その後、2018年に高評価を得たアルバム『Book of Life』をリリースし、ヴィブラフォン・トリプティークを完成させた。ベルリンでの13年間の暮らしを経たのち、自然の中で音楽を制作したいという長年の夢を実現するため、兵庫県の香美町に転居し、スタジオを構えました。2021年5月28日、彼は続くアルバム『Bird Ambience』において未知の音楽性を示すことに成功しました。
Masayoshi Fujita: 正直に言うと、僕はスティーヴ・ライヒの音楽をあまり聴かないので、直接的な影響は少ないかもしれませんね。ライヒはマリンバをよく使うので、連想されることは多いですね。もちろん知識としては知っていますし、曲も色々聞いたこともありますが、あまり個人的に感銘を受けたという曲は少ないでしょう。「Music for Pieces of Wood」という作品は例外的にとても好きなんですが………。でも、僕が直接的に影響を受けたミュージシャンでライヒの音楽から影響を受けた人は多いと思うので、間接的には少なからず影響は受けているかなと思います。
Tower of Cloud Pale Purple Blue Rock Thrush Our Mother's Lights (feat. Moor Mother) Desonata Ocean Flow Distant Planet In a Sunny Meadow Higurashi (feat. Hatis Noit) Valley Yodaka
そして実際的に、Lawnsのデビューアルバム「Be A Better Man」は、そういった現実の中にある深刻さを吹き飛ばすような楽しさに溢れている。彼らの音楽には、ノイズロック、パブロック、サーフロック、ロカビリー、ポストハードコアなど、無数の多彩な音楽のエッセンスが散りばめられている。そして、ベルリンのアンダーグラウンドの匂いがほのかに匂い立つことがある。
”Try to be a better man, try to do the best you can"(もっといい男になろう、できる限りのことをしよう)。まあ、本当にその通りなんだけど、この曲は、より広い意味が込められていて、できることならもっといい人間、もっといい男になろうということを歌っているんだ。
-The departure of a Berlin post-hardcore band. The power to splash out the seriousness of the world.-
When people think of a debut band, they may generally think of a group of young people in their late teens getting together and starting an interesting and exciting project. In this case, they are usually groping in the dark, struggling to figure out what they are supposed to do, while not yet knowing who they are. Berlin post-hardcore band Lawns, however, may not be a common case in point. The trio dared to take the seemingly foolhardy option of ‘band’ in the midst of their social experience: the history of Lawns began during the Covid-19 period in 2021. With lockdowns and other restrictions on social mobility, their activities had to be kept secret.
Perhaps intuitive listeners may detect a deep connection between this episode and Lawns‘ musicality: Lawns’ music has the power to defy social conventions and common sense. Their music can push the boundaries of noise and dissonance, but it is wrapped up in a bit of humour. As the world becomes more serious, engaging with this kind of wit and humour in music can be far more important than general labour and distraction.
And practically speaking, Lawns' debut album “Be A Better Man” is full of the kind of fun that blows away the seriousness of such realities. Their music is sprinkled with the essence of a myriad of diverse musical influences, including noise rock, pub rock, surf rock, rockabilly and post-hardcore. And there is sometimes a faint whiff of Berlin's underground.
However, an underground atmosphere is not something that can be created so easily. In the process of popularising music, everyone has to be influenced by mainstream music and can be swallowed up by those waves of generalisation. This can then result in the abandonment of an underground atmosphere such as that of Einsturzende Neubaunten, to put it in terms of German experimental music. On the other hand, fortunately for Lawns, their project was launched under the cover of a pandemic climate. This allowed them to concentrate on and refine their music without being desensitised by the prevailing music. And this has given the trio's music a solid strength, forming an ethereal sound that cannot be found in any other sphere.
We were able to talk to Berlin's Lawns member Ben about the band's beginnings, how they got their act off the ground, the making of their debut album, and their influences from Fugazi. reminiscent of Lawns‘ Revolutionary Summer days, Lawns’ intense Their punk sound may well become a household name in the local music scene in the future.
--Can you give us a brief biography of LAWNS? Do you have any secret stories about the formation of the group?
Lawns(Ben): Hi readers! I'm Ben and I play guitar, baritone guitar and sing in Lawns. I met Joe (guitar, vocals, baritone) a long time ago in London when we were around 20/21, in 2006! I worked with his ex-partner and bandmate, Mel, who's a good friend of mine. They played together in a band called Chapter 24. Joe moved to Lisbon and me to Berlin, before he moved to Berlin in 2016. We reconnected and started a band called Able Bodies, but that never really did much. We dissolved that band and wanted to start a new project.
So we started auditioning drummers but didn't really have much success. A friend of mine, Rodrigo, who lives in Lisbon (coincidentally!) recommended we get in touch with Tobias. They play together in a project called Golden Hours. We met up for a coffee, got on well, decided to get into a room to write some music, and the chemistry was really instant! We were able to write a surprising amount of music really fast. From there we put out our debut EP "Fine" and started gigging in Berlin. Mostly DIY shows, outdoor, anything really. This was in 2021 right in the middle of the COVID pandemic.
We built up a good name in the Berlin scene and also started to play outside of the city a bit. From there we got in touch with our label FatCat Records (Brighton, UK) who agreed to put out some singles and eventually an album. We did a two-week tour in Europe and the UK in 2023 before putting the album out in September 2024. We now plan to continue touring in 2025 and write another record.
