Music

London samurai

Iconic Japanese guitarist Tomoyasu Hotei tells Kunihiro Miki about taking on the UK

AJapanese person who ventures overseas he played alongside post-punk group Gang of Four, under their own steam to try their luck in who formed in 1977. ‘At the Gang of Four concert, the global market is known as a ‘samurai’. in which I played as a guest artist, the opening act Three years ago, locally renowned guitarist was Lonelady. You could tell that the female vocal Tomoyasu Hotei took up the challenge, leaving lead had also inherited her style from the posthis rock-solid reputation in Japan behind and punk era… The British approach to instruments relocating with his family to London. is very raw; they don’t try to manipulate the sound

While there are many ‘samurai too much. Instead, they create musicians’ who find success rhythm at the moment the guitar is overseas, taking the risk at the heard. I get the feeling they really age of 50 is something else. dislike processed music.’ Having just celebrated his 53rd They are very cut This spring, Hotei signed with birthday this year, it seems Hotei has taken a philosophical and dried about record label Spinefarm Records/ Universal Music, and he’s just put approach to the move, saying, eliminating the finishing touches on his debut ‘I’ve reset everything here. Now, I actually feel close to how I did material. It international album, ‘Strangers’. The album features guest artists back when my band first debuted.’ would be hard for such as Iggy Pop, Matt Tuck Hotei had dreamed of living in London since his teens, and anyone in Japan from Bullet for My Valentine, Richard Z. Kruspe from Emigrate/ his musical roots can clearly to say that kind Rammstein, Shea Seger, and be traced to the style of British bands from the ’80s. ‘I became of thing Noko from Apollo 440, who also supports Hotei at live concerts. addicted to glam rock at the age ‘Noko, the guitarist for Apollo 440, of 14; I have always loved the unique, artistic, and has the same birthday as me. Our backgrounds fashionable rock ’n’ roll in the UK… David Bowie, are also really similar. I feel like he is my UK alter Jesus Jones, Sigue Sigue Sputnik...’ ego; like he instinctively senses what I want to do.

These days, Hotei gets to share a stage with the It’s a big deal for me that he’s at my side.’ very musicians who influenced him. In 2015, When it comes to music production, rather

than push his Japanese sensibilities, Hotei has focused on immersing himself in the London way. ‘I asked a few London producers for help, and I became, as we say in Japan, a carp on the cutting board, letting them prepare what I provided however they saw fit. For example, they might tell me during recording that this or that guitar solo is too long [laughs]. They are very cut and dried about eliminating material. It would be hard for anyone in Japan to say that kind of thing.’

So what prompted Hotei to finally make the break? As times change, so does the significance of Japanese artists moving overseas – we are beginning to seek out new inspirations. ‘Japan has a lot of interesting and beautiful things, including entertainment. You don’t have to bother going abroad to find enough enjoyment; the Japanese are content with what they have,’ says Hotei. Yet it’s exactly this that led him to leave his home, to regain some of the edge that he’d lost in the belly of his comfort zone. And London, the city of his dreams, was the ideal place to kickstart his creativity.

‘Strangers’ is out on October 16. www.hotei.com

Music

THE GREAT EDM DEBATE

Will EDM make it in Japan, or will it end up as just another temporary trend? – Atsushi Shikano

To compete with European artists, the genre needs to be developed further here in Japan – Tomo Hirata

When mega EDM festival Ultra made its debut in Japan last year, it was official: electronic dance music had finally been embraced on our shores. There’s more to come, too – the US’s Electric Daisy Carnival is set to hold its first Japan edition in Tokyo in July 2016. But how is the genre – which has long battled against naysayers and controversies – truly fitting into the music scene here? Especially in light of the peculiarly Japanese tradition of importing culture from abroad but then moulding it to suit the local context… Will the genre end up transforming into something entirely different?

LOCAL VS GLOBAL According to DJ Tomo Hirata, EDM in Japan is only vaguely connected to global trends, with the exception of big-time events like Ultra Japan. ‘In Japan, the genre really just entails club DJs stringing together hit tunes in an all-mix style,’ he explains. This contrasts quite heavily with EDM’s producer culture overseas where ‘DJs play mainly their own tracks, instead of just acting as selectors’. This is true for many of the genre’s current superstars, most of whom hail from Europe, the birthplace of EDM: David Guetta is French, Avicii is Swedish, Zedd is German, and Hardwell is Dutch. Notably, it was 2009’s ‘I Gotta Feeling’ by Guetta and the Black Eyed Peas that marked the start of the European EDM ‘invasion’.

