How did he end up here? Like many of us as we grow, David’s life is forged by accidental moments, the people around him, and manifested into a reality through the courage to take a risk and follow through.
At the age of 14, his life and musical interest took a turn when a friend accidentally passed him a Bob Marley cassette when he asked for his Lenny Kravitz cassette back. Upon first listen, he fell in love with his music and many more reggae cassettes and vinyls later, he decided to invite his grandmother to his room to listen to his first original song.
Encouragement of those around us build the necessary confidence needed to pursue a passion. David’s grandmother acted as his bedrock, believing that he had something special in his voice from that first song and continuously encouraged him to pursue his musical dreams. She lives on forever tied to David, as Cairol is not his surname, but her name, and she is always up on the poster with him.
25 years later and his music took him from his home in Bask, to the heart of Reggae. It’s here in Jamaica that he lived the dream of any reggae performer, playing with the greatest talents on the island from Sly Dunbar to Earl Chinna Smith. As found in the lyrics of his song ‘Music’ his artistry has been his passport to the world; traveling China, Japan, and Tahiti on this trip alone.
His final show in Japan is on October 14th at Kagurane, with Robert Taira Wilson and the young up and comers The Bagpipes. If you haven’t had the chance to catch him yet, I highly encourage it.
"The static of surreal synth and sonic soundscapes feels as if it has morphed into a living organism hovering over the massive group of dancing bodies"
Now imagine being instantly transported to a clear day in May, when Japan’s dreaded rainy season isn’t yet on your mind. Your feet pad the pristine sidewalk that caresses Kagurazaka’s bustling shops. A sudden turn reveals a European-style staircase descending into the softly lit Kuragane. Just stepping foot into the intimate venue makes you feel like you’re part of an exclusive club, privy to a hidden secret. You’re greeted by people you know and people you’ve yet to meet, faces of familiarity and warmth buzz past you as you make your way through the heavy door that leads you into the concert hall. Electroman Vol. 3 is already underway and the lively group Kitka is center stage.
This rhythmic pair, native to Sweden, consisting of Frida on vocals and Fredrik on bass, is playful and charismatic on stage. Their performance begins with Distance For You, setting the tone with electronic sparks encircling lead singer Frida’s enchanting voice. Frida possesses memorable vocals, the type you could conjure up on the fly, and it all makes sense when you find out that she’s been singing practically all her life. Fredrik brings in a layer of punchy bass that carries the group’s overall sound to something that perfectly balances darkwave, pop, trance, and light electro. The performance comes to a close and somehow someone in the audience has a hold of Fredrik’s bass guitar. You can’t help but wonder how you’ve gone this long without Kitka, but now you have them in your back pocket, ready at any moment for an at-home jam session.
Time flows on, a drink is in your hand and the condensation around the glass starts to drip down onto your wrist, your head is swaying and crystal water drops are racing for the edge of the glass. You look up and find Demsky and The Nerrd fully immersed in their set. Ambient downtempo pulses surround around you as your eyes become transfixed on the visuals flowing like fluid behind the two immersed in their art. Another icy droplet pulls you into a brief trance, Demsky and the Nerrd can’t help but carry you into a deep primordial state. The music acts as soft waves pulling willing participants out into the depths of the sea. This set is more of a full-body experience rather than just a show. The music picks up the tempo and you’re dancing harder. The Nerrd’s visuals fly across the screen, one moment you see a deep space adventure, and in another moment a donut is bouncing off the screen. Demsky and The Nerrd’s combined efforts push you into the relaxing mind state of going on a trip without actually having to go anywhere or do anything at all.
The set is over and what’s left is a chattering murmur of warmth that wraps around you comfortably like your childhood blanket. You take a breath and notice that slipping past you is none other than Emergency Oxygen. He takes his place before a cheering crowd, adorned with his trademark neon glowing glasses and hat. The set bumps past ultimate singles such as Infinity, Move On, and Expansion Activée. Each song serves as an electric pulse propelling you into an imaginative world crafted by intricate rhythm and tempo. The static of surreal synth and sonic soundscapes feels as if it has morphed into a living organism hovering over the massive group of dancing bodies. You lift an arm into the air as the bass drops and you’re lifted for a brief moment into another realm. Emergency Oxygen acts as your guide moving you from one immersive melodic landscape to another until all at once the set has ended.
The night is winding down but the energy you feel inside is sparking and flickering like a newly lit flame. You’re compelled to continue swinging your body to the tempo as DJ Luke Hobbs emerges from the smoky backdrop gifting the masses with one final set. If you were to visually capture this organic sound on canvas, you’d stand for a moment upon the piece and claim it as avant-garde. Hobbs has an immaculate way of capturing music at its very core, and the result is almost an animalistic blend of big disco, rock, and accidental tribal. The urge to dance is transfixing, and you surrender yourself. Suddenly a whirl of kaleidoscope colors takes hold of you, sweeping you back home. With a hand pressed against your chest, the echoes of phantom music are still synchronized with your heartbeat. In that fleeting moment, you wonder when you will once again be transported back into the captivating realm of Electroman.
Electroman will be back for Volume 4 on July 22 Don't miss any edition of Electroman by clicking here!
Photos Monkee Music Media
This is one of those establishments with an extensive collection of whiskey stretching endlessly behind a long wooden counter. While this is delightful in and of itself, the bartender saved me from any decision fatigue by presenting me, with a flourish of the hand, to three whiskeys for the flight of the night. Who doesn’t love a sampler!
I looked around the room and saw that many people had a flight and a craft beer. How’s that saying go again? “Liquor before beer, you’re in the clear/ beer before liquor, never been sicker?” Say no more.
The bar had a small but impressive lineup of Japanese craft beers to choose from. With a pint in one hand and a flight in the other, I joined the music lovers happily sipping drinks and leaning in towards the performers.
I had seen Justin, the creator of More Than Music, buzzing around the event like the great host that he is. He was quick to find me once I sat down. “That guy,” Justin said, gesturing to the musician who had just started playing a folk song about whiskey, “composes music for Final Fantasy. His name is also Justin.”
Incredulous, I asked “How do you find these people?” but he just smiled at me coyly and fluttered away.
As it turns out, MTM often finds their performers in bizarre and unexpected ways. I got to talk to performer Justin--Justin Frieden--who disclosed that he was introduced by a mutual friend from Justin MTM’s hometown, which coincidentally is where Justin Frieden's grandmother is from. “It’s like a really random middle of nowhere town. And you can tell Justin I said that,” he said.
Justin F is originally from Los Angeles, an equally random and middle of nowhere town. He performs for MTM sometimes but for the past ten years, he’s been composing music for commercials, games, TV shows, and films. You’ve probably heard his music before without realizing it. Most of his work is orchestral or classical but he’s also a rock guy, which was evident by the music he played for us that night. I felt like rock, and the occasional country tinge to their performance, was very appropriate for sipping whiskey.