Secret stories? Well, we actually wrote the first EP and started jamming twice a week right in the middle of the pandemic when it was technically 'illegal' to do that in Berlin. So we had to keep it a bit of a secret at first!
--What is the origin of the title of your debut album "Be A Better Man"? What would you like listeners to look out for when listening to this album?
Lawns: This comes from a lyric in the song Eggshells: "Try to be a better man, try to do the best you can." Well, really it's quite as it says, the song is just about being a better human being, a better man, if you can. Much of the record explores related themes: themes of masculinity, issues with mental health, relationships and so on. Writing lyrics for me is definitely very cathartic and I tried to be extremely open in my lyrics for Lawns. I would like people to listen to our lyrics - like any lyric writer does - and hopefully find something relatable in them, and hopefully they can make the listener feel better!
--Lawns has a drummer from "Gang of Four", Tobias Humble. What do you think makes his drumming so great?
Lawns: Tobias has a lot of experience with many different projects. Lots of touring and recording experience. I guess GoF is the most visible and well-known and carries the most kudos in the punk/indie world. I think he's a very versatile, very musical drummer, who's able to actually write music! Personally, I had never really written with a drummer who was so well-rounded and involved in the creative process. I think his experience in all these different projects has made him into that kind of drummer: he really hears songs as full band pieces, not just beats, like so many drummers do. Personally I like the way he plays drums, he has great energy and always plays for the song. But it's his ability to freely improvise that I like the most.
--I hear that Lawns was strongly influenced by Jesus Lizard, Fugazi, and Shellac. Specifically, what DNA do you guys think you inherited from them?
Lawns: Well, people often say we remind them of those bands and I guess we did say we liked those bands once or twice, haha! I don't think they're a HUGE influence on the band as a whole. All three bands were definitely a big influence on me, personally, in how I play guitar. Less so in how I sing. But I think our trebly, cutting guitar sound, the space in our music, the vocal delivery and quiet/loud dynamics took something from those bands. Also in how Fugazi took a punk blueprint and really just went in all kinds of directions with it, that was very inspiring to me. I think of those three bands, Shellac is probably the least influential on us. But we all like that band.
--You seem to be the talk of the town in Berlin's live scene? How big of a crowd do you get at your gigs? What do you guys value most when it comes to playing gigs?
Lawns: I'm glad that people seem to value us as a good, exciting and maybe above all things, a tight live band. I think we can pull a good crowd in Berlin after working here for a few years. At our recent album launch gig ,we pulled well over 100. Maybe that doesn't sound a lot, but it was a big deal for us, especially since we really started from zero and never had much help! I think we value putting on a tight live performance, getting people to dance and making people smile. We also love meeting new people, new bands and promoters.
--If you had to pick your most memorable memory from the recording of your debut album, what would it be?
Lawns: Well, it's interesting because we recorded the album in two parts. 75% of it in 2022 and the last quarter in '23. The older songs were originally going to be an EP, but FatCat told us to do a whole album! The songs we wrote and recorded in 2023, I much prefer! I think they're a lot more dynamic, a lot more melodic, more complex and a lot more mature. So going in to do those songs in April 2023 was a really nice memory. They were - as I remember - easy to record and sounded good pretty much straight away!
◆ MOULD Bristol up-and-comer explains about making debut EP -ブリストルの新進気鋭 デビューEPの制作について語る-
2023年、イギリス・ブリストルからフレッシュなパンクバンドがインディペンデント・レーベル''Nice Swan''から登場した。Stiff Little Fingersのような荒削りなリフ、エンジン全開で疾走するような爽快感、現代的なポストパンク/マスロックの複雑なリズム、さらには、Green Dayのようなメロディアスな要素を兼ね備えたバンドだ。まだ洗練されていないものの、今後の活躍がとても楽しみな3人組だ。
In 2023, a fresh punk band from Bristol emerged from ‘’Nice Swan‘’. The band ”MOULD” combines the rough-hewn riffs of Stiff Little Fingers and the exhilaration of a engine running at full throttle, the complex rhythms of modern post-punk/math rock, and the melodic elements of Green Day. This is a three-piece with a very promising future.
MOULD may be both a starting point and the result of the moment. After releasing their debut single ‘Birdsong’ late last year, they quickly became one of the hottest names in the game. Currently, one of the members is in London and the other two in Bristol.
The band released their debut EP, 『MOULD』, after the release of the singles ‘Cable’ and ‘Glow’. Their music is filled with a universal love of punk, including hardcore punk, alt-rock and emo.
Following the EP's release, the band were featured in the UK media DORK, and their music was subsequently aired on BBC Radio 6. They have succeeded in attracting the interest of core music fans.
We contacted them this time because we had high hopes for what the band would become and were attracted by their highly original sound, which is unlike any other band of the modern era.
Ahead of their upcoming live show in France/Paris, we were able to speak briefly to the band members about the most notable Punk Trio's recent developments and the making of their debut EP.
Please read the Q&A episode below.
--I understand that you have recently moved your base of operations from Bristol to London. How is life these days?
Mould: We’re actually a hybrid of Bristol and London at the moment, James is living in London whilst Joe and I (Kane) are nestled away in Bristol.
