WAX MASK

ナショナル　ラジカセCM　ジェニファー・コネリー

2012-02-20T16:21:00.000-08:00

Ryuichi Sakamoto - Life in Japan

2012-02-07T15:49:00.000-08:00

Still jamming to the CM stuff. Here's a commercial for Nihon Seimei Life Insurance Agency featuring RS. This 7" was made available to policy-holders only apparently. All the tracks are here.

RS - Works I - CM/ Works II - TV/Inst. [REQUEST]

2012-01-31T17:34:00.000-08:00

A lot of this material can be found in this previous post, but check out these slimmer releases (from the same year). These albums are pretty recent, and I've been busted for posting S's work here by Blogspot before, so I'm not writing exactly what this is here. You can buy these for cheap on Amazon.co.jp, and I would suggest doing so. As far as I know these were never released in North America, and go for decent cash on Amazon.com

Anyway, check these out, because they rule. Lots of perfect little Technopop jams like this one:

Discogs
And Discogs
Works I
Works II

TPO 25th Anniversary Edition

2012-01-29T14:23:00.000-08:00

I don't know a lot about this best-of collection. I'm pretty sure that TPO is not this band, Tiny Panx Organization. I think Takumi Iwasaki (of Films and his own solo material) was involved somehow. Can't say much more than that.

DISC ONE
TPO1 Complete Edition
01. Dawning
02. The Jet Set
03. Breakin' Up (interlude)
04. Sundog
05. Safari Bar
06. Noon
07. Camacho Preguicosa
08. Tragedy Monster
09. Dori Twisted Her Smile
10. Tingle Ringing (interlude)
11. Traffic Jams
12. Eye In The Night
13. Jive Man
14. Rouge Au Soir, Blanc Au Matin
15. Web Of Time

DISC TWO
TPO2 0.5~1.5
01. Caution! (short version)
02. Le Transcontinental
03. Yaminokinoki
04. Nationstate
05. Tangerine Tangerine
06. Honeymoon Express
07. Bradbury Town
08. Air Glow
09. Songless
10. Savanna Noon
11. Chain Talking
12. The Axiom Of Separation
13. Exile
14. Air Glow (demo)
15. Jive Man (instrumental)
16. Camacho Preguicosa (demo)
17. Traffic Jams (another version)
18. Breakin' Up (typeII)
19. Safari Bar (1st edition)
20. Eye In The Night (pre-mix)
21. Camacho Preguicosa (enigma mix)

AMAZON JP
ENJOY PART ONE
ENJOY PART TWO

Nakayama Miho for Tokimeki High School

2012-01-24T14:48:00.000-08:00

Urban Dance - Two and a Half (Two Half, 2 1/2) (1986)

2012-01-23T15:51:00.000-08:00

We're not gonna let the death of Megaupload slow us down here at WAX MASK. I'm gonna check out Mediafire for a bit, see how it goes. I'm aware of the problems with MF, but since I don't have a ton of uploads or a zillion readers, I think we'll be ok. I'm slowly getting old links fixed, but I want to make sure I get caught up on new posts (I've got a lot of stellar jams on deck).

Here's the 1986 album from Urban Dance, 2 1/2, or Two and a Half (or "Two Half" as it's listed some places). This is a totally solid record, produced by Harry Hosono. This is on the more "out" end of Idol, similar to Peal Brothers but not as overtly comedic, and more Technopop.

Urban Dance – 2 1/2
Label: Teichiku Records
Released: 21 Jun 1986

TRACKS:
01. Psyco
02. Ceramic Dancer
03. Kiss X Kiss
04. Day After Day
05. Bara No Emilia
06. Dance A Go Go
07. Camera Opuscula
08. Crazy Love
09. Camp

CREDITS:
Executive Producer: Haruomi Hosono
Producer: Masaru Arakawa
Producer: Shinobu Narita

Discogs
ENJOY!

Shed a Tear for Megaupload

2012-01-19T16:02:00.000-08:00

So... all my files are stored on MU, so we'll see what happens. If MU is toast, I'll try to get everything uploaded somewhere else by the end of the month.

Chiwaki Mayumi Video Compilation

2012-01-17T18:56:00.000-08:00

Really been digging the Chiwaki Mayumi album recently posted over at Voodoo Vault. I'm working on finding some more of her albums to share. In the meantime, check out this 30+ minute music video compilation.

Rajie - 真昼の舗道 (1980)

2012-01-05T16:10:00.000-08:00

A few days ago I posted Rajie's Quatre. Here's another album from Rajie, 真昼の舗道 from 1980. Alternately titled Pavement at Noon, A Midday Paved Road, or Le Trottoir Dapres-Midi, this album was originally released by CBS-Sony. A lot of the same YMO-family figures from Quatre appear, with the addition of Keiichi Suzuki and others.

01. ラスト・シーン/ Last Scene (Yoshitaka Minami/ Etsuko Kisugi)
02. 真昼の鋪道/ Pavement Midday (Yukihiro Takahashi/ Taeko Onuki)
03. 霧の部屋/ Room Mist (Etsuko Kisugi)
04. 偽りの鐘/ Bell Fake (Yukihiro Takahashi/ Kenji Omura)
05. アパルトマン/ Flat (Taeko Onuki)
06. ラジオと二人/ People and Radio (Sugi/ Shigesato Itoi)
07. ヨジレアン・ツイスト/ Yo Gillet Anne Twist (Keiichi Suzuki/ Shigesato Itoi)
08. みどりの声/ The Voice of Green (Akiko Yano)
09. 秋の嵐/ Storm in Autumn (Keiichi Suzuki/ Taeko Onuki)
10. 忘却/ Oblivion (Taeko Onuki)

Album Personnel (likely incomplete):
Production, drums, string arrangement: Yukihiro Takahashi
Synthesizer, bass: Goto (except 2,3,6,10)
Bass: Haruomi Hosono (2,6)
Guitar: Kenji Omura (except 3)
Keyboards: Toru Okada (except 3)
Synthesizer, keyboards: Ryuichi Sakamoto (2)
Keyboards: Akiko Yano (3,8,10)
Violin: Takashi Toyoda (1)
String arrangement: Nobuyuki Shimizu (3,6,9)

Discogs
YMO Works
Rajie Bio
Japan Wiki
More info
PLEASE ENJOY

Happy New Year!

2011-12-31T21:15:00.000-08:00

Rajie/ ラジ - Quatre (1979)

2011-12-30T18:06:00.000-08:00

Here's an eclectic 1979 album from Rajie/ ラジ, alias of Honda Junko, member of Moonriders spin-off group Pony Tail. The album is listed as Quatre (Cattle) in some places. Some really nice early technopop jams here, like track six, "星に乗って", and track eight, "月の光". I'm not as keen on the ballads and fusion songs here, although they're certainly sure-handed representations of form. The final track, "キリンのいる風景", is a really nice conclusion, sounding both cosmic and minimalist, and recalling the opening jam, "キャトル". Junko's classicist vocals float effortlessly through the album, almost defiant of form.

The technopop songs here definitely have the YMO sound, as Yukihiro Takahashi produced the album. YMO Works says Akiko Yano and Sakamoto worked on the album. Discogs and Wiki don't offer much information. Yoshitaka Minami is the second voice on duet "ときとき魔法". Thanks to Youtuber "slimglam", here's some YMO/YEN-heavy information about some of the tracks:

02. "ときとき魔法"
Vocals: Rajie, Yoshitaka Minami
Drums: Yukihiro Takahashi
Bass: Tatsuya Honda
Guitar: Masaki Matsubara, Yuuji Toriyama
Keyboard: Ryuichi Sakamoto
Production: Yukihiro Takahashi

05. "風の道"
Vocals: Rajie
Piano, Synth: Ryuichi Sakamoto
Production: Yukihiro Takahashi

07. "クリスマス"
Vocals: Rajie
Drums: Mikiya Kazama
Bass: Tatsuya Honda
Guitar: Yuji Toriyama
Keyboard: Hiroshi Matsumoto
Keyboard: Ryuichi Sakamoto
Production: Yukihiro Takahashi

09. "一枚のフォトクラフ"
Vocals: Rajie
Lyrics: Kazumi Yasui
Production: Kazuhiko Kato
Production: Yukihiro Takahashi
Production: Ryuichi Sakamoto

If readers have more information I'd be very interested to learn more about Rajie. This biography doesn't cite any sources, but states Rajie worked with Yukihiro Takahashi, Tsugutoshi Goto, Ryuichi Sakamoto, Akiko Yano, Keiichi Suzuki, Yoshitaka Mitami, Taeko Onuki and Masamichi Sugi. You can check out her earlier album Heart to Heart over at Fenikon's Fusion World, where Fenikon claims that her early work was a big influence on fusion-lord Toshiki Kadomatsu.

Discogs
YMO Works
Rajie Bio
Japan Wiki
PLEASE ENJOY

KOJI 1200 - Now Romantic (1995)

2011-12-20T16:18:00.000-08:00

KOJI 1200 – Now Romantic
Label: For Life Records (FLDF-1586)
Format: Minidisc
Country: Japan
Released: 06 Dec 1995

Tracklisting:
01. Now Romantic (Album Mix)
02. Now Romantic (Buffalo Daughter Mix)
03. Now Romantic (San Francisco Mix)
04. Now Romantic (Good Evening Lounge Bossa)
05. Now Romantic (Karaoke Mix)
06. Lonely Dynamite

Here's a minidisc EP from Japanese comedian, TV personality and actor Koji Imada, alias KOJI 1200. The EP contains four radically different takes on the title jam, the karaoke instrumental and an extra called "Lonely Dynamite". No info about who the woman in the video is, or any band members/session players.

Interestingly, the album was produced by Deee-lite's Towa Tei. The radio version has the same post-technopop sound that groups like P-Model and Salon Music cultivated in the 90s. The alternate versions are less successful, with stabs at grunge, disco and bossa nova. Kind of reminds of a Cornelius album. There's a playful humor in Imada's vocals (and in the video), but it's harder for me to read levels of parody in these jams. To further confuse things, "Lonely Dynamite" is a punk dirge that manages to be both dour and bratty. As is too often the case, I find differing track listings on the net, some which include a track called "Love Connection". Overall nothing too amazing here, but I'm nevertheless keen to hear more from Imada.

Last.FM
Discogs
Japan Wiki
PLEASE ENJOY

Posts soon.

2011-12-13T12:20:00.000-08:00

Grad school really stole all my time the last few months. Semester's over now, so posts soon, promise.

Taeko Onuki - Les Aventures de Tintin (1985)

2011-11-23T12:01:00.000-08:00

I feel like I've heard more 80s pop songs about comics, but I can only think of this one and Dorothee's Smurfs jam.

Thanks to EC, almighty mayor of Japanese Music Town for the recent Onuki ups.

Stella Wassermann - Delta of Venus (2007)

2011-10-25T18:49:00.001-07:00

Matterhorn Project

2011-10-16T14:52:00.000-07:00

Matterhorn Project were the Swiss duo of PJ and Stella Wassermann. They started making really weird kids/novelty electronic disco music in the 80s and seemed to still be active just a few years ago. Sadly, Stella passed in April of this year. Check the link at the bottom of the post to hear some of her solo material.

The Matterhorn jams all feature pitch-shifted vocals and animal SFX. "The Gnomes Of Zurich" is a favorite. Really reminds of Supersempfft. Albums and singles are around, or can be purchased via CDBaby. Prices for original vinyl aren't outrageous on Discogs or eBay.

From the official site:

"MUH!" (also known as the "moo song" in South Africa, Japan and other parts of the world and the French call it "meuh" or "meu") by Matterhorn Project is unique in pop history. There are cows singing and bells tingling, yodelling and alpine horns, all supported by an infectious eigthies disco-beat and a slightly spaced-out sense of humour. The track stormed the Swiss and international charts in 1985 and got known and loved for its sense of comedy and tongue-in-cheek citing of Swiss clichés.

And on the "Muh" video:

The funny MUH! video clip has been created in 1986 by a student of a German movie academy (unfortunately we can't remember his name).

This clip has been crafted manually, there was no computer animation at that time and every single picture (25 per second) had to be drawn by hand. That's why the video has some lengths but it's very charming and humorous and shows very well the atmosphere of the Swiss mountains although the clothes are more Bavarian than Swiss alpine.

Additionally the video author has added an erotic component to the video story that's not part of the original song. That's why they now say at YouTube that "This video may not be suitable for minors". But it's really not that baaaad - judge for yourself and have fun!

Somewhat detailed bio found on the same site:

http://www.matterhornproject.ch/D_html/mp_D_background.html

Discogs
Official site
German-language Wiki

Hear some nice new age music at Stella's official site.

Intimate Strangers - Raise the Dragon

2011-09-18T15:24:00.000-07:00

Two from Etsuko Sai

2011-09-14T12:12:00.000-07:00

Some of the most interesting videos are coming up in today's menu of Wax Mask, and getting back with Etsuko Sai: "Nagisa Fame". Basically a version of "Girls Just Want to Have Fun", "Nagisa Fame" fulfills my current desire for "island sounds" Idol pop, as the summer winds down here is New England. Even better is Pygmalion, which finds a slight Technopop edge during the chorus.