The musician he played with was Yuji Oyama, a veteran of the music industry who worked in Nashville and New York before landing at Sony Music in Tokyo. He spoke frankly about his thoughts on Japanese music in the global market.
“Sometimes we can spread our music to the world with animation. But without animation, no success. On the other hand, Korean music is succeeding.”
Oyama thinks we can learn from our neighbor’s booming music industry and modify or nurture alternative forms of J-pop so they have the potential to reach an international market. He has hope but also feels that the bridge between Japanese and Western music culture is a bit hard to cross.
This seems like a complicated, large-scale issue but like most things, tackling it from the ground up is key. Spaces like MTM help to break down the barrier between Japanese and foreign music culture by bridging the gap at a local level.
Both Oyama and Justin F echoed that they were excited by MTM emerging as a platform for smaller and medium sized artists to get regular exposure.
“Especially with Japanese people, Japanese bands, Japanese groups being able to mesh with a foreign crowd---I think that's really cool,” Justin F said. “It's not easy. But Justin and More Than Music makes it easy.”
The last act of the night, Pahuma, is exactly the kind of act they’re talking about. Pahuma is a one man band made up of Kim Wooyong, whose blues and reggae infused set enchanted the audience all the way until last train.
I got to speak with him afterwards and asked where he got his stage name. “It came to me in a dream,” he explained matter-of-factly, “and when I looked it up, it turns out it was the name of a park in Ecuador known for its spectacular waterfalls.”
"It’s hard to leave an MTM event. The music is great but you stay for the people. "
Wooyong was born in Osaka of Korean heritage and has been playing music for over 20 years. Before he left he handed me a CD of his new album, "Ling Lom". I couldn’t remember the last time someone had given me a CD and held the gift close to my chest, making a mental note to dust off my CD player when I got home.
It was a gentle album with moody undertows that were balanced so well with a touch of breezy reggae that you never felt like you would be completely pulled under. The perfect album for a chill night in, alone or with friends.
Wooyong normally plays at live houses for a mostly local audience, but Justin happened to see him play and immediately knew that Wooyong was the kind of act he wanted at MTM. I asked Wooyong what it was like playing at MTM events.
“The community they’re building is interesting to me.” Wooyong said thoughtfully. “The vibe is very free.”
I looked around at the diverse crowd of people having Japanese and English conversations in varying proficiency levels and had to agree. It felt easy to be at an MTM event because people want to connect with you using whatever amount of linguistic or cultural common ground you have.
Everyone came for the music but even after it stopped, no one was leaving the bar. I thought back to what Justin F said earlier.
“Most of the time the band isn’t necessarily my genre of music or whatever, but I can still appreciate them and hang out. The community that comes to the shows is really nice.”
It’s hard to leave an MTM event. The music is great but you stay for the people.
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If I were to choose one song to accompany me on the aforementioned journey, it would be Wild Stomp’s new single Lasalle. With roughly a three-year hiatus, we’ve been drooling for this musically versatile group to drop a new hit and the timing could not be better! Lasalle begins with the velvety and sensual voice of lead singer Zucca enveloped with idle dreamy guitar that suddenly shifts into an upbeat tempo paralleling city pop speckled with seafoam from the bright beaches of your daydreams. To uncover the inspiration of instrumentation, you’d need to look into the likes of Shoegaze, Bossa Nova, and even riffs taken from Doom Metal, notes lead guitarist Mark. Wild Stomp pulls from a multitude of favorites creating their own unique sound that is not only intoxicating but also lyrically provocative.
You’ll find quite a lot of imagery painted between the lines, which as a writer and self-proclaimed poet, I appreciate. Beginning with “Thought I never fall for you, you never last...but the sweetest high possessed my peace of mind,” emphasizes mixed feelings and fluidity often found at the beginnings of a potential spark. The song continues in Japanese highlighting longing and apprehension, rising body temperature and fluttering hearts. Each verse in Lasalle draws you further and further away from the comfort of the sands and into the even more sensual and stimulating depths of the ocean. “You slip below as toes curl, like waves we roll sweating cold, we dive for pearls we unfurl” can’t help but elicit an involuntary bite of the lower lip. This writer might need a glass of cold water because the temperature certainly is rising with Wild Stomp’s sexy new single Lasalle.
Find the full song here and look out for Wild Stomp’s Single Release Party live on May 6th at Mame Romantic.
]]>With songs like Blackbird and Morning Light, it’s impossible not to momentarily slip back into my teenage guise, even if for just a few minutes, and swoon over mesmerizing medley and lyrics that have the potential to make your heart break into a million tiny pieces. Robert’s music and lyrical tone speak to me on a very raw and nostalgic level. Mostly because I was the typical preteen who sat in the back of the bus, headphones concealing newly pierced ears, listening to similar melancholy alternative music. Transporting me into made-up music videos sewn together from the blurred images passing by, in painful moments I saw myself in the jilted lead singers you’d see bleeding their hearts out on MTV. Hurt and broken, I’d carry my Walkman around with me like it was armor.
Melancholy aside, Dragonfly hits differently. It’s not your typical heartbreak to love song as I had originally expected from Robert. We’re introduced with lines such as “vagabond across the ocean” and “all my promises so heavy on my chest,” seamlessly threaded together with ambient chords that give off heavy feelings of hope dotted with slight apprehension. This song immediately diverges into something more personal and exposed. When tied together with his music video, the song’s message comes to fruition.
In grainy black and white, Robert crashes out of the ocean, surrounded by lapping waves and a serene coastal backdrop. Yet, there’s something off about the introductory visual that makes your gaze struggle to comprehend. The opening lines “in the distance and delirium,” tease you. You may actually be somewhat delirious because something is definitely off. Then your mind finally catches up to what’s playing out on screen and the realization that the music video is in fact playing in reverse hits you. Scenes of crowded city train stations and busy streets solidify the perception. Backward-walking people whiz by Robert as he slowly walks his way through the world he’s crafted to further convey his innermost persona.
The artist himself comments that “the concept behind [the reverse effect] is that, once our lives and journeys are over, people generally feel like they go ‘back’ to their homes and/or to the places where they grew up in. Going back to the places they belong to. I feel very different. It may be a slight exaggeration and it may not be how I feel in the future, but I feel like I have arrived at my home.” And it’s true, Robert is charging forward through this reversing world, signaling that while he’s found his true home, he’s also gone through a transformation in the process.
This refreshing surge of beautifully crafted songs and music videos begins with Dragonfly. Not only as the title of the song but also as an overarching theme to…well, pretty much everything. Depending on the source, dragonflies can symbolize rebirth, transformation, change, and new beginnings. It almost seems like Robert planned this out on purpose. Whether planned or just a perfectly placed coincidence, you will soon sense that something incredible is afoot, and it has begun with Dragonfly.
Catch Robert Taira Wilson's next show here.
