto)
- Disco-hardcore scream freaks: video
bctnx (Fukuoka)
- Fukuoka's newest indie/alternative avant-pop stars: video
She Talks Silence
- Lo-fi indie fuzz-lullabies: video
Dotama-Kachi-World
- Picopico new wave techno-punks: video
Jebiotto
- New wave synth-punk: video
Fallopian Disco Force
- Improvisational avant-disco duo: video (dating from group's previous days as a trio)
- Picopico new wave techno-punks: video
Jebiotto
- New wave synth-punk: video
Fallopian Disco Force
- Improvisational avant-disco duo: video (dating from group's previous days as a trio)
Friday, 19 November 2010
Telephone Club in Fukuoka (November 20th 2010)
A quick note on tomorrow's Telephone Club event in Fukuoka, just to say there are six fantastic bands, including several CAR favourites and that anyone in town on that day should definitely make it down.
Place: Yakuin Utero
Date: November 20th (Sat)
Time: 6:30/7:00
Cost: 1800yen + drink
Bands:
- Nontroppo
- Hyacca
- MacManaman
- Zibanchinka (from Kagoshima)
- The Mornings (from Tokyo)
- Cynical Smile is Your Favorite (from Kumamoto)
DJs:
- DRGN
- Ian Martin (Call And Response Records)
Place: Yakuin Utero
Date: November 20th (Sat)
Time: 6:30/7:00
Cost: 1800yen + drink
Bands:
- Nontroppo
- Hyacca
- MacManaman
- Zibanchinka (from Kagoshima)
- The Mornings (from Tokyo)
- Cynical Smile is Your Favorite (from Kumamoto)
DJs:
- DRGN
- Ian Martin (Call And Response Records)
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