Passio album from 1986, found on the Let's Get Funk blog.

Two from Tomoko Tane

2011-09-13T09:32:00.000-07:00

Enjoy two from Tomoko Tane, "You're the One" and "Pumps Race Song." "You're the One" is such a jam, with lots of dynamic movement in the arrangement, a perfect dramatic Idol composition. Also: dig the animated, English-language fable that precedes the video for some reason, and Music Tomato Japan's Michael's reliable introduction. Michael lets us know what's up at the start of "Pumps" also.

Hayase Yukako - Glass Replicant

2011-09-12T18:41:00.000-07:00

Speaking of Hayase Yukako, here's an absolute JAM called "Glass Replicant" as introduced by Michael of Music Tomato Japen. BONUS: Pocari Sweat commercial from 1986.

Hayase Yukako

2011-09-12T17:37:00.001-07:00

I don't know too much about Hayase Yukako. Archived here on Youtube is either two separate Laserdisc "albums" or a single double-laserdisc. Music is of varying style and quality, from Idol to fusion and some more esoteric material. Definitely continuity between clips, but no narrative to speak of. The album Love Your Life from 2008 is here. Working on finding the older stuff.

This is the second laserdisc album I've written about here, with Dip In the Pool's Dipping being the first. Do any listeners know if this was a common thing in the 80s and early 90s? An interesting format!

Unique vibe to "Sadist", jittery fusion funk mixed with paranoid, haunted house backing vocals. Great video effects in the clip.

"Suiyoubi Madeni Shinitaino" is another successful video, a mysterious presentation of lonely spaces both domestic and public.

Here's an ice-cold clip to close out disc one, "Trois Quarts". Hayase kills herself at the end! This track's Francophilia is in keeping with not only the album (the first track is titled "Last Year at Marienbad") but with Japanese Idol music of the time in general. The second disc (or album?) is much more cheerful (almost "island-fusion") and uptempo.

Fantastic synthesized voice and new age pop on "Anata No No Ga Shiru" from laserdisc number two, which seems to take place in a desert or maybe some tropical island.

Do readers want me to create an artificial album by ripping tracks from the Youtube videos? I'll try to get around to it eventually but if enough folks want me to I'll make it a priority.

Pearl Brothers NHK ni Youkoso OST (2006) [REQUEST]

2011-09-08T13:06:00.000-07:00

Here's some recent Pearl Brothers (Pearl Kyoudai) soundtrack work. This was requested by a reader via email. The Brothers' recent work isn't really my thing but who knows, you might like it!

Title: N.H.K ni Youkoso! Original Soundtrack - Dark Side ni Youkoso!
Street Release Date: August 23, 2006

Tracklist:

01. Ashita wa Tabun Overture
02. Ikasuze! Positive Thinking
03. Sekai wa Boku wo Naguri ni Kuru
04. Kimi ni Kuzure e ho e
05. Kyou wa Yuuhi Yarou
06. Natsu no Nichi ni Youkoso!
07. Jumbo Camera ni Donto Koi!
08. Ashita wa Tabun Daijoubu
09. Shuraba ni Youkoso!
10. Mushiburo to Nou to Tanin
11. Dark Side ni Tsuitekite
12. Youkoso! Hitori Bocchi
13. Inbou wa Yoake ni Warau
14. Yoru wa Fuwari Kaze wa Hirari
15. Daijoubu Call

ENJOY

Complex - Romantic (1990) [REQUEST]

2011-08-24T12:37:00.000-07:00

As promised, here is the second (and final studio) album from Complex, Romantic. Romantic was Released in 1990, again by Toshiba EMI, a year after the self-titled album. Go here for the first album.

PERSONNEL:
Koji Kikkawa - vocals
Tomoyasu Hotei - guitar, vocals, keyboard
Takeshi Fujii, Tsukasa - Keyboard
Hideo Yamaki - Drums
Miyawaki Satoshi - Drums
and more here.

TRACKLISTING:
01. Romantica
02. Propaganda
03. Love Charade
04. 1990
05. Blue
06. Modern Vision
07. The Wall
08. No More Lies
09. Good Savage
10. Half Moon
11. Dragon Crime.
12. Majestic Baby
13. After the Rain (For China)

US WIKI
JP WIKI
ALBUM WIKI
PLEASE ENJOY

Complex - Complex (1989) [REQUEST]

2011-08-22T17:25:00.000-07:00

Here is the self-titled Toshiba EMI debut from Japanese rock band Complex, released April 26, 1989. Complex is guitarist Tomoyasu Hotei and singer Koji Kikkawa. Don't know too much about this one beyond that. Note that the track-listing is slightly different than what Wikipedia says. Couldn't find a Discogs entry for the band. Second album Romantic coming soon.

PERSONNEL:
Koji Kikkawa - vocals
Tomoyasu Hotei - guitar , backing vocals, bass (4,5,7,9,10,11,12)
Takeshi Fujii, Tsukasa - Keyboard Programming
Hoppy Kamiyama - Keyboard
Junji Ikehata - Drums (3,10,12)
Further credits here.

TRACKLISTING:
01. Pretty Doll
02. Crash Complexion
03. Koi wo Tomenaide
04. Can't Stop The Silence
05. Hutarino Another Twilight
06. Imagine Heroes
07. Clockwork Runners
08. Be My Baby (Album Version)
09. Venus
10. Rambling Man
11. 11 そんな君はほしくない
12. Cry for Love

US WIKI
JP WIKI
ALBUM WIKI
PLEASE ENJOY

Tomita Lab - ラシーボ･セシボン feat. Taeko Onuki and Yukihiro Takahashi

2011-08-13T21:42:00.000-07:00

Taeko Onuki 大貫妙子 - Best 1978-1984

2011-08-13T08:59:00.000-07:00

Here is one of several Taeko Onuki collections. Hopefully I'll follow this post with her early albums. I don't have personnel for a lot of the tracks, but certainly the members of YMO and Kenji Omura are involved, as well of Onuki's old Sugar Babe band-mate Tatsuro Yamashita. I could likely compile a list of players by cross-referencing the tracks with the albums and singles they originally appeared on, so perhaps I'll do that. For now, enjoy this best-of, which confidently pulls in fusion, technopop and dramatic idol directions.

From Discogs:
"Active since the early 70s, Taeko's first role was as a member of Sugar Babe with Tatsuro Yamashita. In the mid-1970s she began to release solo albums, regularly collaborating with Ryuichi Sakamoto and other members of the Yellow Magic Orchestra. Taeko appeared on Sakamoto's No More Landmine single in 2001 alongside David Sylvian and Cyndi Lauper and in 2010 is releasing an album and touring with Sakamoto."

The tracklisting on Discogs doesn't match the tracklisting on my rip, so I really don't know what's up. Anyway, here is the Discogs tracklist, and here's mine:

01 - 夏に恋する女たち
02 - 海と少年
03 - ピーターラビットとわたし
04 - 黒のクレール
05 - RECIPE (調理法)
06 - 新しいシャツ
07 - 恋人達の明日
08 - じゃじゃ馬娘
09 - 雨の夜明け
10 - 色彩都市
11 - CARNAVAL
12 - グランプリ
13 - 横顔
14 - 夏色の服
15 - 若き日の望楼
16 - 宇宙みつけた
17 - メトロポリタン美術館
18 - 風の道
19 - 突然の贈りもの

Discogs also says:
Label: BMG Japan
Catalog#: BVCR 18007-8
Released: 23 Jun 1999

Backing Vocals: Epo
Bass: Haruomi Hosono
Drums: Yukihiro Takahashi
Guitar: Kenji Omura
Keyboards: Ryuichi Sakamoto

DISCOGS
OFFICIAL SITE
LAST.FM
JP WIKI
PLEASE ENJOY

Kenji Omura – Spring Is Nearly Here 春がいっぱい (1981) [REQUEST]

2011-08-03T11:46:00.000-07:00

Happy to oblige a request from Blogspot user "theillmasta," Kenji Omura's third solo album Spring is Nearly Here 春がいっぱい from 1981. Fusion-master and YMO's touring guitarist, Omura sadly passed in 1998 of liver failure at the age of 49. Omura's earlier albums are more fusion-specific, but with this record Omura adapts more of an Technopop style, recruiting all of YMO (and associates) for an album more in-line with the Alfa Records sound.

Omura's pals from Yellow Magic Orchestra serve as his backing band, with Takahashi and Sakamoto helping with production and writing on select tracks. YMO/YEN friends Akiko Yano, Toru Okada, Hideki Matsutake (Logic System), Shinya Hayama, and Kazuhiko Kato contribute as well. Mainstay Chris Mosdell provides lyrics.

The album's style rests somewhere between gentle fusion and Technopop, with relaxed, deliberate instrumentation and scattered, textural vocals. Tracks one and three, "Intensive Love Course" and "Seiko Is Always On Time" present fusion whimsy up front with nevertheless still, deliberate synthesizer, with Sakamoto co-producing "Seiko". The second jam, "Under Heavy Hands And Hammers", is more melancholy, with grand, stately vocals and a mild guitar solo (both from Omura). This is the first of several moments that isn't completely successful, risking maudlin over-statement.

The two covers on the album are low-points as well, Omura & co. tackling George Harrison's "Far East Man" and The Shadows' "Spring is Nearly Here" (an odd track to name the album after). To me Omura's cover of Harrison and Ron Wood's "Far East Man" is an unadventurous version of a song I already don't like. This track really communicates the worst of Omura's fusion background, actually sounding like tedious 70s soft rock. Lyrically, it's hard to say if the selection is ironic, given the "white man's burden" message hidden beneath Harrison's good intentions. I'm no Beatles scholar, so if anybody knows more about what Harrison is getting at with this track, let me know. Nice backing vocals from Akiko Yano anyway. Two tracks away is a surprise Shadows cover, morphing the 60s British pop group's proto-surf song into a half-finished sounding jam, nevertheless displaying the same level of underwater stasis as much of Spring is Nearly Here.

"Knife Life" brings the listener back to a proggy, fusion place, but is ultimately all tension and no release, plodding along to its unsatisfying fade-out. "The Prince of Shaba" is more successful, an assertive signature-Omura instrumental. This jam resolves itself nicely, with a lot of reverby, surfy "island-sounds" guitar, whimsical synth chirps and added percussion from Shinya Hayama.

Still, the highlights of the album are the two Takahashi-written tracks, "The Defector" and "Maps" (an YMO original). "Defector" is very Alfa, with Takahashi's signature driving yet pensive rhythm arrangement and decorative, trilling synths and guitar flourishes. Interesting that Peter Barakan wrote the lyrics to this song and not Mosdell. "Maps" is wild, a heavy marriage between Omura's fusion guitar and the YEN/Alfa aesthetic. These two jams have assertive vocals, Omura even doing his best David Byrne impersonation on "Maps".

While I can't give this album a ringing endorsement, there are enough solid jams here to warrant a listen, for sure. Certainly, this fills a gap in the YMO/YEN/Alfa story, and in Omura's more fusion-centric discography, as his most Technopop solo material. Enjoy!

TRACKLISTING
01. Intensive Love Course
02. Under Heavy Hands And Hammers
03. Seiko Is Always On Time
04. Far East Man (George Harrison cover)
05. Knife Life
06. 春がいっぱい (Spring Is Nearly Here) (Shadows cover)
07. The Defector
08. Inaudible
09. Maps
10. The Prince Of Shaba

CREDITS (from Discogs)
Music - Kenji Omura (tracks 01, 02, 03, 05, 08, 10)
- Yukihiro Takahashi (tracks 07, 09)
- Ryuichi Sakamoto (track 03)
Lyrics - Chris Mosdell, Peter Barakan (track 07)
Backing Vocals – Akiko Yano (track 04), Yukihiro Takahashi (track 07)
Bass – Haruomi Hosono
Drums – Yukihiro Takahashi
Guitar – Kazuhiko Kato (track 04), Kenji Omura
Keyboards – Ryuichi Sakamoto, Toru Okada
Percussion – Shinya Hayama (track 10)
Piano – Akiko Yano
Programmed By – Hideki Matsutake
Vocals – Kenji Omura
Track 04 lyrics and music - Ron Wood, George Harrison
Track 06 music by - Brian Bennett, Bruce Welch

Label: Alfa Records
Catalog#: ALR-28013

Discogs
Japan Wiki
PLEASE ENJOY

Asami Kado - Early Best Collection

2011-08-01T12:13:00.000-07:00

I'm not exactly sure which of the many Asami Kado "best of" albums this is. This material is older than the Toshiba EMI material I've posted, and quite different.