Life is grand, we’re busy boys at the moment with plenty of gigs on the horizon, and chuffed with the EP being out in the wilderness.
--You debuted late last year with the release of "Birdsong", followed by your debut EP "Mould". What did you want to express with this EP? And what kind of sound did you aim for?
Mould: We didn’t go for a ‘sound’ particularly, we’ve been in many bands together leading up to Mould, It’s very much us, playing what we like at each other. We share the same influences and they’re pretty eclectic, we love a concise punky tune.. “for the short attention spanned” I’ve seen written somewhere. That we are.
--How was the recording of your debut EP? Were there any memorable moments?
Mould: We had a great time recording the EP, the highlight would probably be recording Glow with Harri Chambers at his studio in London. It was the final one we did for the EP and it's our collective favourite of the four. We had the best time recording it with Harri - was a big fun day, big rooftop for us to play on and gigantic omelettes from the caf round the corner. Ideal.
--Can you give us a sneak peek into MOULD's songwriting secrets? I would like to know about the process of how songwriting begins and is refined.
Mould: It changes song to song really. Sometimes I'll (Joe) have an idea and will bring it to rehearsal and we'll turn it into a full song together. Sometimes I might bring in a nearly finished song and we'll just work it out together/put the finishing touches to it. For example, Cables was one I wrote and brought in pretty fully formed and Glow was one that started with Kane's bassline and we worked on it together until we had a full song.
So no set method really, we just see what works - we're quite lucky in that being in a room together playing music, or otherwise is our favourite thing to do and we usually manage to come out of a rehearsal with a few phones full of voice notes of new ideas.
--From listening to the debut EP, it seems that MOULD's sound currently encompasses everything from punk to alternative rock. Can you tell us what kind of music you usually listen to?
Mould: Yeah there's a lot of punk stuff (punk, hardcore, post punk, post hardcore, math rock pop punk all that stuff etc) but we'll listen to absolutely everything. Lots of hip hop and Brazilian soul at the moment.
-- After the release of your debut EP, you guys got a lot of attention, including being featured in the UK media. Do you have any vision of what kind of band you would like to become in the future?
Mould: Hopefully one that puts out lots of albums and gets to tour Japan! We've got stacks of new music on the way, can't wait to start pumping it out.
ニューアルバム『Rose Main Reading Room』では、前作とは対象的に「ニューヨーク的な作風になった」とスティーヴンスは説明する。本作にはNYの都市の洗練性や歴史的な文化性が反映されているほか、ウォーホールのポップアートのように「音楽自体をどのように見せるべきか?」というイデアが従来のスタイルとは違うニュアンスをもたらしたことは疑いがない。
『Rose Main Reading Room』は発売後、世界の熱心な音楽ファンの間で少なからず注目を集めている。事実、米国のオルタナティヴ・ポップの潮流を変えてもおかしくない画期的なアルバムだ。
ーーこのアルバムの主なテーマはニューヨークの歴史文化、より厳密に言えば、''アメリカ自然史博物館''のようです。 「Central Park West」のミュージックビデオもジョン・レノンが登場したり、古いセントラルパークの映像がとても印象的ですよね。この歴史的な興味やインスピレーションはどこからやって来たのでしょう? 音楽やビデオで表現したかったことは何ですか?
『Pad』は、文字通りフリンストーンズのようなミッド・センチュリーのヤシの木のようなエネルギーに満ちているから、おそらく最もLAにインスパイアされたレコードだったと思う。それでも、あのレコードを作った時、ロンドンで全部の音楽を作っていたショーン・オヘイゲンにインスパイアされたから不思議だった。『Rose Main Reading Room』は、自分にとってはロサンゼルスっぽくないかなあ。どちらかというと、かなりニューヨークっぽいかもしれない!!
■ Peel Dream Magazine 『Rose Main Reading Room』 Launched on September 4 via Topshelf
Tracklist:
Dawn
Central Park West
Oblast
Wish You Well
Wood Paneling, Pt. 3
R.I.P. (Running In Place)
I Wasn't Made For War
Gems and Minerals
Machine Repeating
Recital
Migratory Patterns
Four Leaf Clover
Lie In The Gutter
Ocean Life
Counting Sheep
■Episode In English
LA-based Peel Dream Magazine brings a new concept to the idea of pop music in the United States. The group is newly signed to Topshelf Records and has begun work on a new album. PDM is currently based on the West Coast, but Joseph Stevens, songwriter and a pillar of the group, grew up in the area near Central Park in New York City.
The songwriter recalls that the previous album, “Pad,” had a Los Angeles feel, but the new album, “Rose Main Reading Room,” has a New York style. Like Andy Warhol's pop art, the theme of “how to present the music itself” has definitely brought a different nuance to this album. ''Rose Main Reading Room” has attracted the attention of avid music fans around the world, and is, in fact, a landmark album that will change the tide of alternative pop in the United States.
The songwriter recalls that their last album, “Pad,” had a Los Angeles feel to it, but with their new album, “Rose Main Reading Room,” they have tackled a New York style album. There is no doubt that the theme of “how the music itself is presented,” like Andy Warhol's pop art, brings a different nuance to this work. Rose Main Reading Room has garnered attention from avid music fans around the world, and in fact, it is a groundbreaking album that will change the tide of alternative pop in the United States.