If you wanted, you could search right now and find thousands of articles online arguing which is better, live shows or recorded audio. Suffice to say, if you’ve found your way to this particular piece of writing, you’re more than likely to stand with us, the avid concertgoers who will argue that live shows are indeed superior. Don’t worry, I’m not adding to the large number of listicles that sway you one way or the other, I’ve already come to my conclusion.
Live music is better—the end.
And while I enjoy listening to my daily playlist on Spotify, or queuing my favorite music videos via Youtube and dancing around like mad in my living room, there’s truly something about attending a live performance. Of course, there’s the music, that’s what brought you in, but also, there’s the comradery and sense of togetherness that can unite complete strangers in pure musical bliss.
It was that craving, for togetherness and socialization meshed with exceptional music, that made me crawl out of my cave and into a more populated one, at Moon Romantic. On this particular night, the room was packed beyond belief and I somehow pushed my way to the front of the crowd.
"Short people luckily get a pass from the angry side-eye when moving their way closer to the stage, well…at least at Moon Romantic I did. "
I took my place next to a gaggle of women donning long mismatching plaid skirts, platform studded boots and oversized black cut-out sweatshirts. Punk-prairie girls? I loved their vibe and moved a little closer. It was clear they were there for Yellow Studs and were wearing their makeshift uniforms proudly in support of the band members who also wore plaid button-ups.
Yellow Studs began their performance with a folksy number fused with violin and accordion that couldn’t help but remind me of Jack and Rose twirling arm-in-arm within the underbelly of the Titanic. Who are Yellow Studs exactly? Their musical discography dates back to 2004 and can closely be described as rock & roll sprinkled with a Goldilocks-approved “just right” amount of jazz. However, when their acoustic version made an appearance, like on this night, lines started to blur from their usual sound to indie-rock with folk and jazz dominating individual songs.
After their intro, which effectively brought everyone to a synchronized bob, the band effortlessly shifted into a swingy jazz number that left me breathless. On accordion, lead singer Taichi Nomura’s gruff voice weaved in and out of the billowy bass riffs drawing everyone in closer with each beat. Once the first couple of songs concluded, Nomura made his way to the keyboard while rallying the audience with jokes and a few words in English.
The second half of the show was dramatically different from the first half. While the accordion peppered the first few numbers with a folk flavor that anyone would take a hungry bite into, it was Yellow Stud’s classic sound that kept fans drooling at the mouth. As soon as Nomura’s fingers touched his keyboard, suddenly he was right at home and the crowd went wild! Yellow Stud’s classic sound made its way into our hearts.
This journey of sub-genres meshed all into one is why Yellow Studs’ live performance is so special. You simply cannot find a performance like this anywhere else except here in person with Yellow Studs. Plaid shirts and all. So instead of plugging in for a listening session, head on out in the wild and see Yellow Studs in action, live.
To find out when Yellow Studs will be performing next, refer to their website and event schedule.
If you want to catch the next live show at Moon Romantic click here!
Weekends can be tough to maneuver, especially for music lovers balancing their social, work, and family lives. As a new mom and busy freelancer, I’ve struggled to find the best way to tie my love for music and my need for social interaction together while also keeping my essential “veg-out” weekend day at home safely intact. Luckily, More than Music has offered this weekday solution for busy music aficionados. Welcoming newcomers headlining for the first time as well as seasoned favorites, this weekly event harbors musicians from all walks of niche music subgenres.
On the first night of the event series, I was swept away by Les Tanoshi Cumbia’s Latin sound, which fused violin, accordion, guitar, and drums in a way that both relaxed and energized listeners.
It was impossible to stay seated during the set, and everyone was soon up on their feet dancing to the beat. Along with their own original songs, they included fun covers such as my all-time favorite “Rinda Rinda.”
Following their act was Mayowa Sensei, a transportive artist who is said to be inspired by Lo-Fi Hip-Hop and R&B. Accompanied by Takeru on guitar, Yu on bass, and Emi on drums, this amazing group led by Mayowa, rallied the audience into singing along to cult-favorite tunes. Mayowa’s heart-stopping voice and stage presence draws fans and newcomers together in pure melodic-bopping bliss.
Each lineup is studded with new artists and exciting songs usually encompassing an overall symphonic theme that unites together to create a perfectly curated arrangement. It’s hard not to get lost in the vibe. After finding a seat on a more recent Wednesday, I was practically glued in place as I found myself lost in the fictional worlds I had assembled with my musical guides: flutist Seko Mizuki, followed by TOW. These two acts, very different sides of the same coin, perfectly encapsulated my childhood memories of watching Ghibli movies and playing Japanese video games. It was hard not to imagine myself, sword in hand, wandering through fictional green meadows while making friends with obscure characters and solving side quests.
As I soon became a regular of the mid-week experience, I was welcomed by familiar faces. I’m drawn in with a fist bump or a friendly nod from a comrade I got to know the week before. Justin, More than Music’s founder, can't help but introduce newcomers into the fold by shaking hands and introducing them to others. Soon, the new kid on the block is another regular bridging in more friends to enjoy what everyone is there for to begin with, Tokyo’s “cream of the crop” in the live music scene.
It’s no surprise that you’ll discover your next favorite band at More than Music’s “More Tokyo Music” event series. Head on over after your workday has ended, and play and dance in the luminesce of Moon Romantic every Wednesday for the foreseeable future.
If you want to come to an event at Moon Romantic click here!
Written by Michele Tanabe,
After 5 years of exploring, Baluyut returned to New York but before he left he wrote his swan song to his time in Tokyo “Everything Goes”. This occasion seems to mark the time he truly found his voice. Losing none of the feeling, he infused his music with subtle synths and washed his vocals in electronic echo. The result is atmospheric and moody, dark even, like dark clouds building after a hot summer day.
Now he brings you “Come Back To The World”. It is a fragile piece of songified poetry, starting out small with just a guitar and Chris singing in a high voice, but then around a minute in, the electronic bass makes the track feel full. Pregnant with melancholia the lyrics are about a feeling too many people are familiar with in this day and age, have I done enough to help a loved one? The line “But when you seemed you weren’t okay I didn’t think to scream out loud, Loud enough to hear, under all the fear” .
“Come Back To The World” is a melancholic dreamscape filled with pain and fear but also catharsis. The last sentence, “That I know when it’s all over, I'll say you saved me now” ties a string of hope around the song. It will fit neatly in your playlists along with “Bon Iver”, “Sufjan Stevens” and “James Blake”.
Next time it rains and gray clouds cast shadows over your mood and you are staring out of a window into the unforgiving world, give “Come Back To The World” a thorough listen.
Go check out our upcoming events here!
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This latest issue of the MTM rock series featured four great bands that thundered with all the fury the rock gods demand, all of them from a different denomination but with the same goal, to blow away their audience.