TRACKLISTING:
01. FASCINATION
02. LONELY LONELY
03. BLUE
04. SEASON
05. ハート半分
06. 月下美人
07. Mr.K
08. セ・シボン
09. HONEY
10. お好きにせめて

ENJOY

Asami Kado/ 門あさ美 - Anti-Fleur (1987)

2011-07-15T13:25:00.000-07:00

Two weeks ago I posted Asami Kado's La Fleur Bleue album from 1988. Here's her LP from the year previous, Anti-Fleur. Both albums are produced by Yukihiro Takahashi. One more Kado record on the way!

Asami Kado/ 門あさ美
Anti-Fleur (1987) (JP)
Toshiba EMI

01. Anti Fleur
02. KOROKU
03. キリンと私
04. 太陽がいっぱい
05. SORADAKI (空薫)
06. みつばちのささやき
07. 魚になりたい
08. 道草
09. ひまわり

Images courtesy of Disclegend
More info on Kado here and here
ENJOY IT

Telex - "En Route Vers de Nouvelles Aventures"

2011-07-09T17:50:00.000-07:00

Haven't done an "intersection of new wave and comic books" post in a while. Here's a music video where Telex sings in front of Tintin panels.

Two more Asami Kado albums will be posted soon.

Asami Kado/ 門あさ美 - La Fleur Bleue (1988)

2011-07-02T11:02:00.000-07:00

It's a beautiful Summer day here in Western Massachusetts. Yet, instead of mowing the lawn or weeding the garden, I'm compelled to put off such chores in order to share integral, underheard Japanese pop music with all of you. I've been saving this fantastic album, and such an idyllic Saturday afternoon as this one seems the perfect opprtunity to post Asami Kado's 1988 full-length, La Fleur Bleue.

I don't have a lot of information about this one. While this is a late-80s EMI release, there are heavy YEN vibes throughout, especially in the later half of the album. Somewhere between Technopop and the more melancholy side of Idol, La Fleur Bleue is unique in that it also indulges in the island-sounds "fusion" obsession of the time, but in a totally creative way. With light Dub movements throughout, the album is marked by ghostly reverb-drenched vocals and patient, deliberate instrumentation. I would compare it to Saeko Suzuki's best work or Dip in the Pool.

Track seven, "退屈と二つの月", is a cover of Tamao Koike's YMO-assisted "Automne Dans Un Miroir". Yukihiro Takahashi produced this album as well as Kado's 1987 album for EMI, Anti-Fleur. Tracks like "Oriental Flash" and "フォマルハウトー南の魚" particularly sound like Takahashi creations. Can anyone confirm any further personnel for this album? Kado's Japanese Wiki page lists frequent collaborators (including Kenji Omura), but doesn't specify who produced or played on what. Speaking of Koike, I've got an album of hers to share soon as well. Until then, enjoy!

門あさ美/Asami Kado
Le Fleur Bleue (1988) (JP)
EMI Japan

01 - ここにいるの
02 - 夢の音
03 - 窓辺の肖像
04 - 青空を抱いていたい
05 - ほとり
06 - Oriental Flash (Instrumental)
07 - 退屈と二つの月
08 - 睦事
09 - 白い花と赤い花
10 - フォマルハウトー南の魚

DISCOGS
JP WIKI
JP AMAZON
PLEASE ENJOY

Yumi Tanimura/ 谷村有美 - WITH (1991)

2011-06-28T22:12:00.000-07:00

Jam! Love this song and video--the kitten, tumbling groceries, word processing, the "NO!" button, the whole "just woke up" scenerio, and the "It's My Life" caption at the end. Enjoy this nineteen-second making-of clip as well. がんばれブロークン・ハート was released as a single/video in 1989. Yumi Tanimura's first album, Believe In, came out in '87. Not my up, but I found a link for this best-of compilation, WITH, but hard to attribute the source. Many blogs offering dead links. Apparently Tanimura released the sequel WITH II, a few years later. Working on it, along with the original albums.

EXENSIVE JP WIKI
PLEASE ENJOY

PEARL BROTHERS/ パール兄弟 - Blue Kingdom/ 青いキングダム (1988)

2011-06-23T13:26:00.000-07:00

Since discovering the Pearl Brothers' distinctive music videos, I've been trying to locate some of their music to share. I've finally found a copy (via eBay) of their 1988 album, Blue Kingdom. For some background on the group, visit my previous post on Pearl Brothers, the JP Wiki, or the official site.

Track 09, "Jiageya Stomp (Instrumental)", features none other than Ryuichi Sakamoto, whose reach and influence can never be overstated. There seems to be a reason to mention him in practically every article I post about Japanese music. Sakamoto is credited with "synthesizers" for this track. The core trio is present on this album, with Bakabon Suzuki credited as "Vagabonde". Drummer Toshiya Matsunaga has worked with a long list of Japanese groups, from Technopop to Idol. Aside from Sakamoto and Matsunaga, there's a long list of contributors and engineers. The full liner notes are included below, and with the CD-rip as well.

LINEUP:
Kenzo Saeki: vocals, chorus
Haruo Kubota: guitars, synthesizers, chorus
Vagabonde: bass, stick, chorus
Toshiya Matsunaga: drums, syndrums, chorus, lead vocals (track 10)

TRACKLISTING:
01. Zoo Zoo Zoo (4:08)
02. The Last Train Girl/ 終電ガール (4:04)
03. Blue Kingdom / 青いキングダム (4:49)
04. Electric Wave (4:26)
05. Innocent Gray/ イノセント・グレイ (5:41)
06. Park/AM (4:47)
07. Red Revolution/ 真赤なリヴォルーション (4:48)
08. Hundred Times Bye Bye/ 100度目の (4:04)
09. Jiageya Stomp/ 地上げ屋ストンプ (Instrumental) (5:33)
10. A Lonely Flamingo/ フラミングひとりぼっち (4:49)

PLEASE ENJOY
CD JAPAN
YES ASIA

Reimy

2011-06-11T14:19:00.000-07:00

Wax Mask Megamix Vol. 01 - Spain

2011-06-06T15:33:00.001-07:00

"La Movida Madrileña" refers to the mid-to-late 70s flowering of subcultural rebellion in post-fascism Spain. With Madrid at core, the movement inspired the creation of liberated music, cinema, comics, literature, etc. By the 80s, the music had mutated beyond punk into various zones and waves. This mix spans the decade, representing new wave and synth pop, power pop, and general upbeat weirdness and provocation. '83 seems to be the peak of creativity, considering how many tracks on this mix were released in that year. I've included some tunes which sound more old-garde classicist pop (Parchis, Jeanette), as well as some late decade, mild mainstream jams. While I stand by all the music on a sonic level, I imagine that the orchestral pop hits here provided the space to move "from" for Alaska and the other scene stars of the movement, with lush production and simple love-song themes. Landing full circle, the jams from '85 and beyond (a decade post-Franco) perhaps represent the dilution of earlier transgressive material. I encourage readers to research individual artists, as riches will surely be discovered. I don't speak Spanish, and I am by no means an expert on this music or its context, so this broad selection will likely seem odd and unfocused to the expert listener. That said, this is an incredibly thrilling 24-track survey of some brilliant music, I can promise that.

I'm very psyched to present the first in a series of Wax Mask era-specific mixes. I put a lot of work into this, so check it out! I made 50 physical copies as well. While a lot of this music I found trawling forums and Filestube, I want to specifically thank the blogs Nuevaola 80s and Toda mi Musik.
Coming soon: Vol. 02 - Japan.

1. Olé Olé - Necesito Más (3:38) (1983)
2. Mecano - Me Voy de Casa (2:17) (1982)
3. Aviador Dro - Nuclear, Si (3:01) (1983)
4. Estacion Victoria - Rascacielos (2:44) (1983)
5. Metal Y Ca - Automaticas (3:45) (1983)
6. Alaska y los Pegamoides - La Rebelion de los Electrodomesticos (1:28) (1982)
7. Yuri - Tu y Yo (2:48) (1983)
8. Alex Y Cristrina - Mil Cambios de Color (2:55) (1987)
9. Ole Ole - No Controles (4:02) (1983)
10. Betty Troupe - Reflejos (3:17) (1984)
11. Aerolineas Federales - Sex Simbol (2:55) (1988)
12. Golpes Bajos - Lagrimas (2:47) (1983)
13. Azul Y Negro - Mercado Común (5:36) (1985)
14. Mecano - El Amante de Fuego (4:27) (1983)
15. Luna - Tú de Qué Vas (3:49) (1984)
16. Video - Empieza la Subida (2:13) (1983)
17. La Unión - Lobo Hombre en Paris (3:55) (1984)
18. Alaska y los Pegamoides - Otra Dimensión (2:35) (1983)
19. Kiki d'Akí - El Futuro (3:22) (1983)
20. Heroica - Esto No es Broma (4:13) (1986)
21. Almodóvar y McNamara - Voy a Ser Mamá (2:32) (1983)
22. Parchis - Tu Nombre (2:42) (1980)
23. La Dama Se Esconde - Tarde Lluviosa (3:28) (1986)
24. Jeanette - Corazón De Poeta (4:37) (1981)

PLEASE ENJOY

Saeko Suzuki - Pandafuru Raifu/ Pandaful Life OST (2008)

2011-06-01T15:43:00.000-07:00

Getting to the end of the Suzuki material. Here's a recent film score. Pandafuru Raifu (known in English as Panda Diaries, Panda Days, Pandaful Life) is a nature film from 2008. Music is instrumental aside from some wordless vocalisations. A lot of different moods sustained on this one. Can't find a film trailer on Youtube for some reason. Check it out.

パール兄弟 Pearl Brothers

2011-05-29T08:31:00.000-07:00

Here are some very creative music vidoes from goofy pop unit Pearl Brothers. While membership has shifted in the groups 20+ year history, major players seem to be Kenzo Saeki, Yashiro Tsunehiko, Kubota Haruo, Bakabon Suzuki and Matsunaga Toshiya. Not sure if PB are still together, their website hasn't been updated since 2006. Check it out here (Netscape 3.0 or higher recommended). Be sure to check out the Pearl Brothers Treasure House. For less information, visit the Wiki. Hopefully I'll get my hands on some Pearl Brothers album rips soon.

(Good to hear from Michael again)

Saeko Suzuki - Misc. tracks

2011-05-15T18:29:00.000-07:00

Here are a couple of miscellaneous Suzuki tracks for you all to enjoy. A commercial jingle, the Happy End single, and a couple contributions to a comp called Lover's Hawaii.

Check it out.

LIVE CAPSULE

2011-05-11T16:24:00.000-07:00

Saeko Suzuki - Studio Romantic (1987)

2011-04-27T17:43:00.000-07:00

Here is the last of Saeko Suzuki's studio albums (that I know of), 1987's Studio Romantic. This album has three of Suzuki's best known songs, the brilliant "Happy End," which had been released as a single the year before, a re-worked version of "I Wish It Could Be Christmas Everyday in the UK" and "Happy Families", an XTC cover (a big improvment, imo). There's also a version of Thunderclap Newman's "Something in the Air". The album seems mostly made up of covers, singles and remixes; the title of the album even stresses the process of recording, as opposed to composition. That isn't to say that there aren't original jams on the album, or to slight the creative integrity of the cover versions contained in Studio Romantic.

I don't have much info on the players. Peter Gabriel-associate David Rhodes played guitar on "Blow Up", according to this website.

"Happy End" doesn't appear to be a cover of YMO's track of the same name. But to confuse the matter, here is a two-part television presentation titled "Happy End" featuring an interview with Hosono followed by a performance from Suzuki and then from Takahashi. A bizarre sequence at the beginning features a cybernetic cow and a title card which reads "Friends of Earth". If any of our Japanese readers can shed some light on this video, please share in the comments section.

Part One: http://youtu.be/vJSVD8yLSbg
Part Two: http://youtu.be/YRtvx4LOrT8

I'll be posting some of Suzuki's soundtrack work as well as a few singles and miscellaneous tracks in the coming days.

Here's the video for "Happy End" from Music Tomato Japan. Nice to hear from our old friend Michael again:

Discogs:
Label: Midi Inc.
Catalog#: MDCZ-1030
Format: CD, Album, Reissue
Country: Japan
Released: 1987

Tracklist:
01. Blow Up
02. You're My Special
03. Something In The Air
04. Happy Families (XTC Cover)
05. I Wish It Could Be Christmas Everyday In The UK
06. TV Dinner
07. Happy End
08. Freak In
09. Studio Romantic
10. Dear Walt
11. Adventure In South Pacific

ENJOY

Saeko Suzuki - The Law of the Green/ 緑の法則 (1985)

2011-04-18T15:49:00.000-07:00

Next up in Saeko Suzuki's third studio album, The Law of the Green/ 緑の法則 from 1985. The album is a bit of a mix, reflective of Suzuki's soundtrack composition work and her more outright Technopop jams(tho more "pop" than "Techno" by this time). Quite a few nice, whimsical instrumental tracks, tho I personally prefer the vocal jams, like "Exile", "Come Wonder With Me" and "Good Morning", which are all excellent. Next up is 1987's Studio Romantic.