In this Q&A interview, we were able to ask Joseph Stevens to elucidate his latest album. In the process, the idea of “graduating from medium-fi + alpha” emerged. Furthermore, I felt that I could catch a glimpse of the theme of “breaking away from the music of the post generation” in the conversation. You can read the episode in both Japanese and English below.
--”Rose Main Reading Room”, fourth full-length album, was released on September 4. It has been two years since your last album, but from what I have heard of the preceding singles, I feel that the album has improved as if it were different. Were there any major changes in the songwriting or production process?
Peel Dream Magazine(Joseph Stevens): Yes and no. I feel like I am always re-working my songwriting approach a bit with every record, but I didn’t take a dramatically different approach with these songs than anything I’ve done in the past. I write alone, usually at home, and build out demos that serve as starting points for the actual recordings.
On ''Pad'' I wrote primarily on organ, and on this record I primarily wrote on guitar. The harmonic sensibility of the new record is much more straight-forward than it was on Pad, which had more of a mid-century baroque pop / bossa nova feel. On most of my previous records, I did every single thing at home, but on this one I went into a few studios around LA to record specific instruments, and we also recorded drums and miscellaneous things live at our drummer Ian’s parents’ garage in the Valley (a part of LA).
I also worked on a lot of vocal parts in real time with Olivia when we were recording, which led to some spontaneous developments that wouldn’t have occurred otherwise. This record is definitely the most collaborative record to date, and has the most live-recorded sounds of any Peel Dream Magazine record yet. A lot of the subject matter is more personal and direct than it has been in the past. I didn’t want everything to be esoteric, I wanted to talk about some simple memories, and some warm feelings I have surrounding New York City.
--The main theme of the album seems to be the history and culture of New York City, especially the ''American Museum of Natural History.'' The music video for ''Central Park West'' also features John Lennon and impressive images of old Central Park. Where did this historical interest and inspiration come from? What did you want to express in your music and video?
Peel Dream Magazine:I’ve been going to Central Park since I was a baby, so it has a really special significance to me. It’s wrapped up in the wondrous whirlwind of New York City but it’s also wrapped up in my own life.
I have always liked the way New York City carries an “ancient-ness” that puts it on par with other great cities throughout human history. There’s a wonderment there, and a democratizing, optimistic feeling when you see all of these institutions that are available to the public for free, helping to enrich peoples’ lives and pass along pieces of history and art. I think art and culture sometimes seem so cheap and perilous in the modern age, but when you’re able to visit these great cultural capitals of the world, you’re able to interact with art and culture in a way that feels timeless and trustworthy.
I want to lead a life that is full of wonder and sophisticated fun, and New York is a great vehicle for that sort of thing. There’s a few songs that reference New York or the American Museum of Natural History, and I wanted to take listeners through little tours of the city with them.
Central Park West is just a first person account of me wandering through a few of the city’s great cultural institutions. With the music video, I wanted to convey this endless ocean of humanity that traverses the streets of NY - all different kinds of people - and to showcase the quirks and touchstones of the city in a dry, fun way.
ーーThe addition of Olivia's vocals this time around seems to have given the songs a more glamorous feel. If you had to name her greatest contribution regarding the new album, what would it be?
Peel Dream Magazine: Well, I think that Peel Dream Magazine is actually best when there are more voices than just mine - and I think the male-female vocal duality is really central to the overarching sound, which is rooted in shoegaze and english twee, where male-female vocals are always a cornerstone.
Having Olivia on the record allowed us to create these lush vocal backing parts such as on ''Oblast'', and it allowed us to include songs where my vocal range wasn’t really suited to the melody, because she could either take the lead vocal or do a duet kind of thing. Her greatest contribution is that musicality and versatility.
--When Peel Dream Magazine first debuted, you were doing lo-fi style rock like ”Yo La Tengo”. the band's style has changed a bit since around 2018, is it safe to assume that this is a reflection of your musical taste at that time?
Peel Dream Magazine: Yea definitely. I have phases where I’m compelled to make completely different kinds of music, and it’s important to me that I just follow my nose and make what I want. When I made the first record, I was very influenced by the Velvets, Nick Drake, Stereolab, Belle and Sebastian, My Bloody Valentine, and to a lesser extent yea, Yo La Tengo.
I would say the music I’ve made in the past hasn’t really been lo-fi by design - it’s more just that I’m a home recordist so they usually turn out kind of “medium-fi”. In the past I really had no idea what I was doing, but I’ve learned a lot about production since then, and I would say I’ve graduated to “medium- fi plus”
--What about influences from other cultures and mediums? I understand you are interested in New Age thought and Native American traditionalism?
Peel Dream Magazine: I can see why you might think that here and there about New Age and Native American stuff from some PDM songs - but other than some historical interest and curiosity, I wouldn’t really say that’s true. Sometimes I like to play off the “hippy zeitgeist” a bit, which kind of involves those things.
I’m trying to think of cultures and mediums that do directly inspire me, though. All kinds of art, for sure. Really good film is always inspiring because, like my music, it’s a pop medium that can be used to play out experimental themes to unsuspecting people.