First up, a quintet of rockers from Tokyo, called Mississippi Khaki Hair clearly inspired by Editors. Kimura Yasuto (lead) channels the legendary voice of Tom Smith and haunted ShimoKitazawaThree with it. Their bombastic sound filled the live house that felt too small for their presence.
“Moonshadow” (embedded) for example is an awe-inspiring song that evokes the heartbreak and darkness so indicative of the music in the new wave era. Given that English is not the main language for Kimura he does a very good job of crafting lyrics to match the murky music on this perfect track.
"Seven" is another track I recommend you go check out, spread the love why don't you!
Then “THE DEVILS&LIBIDO” an ironclad three-piece-band of instrumental metal took to the stage. Bassist Taira was sporting a colorful bathrobe matching the shirt striped shirt of guitarist Ayana. As enthralling bass riffs flow out of the speakers, yours truly, a 191 cm tall punk enthousiast is fighting every fiber in his body not to start the mosh pit that the devils are summoning.
Violence must have been felt by the drumkit, because either possessed by a devil or his libido the drummer smashed the love of Christ out of his skins.
It is refreshing to see a band where the bass player plays such a prominent role as in THE DEVILS&LIBIDO and a band that emanates the energy of a small nuclear plant deserves to see that reflected in the audience before them.
Thirdly, Paprikan revived grunge culture for us, taking us throughout the nineties alternating between Nirvana and Pearl Jam. Heavy guitars and piercing vocals dominated this set. I personally regained faith in the genre reliving my own youth in the span of 40 minutes.
And I found the answer to the age-old question: “What happens when you are listening to grunge in Japanese ?” The answer is of course a week of head banging induced neck pain and a hangover.
Sunsirlovecalls, a whole mouthful, brings us in the early 2000's punk rock vibe. As a soundcheck they brought "Killing in the name of” by “Rage against the machine”, a band they most certainly adore, as they confessed later on. This, of course, released endorphins in everyone old enough to remember this instant classic. I kept tripping on this nostalgia, happiness hormone throughout the next hour since their sound was comparable to the heroes of my teens, limp bizkit, blink182, rage against the machine, I won't go on, even though I could.
Sunsirlovecalls is clearly born in an orgy doused in chaos, anarchy and raw talent. These guys belong in Tony Hawk pro skater 2, even though that game is dead and buried, this band carries on the free spirit of skate punk, punk rock and all the unburdened goodness of the turn of the millennium.
ShimokitazawaThree serves well as a rock dungeon. It's got everything you need, a bar that serves pints of "Heartland" (just a fan) for a reasonable price, A stage with a very good sound system and a lovely manager to keep it all running smoothly. This particular night Three was a time machine, as smoke filled the air we landed in all the decades that offered something on the way of the distortion ridden guitar sound, and through it all this basement that is every man's perfect man cave, felt timeless throughout our journey of rock.
]]>This was the first music event held at the illustrious "Alchemy" since the pandemic swept across the land. The crowd shuffled, insecure, clearly uneasy regaining their footing in a social setting. Then, a smoldering voice asked to "come a little bit closer" and Josiah's first chords cut down the hesitating atmosphere.
"Gonna let you go" (see video) got people on their feet, their attention grabbed, they started shaking.
All danceable land was being claimed and by the time the Taylor guitars last strum reverberated, there was no empty place on the floor left.
Moments later he showed his vocal range with "I just want your love" the crowd had turned into a broiling sea of bodies enthralled by the piper of funk in front of them.
Friday was a warm-up, a success like no warm up ever was before. Josiah's vocals were amazing but his stage presence is what separates him from others. He plays a crowd almost better than he does guitar, he could get a pack of wheelchair-bound elderly to dance the night away.
Then Saturday came, Josiah played the Funk Grammar festival, it was a special experience to see Mr Hawley play without his band. The music that normally would be wave after wave of upbeat danceable soulful rock, with it's incredible bass and pounding drums now gained an extra layer of intimacy. As if it is saying "yes, it is a party, but we can cuddle later." "Aishite hoshii" indeed!
The next day, we called it Sunday, a lot of familiar faces found each other again in Alchemy. Four of those familiar faces belonged to the band members of K109, a band that also played the Funk Grammar Festival the day before. Josiah and the band members could be seen outside in the sun for a while, seemingly scheming. We knew something was afoot, but nothing could prepare us for what came next. They took us on an improvised journey. A funky jam session of five very talented musicians clearly having the time of their life, while infecting the crowd in the once again packed "Alchemy".
Kobe is still reeling from the passage of hurricane Hawley, if not all of Kobe then at least Alchemy and it's regulars. Josiah proved that weekend that he is one of the best artists in the stables of More than Music. This handsome man, from LA but born in Arkansas, can connect with any audience and has the skill and confidence to do it without his regular band. And his Sunday show, with a minimum of preparation, playing together with musicians he just met the day before, will be one of the many legends that are forever imprinted on the walls of "Alchemy".
]]>You would think that after having taken to More Than Music’s stage numerous times, easily more than any other artists, that there is very little left that Robert Taira Wilson and his guitar can offer in the way of new and fresh. If that’s what you were thinking, you’d be mistaken.
Rather than whiling away his days frivolously, the mercurial Taira Wilson locks himself away in his room with his mics and pedals and guitars and plumbs the depths of his ability to find gemlike songs such as his new single ‘Morning Light’ or others of that ilk.
Never one to rest on his laurels, in preparation for the show, Robert asked his fan base for cover inspiration. The result was a stellar rendition of The Pharcyde’s titanic hip hop classic ‘Passin Me By’. Where there was once groovy jazz production, we were given glossy rich guitaristry. Where there was once hard LA hooks and rhymes, we found sultry but savage Cockney twang. As ever, Robert brought his A-game to a new level, and paid homage to a classic a world away.
It is bizarre yet entirely amazing that any artist can be simultaneously serene, yet ballistic, yet coordinated. Robert’s hard work is plain and obvious for all to see as his ability is far from indicative of a layman. It is always humbling to see a masterful artist such as Robert approach his art even now, as a student, and at the very least serves served to inspire a twinkle of satisfaction in the eyes of all observing.
Where the Folk Prince stood in solemn solitude a rag tag foursome now loomed, primed and ready to stir up trouble or something of the like. Drums were battered. Guitars roared. Basses growled. Fiddles and vocal cords seethed. And the feet of an audience once tied down by a weary reality suddenly found themselves unbound.
There are few bands in any part of any country you know that can unleash an audience quite so effectively as Johnson’s Motorcar. It is fair to say that they are a no-frills band that have refined their art to a razor sharp precision. It almost feels as though the audience themselves are an instrument in their own right as they heed the very beck and call of these four brilliant musicians. Having the audience damn near jump off to the walls to closer ‘Johnny is a Rovin’ Blade’ is evidence of the Motorcar’s unstoppable will to party.