From Discogs:

Label: Midi Inc.
Catalog#: 32MD-1005
Format: CD.
Country: Japan
Released: 1985

1. 夏休みが待ち遠しい Mon Biclo 2:58
2. Hello, Shoo Shoo 3:17
3. 柔らかな季節 3:37
4. The Green-eyed Monster 4:05
5. Good Morning 4:24
6. Exile 4:57
7. Come Wonder With Me 3:49
8. イワンのバカ 1:27
9. ВИЙ 5:23
10. Kaspar's Statement 3:58

PLEASE ENJOY
UPDATED LINK HERE

Saeko Suzuki - Visinda og Leyndardomur (科学と神秘) (1984)

2011-03-31T20:24:00.000-07:00

Here is Saeko Suzuki's second studio album, Visinda og Leyndardomur (科学と神秘), from 1984.

Label: BMG Victor Inc.
Catalog#: BVCR-5020
Format: CD, Album
Country: Japan
Released: 1991

Discogs has a very detailed breakdown of the album's players. As usual. Saeko handles percussion, keys and vocals. Keiichi Suzuki, famed leader of the Moonriders and composer for the brilliant Earthbound/Mother series of video games, is credited as a player and producer on the album. According the Wiki Japan, he was Suzuki's husband at the time. Hajime Tachibana jams guitar on "Hacker ARUIWA 2 Ear Drums". For a full list of personnel, check this.

TRACKLISTING:
1. Island
2. Gin No Angel (銀のエンゼル)
3. Kagi To Stamp (鍵とスタンプ)
4. Hacker ARUIWA 2 Ear Drums
5. Mahow No Kuni (魔法の国)
6. Chi O Suu Camera (血を吸うカメラ)
7. Nightmare
8. Okashinaokashina Ferryboat (おかしなおかしなフェリーボート)
9. Tengoku Eno Rasenkaidan (天国への螺旋階段)
10. Lovery Planet (恋する惑星)

PLEASE ENJOY

Saeko Suzuki - I Wish It Could Be Christmas Everyday (1983)

2011-03-23T15:26:00.000-07:00

Here is the second in a near-comprehensive series of Saeko Suzuki ups. The series begins proper with her first full-length album, I Wish It Could Be Christmas Everyday, released on LP in 1983. This is a CD-rip of the 1991 remaster. Biographical info on Suzuki is hard to come by online, but I'll be adding as much information as I can with these posts.

DISCOGS:
Label: BMG Victor Inc.
Catalog#: BVCR-5019
Format: CD, Album
Country: Japan
Released: 21 Aug 1991 (CD)

TRACKLISTING:
1. 夜のウイウイ 2:58
2. I Wish It Could Be Christmas Everyday 3:07
3. 蒸気のたつ町 3:49
4. ガールスカウト 3:22
5. 夏の豆博士 2:44
6. バオバブ人 3:25
7. ジェラルミンの飛行船 3:52
8. アメリカのElectricity Co. 3:50
9. フィラデルフィア 3:47
10. 朝のマリンバ 2:40

ENJOY

PLEASE HELP JAPAN

2011-03-15T17:33:00.000-07:00

To all of our Japanese readers: please hang in there. This immense ongoing tragedy breaks our hearts.

To all others: Please help relief efforts by donating something, even if just a little.

GLOBAL GIVING

RED CROSS

DOCTORS WITHOUT BORDERS

JAPAN SOCIETY

...and more options listed HERE at the Stalking Duppi blog.

THANK YOU!

(Check out this haunting Youtube video posted by my Japanese trading buddy 20tunes)

Ryuichi Sakamoto - CM/TV (2002)

2011-03-08T19:46:00.000-08:00

Ryuichi Sakamoto - CM/TV
Label: Warner Music (Japan)
Catalog#: WPC6-10244
Format: CD
Country: Japan
Released: 2002

This is a compilation CD collecting various commercial and television themes and interstitials composed by Sakamoto, pieces spanning the late 70s, 80s, 90s and early 2000s. I'm particularly into the catchy theme song from NHK's You! program, which I'd like to dedicate a post to some day (check the Katsuhiro Otomo animated intro). I apologize for the large file size, but hey, there are 50 tracks.

ENJOY!

Future Screen of TOKYO

2011-03-07T09:46:00.000-08:00

LIVE ACT:P-MODEL,POLYSICS,SKY FISHER,SPOOZYS

Apogee & Perigee Chojiku Korodasutan Ryokoki

2011-03-06T10:59:00.000-08:00

Is there other life in space?
Do neighbor planets have
Indigenous creatures?
Can humans live permanently in
colonies in space?
Do Extraterrestrials visit Earth?
Can humans travel to the Stars?

I had been planning to post the 1984 "soundtrack" album Apogee & Perigee; Chojiku Korodasutan Ryokoki, for quite some time. No need now, as I've just noticed that Ongaku Poland has recently upped it (Although I was already a follower of OP, I found the link initially via The Common Chant).

Discogs sez: "Apogee & Perigee are robots, this is a concept album or soundtrack to a musical that was never produced that tells their story. The album credits Apogee & Perigee as performers, but the lyric sheet includes some writing credits, and in addition the 2006 CD re-issue provides more information."

Testpattern seem to be the major creative force, but Discogs lists several YEN all-stars as contributors: Miharu Koshi, Koji Ueno, Miyuki Hashimoto, Hosono, and the one and only Jun Togawa, who can be heard singing in a duet with Yūji Miyake on the bittersweet "月世界旅行 (Gessekai Ryokō)" above.

All the available information is collected here, at Fanboy.com. I'd like to learn more about the two robots and the actual project, and what plans Yen and Testpattern had for its future. My Japanese trading buddies seem to not remember the album having much of an impact during its initial release. This is a real shame, as the music throughout is fantastic, an accessible yet complex emotional blend of optimism and melancholy, Greek tragedy played out as space-faring AI romance. The project is heavy with the kind of empathic projection that is often directed at non-living but "life-like" beings. A francise could have easily been created. See also the Sakamoto-scored film Where the Toys Come From for another example.

This really is an excellent, underheard album. That there seems to be an international swell of blogs posting this material is really exciting to me, and a good incentive to me to upload more and post more.

Telex - My Time

2011-02-27T11:05:00.000-08:00

Really dig Telex's version of the Ann Steel classic.

Strictly Forbidden

2011-02-25T19:35:00.000-08:00

Sandy, you devil!

Nearly ecstatic to discover this "homage" to the Sakamoto/Sylvain classic by Sandy Marton, belter of the undeniable "People from Ibiza" track. Not every day do I find such a link between two of my particular cultural obsessions. Check out both songs, and hear one of the most emotionally wrenching songs--built from Sakamoto's score for the brutally heart-rending Merry Christmas Mr. Lawrence--morphed into a goofball utopian Italo-jam, complete with typically incomprehensible, mildly offensive lyrics.

The "Forbidden Colours" melody is basically used as an intro and bridge in the Marton version, but its influence is definitely felt throughout... Sandy was definitely feeling the vibe!

"Forbidden Memories" was released in '86, three years after the RS/DS original.

Saeko Suzuki - No Raifu Kingu (No Life King) OST (1989)

2011-02-24T16:42:00.000-08:00

Just uploaded the film here:
http://waxmask.blogspot.com/2011/02/no-life-king-no-raifu-kingu-dir-jun.html

And here's the soundtrack, by Saeko Suzuki. Will have more of her work (with info) in the coming days and weeks.

Tracklist:
01. Life King 2:42
02. S-8 To T-8 2:55
03. A Ripple 1:45
04. Fat's 0:58
05. Life King - Vision 1 2:15
06. OtokoEOnnaESeiEShiEMugendai 4:30
07. T-8 To S-8 2:58
08. Feel Or Deal 3:27
09. Mother 2:32
10. Hello 2:39
11. Forbidden Mode 4:33
12. Party Attack 2:48
13. A Stone Of Wiseman 3:53
14. Reset 2:28
15. Real 10:35

Label: Midi Inc.
Catalog#: 28MD-1008
Format: CD, Album

CHECK IT OUT

No Life King (No Raifu Kingu) (Dir. Jun Ichikawa)

2011-02-23T18:51:00.000-08:00

NO LIFE KING / NO RAIFU KINGU (1989)

Director: Jun Ichikawa
Writers: Seikô Itô (novel), Hiroaki Jinno
Stars: Ryo Takayama, Neko Saito and Nobuo Nakamura

REVIEW SUMMARY FROM ALL MOVIE GUIDE:

"In this movie, several "urban legends" evolve before the viewer's eyes. As the film opens, a group of boys have waited in line for hours to acquire the latest version of a video game. When a rumor goes around school that the game, "The Legend of Life King IV," is cursed, and that those who fail to finish it will die, the boys take it seriously. When their school principal dies while delivering a diatribe against video games, this confirms the curse in their eyes. Meanwhile, one of the boys' mothers comes to believe that cakes purchased at a certain bakery are poisoned in some fashion because the site of the bakery was formerly a graveyard. ~ Clarke Fountain, All Movie Guide"

NY Times review is here.

Here is a VERY rare film from the late Jun Ichikawa (Tony Takitani etc.), a sort of Sci-Fi/ family drama hybrid based on Seikô Itô's novel of the same name. Since I can't speak Japanese, I found this one difficult to follow, honestly, but it definitely has the quiet intensity of an Kiyoshi Kurosawa film in places.

This is not my rip of the film, and the quality overall is VERY POOR. However, This is, as far as I know, the only way to see the film. If anybody has some English subs or can contribute some, please let me know. This film was likely never released in the US, but festival prints were clearly made if there is a New York Times review. I recommend reading the review, as it really sheds light on the story and ideas present therein. I don't think this film has ever been released on DVD in any country.

I originally came across this film while researching its composer, Saeko Suzuki. The computer game-inspired score is excellent and I managed to find a quality rip of the CD soundtrack which I will upload separately soon. I also have the majority of Suzuki's solo discography, so I'll slowly be uploading that as well.

ENJOY!

Ribbon - Yurusenai!! (ゆるせない !!)

2011-02-15T18:16:00.000-08:00

Patrizia Pellegrino - Musica spaziale (1986)

2011-02-05T09:31:00.001-08:00

Koharu Kisaragi - Tokai no Seikatsu (1986)

2011-02-02T13:43:00.000-08:00

Here is another album which I've unearthed that illustrates YMO's seemingly ubiquitous clutch on the 1980s Japanese "Technopop" (and assorted non-mainstream) landscape. Ryuichi Sakamoto produced only a few tracks on this album (I think), but Sakamoto's work actually stands in opposition to much of the album. Unlike some of the other Yen-associated female singers of the era, Koharu Kisaragi is clearly the mind behind the project, and Tokai no Seikatsu is an singular musical experience for it. Sakamoto's "Neo-Plant" production feels primarily like functional studio experimentation. This makes sense in the context of the original 12" single, but in the context of this album it's a bit jarring, even despite it's three-part framing of the album, and the admittedly appealing music itself.

While "Neo-Plant" is moderately known, this full-length album (her only?) seems obscure, and is absent from her Discogs page. The two parts of "Neo-Plant" and "Plant Posi" feature funky, mildly-dated hip hop-influenced production from Sakamoto, the sound of experimentation as I have posited. The rest of the album is a real mixed-bag, style-wise, but a quality bag for sure. No word on production or players for the other songs on Tokai no Seikatsu, but since Discogs credits Kisaragi with production on most of the 12" single, I assume she wrote the majority of these songs as well.

In contrast to Sakamoto's contributions and the wild + funky, cut & paste maximalism of much of Tokai no Seikatsu, my personal favorite track is "Traumerei", an haunted and restrained fugue, with subtle male backing vocals and piano, bassoon and click-track instrumentation. I assume Kisaragi provided the arrangement, I'd love to find out for sure.

If anybody has a rip of the single, let me know. I'd like to hear b-side "Tail", which is absent, despite Neo Plant's inclusion of "Traumerei", the other track on Neo-Plant's second side.

According to Artcontext, Kisaragi "died a few years ago". Like so much of the information in this post and in this blog, I can't substantiate that claim. If any Japanese readers have more information on Koharu Kisaragi, please comment or message me directly. Anyway, enjoy this eclectic and rewarding album.

Stay tuned, I've got A LOT of music to post in the coming weeks.
(I apologize for the extravagant file size)

HERE

Miharu Koshi - Boy Soprano (1985)

2011-01-27T13:30:00.000-08:00

Here is Miharu Koshi's excellent album Boy Soprano, released by Non-Standard Records in 1985. This album is produced by Koshi's constant collaborator Haruomi Hosono, and the two split composition duties on the original tracks. Aside from the six originals, Koshi really pushes her vocals with two Schubert tracks, "Heidenröslein" and "Ave Maria", inspiring the album's title. As with most of her work, Koshi sings in several languages here. Hopefully I'll have more of her albums to share in the coming weeks.

