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Archive for August, 2012

Your Restaurant

Your restaurant – 1.6 Band

The drumming Vince Novara, later of the Crownhate Ruin and Canyon (before they got bad), plays on the 1.6 band songs is among my favourite ever. Though at a skill level stuck forever far below his, it’s still very fun to try and play along with and imitate him. However, it wasn’t until the 1.6 Band reformed a couple of years ago for who knows what reason, and the subsequent camera phone documentation came on to the internet, that i was made to realise that nearly everything i was doing was wrong. I’m not someone who transcribes anything, approximating on an “if it sounds good enough then that’s good enough” level, but here i wasn’t even close. It’s really eye-opening, watching him. For the first time since high school it made me want to improve my drumming – to see what i can do with it. I should probably learn rudiments.

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Koi Wa Question

Koi wa kuesu-chan – Onyanko Club

This is the only Onyanko Club song i seem to post. My favourite thing about it, apart from its goofy question mark dance, is how it finishes and how they’ve crammed nearly every pop possible way to end a song in. It just keeps going. It could have ended any number of ways and they cycle through like 7 of them. Argh. So good! Ok!

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Tasogare no Etude

Tasogare no etude – Onishi Yuka

In my short (though as rapacious as i can manage [i can manage pretty well]) time with 80’s/early 90’s Japanese pop, this is probably my favourite song i’ve come across. One of the most beautiful things i have ever heard. I don’t know if i can be trusted to ever give an objective measure of beauty. I’m usually wrong with consensusly held notions of it. I don’t get things. But i get this. I think this is one of the best songs ever to have happened.

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Cinderella tachi e no dengon – Takai Mamiko

A message to Cinderella. Takai Mamiko was Onyanko Club member #16 (i think she didn’t have to go through that audition parade but was discovered in the street. I might be wrong. I’m piecing this together), the taller half of Ushiroyubi Sasaregumi, and the member who would go on to marry Onyanko Club creator Yasushi Akimoto. Maybe as always i’m in denial, but it’s not as creepy as it seems. She was twenty-two, he thirty, the group was over, and it stemmed from a continuing working relationship. For all i can tell they’re still married. This was Mamiko’s first solo single.

edit: She did audition. Contestant number 2, got in with a score of 117. There’s just some footage of her in the street as an unknown carrying a red umbrella that i know is of consequence to her idol genesis story, but i’m not sure what it is. The world will probably end if i don’t find out.

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So Natural

So natural – Gold-Bears

I’m kind of jealous of the Gold-Bears. They have this sense of melody very similar to what was going to be my thing if i ever could form a band, or somehow do everything myself. Of course, they found a way to be a band and write really good songs and go wonderful places with it all. Jerks. I would have made the songs a bit shorter. This is off the Clouberry Records 7″, not the Are You Falling In Love? album. If there even is a difference. If there is, it’s an important one.

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Sunstroke

Sunstroke – Swiz

Dhaaaaaaaaay iinn. And dhaaaaaaaaaaay ouwt. Finally! Over three years and at last this song comes. In my head more often than any other song (just never at an opportune time to have it posted here): The greatest hardcore song ever written. Well… almost. Just one little word creeps in at the end and ruins it. I’m sure this is a very personal song for Shawn, a song between two people, but it’s there and it’s used so violently that i can’t help but see every horrific real-life ramification seep out with it. Luckily i needn’t worry, because we have hardcore within which to deal with our little frustrations and no one is really in danger of anything more than a few terse words slung their way. The instruments of abuse discretely belong to those outside of it. Of course they do…

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Swinging London

Swinging London – The Magnetic Fields

I think this is the only Magnetic Fields song with backup vocals. One of a small number, if not the only. I’m not sure why it isn’t used more, because the echo it gives in the chorus of this song is a wonderful thing. Maybe the most wonderful thing. The measure we’re given is probably right and any more than this is too much of a trope thing. That’s why. I trust he knows what he is doing. It couldn’t help but exist here. Even if it didn’t, people would still sing those vacant lines themselves. It’s one of those things that is called into existence by its very absence.

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