The stand out moment however was not borne of escapism or glorious rapture but of homage to an inescapable truth. With ‘War and Peace’ (see video), Johnson’s Motorcar reminded us that outside our comfort and relative peace a new war was raging into existence and while we are powerless to stop it, we have a choice to fight for the righteous or be pawns to callous and uncaring, old warlords. The piercing fiddle and thunderous Gaelic chant struck so deeply that dry eyes were rare and stirred hearts were commonplace.
Having been preceeded by 2 of Tokyo’s finest live acts you would think that nothing could possibly follow Wilson’s stringmanship or the Motorcar’s raucous party-fueling merriment. Well that’s where bands such as Shamanz come in.
Runs of chorded solos drenched in ‘Turban Delay’ were wrung forth by frontman, Tama Tsuboi. Watching Tama simultaneously lay down beautiful damn near pitch perfect soulful melodies while guiding his array of vocal and guitar pedals without fault brought to mind a reggaefied Asian Geddy Lee. A true talent.
Smiling like a kid at Christmas, guitarist/bassist Kai Petite pulls double duty as guitarist and bassist supplying the groundwork on which his frontman flourishes. It takes special people to put aside their ego and let the talents of others dominate a space, but Kai relishes the opportunity to give Tama the necessary space to transport their audience off-world.
As an incredibly dexterous player employing the baritone of a beautiful Bass VI, Kai lays down textures of low end chomping chords and gnarly gained out garage rock solos. In Kai’s restraint the soulful moments bloom, in Kai’s ferocity the Rock and Latin moments dance.
Mike Marrington’s drums ebbed and flowed on the kit with subtle and articulate high hat swings and bell chimes. The sexy sway of the backbeat melded into the atmosphere and more than a few couples found themselves embracing, such is the influence of the beat on our basest carnal natures.
In addition, It was truly awe inspiring to see the skinsman near the end of the set unexpectedly explode into a rampaging rock n roll solo, as he tore from the back of the stage making his presence well and truly known. Tama and Kai themselves appeared taken aback but being consumate professionals leaned into it and found the pocket.
As the trio rounded out their encore with a stunning roots version of ‘Roxanne’, the audience went absolutely ballistic in celebration of a band that just served up some of the most blistering and piercing soul and reggae heard around 7th Floor for a long time. It is unfortunate that any night of such quality should end, but it is by ending that we appreciate the beauty of moments as great as tonight. Remember it well.
If these three bands blasted your brain into oblivion, go make new memories and check out our upcoming events.
Written by Aries City
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Then, after a quick break in the sleek bar that basks in blue neon light. Reflected on the bare industrial piping in the ceiling of Kagurane, pumping drum and bass rhythms invited you back to the stage area. German born DJ, Taktile, was mindfully tapping his launchpad making liquid sounds meshed together with the trippy imagery projected behind him. It felt like a place of worship, people dancing religiously to the tempo of our second techno-priest of the evening. sometimes melodious, almost ambient sounds, flowing like a water feature in a zen garden. Other times building up to an explosion that flirted with dubstep chaos, like a whirlpool, dragging the helpless audience into an abyss of bliss.
The tone of the night set, Yowamushi Club was prepping to break up the electronic storm, or rather amplify it, by adding their flaming guitars and the inimitable vocals of Ajima san (lead singer, guitar).
By the time they started playing "Kitsune drive into the black" (video embedded), no-one in the audience wasn't jumping up and down while blaring along "kitsune kitsune kitsune doraibu into the black" .
A strange feeling of nostalgic despair mixes together with the happiness of being in that moment. Ajima sans voice evokes a melancholy that is offset by the sheer energy of the guitar and synths, and when any song hits its climax he will accentuate that high, with a falsetto screaming, that bleeds an anguished heartbreak into the lyrics.
Then came "I don't know". The piano loop that introduces this absolute smash takes the song away, hypnotizing Japanese and English natives alike, proving that music has and forever will destroy any language barrier.
Meanwhile in front of the stage, literally everyone was dancing, and when the band had the audacity to stop playing they were commanded back on stage and delivered another fox driving into the black to the grateful audience. One does not simply allow Yowamushi Club off stage.
After that amazing performance, we caught our breath and another drink. Zuma. was the final artist to drain us off our energy, he certainly brought the cool of LA to Japan. Giving his own spin on some of the biggest bangers, turning Kagurane in one of the more swanky Tokyo clubs for the night, with more creativity than your regular nightclub DJ. His mixes are dope, respecting original tracks while creating something new. You could easily spend the night dancing to this, but his own tracks are nothing to sneeze at either ( give CUT ME OFF a listen)
Near the end of his set, none other than Josiah Hawley made a surprise appearance on stage. Together they performed their new collaboration tentatively called "bby grl". This sneak peek into a compelling mix of two artists who are doing entirely different things sure got us hungry for more.
All sermons come to an end and so does this one. This show was a transcendental experience, and even though the evening boasted a more electronic exploration than what more than music normally provides, the people, the great vibes and the quality of the music stay the same. As everyone wiped the dance-sweat off their brow that was the obvious conclusion.
Bummed that you could not be there? Rightfully so, you missed something special, but dry your tears with the virtual flyer of the next MTM event.
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Chef Justin Sachs is by all standards a passionate man and when you taste his food, you can tell that this man loves what he does with every bite you take. As the venue started to gradually fill up with people and the stack of Baird beer dwindled, the star of the show was brought out.
I am talking of course about the Jambalaya. In this tomato based sauce shrimp and sausages swim together, mixing flavours. A tad spicy, but not at all fiery, it catered well to Japanese and foreign tastebuds alike. The jasmine rice doused in this flavour-rich creole dish made for a feast worthy of even the fiercest yelp-reviewer. As a side to this main there was a refreshing coleslaw, and an innovative broccoli, grape and almond salad topped off with some crispy bacon, a surprising yet delicious combination.
This was a tough act to follow but the next dish on the menu, Elliot Cormack, has all the required zest. The former frontman of the epic band Entrada (do yourself a favor and look them up) brought a seemingly restrained solo act, however Mr Cormack uses his loop pedals in such a creative way that it almost sounds like the whole band is there. On "Today's the last day" Elliot sang into the soundhole of his acoustic guitar, thus fashioning a choir to sing along with the line "The world is crumbling, it is blowing away". The combination of sound and meaning had the audience transfixed, almost solemnly so.
The Grey is another Entrada song that translates well to his solo performance.
"A song about getting old", Elliot announced, and as soon as he started playing, people forgot their food for a minute and contemplated their own mortality, in a fun way!
This man knows how to captivate a crowd, he sings using his entire face and clearly loses himself in the words he is producing. Onlookers can but follow.
But between songs he keeps it light, since it was the first time he performed "Nothing new" the Brightonian asked us to bear with him as he might replace some of the lyrics he might forget with "nanana". Attentive listeners noticed that there was no "nanana" to be heard.