Tracklisting:
01. Heidenröslein
02. Prie-Dieu [Yube No Inori]
03. Ave Maria
04. Marie-Ange
05. Mademoiselle Juju
06. La Nokto De La Cattleya [Cattleya No Yoru]
07. Vite, Usagi [Hashire Usagi]
08. Lip Shütz

Official Site
Wikipedia
Discogs
Hanamiweb
Download Parallelisme
Download Tutu

ENJOY

More Sakamoto/Imawano footage

2011-01-25T15:42:00.000-08:00

Not sure how I missed this before

Not sure what the song at the very beginning is. This clip (series of clips?) really expresses the romance of the collaboration.

From the comments section:

"I vividly remember seeing the second one on TV (I was only 10!) Both of them were live TV shows. The first one is from "Yoru no HIt Studio" ("Hit Studio At Night" in Japanese) by Fuji TV, the second one is from "The Best Ten" by TBS (Tokyo Broadcast Station.) Kiyoshiro was one of the few Japanese rock stars who I cared. (Rest in peace.) Thank you for uploading this."

jvcforce 5 months ago jvcforce 5 months ago

Olé Olé - "Necesito Más"

2011-01-21T21:55:00.000-08:00

Ryuichi Sakamoto and Kiyoshiro Imawano - Ikenai Rouge Magic (1982)

2011-01-11T18:25:00.001-08:00

EDIT: Blogger sent me a "DMCA takedown notification" message concerning this post, so I've removed the link. No huge loss, as Youtube-rips are likely to be of higher quality than the scratchy, wavering vinyl-rips previously shared in this post. So go that route, for now. I encourage readers to email me with any questions or comments.

I've finally found a copy (a vinyl-rip I'm assuming) of the Sakamoto/Imawano collaboration "Ikenai Rouge Magic", which I wrote about in this earlier post. Unfortunately, the audio is quite poor, especially at the start of the A side. However, the (superior) B side "Akaruiyo" sounds fine. There used to be a higher-quality rip of "Ikenai" on Youtube, which I planned to swap with this file, but it seems to have been removed by Youtube. If any readers can provide a higher quality rip, shoot us a comment or email.

That said, I still really want to thank gracious Youtuber "trinity0818" (real name Shigenori) for sharing this single with WAX MASK. Shigenori also provided some background information, at my request:

Dear Greg

Hello.
This MP3 file is a thing of the EP record of 7 inches.
To our regret, I do not have the sound source of the remix version.
I'm sorry.

"Ikenai Rouge Magic" became a smash hit in Japan in 1982.
I was a junior high school student in those days.
Kiyoshiro Imawano was very active as the vocalist of "RC SUCCESSION".
Ryuichi Sakamoto did an overseas tours by "YELLOW MAGIC ORCHESTRA".
At that time, I was very surprised because they who were the artists who represented Japan had united the unit.
They performed to Music Show of the television.
I got excited very much.

The death of Kiyoshiro Imawano was a very sad thing.
I attended in his funeral.
His 42,000 fans attended on the day.

However, the music of Kiyoshiro Imawano is not dead.
His music is loved also by the foreigner like you.
I am very glad.

If I for your help become it, it is glad.
Please enjoy his music for a long time.
Thank you !!!

Sincerely,

-Shigenori

Machida Machizo from Shifuku Dan track listing update

2010-12-30T07:38:00.000-08:00

UPDATE: Coffin Jon, of the VCinema website and podcast, has provided Wax Mask with an excellent translation of the track listing for the Machida Machizo from Shifuku Dan album Doterai Yatsura, complete with detailed notes. Check it out.

Skywhales

2010-12-26T21:07:00.000-08:00

Skywhales is another animated short found on The 19th International Tournee of Animation: Volume 1. It was released in 1983.

When I first saw this, I was transfixed by the depth of the culture of the Whalers (they don't have a name, nor are there any subtitles for their alien language in the short, so this name serves for now). The short is very detailed - the culture of the Whalers evokes Inuit iconography, but they aren't the only native whaling cultures. Whales have always been sacred beasts, and so their deaths have typically held much significance to those who pursue them, not least because the undertaking is extraordinarily dangerous and the goal, once achieved, requires quick industriousness to harness the whale's bodily products: blubber, ambergris and of course meat. The rituals to achieve those ends are presented here in an inventive, engaging manner; with the caveat that as the hunter takes life, so is his spirit taken from him - literally, in this case. The lyrical quality of the story, combined with the great score, makes for a really classic short.

By the way, I noticed that National Geographic (actually BBC 4, as they originally produced the program), totally ripped off the skywhales' design for a special on what alien life might look like on other worlds. Without any citation of the original short it just seems like crass plagiarism in service of a forced product.

Edit: I found a website which says that the short was shown on BBC 4 on Christmas 1983, which would presumably give them some sort of likeness rights to the skywhale's design. Also, the site says that the creatures are called Perlians, though this is never once mentioned in the short itself. It's an interesting article, and if you like Skywhales you should quickly check it out.

Two videos from Italian duo Righeira (1983-84)

2010-12-26T17:20:00.000-08:00

Righeira was formed in 1983 by Stefano Rota and Stefano Righi. These two singles were huge hits in Italy and found modest success elsewhere in Europe. Righeira had at least two other minor domestic hits, and four full-length albums and numerous singles. This information comes from Discogs, which also says about the duo, "The two members still explain that they are brother[sic] by their first name. They became Michael Righeira & Johnson Righeira"

Note the Mondrian painting coming to life at the beginning, which morphs into a cube and shows the skinny-tie wearing duo images from World War II and the Hindenburg crash. The entire thing seems to take place in a towering modernist apartment complex. Video actually credits the animator at the end, Gianandrea Garola. Limited film + TV resume here.

Both songs are sung in Spanish, and I've included the original lyrics as well as a Google-assisted translation below. If anybody can provide improved English translation let me know. "Vamos a la Playa" is about nuclear blasts destroying civilization, with the mantra "Let's go to the beach" (or is it "Do You Want to Go to the Beach?") repeated as either an oblivious prayer or ironic joke. Then again, the wrist-radios confuse the group's involvement with whatever nuclear scenerio is being described. The gaudy technicolor lighting in the video could be the glare of a mushroom cloud.

"No Tengo Dinero" is a much more obvious illustration of post-war Italian class struggle, presenting a newly monied class "kissed by an idea," with its narrator "living in the highest place in [his] city". But then is this the same figure declaring "I have no money" over and over? A view both from and in opposition to the top, apparently.

Both of these songs are lyrically complex (or muddled, perhaps), hiding specific socio-political ideas in brief narrative verses, which are in turn hidden within endlessly repeated, seemingly vacuous choruses. Especially in the case of "Vamos a la Playa", these choruses actually come to reinforce the central idea of the song. Like the lavish apartment in the "No Tengo Dinero" video, political and ethical notions are masked by not only the passive observation of Righeira (whom didn't write the lyrics--Carmelo and Michelangelo La Bionda did) but the ostentatious surroundings of both high-end video animation and montage, and the meticulous studio wizardry of Italian (post-disco) pop production.

Despite the attractive solarizing effects in this one, I prefer this simpler take:
http://www.youtube.com/watch?v=qCVQpcY1au4

Vamos a la Playa

(CHORUS:)
Vamos a la playa oh o-o-o-oh
Vamos a la playa oh o-o-o-oh
Vamos a la playa oh o-o-o-oh
Vamos a la playa oh oh
Vamos a la playa

La bomba estallo
Las radiaciones tuestan
Y matizan de azul

Vamos a la playa

Todos con sombrero
El viento radiactivo
Despeina los cabellos

Vamos a la playa oh oh oh oh oh
Vamos a la playa oh oh oh oh oh
Vamos a la playa oh oh oh oh oh
Vamos a la playa oh oh

Vamos a la playa
Al fin el mar es limpio
No mas peces hediondos
Sino agua florecente

Vamos a la playa oh o-o-o-oh

(REPEAT TO FADE)

English Translation

(CHORUS:)
Go to the beach o-o-oh o-oh
Go to the beach o-o-oh o-oh
Go to the beach o-o-oh o-oh
Go to the beach oh oh

Go to the beach
The bomb exploded
Roasted radiation
And a shade of blue

Go to the beach
All with sombreros
The wind radioactive
Tousled hair

Go to the beach oh oh oh oh oh
Go to the beach oh oh oh oh oh
Go to the beach oh oh oh oh oh
Go to the beach oh oh

Go to the beach
At last the sea is clean
No more smelly fish
But water blooming

Go to the beach o-o-oh o-oh
(REPEAT TO FADE)

No Tengo Dinero

No tengo dinero oh
No tengo dinero no, no, no, no
No tengo dinero oh
No tengo dinero no, no, no, no

Los modernos lujos viven aqua
En el lugar mas alto de mi ciudad
Se nutren de imagenes y de relais
Yo quisiera estar aha mas

No tengo dinero oh...

Los nuevos italianos crean aqua
Impavidos y fieros de la velocidad
Neo psichico es el sintatico edan
Yo quisiera estar aha mas

No tengo dinero oh...

Neo psichico
Besado de una dea tu eres
Patria de estos te crean (2)

No tengo dinero oh... (2)

English Translation (I'm sure there are many mistakes here).

I have no money oh
I have no money, no, no, no, no
I have no money oh
I have no money, no, no, no, no

Modern luxury living here-
In the highest place in my city
They feed and relay pictures
I would be more aha

I have no money oh ...

The new Italian create here-
Fearless and ferocious speed
New Eden is the synthetic psichico [??]
I would be there more

I have no money oh ...

New psichico
Kissed by an idea you are
Homeland those you create (2)

I have no money oh ... (2)

Wikipedia
Download Righeira's first album.

Cosmic Invention - Cosmorama (1981)

2010-12-21T13:27:00.000-08:00

Here we have Cosmic Invention's 1981 album Cosmorama. As far as I can tell this is their sole release aside from a 7" single of "Yakimori" which is found on the full-length album. There is very little information to be found online about the group, especially since there's another Japanese band of the same name, from the 90s, which features Michio Kurihara and Masaki Batoh.

If you like the Cosmos material I've posted, you'll like Cosmic Invention. Cosmorama has that same sort of whimsical, synth-driven New Wave "fusion" sound. I don't have much information to share, but I at least have a full members list, which is something I don't have for Cosmos. Cosmic Invention supposedly started out as a YMO cover band, and their signature tune, "Computer Obaachan (Grandma)" was originally written by Sakamoto and performed by someone either named Shuko Sakai or Yuko Sakaitsukasa, though I can't find this original version online. The track was produced for a radio program called "Sound Street" on NHK-FM and eventually released on vinyl with "Photo Musik" as the B-side. The song remains relatively popular and has been covered by several other groups since.

Cosmic Invention:
森岡みま Mima Morioka：Vocals, Drums
井上能征 Yoshimasa Inoue：Keyboards
佐藤克巳 Katsumi Sato：Keyboards
橋本かんな Kanna Hashimoto：Bass, Keyboards
Album producer: Hiroyoshi Oda

Tracklisting:
01. Space Fighting
02. 愛Love Come On
03. ちょっとホントあとはウソ/ Chotto Honto Ato Wa Uso
04. ゆでたまごちゃん/ Yudetamagochan
05. Yakimoki
06. コンピューターおばあちゃん/ Computer Obaachan (Grandma)
07. Trouble
08. Little Darling
09. Cosmic Fantasy
10. ひこうき雲/ Hikoukigumo
11. それはシークレット/ Sore Wa Shiikuretto (Secret)

"Note" from Discogs:
"This LP was released to celebrate the take-off of Firstman synthesizers."

ENJOY

Cosmos - Can Can Can! (1982), Bourbon Suite (1982), 夢想都市 (1985)

2010-12-16T15:09:00.000-08:00

I've been searching and asking around, but there really isn't much info about Cosmos on the net. Can anybody help at least name the other members? I've found some Keiko Matsui solo albums, but they're really a let-down after hearing this material. Anyway, here are three more albums from Cosmos:

Can Can Can! (1982 I think, but this site says '85)
http://www.megaupload.com/?d=HN50GDFL

Bourbon Suite (1982)
http://www.megaupload.com/?d=4C3BS2G5

夢想都市/ "Urban Fantasy" (1985)
A bit confused about this one's english title and year.
http://www.megaupload.com/?d=WXZ3H3W8

Cosmos - Musitopia (1983)

2010-12-13T16:42:00.000-08:00

Back in June of this year, Jiro at Ying Yangs posted this song by Japanese synthesizer-based "fusion" band Cosmos, "Mai Muse", which you can hear by watching the above video. This track really impressed me so I've been searching for the entire album Musitopia ever since, having only found "Mai Muse" and the opener "Spiral Dream." Both are exciting, maximalist pieces of synth-driven island-exploration Nintendo jazz-fusion.

Well, I'm very excited to say that I've finally located the entire album, and it's excellent. I don't have a lot of information, but I know that the album was released by Canyon Records in 1983. You can read about Cosmos and founding member Keiko Matsui here on her Wikipedia entry (I swear there used to be a stand-alone entry for Cosmos). A complete members list will hopefully follow, as I actually found several other Cosmos albums, and a more in-depth post is coming. Stay tuned for it later this week. In the meantime, please enjoy Musitopia!

