A Fantastic Plastic World

You might remember the, now defunct, Shibuya-kei thing of the mid to late 90s. The story goes that much of the worlds vintage vinyl ended up in several records stores in the Sibuya district in Tokyo Japan. A bunch of Japanese DJs and Musicians discovered, via all this old vinyl, recordings of the 50s and 60s. Being creative DJs of electronic music, they sampled and combined these styles, with a fresh heap of Japanese-ism, to form this totally new sound. Mostly it is a combination of the 60s lounge, exotica, and/or Bossa Nova with more current electronic dance beats. You might even remember one of the best known, in the US, Shibuya-kei bands, Pizzicato Five (R.I.P.). A notable mention should also go to Cornelius.
(It is important to point out, as a side note, that though the Japanese have their own twist on the idea of mixing these kinds of music, it is not limited to them.)

Lesser known, but with recordings still available in the US, is the one man band 'Fantastic Plastic Machine.' Tomoyuki Tanaka started his FMP project in and around 1997. His second release, 'Luxury' circa 1998, plays like a journey though a fictional 60s wonderland of gallivanting, shopping, jet setting, dancing, and dreaming. This is a world without scarcity, where there is no bother of hardships, no hunger, and the most pressing issue is what cocktail should one order next. Maybe this is what the 60s would have been like if there had been no fall.

"Luxury" seems to traverse through many of the most prominent styles of music in the 1960s. Here one can hear influence, and maybe some samples, from grate acts such as Mancini, Esquivel, Les Baxter, and Antonio Carlos Jobim.

The album kicks off with "Theme of Luxry," lasting a brief 1.05 minutes, but for this track that is all one needs. Any longer might prove too exhausting. It is a fast jog through the shopping market with excitement at every item of purchase.

The record moves from such jazz-shop-pop to Bossa Nova (our favorite). A good example is FMP's cover of the Eurythmics' "There Must Be An Angel (Playing With My Heart)." Tanaka does as well with Brazilian Samba as almost any native Brazilian producer ever did. The same holds true for the more downtempo but strikingly beautiful "Bossa For Jacky." With its catchy chorus melody, it sounds like it must be a reworking of a Bossa Nova classic, but this one is original. Both "There Must Be an Angel" and "Bossa For Jackie" feature cool and sweet vocals by Lorraine Bowen. But what's that? I could have just sworn that it was Miki Berenyi from the late shoegaze classic Lush. The resemblance is uncanny, and to this day, Miki is who I hear in my mind's ear.

On "Luxury," one even finds funky yet noisy soul. "You must Learn All Night Long," would be right at home if it where included on The Go Team's "Thunder Lightning Strike."

There is a nod to exotica with "Honolulu,Calcutta." The production on this track is very impressive. It incorporates vintage samples creatively merged with hip hop beats. The effect is a dreamy feeling of a romanticized commercial flight. This is all done while a woman narrates a story alternating in French on stereo left and English on stereo right.

"Electric Lady Land" (not to be confused with the song done by Hendrix) is the closest thing to proper J-pop featured on the record. But even still, given the feel and style of the song, one might rather think of a jaunt through Paris.

There would be many more records, and releases, for Tomoyuki Tanaka under the Fantastic Plastic Machine title. "Luxury" still remains, arguably, the strongest production, even with the cheese factor.

Do you mean Japan or do you mean Japan?

‘Japan’ seems to be a strange name for an English band. I’ve never liked the idea of naming your band after a country, content, city or region. For example: Asia, America, Kansas, Alabama, Boston and Chicago. What are they thinking? It can become especially annoying if one is trying to do some internet research on the band. Just type ‘Japan’ into google, and what comes up? Well, lets just say that the English music band is defiantly not the most popular subject of that name.

What might get even a little more confusing is that this band from England named Japan had a single called “Visions of China.” At least they are internationally minded people. Are they really trying to lump the very different and distinct countries of China and Japan into one group? As if one was to think Russia and German where basically the same place and people. But if you jump to this conclusion about the band Japan, you would be mistaken. Japan’s singer and co-writer, David Sylvian, actually worked with Japanese artist such as Ryuchi Sakamoto (of Yellow Magic Orchestra and various soundtracks) and Akiko Yano as early as 1980. Sakamoto was a prominent contributor to “Taking Islands in Africa” which was featured on Japan’s 1980 LP “Gentlemen Take Polaroids.’ Sylvian and Sakamoto would go on to collaborate many times for the next 20 years. Not the least of which is the incredibly well written song they did together, “Forbidden Colours.” The members of Japan, including Sylvian, also contributed greatly to Akiko Yano’s 1982 album “Ai Ga Nakucha Ne.” All of this is to say that it is not as if they are unfamiliar with actual Japanese people.

Japan is actually one of the most accomplished and impressive group of people who made music in the late 70s and early 80s. They almost single handedly, by themselves and supposedly to their own dismay, created and defined what became the New Romantic sound. Not to forget David Bowie, of course, but almost all people of this style, plus a few more, who came after Japan had been influenced by them to some extent. Duran Duran wears the influence on their sleeve, while Radiohead only hints at it.

Though Japan formed in the mid 70s, and leaned more towards the glam rock sound and style in those days, it was not until Japan’s third album, 1979’s ‘Quite Life,’ that the band really diverged into new territory. Both ‘Quite Life’ and 1980’s ‘Gentlemen Take Polaroids’ are good but pretty dark albums. At the same time, they are, when Japan is associated with New Romantic music, what people are talking about.