A quick word about encores, we all know that this is a prepared gimmick. A ritual if you will, we show our appreciation for the artist to let him, her or them go off stage and then demand their return before playing the last prepared song. Very rarely true encores occur but when Elliot Cormack was summoned back on stage he confessed to his fans that he had nothing left to give in terms of songs. So he asked if we had any requests. Someone yelled "Wonderwall", the forbidden song, and Elliot obliged. He gave the first song every guitarist learns to try to pick up girls with his own spin though, making it a remarkably beautiful ending for a wonderful set and an unrehearsed, candid encore.
To finish up the evening for dessert there was a rich cheesecake with caramel sauce and good conversation.
The Jambalaya night was the first in the More than Music dinner and a show concept and it proved to be a hit. The food was of a quality one can find in a higher tier restaurant and the music made for a very homey atmosphere. As a concept it feels like a house party with professional catering and music. The open bar filled with Baird craft beer smoothed it all out. Their Saison Sayuri in particular, a spicy, fragrant beer with a dry finish, was a must-try that was enjoyed profusely throughout the night.
MTM members and first-timers alike could feel completely welcome. In the end that is what most people would look for on an evening out.
Many of us had so much fun they stayed out after curfew but as Elliot Cormack said on the song "The Grey" "The reason we're all still here, we all still fear the end".
Baird Beer - Angry Boy Brown Ale
For all the brutishness that may be present on ‘Gojigen’, it must be said that among a generation of musicians who like to play their blues as four to the floor as possible, it is good to hear a crunched out bluesy twang accompanied by a swinging jazz beat. It is immediately clear that the guys are here to try out different things while totally rockin' out with their proverbials out.
The stand out moment of ‘Gojigen’ is certainly the finale, as the fellas get down and dirty in a call-and-response set of soloing. As one makes space the other totally tears it up, whether it’s pupil-dilating shredding or broken axle beats, there is complete balance and unity throughout.
Music publication style hyperbolic hooks aside, ‘Gojigen’ is a genuinely fun little Jazzy/Bluesy/Rocky number that goes a long way to represent what the boys have been trying to accomplish with the release of their 1st album, ‘Blue light’.
Nomura’s trials and tribulations are exemplified by ‘Dirty Rainbow’s constant transmutations. At once Rei Takano’s drums shuffle and drag while Takayuki and Ryohei’s guitars skip and flick over a pensive piano. Taichi’s voice is almost sonorously deep but it is light and silky enough that it feels almost welcoming. Then suddenly the guys erupt with force allowing Yellow Studs to show their penchant for inserting rock into critical moments of their compositions.
It would be very easy for Yellow Studs to have pushed ‘Dirty Rainbow’ into that area of over-dramatic and over-saturated that so many of their more famous chart-topping, anime-introing contemporaries are so good at. Rather, they manage to balance the instrumentation superbly well and completely avoid any pretense or trashiness. The guitars cut through the mix without overstaying their welcome. The drums blast but they do not over power everything around them. In this instance it is the simplicity and fortitude of bassist Daisuke Ueda’s bass line that anchors the song in the moments where his band mates take to the skies.
Is ‘Dirty Rainbow’ a Jazz song trying to be a Rock song or a Rock song trying to be a Jazz song? That might be a question worth asking for any of Yellow Studs songs. Maybe it’s just a wonderfully paired down Math Rock song. Whatever it is, it’s certainly good fun that’s worth your time and has every potential of helping the deeper listeners through a harder time of their own.
]]>Starting off, we were back at the 7th Floor in Shibuya. We love them! Whether it's the view or the vibes inside, it’s always good to be there.
From when the doors open to the point FiJA jumps on stage and wooed us with her sultry voice, the anticipation for the night gradually increased. Seeing FiJA perform and hearing her voice only solidifies that she is in her natural element. Regardless of the other people in the audience, it feels like FiJA is singing to you personally. Something about her mystical ways is so enticing that it makes you want to crumble. Her singles "Taste," "Painkiller," and "What's On Your Mind?" all resonated with the audience deeply. Even her covers called out to members to sing along, and it's always great when we can participate.
Slide onto MAKISOUL, and their sound is just eclectic. At the beginning of their set, similarities of our mates at SLOPEUPSESSIONCLUB could be found; jazz, funk, rock, and overall improvisation. The way each band member plays their instrument powerfully, you’d think they perform for the whole world. From there, the group smoothly transitioned to their rendition of "Everybody Loves A Sunshine '' by Roy Ayers, and man was it amazing. After all that, all bets were off for MAKISOUL. The group has talent, and watching them gives off a natural high that causes one to lose all senses of inhibition. However, just as you're losing yourself to their sound, they cradle you back to reality with a gentle tune. Want to find MAKISOUL online? Well, that's going to be difficult; the only way to get a taste is to see them at their next show!
Last but definitely not least is our friend, YOTOWN. Seeing YOTOWN perform was and is always a joyous occasion. The group knows how to play the crowd, curating their sound to be just right. They give the audience a pep in the step, a swig in the jig, and a groove to the move. Their songs "Bubble" and "Dive" are always a fan favorite, and for obvious reasons, they are outstanding songs. Where "Dive" is one of their slower songs, "Bubble" picks up right where "Dive" left off. If only there was more time in the night to keep watching YOTOWN because their performances are always a spectacle, and they constantly keep you wanting more.
Stay tuned for more shows down the line because we've got some big things in store for you. If there's one thing to take away from the 10/23 show, it's that wherever you are in the world, there's only one place that you should be, and that's at an MTM show. Until next time folks!
UPCOMING EVENTS
The effortlessly cool Robert Taira Wilson is back once again to continue his string of unfathomably slick single releases. Last time, Robert gifted us with the ephemeral ‘Blackbird’. Mere months later, Robert now comes bearing an ode to ill-considered life events and unrequited loves with the beautiful ‘Ana’.
There is absolutely no doubting that among the many arts he has taken to, his wordsmithery has emerged seemingly boundless. There are certainly a few of my favourite lines that Robert has ever written present on ’Ana’ as it rings full of nuance, innuendo, charm, and passion. With lines such as “My animal core/ wants more my dear/ the wreckage of the night/ my souvenir”, we see Robert’s talent for making the carnal and base sound graceful and subtle. “I touch your shoulder/ I couldn’t be bolder/ those familiar regrets/ when the night is over” rings out in tandem of dark and murky chords, summoning moments of brilliant confidence and hope, and uneasy, throat-blocking tension and melancholy. By the time ‘Ana’ reaches its apex, Wilson proves not only that the treasure trove of the English language is still deep and rich, but that it is safe in the hands of artists of his calibre.