Tracklisting:
1. Spiral Dream 3:40
2. Hoppy Pampy 4:44
3. Faerie 5:01
4. Mai Muse 4:50
5. Ai No Kakehashi 4:29
6. Epicurean Carnival 4:12
7. Shiawasena Asa 3:25
8. Ai Land Dance 3:21
9. Musitopia 4:13

Artwork:

ENJOY!

Machida Machizo from Shifuku Dan - Doterai Yatsura (1986)

2010-12-09T15:57:00.000-08:00

UPDATE: Coffin Jon of the VCinema website and podcast has provided Wax Mask with an excellent translation of the Japanese track listing below, complete with detailed notes.

Here is an weird and diverse album from singer/ actor/ author Machida Machizō, former vocalist for the Japanese punk band Inu. The album was released on cassette by Quatro in 1986, not sure if it was issued on Vinyl as well. Later a CD was released, which you can buy used on Amazon.jp by clicking below.

While Doterai Yatsura has its punk moments, it's a much more experimental affair than the Inu material. A lot of vocal processing and keyboard hijinks, with found and concrete sounds mixed in and around more straight-forward "rock" movement. Wildly varying instrumentation from song to song, with bagpipes, harmonica, wah guitar, Steve Martin samples, tape manipulations and trumpet (tho some of that may be sampled). Many thanks to this helpful Youtube user for posting some tracks and for sharing the album with me.

Can anybody help with an English translation of the track names?

1. どてらい奴ら
2. 機械がどんどん廻る廻る
3. アミダへの道
4. ちゃんぽん部屋
5. 心臓賭博
6. 天守閣(至福城)
7. 六年寝る
8. 続どてらい奴ら
9. 戦場の牛
10. コンガを叩いたインコを殺した男
11. みな木が欲しい
12. 小座敷ドッグ
13. 路傍の亀
14. 失敗の本質

English translation (with notes) courtesy of Coffin Jon of VCinema.

1. Incredible Guys
2. The Machine Is Quickly Turning
3. The Road to Amida (Amida is one of the buddhas)
4. Chanpon Room (Chanpon is a dish of noodles mixed with other ingredients)
5. Gambling Heart
6. The Keep (The Castle of Bliss)
7. The Six Year Sleep
8. Incredible Guys part 2
9. Battle Ox
10. The Man Who Killed the Parakeet That Hit the Conga Drum
11. I Want Minaki (I assume that 'Minaki' is a person's name. Initially I thought it was the name of a particular tree (the 'ki' means tree), but I found no tree with that name)
12. Kosashiki Dog (a kosashiki is a very small room, like an addition, that has a tatami floor and is used for lounging)
13. Turtle on the Roadside
14. The Essence of Failure

Try It.
Buy it?

Rebecca - Vanity Angel (1989?)

2010-10-28T14:53:00.000-07:00

Illustrated Film Titles

2010-10-21T18:19:00.000-07:00

Here are two opening title sequences featuring "slide-shows" of illustration, one in marker, in the style of a children's picture book, the other in crayon, in the style of a child's drawing. Both clips feature similarly jaunty theme songs. Skip ahead to about 1:30 in the Death Game video. Cult-film actor Sherri Vernon illustrated the Worm Eaters intro. Death Game's titles are credited to Mary Meacham, who now works for Disney.

WAX MASK talks to Sally Cruikshank

2010-10-20T18:49:00.000-07:00

Back in August I posted a short article about one of my favorite animators, Sally Cruikshank. Later, Max posted a video jam from 1984 which Sally contributed to. To our surprise, Sally commented on this post shortly after Max uploaded it. I got in contact with Sally, and she agreed to answer a few of our questions via email.

MAX: How did you come to define your particular style of drawing? There seem to be a lot of cubist influences, but also an element of early silent cartoons (such as Felix the Cat and Bosko) as well.

I watched a lot of black and white cartoons on tv when I was little. That's where I saw Felix the Cat, Betty Boop. and the early Van Beuren cartoons. I majored in art in college and spent a lot of time in the library just looking at reproductions of paintings, but Cubism was not an influence. I actually don't like Cubist art. I don't even like Picasso! Maybe you mean art deco--I got a lot of ideas for background detail from Art Deco books and objects.

M: It seems as though the time signature is constantly changing in your work—sometimes characters move in a very herky-jerky fashion, other times there's a lot of interstitial panels and so the characters move smoothly (Fun on Mars being an example of the former, and Face Like a Frog an example of the latter). Is this due to outside constraints or is this a conscious choice depending on the piece?

When you do all the work yourself, you get better as you go along. I used to advise people starting out in animation to start with a small project for just that reason--the first stuff you do will always look in need of replacing, improving, and if you're not careful you'll never finish. Fun on Mars is from 1971, Face Like a Frog 1987. I improved.

GREG: Kim Deitch is credited as “Special Art Assistant” on Quasi at the Quackadero (1975). How did you come to work with Deitch and what exactly was his role on the film? I find that your shorts from this period are consistent with Deitch’s work and the underground comics scene of that time in general. What, if any, connection existed between independent animation and comics the 1970s?

When I was in college someone showed me R. Crumb's Head Comix. It was so good I almost didn't want to look at it. How can this be? I was at Smith College in Massachusetts. I graduated early, after finishing my first cartoon, Ducky, and headed to San Francisco to take a film making course at the Art Institute and find out more about this underground comics movement. I became friends with underground cartoonists- everyone was young and excited about the work they were doing. Kim was my boyfriend. He inked and painted cels in the film, also did some voices. I was the only one of that crowd who was doing animation. I had a great job where I was paid to experiment in animation, so I had the resources to make a film on my own.

G: You’ve created many memorable opening title sequences for live-action films. This is an interest of mine and we’ve posted several such sequences. The sequence you created for Mannequin is a particularly strong memory for many filmgoers and in many ways defines the design aesthetic of the 1980s for people like me who are too young to really remember the decade. Your earlier shorts are very satirical in their presentation of the “me decade” and also predict the nascent 80s visual culture. Along with Haring, Lichtenstein, Nagel and others, your design sense—the particular colors, textures and patterns—has come to define the decade, at least in a nostalgic—perhaps revisionist— fashion. To what extent is the style of your 1980s work satirical, and to what extent is it an organic part of the cultural zeitgeist?

It's very odd to me that Mannequin was so influential. I was called in to do the titles because the plot line didn't hold together, and they needed to warm up the audience and explain how the girl got from ancient Egypt to contemporary Philadelphia. It was a tough sequence to come up with because I don't really like that parade of history kind of stuff- they wanted it to follow a time line with gags.

Ruthless People was much more exciting for me. I'd seen the "Memphis Design" style in books. It originated in Italy as I recall. The directors wanted to do a cavalcade of ruthlessness thru the years (sound a bit like the Mannequin idea, tho earlier?) but after I saw the rough cut and the decor of the film was all Memphis Design, which was very new then, I came up with the idea of titles designed in a Memphis style, and each credit treated ruthlessly. I heard that Mick Jagger, who sings the title song, hated the sequence. Thanks, Mick.

As far as the me decade, even in the 60's I thought hippies took themselves way too seriously, and was an outsider.

G. Doing research on animated title sequences for live-action films, it becomes apparent that animators are often not credited in either the main or end titles. While you seemed to avoid this problem, are there any high-profile animation jobs you were not credited for? Also, your sequence for Loverboy (1989) is not listed on IMDb. Are there are other projects of yours IMDb does not list? Did you have to push to appear credited for film sequences, and do you have any insight about why it was so hard for other animators to receive credit, either on celluloid or on the internet?

It's been a while since I fought those battles, but it was partly DGA and partly the studios. Front end credit wasn't allowed, and it couldn't say directed by because of DGA rules. I just looked at IMDb and see they have my Sesame Street pieces entirely wrong, and a number of other things are mixed up. I did titles for Greg Araki's Smiley Face but the timer must have been color blind because they look awful and not as intended. It's hard to change info on IMDb or Wikipedia. As I recall Wikipedia has better info on me but I haven't looked lately.

M: There seems to be a strong inclination to terrify the audience periodically with abstract imagery (i.e. Don't Go in the Basement and your work on Twilight Zone: The Movie). There's also the strong presence of reptiles throughout your work—what is it about these creatures that fascinates you?

Well I'm not such a white and fluffy person really. Right now I'm considering a praying mantis character as part of a strip for the Android phone.

M: You created a number of animated shorts for Sesame Street in the 90s. My favorite short that you produced for the show is “Beginning, Middle and End”. Aside from actually introducing core concepts of Aristotelian narrative, it's also just extremely fun and appealing. I want to ride a Pterodactyl taxi when I wake up! But was there anything you ever produced for Sesame Street that was cut due to content? How specific were the outlines for a particular short? How much creative freedom did animators have working for the show?

Arlene Sherman was the producer I worked with for Sesame Street and she was a wonderful person. So much creative freedom, unbelievable. She'd send a lyrics sheet, with a composer singing his own rough track. I'd do a storyboard and send it back. Very few changes ever. Then I'd do all the animation, shoot a pencil test and with approval, on to final coloring. I guess there were a few changes suggested but really very few.

G: You maintain a Youtube channel where many of your films are available. Other animators, such as the Chiodo Brothers, are doing the same thing. Having such a resource is incredible for those interested in the history of animation. Do you find that people are discovering your films for the first time through the internet? Aside from Youtube, is there a stable distribution system for avant-garde, experimental-narrative animated shorts in 2010?

I just sent off three crabby emails today to distributors who are renting my films and not paying me or in contract with me. But I actually think copyright is mostly over, you just have to accept it. The free content world. If peeps really like my work they'll buy the dvd because the quality is so much better. The audience that now seems to like my work the best is filled with Sesame Street graduates, who come to my youtube channel because of a childhood memory and then go through all the other films. They're so enthusiastic. But too many of them are studying animation as a major and expecting to make a living from that. Unless there's a great change in what we look at, the job they're most likely to get is teaching animation.

There's never been a stable distribution that pays money for short films since theatrical cartoons died out.

G: Finally, what are you working on these days, where can our readers find your work, and how can they contact you?

I made a video to the tune of "Night Owl" which I posted on Youtube. However, I got discouraged about doing videos with old tunes behind them when I don't have the rights. I had posted quite a few on BrightCove when that service still offered free space and better image quality. But even though the tunes I used were really obscure, BrightCove identified that they were not my property and removed the videos. Do you think it was software that does this?

Youtube is very serious and careful about not letting you earn money for any piece that uses music etc. for which you don't own rights. However, even the videos Youtube approved have yet to pay me a dime and it is incredibly labyrinthine trying to contact Youtube about where's the money!

My Youtube channel is laughingsal. I try to answer the comments people post there. Right now I'm playing around with code and a story for the Android phone. Bye!

Most children have a natural curiosity in exchange for firearms

2010-10-16T22:56:00.000-07:00

Ikenai Rouge Magic

2010-10-11T17:59:00.000-07:00

Discovered this collaboration between Imawano and Ryuichi Sakamoto from '82. I assume the single was a smash, as there's such a huge amount of video footage related to it on Youtube. I can't find any real information about the collaboration, or a vinyl-rip of the actual music. Some user comments (which I'm reading via Google Translator, Japanese to English) refer to an entire album of music by the two, but all I can find are mp3-to-Youtube rips of the single, the instrumental, and this fantastic version:

Many television performances of the song:
http://www.youtube.com/watch?v=IJ0JpHyPF4c
http://www.youtube.com/watch?v=TJt176hzXgs
http://www.youtube.com/watch?v=PaDnUnNdE5w
Version with Oikawa Mitsuhiro standing in for Sakamoto: http://www.youtube.com/watch?v=CMiKBG9R42U

Commercial:

RC Succession - I Like You (Video Only)

2010-10-03T16:50:00.000-07:00

Music Tomato Japan

2010-09-29T16:19:00.000-07:00

"Chart Topping Videos Being Air-played on the Superficial Adventure"

While writing about Dip In the Pool several weeks ago, I promised a focused article about late 80s/early 90s Japanese video-countdown show Music Tomato Japan. There seems to be little information about the show online, in English or Japanese. There are a few pages like this one, which collect videos recorded from the show, and dozens and dozens of videos on Youtube. Aside from this primary source material, I cannot find any historical information about the show.

In the promo bumper at the top of this post, the enigmatic host/narrator identifies himself as Michael Tamayuko (sp?), and references "Music Communication" as perhaps the parent or benefactor of "MTJ" and clarifies the "domestic music" focus of the show, which is the key feature that makes the program interesting to me, as it currently serves as a deep source for an era of music in Japan which is still woefully undocumented beyond the YMO and Idol galaxies.

This clip features the only original content aside from the narration I can find, a sort-of interview segment with the legendary RC Succession, featuring the band mugging and noisemaking, before introducing the "paradise track with satisfaction guaranteed" Michael T promises. "I Like You" Is a pretty phenomenal track, and the animated bits are fantastic. RC Succession are a unique group for MTJ, having a catalog and longevity rare in Japanese pop music. This video represents the very end of the band's run, as they split in 1991. Founding member Kiyoshiro Imawano deserves his own post, as a singular and endearing figure in the Japanese popular music scene, who sadly passed away just last year after a long battle with cancer.