And you can have a fun conversation through art in that way. I’m really inspired by history and politics (weirdly), and I’m always inspired by stories from the past that provide new context to the present, or challenge some kind of set idea that was in my brain.
--What was the most important aspect of the production process for this album? And what would you say are the crucial differences from your third album?
Peel Dream Magazine: I would say the biggest aspect of the production process was trying to rely on live performances as much as possible and step away from MIDI/virtual stuff when I didn't need it. So mostly live drums, piano, mallet instruments, woodwinds, and of course live guitars. Also the choice of classical guitar - not for bossa-ish parts but more for folky indie rock kind of stuff.
And going to a few outside places to record - two studios in LA and this garage we recorded in. All of that took me out of my bedroom, and out of my virtual instrument habits, and out of my own head. That’s all crucially different from ''Pad'', which was done completely at home and with tons of virtual instruments. Olivia’s voice also presented a big production shift away from ''Pad''.
--Are the band members in LA right now? If you were to look for something Los Angeles-like in the music of Peel Dream Magazine, what would that be?
Peel Dream Magazine: Yea the band is definitely LA-based right now. I’m not sure if there is anything that is overtly Los Angeles-like about my music, to be honest. Maybe!!
I don’t think about that sort of thing when I make music, and I feel attached to different music scenes in different places all over the world, and from different time periods.
''Pad'' is probably the most LA-inspired record because it literally has Flinstones-y mid-century palm tree energy - but it’s funny because I was very inspired by Sean O’Hagen when I made that record, who was making all of his music in London. ''Rose Main Reading Room'' isn’t super LA-ish to me. If anything, it's pretty New York-like!!
(INTERVIEWED: MUSIC TRIBUNE PRESS 2024. September 6th)
その後、高木正勝さんは、ピアノ、メディエーション、ミニマルミュージックとボーカルを融合させた「Tai Rei Tei Rio」を発表後、映画音楽やドラマ音楽の世界に入っていった。言わば、映像効果のための音楽、また、ストーリーやシナリオを強化するための音楽にシフトチェンジしていく。これは、彼の音楽がもともと何らかの文学性や物語性が込められていたことを表す。そして、その中には映像を伴わずに聞いても聴き入らせる作品もきわめて多い。
Music Tribuneは、日本、海外を問わず、制作者の実際的な考えや意見を何らかの形でストレートに反映し、10年後も楽しめるアーカイブシリーズのような形として残しておきたいと思っています。何かしら下記のエピソードの中から、音楽制作者、もちろん高木正勝さんのファンに至るまで、興味深いエピソードが紹介出来れば非常に光栄です。
Tanukichan: このEPの包括的なテーマは、繰り返されるサイクル、パターンについてです。物事が良くも悪くも繰り返されていることに気づく。また、通勤で同じ道を行ったり来たりするような、日常生活の循環的な性質や出来事.....。まあ、一番大きな変化は、違うプロデューサーと仕事をすることだったろうね。今までの音楽よりも「GIZMO」に近いかもしれないけれど、新しいEPの中では、ドラムが入っていない「In A Dream」という曲が面白いだろうね。
Tanukichan: 確かにMBVはたくさん聴いてきたし、一番好きなのはEP『You made me realize』かもしれないけれど、必ずしも意図的にそこに行ったとは言えないと思う。ギター・リフはアルト・ロックに影響を受けているけれど、その反復性とメロディーはサイケデリックに感じられる。また、ドラムの処理の仕方も、演奏されたものであるにもかかわらず、よりサンプリングされているように感じられたし、それが一種のエレクトロ的な雰囲気を与えているんだと思う。
Tanukichan, the musical project of Oakland, CA’s Hannah van Loon, has been a prominent figure in modern shoegaze music since 2016, when she first collaborated with Chaz Bear of Toro y Moi. Together, they released an EP and two full-length albums under Bear's Company Records, culminating in 2023's GIZMO. With her new EP Circles, out September 20th, 2024, via Carpark Records, van Loon ventures into new territory by teaming up with a new producer for the first time – Franco Reid.
The genesis of their partnership dates back to the GIZMO campaign, when Reid noticed van Loon wearing an Incubus shirt in a press photo on Instagram. Intrigued by whether or not van Loon was a genuine fan, he sent her a DM. Their shared musical interest sparked a dialogue that eventually led to the creation of the single "NPC" in 2023.
Lead single “City Bus,” offers a reflection on van Loon's childhood bus rides in San Francisco, evoking the stop-and-go rhythm of commuter life through hard-hitting drums and heavy guitar feedback phasing in and out of the mix. Themes of self-reflection and societal belonging permeate the track, echoing van Loon's ongoing personal journey.
While much of Circles delves into internal struggles, “It Gets Easier” takes on a more celebratory tone as van Loon realizes she’s developed a heightened sense of maturity when dealing with hardship. “It feels easier to let go of situations or people that don’t serve me,” reflects van Loon, “Or if they can’t be avoided, at least I don’t have to dwell on the sadness or discomfort I feel when letting someone down.” Introduced by Reid, nu-gaze sensation Wisp, contributes a verse in her similarly ethereal vocal style.
There is a notable shift on Circles when you consider the first three Tanukichan releases were produced by a pioneer of the chillwave genre. With van Loon’s consistently dreamy songwriting and Reid at the helm, Tanukichan enters new sonic territory that feels larger, arena-ready, and more like a highspeed night drive than the hazy summer dream of its predecessors.