Musically, ’Ana’ comes fully charged with all the tricks-of-the-trade that a finger-style master such as Robert has to hand. Lavish chomping chords lead the listener by the ear as Robert’s glossy vocals sweep through the air. As we reach further down this rabbit hole, glittering harmonics loom in the background like stars on a bedroom wall. Robert is every bit a folk guitarist, but if you don’t know by now, he has never been satisfied with simply strumming a few cowboy chords. Intricately detailed notes and lusciously voiced chords guild ‘Ana’, allowing Robert to elevate this pretty little ditty to the Nth degree. As the song reaches its finale, Roberts strings burst ablaze for one last charge as if the man himself is setting fire to this love letter to never be read again.
If there’s any justice in the world, over time, the chorus itself may even prove to be a lighter-and-chant-worthy moment at shows and festivals. Hell, we might even see a genuinely talented artist and musician reach the charts and make a name for themselves. Come what may, we will see him get there on the strength of painfully beautiful songs such as ‘Ana’.
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The track opens with a classically styled drum and bass beat clearly alluding to Demsky’s love of the funkier things in life. It is in the beat where listeners will likely feel most at home while Demsky revels in the abstract. If the beat is home, then it is Desmky’s flute that is our friend. No, these are not the flutes of ‘Mask Off’, these are not even the flutes of ‘Juice’, but they might be the flutes of ‘Blue Bossa’. Whatever they are, they are unassumingly groovy as they bring on an essence of hope and wonder that make its sparingly employed flourishes warm and welcome to the listener.
The vamping bass line holds down the back end almost creating tension as it barely moves and morphs into a lingering buzz as if it were some creature about to leap from a cave and drag you into its domain. While the bass looms, inter-dimensional synthesisers keep things light and airy, as if they were cosmonauts exploring the sound waves for new and exciting evolutions in the surrounding sonic auras. In essence they force us to let go of what we know and to transcend borders alongside Demsky himself.
While one foot is placed way out in the ether where he allows his space to expand and be enriched, his other foot is placed firmly on the solid grounds of the soul, funk and house that he and many of us have grown up. With ‘Airport’, Demsky has come to remind us that while there is plenty of unknown to be explored, we share far more in common with one another than we realise and it is a joy to celebrate both our differences and commonalities.
For more Demsky, check him out here. Or come see his perform 'Airport' live at his EP Release on August 21st.
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If I had to describe ‘Samidare’ in one word, it would have to be with one of my favourite Japanese words, komorebi. Komorebi refers to the sunlight that leaks gorgeously through the trees. That is to say that on ‘Samidare’ DE DE and LITE create a musical chiaroscuro where DE DE finds a place for his spacey and ethereal keys to filter through the often heavy and raucous technical riffery of LITE’s branches. This contrast no doubt gives the listener an interesting experience, as DE DE’s production lifts LITE’s maelstrom into other-dimensional territory while LITE’s moments of merciless slap shot anarchy anchor the more abstract moments to a solid place where casual listeners might be more comfortable.
Arguably, the combination is not always in perfect harmony, but it doesn’t need to be. Listeners of these two great artists may find that really digging into this piece is the real reward of the experience. Why strive for perfection when you can achieve something that is actually interesting. This is LITE and DE DE MOUSE we’re talking about after all. This is not just some mashup where two artists from different schools of thought throw a ton of different ideas at the wall and hope that something sticks. There is method to their madness.
The lads of LITE are indeed be very good at slamming into 5th gear and delivering intensely heady and at times utterly punishing prog mania that makes their peers writhe in jealousy, but no doubt they also have a sense for when to let off the throttle and drop back into gorgeous, shiny, glittering arpeggiated melodics. It is in these moments when the komorebi of the dual artistry on ‘Samidare’ comes into full swing as the raucous cacophony turns into a harmonised dream state.
‘Samidare’ is a wonderful exploration of one idea and approach between these two phenomenal artists but if I had my way, it’d be a joy to hear at least an EP if not a full LP of fully fleshed out ideas committed to a canvas of recordings. Imagine for example what it would sound like if MOUSE himself cut loose and lead the charge ahead of LITE’s off-kilter guitars or if both sides of the coin dedicated to submerging the listener as far into the dream state as possible.
Check out more from Lite and DE DE MOUSE.
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As she sets about with her beautiful upper range, a beckoning guitar leads the instrumentation tip-toeing into the listener’s aural range and bidding them to claim what their heart desires. The bass and drums coolly slouch back as the sparkly keys guild FiJA’s vocals with a cute but sophisticated soul harmony. The songstress does a superb job of anchoring the song with a chill chorus where not only does she let herself soar a little higher but she also embellishes each line with catchy little nuances that will get you singing along on whatever journey you’re on.
It is with efforts such as ‘What’s on Your Mind?’ that FiJA is slowly but surely making a name for herself as a solidly talented young asian soul and RnB artist, in a similar vein to her slightly more established contemporaries such as her fellow countrywomen Hanah Spring and Nao Kawamura or Korea’s Yerin Baek and Hwasa of Mamamoo.
Love is such a unifying concept throughout human society and yet its definition often differs greatly from person to person. Arguably Shakespeare gave it it’s most agreed upon and well defined shape but it is always great to see young artists such as FiJA develop the theme not only with great artistic vision but also with fervent intention to inspire others and solidify their own confidence in themselves.
Check out FiJA alongside Josiah Hawley on July 4th at Art Atelier Tokyo.
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If you feel Jose Gonzalez is a little too down on himself most of the time or if you feel that The Beatles didn’t spread their influence far enough in their time, then you need the reaffirmation that The Forester's ‘The Swing’ provides. Some of us exist on a plain where the grim and the gritty are omnipresent, but every now and again it is healthy for us to allow songs like ‘The Swing’ to play in the background on a Sunny afternoon as we pour a coffee, do some finger painting, pot a few plants or something equally wholesome and life affirming.
The Forester will be joining Robert Taira Wilson and Veronica Veronico on Saturday July 17th at Kagurane.
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Comparisons to legendary punk bands aside, Yowamushi Club’s ‘punk cat a go go’ is not a song you hear every day even in the stranger annals of Japan. Only a select few punk rockers make the leap from your standard 4 to the floor violence to something genuinely new. Imagine if band like Gang of Four never made ‘entertainment!’, or if Black Flag never made ‘My War’, or if Soundgarden never made ‘Screaming Life/Fopp’, the heavy music landscape would be completely different. I don’t know how it would be different but the point is, in this reality it is music from bands such as these that pushed punk from a raging bonfire burning with reckless abandon to being a focused missile of activists, scholars and intellectuals who channeled their fury into betterment for themselves and their communities.