Meanwhile, journo Atsushi Shikano points out that EDM’s global popularity may be due to its lack of distinct categories or styles, much like mainstream pop. Still, agreeing with Hirata, he says ‘there is a certain “EDM style” shared by everyone from international superstars like Zedd to small-time players appearing in front of only a few hundred partiers’. Japan, it seems, still has some catching up to do.

WHY IS EDM STILL ATTRACTING CRITICISM? Shikano believes the genre’s tendency to veer towards the mainstream and the generic is to blame: ‘Just like [Japanese producer] Tetsuya Komuro’s ’90s dance hits, EDM is easy to get into. But if everyone just listens to the same stuff, the music scene will end up being like a city where everyone’s wearing the same clothes.’

Music THE GREAT EDM DEBATE

Electronic dance music has finally arrived in Japan, but is it just a passing fad? We ask music journalist Atsushi Shikano and genre pioneer Tomo Hirata to weigh in. Words Kunihiro Miki

Hirata, however, says the critics who call it mainstream are not justified: ‘Trends in the EDM sound change every year – we just had stuff like hard kicks and bounce, while future house and progressive house are coming into vogue now. People are trying new things all the time, so EDM is no more one-dimensional than, say, rock.’

While Shikano does admit that EDM’s commercial success is impressive in an age of declining music sales, he still believes the DJs need to come up with their own ‘thing’. ‘For example, a genre like hiphop has had a huge influence both on the history of music and popular culture as a whole. Unless EDM can cement its own place, it might just end up as a passing fad, as so many pop styles have in the past.’

HOW CAN IT STAY RELEVANT IN JAPAN? While Shikano points out that EDM influences are already being used for added flavour in J-pop, Hirata draws attention to the genre’s credo, ie. PLUR, which stands for Peace, Love, Unity and Respect. ‘This spirit originated in the early ’90s UK rave scene and continues to underlie electronic is where EDM’s true strengths lie. dance music events like Belgium’s ‘If people lose focus of that, the Tomorrowland, which draws genre will remain shallow. The partiers from over 140 countries. Japanese scene is full of people Without this ethos, EDM wouldn’t who used to play chart hits and hipbe much more than a musical fad, hop, so there’s a tendency to just go poised to fizzle out sooner rather with a quick and easy mix. There’s than later.’ no future for DJ culture if everyone’s

Ultra Japan however, has turned just appealing to the lowest common into something of a playground for denominator.’ local celebs and general hedonists. Shikano wonders whether this situation properly represents the genre’s ideals: ‘Perhaps the idea of a musical ethos needs to be emphasised more actively in Japan, and maybe EDM DJs should strive to be better recognised as WHERE TO GET YOUR serious artists and performers.’ EDM FIX

Hirata agrees, EDC (Electric Daisy Carnival), the world’s largest EDM festival, arguing that the is headed to Japan in July 2016. This will be the event’s first quality of the edition in Asia, and will include theme park rides, fireworks and music and the costumed performers. www.electricdaisycarnival.com producer culture

Music

And we’re live!

Bands are returning to bars and cafés to reach new audiences, and it’s putting a serious spring in our step. William Bradbury checks out the latest live music scene

As CD sales continue to decline and music downloads increase, musicians in Tokyo have begun to reignite the live music scene. This way, new artists get the chance to promote themselves and established musos can appeal to new audiences, while you get to enjoy music the way it should be enjoyed – everyone wins, if you ask us. As an introduction to the casual live music scene in Tokyo, we’ve rounded up five of our favourite café-style venues, all offering something a little unique in terms of music and setting.

LIVING ROOM CAFE BY EPLUS Shibuya has its fair share of live music clubs, but the latest addition to the lineup claims to be Japan’s biggest live music café yet. Combining music, food and art, Living Room Cafe by eplus (one of Japan’s most well-known ticket sellers) opened in July and features 1,200m² of floor space and 300 seats. It’s divided into five main areas including living, dining, patio, main bar and terrace room, which hints at the concept behind the name: you should feel as though you’ve been invited to an artist friend’s home to chill out and listen to music. The idea is to encourage people to stop by for nightly live music concerts. On weekdays, the entrance fee is ¥300 for the live performance area (when musicians are playing). On weekends, ticket prices vary according to performances and bear in mind that you might need to buy tickets in advance. 5F Shibuya Prime Bldg, 2-29-5 Dogenzaka, Shibuya (Shibuya Station). 03 6452 5424. tinyurl.com/TOTlivingroom. Daily 11am-midnight.