Japan’s 5th album is a further progression into rhythms and sounds actually influenced by the east. ‘Tin Drum’ (1981) is considered by many to be one of the most accomplished and creative albums of the 80s. Some say that nothing like it has been done before or since. What we get here is incredible fretless bass playing from Mick Karn, David Sylvian’s brooding vocals, and unique use of analogue synth. The synth itself adds to the rhythm, often seemingly mimicking percussion. Along with this is the drumming of Sylvian’s brother Steve Jansen making ‘Tin Drum’ a very rhythm driven record. Bass has been brought to the forefront on ‘Tin Drum.’ It would be a joy, even if there was no other instrumentation, just to hear Karn play.

Most say that ‘Ghost,’ the sole hit from ‘Tin Drum,’ is an unlikely hit single. It is quite minimal in composition compared to the other tracks. To me it makes since given the catchy nature of chorus and the perfectly placed synth tones. In contrast, ‘Still Life in Mobile Homes,” is more danceable. It is almost frantic in its movement. This seems strange for a song called “Still Life,” but the lyrics seem to reveal a sort of desperation for one to move to a different and better place. Then there is “Canton,” with its repetitive overly common Chinese sounding melody, you might think it would be boring if it was not for Karn’s distinctive bass tack. Before you know it, you’ve listened to the entire track, but you just want more of that bass.

‘Tin Drum’ would be Japan’s last album. After a successful tour the band disbanded somewhere abouts 1982. It would seem sad, but maybe sometimes it is better to go out with one’s best work. And when I say "best work," I mean that you need to hear this record.

"The Art of Parties" is the first track on 'Tin Drum.' Check it out.

More Morcheeba Please

I’m not a big fan of the triphop / downbeat music style. It can be a little dark and melancholy while at the same time usually incorporating good percussion programming. Tricky, Massive Attack, and even Portishead (the latter two being extremely well respected by many), are bands I’ve never taken the time to get into other than an occasional song here and there. This music style is, though, part of the greater sound of the 90s.

I have, however, ended up journeying partly into the creations of the English trio Morcheeba. I say ‘trio’ though they are now no longer as such. Vocalist Skye Edwards departed the band in or around 2003 and has been sorely missed by all. Though they are talented craftsmen to this day, they do not seem to be the same band without her. Her smooth voice compliments the music so well. To me, she is one of the aspects of Morcheeba that really has separated them from other acts.

Morcheeba’s first release, “Who Can you Trust?,” is probably the smoothest and darkest sounding of their albums. It is, therefore, the most strictly trip-hoppy release for the band. That said, maybe one of the reasons I can really kick it with some Morcheeba tracks, though they have a darker sound, is that they seem to be mostly playing at the sound but not any sort of real darkness. Lyrically their songs are often quite hopeful and positive. In the song “Trigger Hippy” Skye urges us to “Love the children, and learn to live with everything.” May sound a bit trite, but it can be quite a refreshing contrast to the music style of the song.

Each successive release after “Who Can You Trust” gets progressively more pop-ish and upbeat. Most people seem to consider 1998’s “Big Calm” to be their best album. Here they start to rock it out a bit more, but do not completely abandon the downbeat sound. It’s a good balance. One can listen to this album without being totally overwhelmed. Skye’s seems a bit more confident, and here, though Morcheeba has always had somewhat spotty songwriting, they are more consistent in the quality of songwriting. Probably their best song, also included on “Big Calm,” “Part of the Process,” is an interesting mixing of hip-hop with traditional country instrumentation. And if that is not cool enough, the song is full of pop hooks. It is pretty beautiful production.

Upon the release of Morcheeba’s third record, “Fragments of Freedom,” I had actually just returned from a short visit to the United Kingdom. It was the beginning of my second year of college, and I was spending a good amount of time watching MTV2 in those days. I remember really enjoying the video for “Rome Wasn’t Built In A Day,” which reminded me of the time I had just spent walking around the streets of Leeds in Yorkshire. (Yes, in England everyone dances in the streets. ‘Oliver’ is a documentary.) This song might be one of Morcheeba’s hookest songs; I used to find my self singing the song all day long. But they had seemed to almost have completely left behind the trip-hop style. This third release might be, in my opinion, the weakest of their albums. I really cannot be bothered to listen to any but two of the songs.

Skye Edwards left Morcheeba a year or two after their 4th album, 2002’s “Charango,” was released. On the next effort, “The Antidote,” Skye had been replaced by Daisey Marty. I remember finding the album on a listening station at Tower Records, then still in business, and being quite happy that there was a new Morcheeba record. But when I actually listened to it, the vocals of the new singer seemed a bit too similar to Skye, yet just different enough to make one miss her. It seemed to me like an imitation of the original; it’s just not the same.

Morcheeba has released an album this year called “Dive Deep,” and I have yet to hear it. It features a guest vocalist for each song. Skye Edwards did release a solo album in 2006 called “Mind How You Go.” I have heard this record, and all I need to say about it is that it’s not worth one’s time. I’m glad she has, at least, given it a shot.

Anyway, check out each song I have mentioned courtesy of YouTube.

“Trigger Hippy”

I chose this live version of “Part of the Process” though it sadly does not have a rockin’ fiddle solo like the studio version.

“Rome Wasn’t Built In A Day”