In this Q&A, we were able to ask Hannah Van Loon to answer some questions about her new EP. Read the episode below.
--Your new EP "Circles" is scheduled for release on September 20. What is the overall theme or guiding principle of this work, if any? Also, have there been any major changes in your sound approach compared to your previous work, "GIZMO"?
Tanukichan: The EP features themes of repeating cycles, or patterns. Realizing things are repeating for good or bad. Also the cyclical nature and events of daily life, like taking the same path back and forth for a commute. Well, I think the biggest change would be working with a different producer. I think this might be more similar to GIZMO than the previous music I’ve made, but a fun outlier on the new EP is the song “In A Dream” which has no drums.
--The lead single "city bus" showed influences from the psychedelic electro of the 80s, like My Bloody Valentine's "Loveless". With this song, I also sense an intention to go back to the roots of shoegaze, that is, the fusion of guitar rock and electro. What are your own thoughts on this?
Tanukichan: I definitely have listened to a lot of MBV, though I think my favorite might be the EP You made me realize, but I wouldn’t say that it was necessarily intentional to go there. To me the guitar riff is kind of alt-rock influenced, but the repetitive nature of it and the melody do end up feeling kind of psychedelic. Also the way we processed the drums, even though they are performed, made them feel more sampled and I think that could give it a kind of electro vibe.
--Also, this impressive single seems to be interwoven with memories of your youth in San Francisco. Can you tell us specifically how your past came to light through the production with Franco Reed?
Tanukichan: I don’t know exactly what it was but the guitar just brought me back to riding the bus in San Francisco in middle school and high school. I think perhaps making this EP, I was trying to have a little more fun and just let things flow. Making these songs felt a little easier to me then in the past and I think it was making me reflect kind of how far I’ve come since I was a kid playing violin in the orchestra, taking public transportation everywhere.
-- "It Gets Easier" features a guest appearance by Wisp, a rising shoegaze star. How did this exciting collaboration come about?
Tanukichan: Franco had a session scheduled with Wisp, and we were getting close to finishing the EP, but he thought it would be fun to have her on a song, and we were both mutual fans of each other so they ended up spending some time on “It Gets Easier”
--I have heard from an American musician that "musicians are often people who pursue something through their music. What was it that you wanted to explore through the creation of "Circles"? And did you find it in any way?
Tanukichan: Franco and I had been kicking around ideas for a little bit, and I think we were really excited to be able to put together a body of work that was cohesive and fun. I think the theme came about a little more organically, but I’m really excited about the collection of songs that we have. It gives a nod in a fun way to our mutual love of incubus, and takes my songwriting in a more pop/rock direction which I think is super fun.
--Finally, do you have a message for Tanukichan's fans around the world? Also, what are your future plans for the future?
Tanukichan: Hmm a message? I guess keep doing what you love lol. But if there’s anything I really have to say it’s probably in the lyrics. Starting to work on another album, so not sure when that will be done but hopefully have some more music in the not so distant future.
〚Planning and editing: Music Tribune Courtesy of P-Vine/ Carpark〛
最初は誰かとのスプリットアルバムの制作を提案してもらったんだと思います。 当時、scholeは、 「akira kosemura+haruka nakamura / Afterglow」 、「sawako+daisuke miyatani / hi bi no ne」など、スプリット・アルバムを発表していました。スプリット作品のシリーズ化をしたかったのだろうと思います。「自分はソロで出したい!」なんてワガママばっかり言っていました。(笑)
なぜなら、実は、僕自身はアニメのオープニングがきっかけでロックに目覚めたから。思い返すと、Akgの「ハルカカナタ」と「アフターダーク」が最初に聴いた曲だったと思う。ジャグンとマイケルもアニメはよく見てると思う。僕とマイケルは「serial experiments lain」とか「welcome to nhk」みたいなニッチなものが好きなんだ。
「Tell Me About It」- 『Night- Bound Eyes Are Blind To The Day』
London four-piece shoegaze band Whitelands are a band to watch out for as guitar rock fans. The line-up consists of Etienne, Michael, Jagun and Vanessa. The band, led by vocalist Etienne, began their career while studying at Roehampton University in the UK. Initially, they performed acoustic sets at friends' birthdays.
Earlier this year, the band released their new album ”Night- Bound Eyes Are Blind To The Day” on Sonic Catherdal. The album gained support from shoegaze fans in Japan.
We were able to ask Etienne, the band's vocalist and frontman, to briefly answer some questions about their new album, what kind of music and culture influences them and their future plans. Etienne also says: ‘I'm happy to hear that there are shoegaze fans in Japan. I'm studying Japanese’.
Entering 2024, Whitelands' rapid rise continues: in addition to appearing at Rough Trade events, they will perform with Slowdive at an event organised by Sonic Cathedral in early August.
--...I heard that the band was formed at a university in the UK, do you have any sort of secret story behind the formation of the band?
Whitelands(Etienne): The band name came from Roehampton university where I had a performance, but I wasn’t actually going to the university! I was doing an acoustic set for my friend’s birthday, and it just happened to be there!
--Please tell us Origin of the title of the new album “Night-Bound Eyes Are Blind To The Day" .