Michael T's strange, perfectly enunciated yet stilted English is what really makes the presentation vital, with lines like "Chart-topping video selections, being air-played, on the superficial adventure", which he says at the intro to this Kawamura Kaori video. Kawamura also died in '09 from cancer, as it turns out.

While there are many many MTJ videos on Youtube, only a small number of the songs are very interesting. Predictably, most of the videos are from interchangeable Idol singers plugging into the specific tropes of broad genres (hair metal, acoustic rock, bubblegum etc.), although some of the weaker songs still have fine videos. The following clips are the best I've seen, as songs and as music videos.

Up first is this SOV clip from ZIG ZAG, 限界恋心 or Love Limits. My friend Carrie sent me this video a few months ago, and it's still my favorite. ZIG ZAG's other material doesn't live up to this bittersweet New Wave jam. The song, the sublime quality of the video--as in video tape--and Mike's enthusiastic narration at the start really hyped me to find out more about MTJ. There's a heart-warming emphasis on public service in Michael's plaintive, apologetic declaration of "If you haven't found any of your type, let us know right away!" The video itself, with its primitive digital effects, blown-out color palette, creepy-yet-playful voyeurism narrative and ambiguous conclusion, deserves its own focused post.

Here's another one with great video effects from Jadoes, a Tatsuro Yamashita-esque funky jam called "Friday Night". "Here are the Jadoes... Friday Night!"

"Sayonara, So Long" from D-Project is an austere, "high rise living" neon jam in the vein of mainstream American New Wave. Written for the 1992 CLAMP anime Tokyo Babylon, "Sayonara, So Long" is the type of song and video I wish available MTJ materials featured more of.

Finally, here's a really strange video from Nakagawa Katsuhiko, popular actor and musician (and father of contemporary Idol Shoko Nakagawa) whose name remains stamped in the middle of the screen for the duration, obscurring the abstract imagery of the video, which is mostly center-frame behind the NK brand.

"I have to leave now with today's final, hope you found the music you like, and always be aware of the latest from Music Tomato Japan. Closing out with Nakagawa Katsuhiko, 'Please Understand.'"

"IT IS THEIR FAULT. HERE ARE THEIR NAMES:"

2010-09-16T16:22:00.000-07:00

This is the first segment on the tape for The 19th International Tournee of Animation: Volume 1. It's called Anijam, and it's an interesting collage piece. It stars a clown-like character named Foska going through a Bardo experience as he's twisted and tormented by a host of different animators. It's quite disturbing, mostly because Foska's pains and tortures are often voluntary - he knowingly puts himself in truly degrading and horrifying positions to entertain us (the bookend music in the segment, at the very beginning and during the credits, is a jaunty vaudeville piano tune).

Not all of the different scenes evidence this theme - some are purely surreal, hallucinatory exercises (such as Per Lygum's segment, which looks like a proto Win98 screensaver) and some exhibit fearlessly "bad" taste - Janet Perlman's sequence treats Foska's shit as a magical salve that can cause him to shrink or grow; there's obviously a sense of childish glee regarding some of the more disgusting acts Foska enages in. The scene directed by Brad Caslor is a neat little story which could easily be translated into a 4-panel comic; Foska is against a wall and is about to be hit by an oncoming truck. In his terror he takes out a pistol and shoots himself in the head. Most of the material exhibits such abandon; it's all for the sake of mobility. The end credits explain this further (in 3 languages, in a creepy silent blackout):

"ANIJAM WAS ANIMATED BY 22 ANIMATORS, EACH DOING A SEPARATE SEQUENCE. THE FIRST DRAWING OF EACH SEQUENCE, IS THE LAST DRAWING FROM THE PREVIOUS SEQUENCE. THE ANIMATORS DID NOT KNOW WHAT CAME BEFORE, OR WENT AFTER THEIR OWN SEQUENCE. THE ANIMATORS WERE FREE TO CREATE ANY ACTION THAT THEY WISHED. THEY WERE REQUIRED TO BEGIN AND END THEIR SEQUENCE WITH FOSKA. ANIJAM IS THE RESPONSIBILITY OF THESE ANIMATORS. IT IS THEIR FAULT. HERE ARE THEIR NAMES."

When I first saw this I recognized many of the animation styles immediately - I had seen their like on MTV and Nickelodeon (both of which used to prize original ideas and material, believe it or not). The "director" of Anijam, Marv Newland, had collaborated with many of these animators previously on commercials for those two networks. Sally Cruikshank, along with Keith Haring, defined the look of Sesame Street during the late 80's - early 90's. More than one worked on Heavy Metal. Some have had a steady career of nothing but shorts. Some took this opportunity to escape from their regular jobs working on children's cartoons to showcase their real talents and passions. It's an exotic collage of many different animators in different periods of their careers.

Being the first segment on this tape, Anijam works well to introduce the viewer to the core concept of The International Tournee of Animation. The Tournee began as a small show in a gallery in the LA County Museum of Art and grew from touring other museums and college campuses to eventually touring the U.S. and Canada via the Landmark Theaters chain and smaller arthouse theaters. According to Wikipedia, 50% of the gross ticket sales went to the producers and the other 50% was distributed evenly among the participating animators, which is an almost-unheard-of good deal for the various animators. The tour eventually grew to be such a success that a series of videos was produced which documented the best segments of each year, beginning with the 19th. Six volumes were produced in total: I've only seen the first tape.

Here's a complete listing of all the animators involved in making Anijam: Mark Kausler, Anne Chevalier, Zdenko Gasparovic, Max Bannah, Sally Cruikshank, Guido Manuli, Wayne Morris, Kaj Pindal, Hal Fukushima, Janet Perlman, Dieter Mueller, Frank Terry, Per Lygum, Paul Vester, Paul Driessen, Gordon Stanfield, Kathy Rose, Brad Caslor, Frank Nissen, Kazunari Furuya, Zlatko Grgic.

Further Dipping

2010-09-14T17:01:00.000-07:00

I mentioned in a previous post that Dip in the Pool's "Ritual" is used in the film Lady in Black. I didn't intend to return to that bit of information, but I think this trailer is every bit as hypnotic and mysterious as the song's video.

I haven't forgotten about posting something about Music Tomato Japan, and in fact I had a dream last night that I was doing research and discovered that the show aired on a TV station called "Tomato TV", which of course is not actually true. There really isn't a lot of information online, so I may just have to use the many many clips on Youtube as my primary source.

Dip in the Pool - Dipping

2010-09-06T11:48:00.001-07:00

Here is Dip in the Pool's 1991 Laserdisc-only album/music video collection Dipping. The volume is a bit low, so turning up your speakers may be a necessity. Other than that, the quality is good for being ripped from Youtube videos which are ripped from a Laserdisc.

Dip in the Pool - Dipping (1991) (Japan)

The videos from the LD are on Youtube here.

Dip in the Pool

2010-09-05T21:41:00.000-07:00

In doing what little research I could for a post I'm planning about mid-80s Japanese video-countdown show Music Tomato Japan, I came across this video for Dip in the Pool's "Ritual", a song composed for the 1987 Brigitte Lin/Tony Leung film Lady in Black.

The core duo is singer Miyako Koda (who also acts), and Tatsuji Kimura on keyed instruments (I'm not sure who's playing the stringed koto-like instrument on "Ritual"). While Dip in the Pool have a full discography and have been successful, information in English (and maybe in any language) is limited. This bio is the most comprehensive on the internet as far as I know, even though the discography may be incomplete. This Myspace page is fan-created I'm assuming, but it has some mp3s to listen to. Youtube is also useful.

While most of MTJ's content is derivative and immediately familiar, this track really stands out. It's haunted, sparse quality reminds of Cocteau Twins, but I feel like that's not a very useful comparison. The simple, compartmentalized elegance of the song is perhaps akin to Art of Noise's sublime "Moments in Love", although more tightly structured as a verse-chorus-verse "song". The video itself is literal, depicting not only strange rituals (the various egg routines, dipping the stuffed monkey into the water glass) but music-making itself as ritual, with some of the most pointed and meaningful "playing" I've ever seen depicted in a music video.

Enjoy this song and video, info and download for Dip in the Pool's 1991 Laserdisc-only album Dipping will be posted tomorrow afternoon. Limited overview of Music Tomato Japan to follow in the following week or so.

"Let's go crazy everyone!"

2010-09-04T11:55:00.000-07:00

This is a segment from a tape called The 19th International Tournee of Animation: Volume 1. It's called Tony De Peltrie (dir. Pierre LaChapelle), and I first saw this when I was 4 years old. It terrified me, not just because of the content, but because it was so engaging (though the technique is crude by today's standards - but I'd say that's precisely what makes the thing so engaging). The tape was also off-limits to me - I wasn't supposed to be watching it, which necessitated that I only watch it when there was no one else around, when I was absolutely alone, when there was no place to retreat to. The tape was full of fascinating, forbidden, possibly dangerous magic, and I wanted more. When Tony fixed his gaze DIRECTLY at me, I was afraid in the most animal sense of the word, afraid that a much larger, much older, much wiser creature than I had summed up my entire life's worth in an instant and had decided that I should be consumed, brought totally and forever into his world. I'll be writing more about this tape in the coming weeks.

Sandy Marton - People from Ibiza

2010-09-01T18:28:00.000-07:00

Is utopianism still a part of pop music?

More Dorothée

2010-08-30T18:24:00.000-07:00

Here is an excellent post on a french blog focusing on Dorothée's singing career.
http://www.macultureconfiture.com/2010/02/23/dorothee/

While the post contains videos of Dorothée rapping and singing with Ray Charles, what really interests me is Dorothée au Pays des Chansons ("Dorothée in the Land of Songs"), a made-for-TV Wizard of Oz/Alice in Wonderland-style musical Dorothée starred in in 1981. Here is the French Wiki.

Watch the entire thing on Youtube:
Part 1
Part 2
Part 3
Part 4
Part 5
Part 6

Dorothée

2010-08-27T14:21:00.000-07:00

Came across this video of French personality Dorothée (real name: Frédérique Hoschedé), singing "Les Petits Ewoks" over footage from the 1984 Star Wars francise spin-off The Ewok Adventure (now called "Caravan of Courage").

Dorothée began her career in the 70s as a TV and film star, appearing in films by Truffaut, Resnais and Robert Enrico. She eventually moved away from film, concentrating on television and an successful singing career, hosting variety shows for children, including Club Dorothée, which ran for nearly a decade (roughly 87-97). While there are French fan sites for the show and for Dorothée herself, and clips on Youtube, there is little information availible in English. I assume that the video excerpts on Youtube are sourced from Club Dorothée, clips which seem obsessed with cartoon and comic media. Here is a music video from 1985 (before Club Dorothée, I think). It is illustrated, but I can't attribute an artist. There are several European pop videos from the 80s and early 90s where a similar format is employed, inserting video of the singer into comic panels. The story in Vive les vacances/"Gimme a Break" seems to concern some sort of traffic jam/ bad vacation-type situation:

Here's a song where Dorothée sings with The Smurfs (a Belgian creation turned American cartoon then translated into French?). One day I should write about a Czech (I need to make sure that's right, don't quote me) CD my friend bought at the flea market with Smurf parodies of The Fugees' cover of "Killing Me Softly" and other 90s hits). Anyway--this video employs a mix of comic panels and animation.

It looks like Dorothée actually recorded several Smurf/Schtroumpf-related songs, released as 7" records. Searches around the 'net and video sites will lead to more Dorothée content. She's still a presense in France, with a more conventional singing career. Many clips from Club Dorothée on Youtube link to French versions of many American Saturday morning cartoon shows, though it's hard to prove that she sang any of them, most feature several singers.

I haven't been particularly successful in finding many Dorothée songs/albums, despite her vast discography. I imagine that her fame in France keeps the Euro-pop mp3 blogs from posting her material, as many of the download links I've found are dead. Will update if I discover more.

Here's the music video for "Docteur".

Loverboy animated main titles

2010-08-17T11:27:00.000-07:00

Found another title sequence animated by Sally Cruikshank (with Ted and Gerry Woolery), curiously absent from Cruikshank's Youtube channel and IMDb. She is listed in the actual film's end-credits, unlike some of the animators I've mentioned in previous posts. Note the Scritti Politti-esque theme from the group Giant Steps, which apparently was a big hit.

Who's That Girl? animated main titles

2010-08-16T19:14:00.000-07:00

Here's another one, the title sequence for the 1987 Madonna vehicle Who's That Girl? Many animators are credited, it looks like each worked on different sections. The style shifts throughout. Animators include Bill Plympton, Doug Frankel (Garfield: His 9 Lives co-director), and Bob Scott (also credited as co-director of Garfield: His 9 Lives, animator on the Christmas Vacation intro).