I’m not saying that Yowamushi Club is a landmark punk band that have suddenly infiltrated the elites of rock without any of you even realising it, I’m not even saying that hearing it will change your life. What I am saying is that ‘punk cat a go go’ is a song indicative of great potential. Yes, the title and lyrics are a tad silly, but god damn it’s fun. The real potential is in the instrumentation and production. The Sega synth constantly bubbles through the song like some kind of disco robot. The jagged off kilter guitar work make every effort possible to sound like the heavy loader from ‘Aliens’ as if all the ghost noted chugs and behind-the-nut strums were somehow reminiscent of thundering hydraulics and steel on steel clanking, Trent Reznor would be proud. If that wasn’t enough, the drums and bass go for a piece of the action with errant high speed shuffles that keep up the pace of the song but save of us from the potential monotony of a standard punk rock 4/4 beat.
I definitely went off a tangent earlier with punk rock history, but if there is anything I want you, the reader, to take away from this it is this: It is when punk does what it does best and throws the rule book out the window that we bear witness to genuinely artistry. For more of said such artistry, Yowamushi Club are a band you need to keep your eye on. You’ll regret it if you don’t.
Yowamushi Club will be rocking the stage this Saturday June 26th with Demsky and Nayokenza at Kagurane in Shinjuku.
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The sun beams through the windows of Art Ateliers windowed corner, lighting up the art work of resident alcohol ink artist, ‘Peppermint’ Mika who beams just as brightly as the sun. Outside are the roads and streets of Oshiage, Sumida, teeming with life as people essentially run from A to B and every once in awhile they stop and look up with mouths agape. There’s no mistaking it. This is Skytree Town. With our sponsors, Baird Beer, in tow, we welcome tonight's guests. As people file in, two things are immediately noticeable. One, the simple beauty and charm of Art Atelier itself with its background of wonderfully abstract pieces. Two, the scent of melting cheese and grilled chicken being seared together in to a perfect union of delicious quesadillas, and that’s not even the pre-show.
As our Master-in-Commander, Justin, shows us his love of food, the first act of the evening Elliot Cormack, steps up to the stage to show us his love of music. Elliot’s path as a solo artist is well under way as he gifts us with tune after tune imbued with his delicate vocal talent. At times, his voice soars for joy and hope, at times, it plunges, for ruin and disaster. All the while, his vocal control is absolutely seamless. The man is so good, it’s possible that he may be pitch perfect. As if it weren’t enough to be a gorgeously talented singer, Elliot just so happens to be a very proficient guitarist as well. He makes his guitar quite literally sing as if it were a glorified stringed megaphone. As the beams of sunlight began picking up shadows through the window, Elliot saw out his set with a cover of Jeff Buckley’s ‘Hallelujah’. Such a cover can be seen as old hat these days, having passed the lips of many a mouth but where it was impossible to make something original Elliot made something sweet and tender for all to enjoy.
With the sun almost completely out of sight, a warm sunset orange glow filled the room and tonight’s main attraction, Robert Taira Wilson, strode to the stage. We have seen Robert many times before but tonight Robert’s presence was electrifying. A sense of anticipation as delicious as Justin’s culinary skills lingered on the air as a room full of people watched his every motion with bated breath. Established Taira Wilson classics such as the whimsical ‘Bridge Over Man Made’ and the impassioned ‘Anna’ saw their time in the setting sun, alongside more recent efforts such as ‘Dragonfly’ which hinted delightfully at its oriental origins with Robert’s borrowing inspiration from Japanese history and folk tales swell as folk music. If for a moment you looked into the audience, you would see Robert not only commanded the rooms complete attention but you would the likes of fellow musicians such as the soul musician FiJA and our evening’s opener Elliot Cormack giving those familiar looks of admiration and approval, looks that said “damn, that was f***ing cool”. There were also moments of levity and laughter as Robert made an innocent gaff or two, like for example, forgetting to plug a pedal in.
As to the aforementioned anticipation, the audience was rewarded at the coda of Robert’s performance in the form of his new single, ‘Blackbird’. The anticipation was only turned up as he admitted he didn’t quite know how he was going to end the song. The natural inclination being for every one to imagine what was this monstrously talented artist going to pull off in the final moment. Wilson’s swagger turned to a kind of cool rumination, as the tragedy endowed in ‘Blackbird’ became immediately apparent from the outset. You could almost feel yourself being sucked down some kind of vortex of lamentation with every key change. Just as the torment became too much, the cruelly short ballad reached its climax and the talent monster was unleashed. Whether Robert was fibbing when he said he didn’t know how he was going to end was anyone’s guess, as the sauntering echo and reverb drenched improvisation he laid before us could well have been off the dome. But this is the talent monster, Robert Taira Wilson. He made it look so natural and intentional that it might as well have been a new song in its own right. Just like that, it was over. Robert had gifted us with yet another beautiful memory of a stellar performance in another understatedly cool venue. Til’ next time in Skytree Town.
Tokyo Godfathers’ ‘Caravan’ is a 3 minute odyssey through the sands. The wretched melody of the guitar hints at a deep regret, while the languid and distressed heartbeat of the cajon and double bass drive caravan forward. The journey is concluded with the staggered and choked funk guitars tearing overhead above the band's solemn and desperate Latin grooves.
Check out Tokyo Godfathers on Saturday June 19th at Shibuya 7th Floor alongside the Tama Tsuboi Trio and Robert Taira Wilson.
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As the hook comes around, a trumpet elegantly strolls into the picture. Later on, the saxophone punctuates the air with a melancholy solo while the somber guitar evokes painful memories. These instruments are highlighted to show that SHAMANZ mindfully designed this piece to call on specific feelings of sorrow. You can hear each device clearly as if they were playing in front of you. Each instrument dials in and out at a supreme moment which only further compliments the theme of ruined love.
Although the song has a sad context to it, it’s a chill song overall. Its relaxing tune soothes the soul, and Tama’s voice channels an emotional pain we’ve all felt at one point. Nevertheless, all wounds heal eventually, and we’re happy that we have “Lost Pirates” to get us there.
]]>Twice’s original disco pop version of ‘TT’ was a flaring and ballistic candy cane assault on the senses, adored to this day by fans worldwide. With Josiah at the helm, the song gains new depth and maturity. Where there were once candy canes, now there are heart-shaped, whiskey-filled dark chocolates. The sheen of Josiah’s serene vocals momentarily rusts as he croons away, adding to the sense that ‘TT’s former innocence may have left the chat. Sheen or rust aside, there is no stopping the rush of lust that Josiah's words bring.
On top of that, a lone guitar slithers in the background, chiming like the Motown heroes of yore. Jimmy Nolen himself would be proud of Josiah’s silky finger work and thick, rounded tone. As Josiah’s right hand cuts into the strings for a heavy swing, his left hand weaves beautifully intricate jazz chords handed to us by our forefathers. But this is Josiah Hawley we’re talking about. In reality this is not magic. This is a very talented man using his musical slights of hand to give his signature take on a K-pop titan’s contemporary classic hit. The result is a sultry and warm ballad with a bright catchy sing-along chorus. What’s not to love?
Josiah Hawley will be bringing that sultry warmth to Kichijoji Warp this Saturday June 12th.
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