Whitelands: The title of the album came from a quote in the book The Prophet “The owl whose night-bound eyes are blind unto the day cannot unveil the mystery of light”. It is a very pretty quote that resonated with the themes in the album.
--Were there any memorable moments during the recording of the latest album?
Whitelands: I cannot remember anything specifically, I think that feeling of having it finished hit us afterwards. We were super focused!
--What kind of music do you guys listen to on a daily basis?
Whitelands: I’m not too sure about the others but Michael listens to a lot of jungle, drum and bass, Aphex Twin, very electronic stuff with some shoegaze. Vanessa loves metal and punk.
Jagun listens to a lot of paramore, poppy-stuff, hip-hop and rap. I (Etienne) listen to a lot of neo-soul, shoegaze stuff too, AKG has been coming up a bit more in my playlists and some number girl.
--If you had to name a culture or medium that has influenced you besides music, what would it be?
Whitelands: Funnily enough, lots of Anime, Films and Books. I think anime is a big one because it was my first introduction to Rock music because of the openings, when I think back I think 「Haruka Kanata」and 「After Dark」 by Akg were the first songs I heard.
I think Jagun and Micheal watch a lot of anime too, Jagun more than Michael, but me and Michael like the niche stuff like 「serial experiments lain」 or 「welcome to nhk」.
I have watched a lot of anime in my lifetime so it definitely did have a big influence especially that garage sound of the 2010s. I was also watching evangelion around the time of the album recording and related a lot to Shinji and he was the parallel for the song “chosen light”.
Films are definitely a big one, with “tell me about it” having “fallen angels” by wong kar wai as the parallel. I tend to find things that relate to my own emotions and have them as an influence when writing songs, so it can both be about shinji ikari and also about me.
--You say you identify with Shinji Ikari of Evangelion, in what ways do you find a affinity with him?
Whitelands: I think I struggle a lot with human connection, so I think in that way, i am a lot like him, although his situation is probably a lot tougher than mine!
--What do you want to communicate to your fans through your music production and live performances?
Whitelands: Anyone can play shoegaze, anyone can have emotions that are hard to describe, nothing can stop you! Make a band!
--What kind of band do you want to be in the future?
Whitelands: The type of band that sells out the Budokan, but I bet a lot of bands say that….
Interview - Itasca
She said a fight between two people felt like an ''imitation of war" ... (彼女は、二人の喧嘩は「戦争の真似事」のようだと言ったんです) - Itasca
This article is available in Japanese and English. Please read both episodes below.(このインタビュー記事は日本語と英語で掲載しております。双方のエピソードは下記よりお読み下さい。)
『Paradise of Bachelors- パラダイス・オブ・バチェラーズ』からの3枚を含む、数枚のリリースのプロセスで洗練されたイタスカとしての詩的で時空を超えたレコーディングは、本義から離れた土地性に加え、バロック的なアシッド・フォークを取り入れたソングクラフト、そして、脱構築的でテクスチュアルなソニックに対するヤヌスのような鋭いまなざしの双方を捉えている。
当初、ケイラ・コーエンは、アコースティックギターを中心とするフォーク・ミュージックを制作していたが、 2024年始めにリリースされた最新アルバム『Imitaion Of War』では、全体的な音楽性に若干の変化を捉えられる。エレクトリック・ギターの演奏を取り入れ、巧みなバンドアンサンブルを基底にし、フォーク・ロック寄りのアプローチへと音楽性も変化している。その中で、Itascaの新しいハイライト曲「Imitaion of War」も生み出されることになった。
Itasca: 2020年の秋、セコイア国立森林公園の一軒家で、数人の友人と隔離されながら、作曲とレコーディングをしました。そこで「Tears on Sky Mountain」、「Dancing Woman」、「Under Gates of Cobalt Blue」を始めとするアルバムの曲を何曲か書き上げました。
例えば、「Imitaion of War」でのエヴァン・バッカーの中世的なトーンのベースラインはもちろん、同曲でのエヴァン・バローズの複雑なドラム・フィル、あるいは、「Tears on Sky Mountain」でのダニエル・スワイアーのまばらで繊細なドラム・パートなど、それぞれのパートに力強い個性が感じられます。このアルバムが成功したのは、彼らの力添えがあったからなのです。
Itasca is the musical identity of Los Angeles-based guitarist/singer/songwriter Kayla Cohen. Just as people are not always the same, music must change over time. Still, it is surprising that something universal exists within it.
Just as the name "Itasca," a 19th-century pseudo-Ojibwe place name and a compound of the Latin words "truth" (veritas) and "head" (caput), is itself ambiguous, so is Cohen's musical project.
Cohen, who grew up near the Hudson River in New York State and moved to LA from Brooklyn in 2011, began playing guitar at age 13. Her songwriting idiom gradually emerged from years of noise and drone practice.
Her poetic and timeless recordings as Itasca, refined over the course of several releases, including three from Paradise of Bachelors, are a reflection of this misaligned geography, baroque, acid-folk-infused songcraft, and de-escapism. Janus-like gaze on both the constructed and textural sonic is captured.