Troop Beverly Hills animated main titles

2010-08-16T16:22:00.001-07:00

Here's one from 1989 John Kricfalusi worked on. There are five other animators (all uncredited) including Simpsons animator and founding member of the band No Doubt, Eric Stefani, but the style is distinctly John K's.

SALLY CRUIKSHANK

2010-08-14T19:23:00.001-07:00

I've been thinking about animated credit sequences in films. Turns out a few of the sequences I can think of are animated by the same person, Sally Cruikshank. Cruikshank maintains a Youtube channel with many of her shorts, collecting credit sequences (Mannequin, Ruthless People), Seseme Street segments, and her original shorts, like the amazing "Quasi at the Quackadero" (follow the link, embedding is disabled), which credits Kim Deitch as "Special Art Assistant," which illustrates the kind of crowd Cruikshank was running with.

I actually remember my friend renting a tape of animated shorts from a library in college which contained "Quasi's Cabaret Trailer".

I recognized the style from Mannequin and Ruthless People at the time, but until recently I hadn't done any actual research. Here is an excellent interview with Cruikshank from 1980. Note the amazing model sheets! Cruikshank's wardrobe and general attitude seem more in tune with the aesthetic universe of underground comics than animation, a notion supported by the domestic surrealism and social satire of the actual shorts, not to mention the ragtime music and simple yet expressive line style, which should remind of major strains in the underground scene of the time.

RE: My Last Post

2010-08-06T18:47:00.000-07:00

Heard a play and mention of this here. Animation by the one and only Kyle Baker. Still thinking of other animated rap videos.

Cartoons Tupac and etc.

2010-07-23T20:05:00.000-07:00

Originally titled "Sucka 4 Luv", "Do For Love" was the second single release from Tupac's first truly posthumous album, RU Still Down? (Remember Me). Tupac's death, of course, necessitated the need for creative video-making. Animation is a logical solution, as it can actually depict a deceased musician, as opposed to lyrics-inspired short films (the album's first single, "I Wonder If Heaven's Got A Ghetto" employs this strategy) and eulogistic montages.

I vaguely remember seeing this video in middle school. While at the time I had naively identified myself as an east coast/Biggie fan and not a west coast/Tupac fan, the animation style really appealed to me. The elongated, sinewy bodies, the fudged frame-count creating a jerkiness in the movement of figures, the diversions into primitive CG, the claymation, the strange moment where 'Pac becomes a bug-eyed anime figure housed between computer-window bars--a move which may be self-reflexive only out of necessity. While initial efforts to figure out who directed this video/what animation studio is behind it, are suprisingly and frustratingly useless, I can't help but try to define some of the few extant examples of hip hop animation/cartooning.

Of course Darryl Daniels' (AKA Joe Cool then and Supreme now) artwork comes to mind, as his iconic airbrush cover art for Snoop Dogg's Doggystyle album set the template. Finding info about Daniels online is also difficult, although images exist of his tee shirt designs and further art for Snoop:

Aside from more professional mainstream examples, Black hip-hop animation seems an neglected movement, unlike graffiti and clothing design. Parallels can be found in underground comics, and Lawrence Hubbard's cartoon 'hood-narratives seem like a rawer version of Joe Cool's illustrations. The bodies in the "Do For Love" video reflect the decade's general sketchy, angular rendering, the fashion of mainstream comics and animation of the time, from Peter Chung to Image Comics, and the work of Chaos Comics' Steven Hughes, whom passed away in 2000 after a battle with cancer.

While the general shape and placement of figures in space may reflect the 90s mainstream genre comic (and the "Do For Love" animation even sort of looks like the HBO Spawn series), the effect is simpler, more expressive and fluid, which places it in a distinctly cartoony zone, albeit with faces exhibiting the kind of short-hand, "That's just the way it is" humanity Tupac invested in his lyrics and delivery. I suppose the precedent is 1992's Bebe's Kids (director Bruce W. Smith went on to create The Proud Family television series), although delivered in an abstract, impressionistic style (note the Starry Night riff at the beginning), rather than the straightforward narrative and compartmentalized comedy and social-commentary found in Bebe's Kids (if such comparison between long-form feature animation and music video is even appropriate).

I feel like I'm pulling too many disparate threads together here. If any readers have any idea which studio created the "Do For Love" video, please let me know!

Fun is the Game, New Beat is the Name

2010-07-15T07:47:00.001-07:00

Early CGI Facial Animation (1972)

2010-07-09T18:19:00.000-07:00

The Drifting Classroom/ Hyôryu Kyôshitsu (1987)

2010-07-08T10:30:00.000-07:00

Japanese filmmaker Nobuhiko Obayashi’s 1977 film Hausu (AKA House) has become a surprise revival-sensation in the West, with a Janus print currently touring North America, and a special edition DVD already available in the UK. While Obayashi’s profile has been raised significantly by the cult ascendance of this surreal masterpiece, much of his filmography remains mysterious and inaccessible to audiences outside of Japan.

Obayashi’s The Drifting Classroom (Hyôryu Kyôshitsu), released a decade after Hausu, is a live-action adaptation of Kazuo Umezu’s manga of the same name, serialized between 1972 and 1974, and available in English from Viz’s Signature line in thirteen volumes. Umezu’s The Drifting Classroom is a cross between straight horror and Shounen manga, aimed at teen-aged boys but nevertheless thematically complex and often frightening, with a downbeat narrative and flawed characters. The story in both the manga and the film concerns the mysterious transportation of an entire Japanese grade school—and all within—to a foreboding desert wasteland. As the story unfolds, the diminishing student body weathers this apocalyptic crisis while searching for clues about their surroundings, and dealing with psychological breakdown and dangerous exterior forces.

In both the manga and the film, the story’s protagonist is an outwardly charismatic yet conflicted sixth-grade student named Sho Takamatsu (Yasufumi Hayashi), who leaves his home in anger the morning before the catastrophic “event” which sets the film in motion, smashing dishes off the kitchen table. This bitter parting between Sho and his mother becomes an important thematic hook throughout the story, and prefigures a vague psychic link which develops between the two, connecting not only the pair but the events of the A-story to the mundane world it left, heightening the immensity and loneliness of the school’s newfound environs. Following this initial resemblance, Obayashi’s adaptation swiftly diverges in ways both fascinating and perhaps misguided.

Inexplicably, the film brings the story into the late 1980s, and sets it not in a typical Japanese grade school, but in an international academy in Kobe, populated by both Japanese and American students. Because of this integrated cast, English is spoken for the majority of the film (fan-subs are available for the Japanese portion, although here at WAX MASK we prefer the Japanese VHS tape). Unlike the original manga, which is consistent in style and tone, the adapted film is a confused jumble, combining tropes of comedy, musical, horror, and children’s melodrama. These genres are hardly integrated; in fact, the film’s sudden shifts in tone are boldly jarring and disorienting.

Filmed at the actual Kobe International School, Obayashi cast a mix of professional Japanese actors and enrolled students, including many hapless American children, populating the film with both non-professional Americans, and Japanese actors and amateurs struggling with phonetic English dialog. The aforementioned breakfast-table confrontation begins with Sho’s declaration “Take your Japanese and shove it!” which prompts a slap in the face from his mother. It’s tempting to read this moment as an exploration of generational disconnect, between Japanese parents and their American pop-culture-obsessed children, but this notion is never fully explored. As this film has not had a legitimate North American release, the international school setting is seemingly a novel concept designed only to appeal to Japanese audiences.

Strange scenes typical of the film lead up to the “event”, including a spontaneous song-and-dance routine performed by Sho’s classmates, after a student finds out that their teacher, the shy and sweet Ms. Midori (Kaho Minami) is to be married. While humming the traditional Bridal March (while one student plays the flute), the children launch a girl holding a bouquet of flowers towards the future bride. The violent quake-like flash that transports the school happens exactly at this moment, triggering a chaotic and nightmarish series of events. While the budget is restrictively low, the hallucinogenic opticals in this sequence are very much like the fantastical special effects found in Hausu. This disorienting scene is typical of the film—and this is the first of two misplaced musical sequences. Scenes like this one, combined with sub-amateur acting and phonetic recitation of unnatural English dialog, provide many moments of unintentional comedy, accounting for the film’s growing cult status among bootleg traders, likely unaware of the source material and looking for an experience comparable to a viewing of Troll 2.

While events in the manga are allowed to play out at a realistic pace, there is in the film a problem of compression. The forty-three chapters of the manga are forced into a 100-minute film. A problem compounded by low budget, the film has an inevitably truncated, depopulated feel, with the amount of characters severely restricted from the source material. Aside from the scaling-down of characters, the film’s narrative is streamlined, with only the most basic parts of the beginning and end of the manga’s story arc remaining. For example, the ad-hoc governing body painstakingly formed in the manga is represented by a power struggle between Sho and his rival, the wealthy American, Mark (played by Thomas Sutton, perhaps the worst actor of the bad bunch), which serves only to reinforce the arcs of both characters, and denies the socio-political depth found in the manga.

While Sho and Mark maneuver for leadership and power, the situation for the greater student and faculty body becomes increasingly hopeless, as food becomes scarce and the school comes under siege by giant cockroach-like monsters (seemingly the desert’s only inhabitants, and the butt of a sick joke which is made apparent by revelations later in the film), and characters collapse psychologically. Slowly the majority of the school expires, whether from the harsh climate or violence, both human and alien in origin.

Aside from Sho, Mark and Midori, the film is populated by mostly B-roll characters, some based in part on characters from the manga and some invented (likely written specifically for selected Kobe International students). Aside from Sho, the only other character presented with any semblance of similarity to the manga is the young Yuichi (or simply “Yu”) Played by Kazushige Sasaki. Yu is a bemused and joyful Buddha of a child caught in the transportation field by chance. He rides blissfully through the film on his tricycle, and plays a pivotal role in the story.

Interestingly, American genre-film stalwart Troy Donahue has a small role in the film as the school’s principal, Mr. Taggart. Donahue’s performance is bizarre yet deliberate, and somehow his stilted delivery and performance works, and aligns with the unintentionally shaky English spoken in the film by so much of the native cast. There is the suggestion of a love affair between Taggart and the young Ms. Midori, which is never made explicit. After an incomprehensible monologue, he walks into the desert, and out of the film.

While the characters in the film are undeniably flat and obscure, the world that surrounds them is convincingly mysterious and coldly beautiful, with cinematography by Yoshiyuki Shima (IMDb lists this film as his sole credit). Complementing the visual integrity of the film is the lovely, dream-like score, composed by Joe Hisaishi, who is known primarily for his association with Hayao Miyazaki, and for composing scores for anime classics such as Robot Carnival and The Venus Wars. There is even a wonderfully reflexive moment in the film where Ms. Midori plays the film’s theme on the school’s piano, to pacify the rampaging gang of cockroach-monsters.

Moments such as this, where the score, visuals, effects and performances work in concert, are rare in The Drifting Classroom, but rewarding when they appear. While there are evocative moments and concepts present—such as the sympathetic pairing of two surviving twin boys, one American, and one Japanese, each mourning a lost brother—these moments are limited, and often subverted by dumb jokes and painful dialog. While these elements work as unintentional comedy, and as isolated moments of disarming weirdness, they do so in defiance of any standard of quality. That said, the final act of the film, without giving away the closing sequence of events, is genuinely poetic and moving, although perhaps achieved primarily through style and ultimately unearned (although style is substance, and often the most satisfying kind, a fact observed by Obayashi both here and in Hausu).

It is interesting how an Obayashi/Umezu team-up should be exciting to Western audiences only now, after the slow building of the popularity of both masters. When The Drifting Classroom was originally released, neither had seen exposure internationally. While long a cultural icon in Japan known for his beloved gag-manga “Makoto-Chan” and for his flamboyant personality, only in the last half-decade has Umezu’s work been translated and recognized outside of Asia. Umezu (or “UMEZZ” as he is sometimes called) is known for his distinctive red-and-white pajamas and youthful attitude, and may be familiar to viewers of Japanese cinema for his small role as “The Prince” in Tokyo Zombie (another live-action manga adaptation). And with Hausu growing in reputation with each screening, it’s likely that more of Obayashi’s back-catalog will finally emerge with English subtitles.

The Drifting Classroom, despite its obvious flaws, is a unique cinematic mutation: it stands as a counter-intuitive adaptation of a beloved manga, shot with an international cast, in English, yet with distinctly Japanese stylistic strategies, and never released in the U.S., and even relatively obscure even in Japan, where it still lacks a DVD release. While the film is undeniably lopsided, there is an endearing quality to its singular risk and subsequent failure, and while it may not serve the source material, it stands as an impossibly weird and intriguing riff on the story, and truly is never dull or predictable.

While its failings are many, The Drifting Classroom cultivates raw and clumsy cinematic power and exists as an original and compelling work of genre filmmaking. In many ways it is a film without a country, trapped in cinematic limbo between cultures and audience expectation, transported much as its namesake, perhaps ultimately palatable only to the most adventurous and patient cinephiles on either side of the Pacific.