THE GUINGUETTE BY MOJA A five-minute walk from Shibuya Station, this restaurant featuring live shows is on the basement level of a three-storey café and shop called Moja. Oshare (stylish) is probably the best word to describe the interior. Colourful lanterns hang from the ceiling and the vibe is classy – in keeping with the ambience, the jazz musicians we watched performed in suits and top hats. The bands that play here are focused more on traditional genres like jazz and pop oldies rather than breaking new ground, but there’s an enthusiasm and upbeat atmosphere that makes it a fun night out even if the music isn’t something you’d usually listen to.

Shows are scheduled about three times a week, starting at 7pm and finishing at midnight, and featuring a range of bands, DJs and other performers. We were even treated to a burlesque

show as a warm-up to the main gig. It’s still family friendly, though: one customer had her young son with her and the burlesque dancer playfully placed a top hat on his head – definitely more sweet than sexy. The elegantly dressed audience is a mix of photographers, businessmen and groups of friends. B1F COI Nishi-Aoyama Bldg, 1-11-1 Shibuya, Shibuya (Shibuya Station). 03 6418 8984. tinyurl.com/TOTmoja (Japanese only). Mon-Thu 5pm-2am (Fri & Sat until 3am), closed Sun. Entrance ¥1,000-¥3,500.

ART SPACE BAR BUENA This art gallery come bar is one for the noise and electro fans. Their regular events, mostly on weekends, are not your average kind of gig. When we visited, audience members were encouraged to wear blindfolds, and in true punk-rock fashion one of the noise artists pushed his table of gear over as he ended his set (we’re not actually sure it was intentional, but hey, it made an impact). They also host rakugo (traditional Japanese comic storytelling) events in case you’re interested in experiencing another side of Japanese culture.

Although the noise bands attract a more otaku crowd, Buena draws a mix of curious customers. There’s plenty of time to mingle after the show, and this is also a good time to order food as it’s hard to find space to eat while the performance is going on. The menu includes reasonably priced snacks such as chilli beans mixed with chickpeas and sausages for ¥500, and French fries with sweet chilli sauce and sour cream for ¥700. 1-24-8 Hyakunincho, Shinjuku (Okubu, SeibuShinjuku stations). 03 6279 2022. buena.tokyo (Japanese only). Tue-Sun 7pm-1am, closed Mon. Entrance ¥1,000 when events are held (fee varies with events), otherwise free for normal bar nights.

440 Found in the ultra-hip neighbourhood of Shimokitazawa, this bar takes a softer approach to live music with mostly folk and acoustic sets. When we visited, the main act was a semi-famous Japanese comedy duo performing pop songs on guitar and piano, interjected with comedy skits. The indie Japanese musicians who play here are likely to be unknown to you. But the positive spin on this is that it gives you real insight into local culture. You could end up discovering some native talent that might otherwise never have crossed your path. Most of the venue is seated and drinks cost ¥600 each. Food options include fish and chips for ¥850, chilli con carne for ¥600, and chorizo for ¥700. SY Bldg, 5-29-15 Daizawa, Setagaya (Shimokitazawa Station). 03 3422 9440. tinyurl.com/TOT440. Entrance ¥2,500 to ¥4,000.

ROOSTER With live events almost every day and a bartender who occasionally performs magic tricks in between live performances, this intimate bar is one of our favourites. The music is mostly jazz and blues – the band we watched focused on interpretations of works by artists such as John Coltrane. The vibe is laidback and relaxed, and the interior is adorned with pictures of jazz greats such as Billie Holiday and Louis Armstrong. Almost all the acts are Japanese and, although they’re not famous, the musicians are top level and clearly highly skilled.

Rooster offers a snack menu with options such as pizza, salad, sausages and cheese for ¥500 per dish. Perhaps due to the traditional nature of the music, the bar seems to attract an older crowd, and it’s a place where you’ll feel just as home enjoying beers with friends as you will nursing a whisky on your own. B1 Inoue Bldg, 5-16-15 Ogikubo, Suginami (Ogikubo Station). 03 5347 7369. tinyurl.com/TOTrooster. Shows daily from 7pm. Entrance ¥2,500-¥3,000.

Clockwise from main image: Living Room Cafe by eplus, The Guinguette by Moja, Art Space Bar Buena, Rooster, 440