Initially, Kayla Cohen produced acoustic guitar-driven folk music, but her latest album, Imitation Of War, released in early 2024, captures a slight shift in her overall musical style. The music has shifted to a more folk-rock approach, incorporating electric guitar playing and a clever band ensemble as its foundation. Itasca's new highlight, "Imitation of War," was also created in the process.
In anticipation of their upcoming two-day tour of Japan, which will take place at the 7th Floor in Tokyo and UrBANGUILD in Kyoto, I had the pleasure of speaking with Kayla Cohen, aka Itasca, to learn more about their latest album and their musicality. In the process, the idea of "Relationship" emerged, which is different from the ostensible press release.
--Can you tell us about the origin of the album title "Imitation of War”?
Itasca: I was talking to a friend about relationships - both friendships and romantic relationships - and we were talking about the ways we interact, the patterns we repeat, the ways we try to change, but how slow the change can be.
She said a fight between two people felt like an "imitation of war" ... and the phrase stuck with me and became more nuanced.
It's deep to me because it's a distanced perspective on human interaction, and musing on the phrase can help me see my own troublesome patterns, but also appreciate the dance that we all do with each other and its uniqueness.
--Please tell us about what you tried to keep in mind and what you tried to do about the production in general and the process in particular.
Itasca: I wanted the guitars to feel very alive, present in the room, soft, weaving. Robbie Cody helped me achieve this through his mic-ing techniques and ideas about the room sound while we were recording.
I also wanted the vocals to feel very present, like the listener is in the room. Overall I wanted the sound to be warm and enveloping.
--Please tell us about any memorable events during the making of the album.
Itasca: In the fall of 2020 I spent some time in a house in the Sequoia National Forest writing and recording music, quarantining with a few friends.
I wrote some songs from the album there: "Tears on Sky Mountain," "Dancing Woman," and "Under Gates of Cobalt Blue".
There was a wildfire burning about 15 miles away while we were there, and we were constantly looking at the fire perimeter map and seeing smoke outside. It was a surreal experience living in this space of smoke and fire, the sky was an ominous hazy dark grey even at noon.
I think the feeling comes through in the album, a sense of darkness, but also the way night can evoke magic and memory.
--Can you tell us about the contributions of your backing band to the recording?
The band contributes so much, they all wrote their individual parts and helped bring each song into being.
I hear a lot of personality in each part, Evan Backer's medieval toned bassline on "Imitation of War", Evan Burrows' complex drum fills on the same song, Daniel Swire's sparse and sensitive drum part on "Tears on Sky Mountain". The album is successful to me because of their additions.
--As a guitarist, what are some of your specialties in sound creation?
The guitar is such a feeling-toned instrument and it has so much subtle potential.
My job as a guitar player is to quickly drop into the place of emotionality, of depth, where I can bring watery sounds up from underground, and to stay in that place for the duration of the performance, acting as a dowsing rod that connects the conscious world and the subtle world of energy, feeling, and memory.
This is my eternal goal when playing, and technical practicing serves as a way to make this process easier and more fluid.
--What is most important to you when performing folk music?
An album is a "snapshot" of a span of time, a section of my life. When performing, I'm trying to honor this time period that has passed, the period of writing and recording the record; and all of the emotions and events that happened during that span.
In performing, my goal is to bring this memory into the present moment, to resurrect it and bring it into materiality. In that way I feel like a conduit for my past self when I perform, and I must ignore my own judgments about my past self in order to honor the album as a piece of art in itself.
--Have you already decided on the setlist for the Tokyo/Kyoto show next month?
Itasca: Yes, we will be playing a mix of songs from the new album, a few newer unreleased songs, a few older ones, and a cover as a surprise.
The set will mostly be focused on going deep into the feeling of Imitation of War, trying to reach the feeling of recording in that wildfire, and the tone of nighttime.
--What are you looking forward to when you come to Japan?
Itasca: So many things! I am an amateur potter and woodworker, and I have studied Japanese pottery, building, and architecture.
I know there will be so much for me to see and take in. This will be my first time visiting Japan. I'm a fan of the onsen and of japanese bathing culture. Also I'm looking forward to meeting many new people!
* For more information about the new album "Imitation Of War", click here.
Itasca, the project of American female folk singer Kayla Cohen, who just released her ninth and latest album "Imitation of War" this year, will make its long-awaited first visit to Japan. Itasca will perform two shows in Tokyo and Kyoto with singer-songwriter ''Uki'' as tour support. Details are as follows.
今年、9枚目となる最新アルバム『Imitation of
War』を発表したばかりの米国のフォークシンガー、Kayla
Cohenによるプロジェクト、Itascaが待望の初来日公演を行います。ツアーサポートにシンガーソングライターの''浮''を迎え、東京・京都で2公演を行います。詳細は下記の通りです。
INDIE ASIA presents ''Itasca Japan Tour 2024''
7/9日(火)
開場19:00/開演19:30
東京・渋谷7th FLOOR
7/10(水)
開場19:00/開演19:30
京都・京都UrBANGUILD
全席自由 ¥4,800(税込)+1ドリンク代別途
July 9 (Tuesday)
Doors open 19:00 / Concert begins 19:30
Shibuya 7th FLOOR, Tokyo
July 10(Wed)
Doors open 19:00 / Concert begins 19:30
Kyoto, Kyoto UrBANGUILD
All seats unreserved 4,800 Yen (tax included) + 1 drink not included