Fujirockers: The official Fuji Rock Festival blog

Earlier today I gave myself a hernia. That may seem an unusual introduction to a music review, but it’s pertinent. I skipped a couple of shows today because I couldn’t walk that far to see them. It’s only music, right?
But EKD was one band I really couldn’t miss. They’re the most underrated band I know. I’m sure that you could stick them on the White Stage, not tell anyone what you were doing, and the band would look right at home.
Instead, they’re playing the Naeba Shokudo. The smallest stage at the festival, but also one of the liveliest. It’s a good fit.
As I wrote before, one Fujirocker once described them as Manu Chao meets Dick Dale. That’s bang on. EKD worked the crowd up just as much as Mr Chao did. And here’s where we get to my hernia. Even in my crippled state, I was bouncing in the mud pit, arms around other fans, grinning like an idiot, and I though it was painful as hell, it was fun as hell too. It’s the biggest FRF party I’ve been to since Gogol Bordello played the Crystal Palace. There was a man wrapped in toilet paper climbing a tree to see the show. They outdid the wild Asakusa Jinta party at the same stage on Friday. It’s a shame that tens of thousands of people paid for a ticket but didn’t catch this show.
If FRF 2011 is remembered for anything, it should be that the Naeba Shokudo produced some of the most memorable moments, and EKD’s show was one of them.

Photo by Julen Esteban-Pretel. More here.

I’ll make this brief. Imagine it’s the apocalypse, but not in that four-horsemen, fire-and-devastation way, but the way you’d actually like the world to end. Something a bit euphoric and exciting. The soundtrack would be Wildbirds and Peace drums. Or, in a nutshell:

Drums: ✔
Steel pans: ✔
Guitars: ✘
Performers: ✔ ✔
Melodic: ✔
Soaring: ✔
Danceable: ✘
Same as everything else: ✘
Crowd: ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔
Good: ✔

Naeba = where we are right now at Fuji Rock. Ongaku = Music. And Totsugekitai, refers to some sort of kamikaze soldiers on the front lines charging forth without weaponry, fierce cries of intimidation, think warpaint. So this troupe just got together a few days before the fest, aside from their regular band lineups, to put together this romp at the Naeba Shokudo stage. A makeshift setlist for an unassuming side stage under a grove of trees.

The backdrop is like an open air tatami mat bar room, bamboo shades, and guys knocking back sake and smoking cigarettes, red cheeked greasy fellows, with elegant ladies sipping wine at their side. Fitting audience and impromptu actors on the stage, considering tonight’s band is a motley assortment of what look to be ex-cons, as the “Ojisan” (old dudes) have a rough-hewn refinement to their individual styles.

Drummer sports a sharp goatee and black bowler, the bassist in a polyester shirt with the top two buttons undone and boots (I haven’t seen hardly any other artists at the fest, on stage, in boots – that is solidarity, my friend), singer is a coarse-voiced wailer whose mole under his right eye somewhat resembles a tattooed tear drop, and black Latin greaser curls, while the guitarist, confident in his skills, including slide guitar, American folk and speedy surfer solos sports a pair of khaki shorts and could conceivably be gone fishin’ after the gig!

A handful of the crowd sang along with some anthems. I caught a few sweet lines (lyrics entirely Japanese), something about there being “happiness behind unhappiness,” along with bits and pieces of “nothin’ and nobody.”  For the last few songs and encore, a younger guitar wiz and accordionist crowded the tiny stage, and lent sounds coming straight out of Louisiana and the dirty south, and on another song, something like a Scottish jig.

I enjoyed the show along with people munching on World Restaurant fare, who may have very well just happened by to witness the soldiers rushing forth, for all our Sunday evening dinnertime listening pleasure.

Excellent photo courtesy Julen Esteban-Pretel. More here

Man, I wish more people had the chance to see this up and coming punk outfit,  Watasi Zombie who turned the mud pit in front of the Naeba Shokudo into a mosh pit. It was messy, wild, fun.

Here is a zombie from the crowd, putting his pants on his head and falling on the ground. Earlier, he was stage diving with just a thong, and still later, nothing but a t-shirt, leaving his man hood exposed.

But enough about one fan in the crowd. The band was really where the action was, and while I can’t really understand Japanese, it sounded alot like “restaurant bukkake” and other chants like “onigiri! and  ”Rice! Rice! Rice! Rice!” “

It was a slick mix of New York Dolls, MC5, and a touch of Ramones, making for one helluva party. After seeing this band, count me in as one of the zombie crew.

“I was from the tent I lived out in the fall of rain yesterday!” Nothing to lose anymore, here I come at the best! Music music music without putting no time to just follow the 前Nomeri. What is the most raised again, riding the momentum tracks are hammering and not say much. Audiences dive in muddy ground not care! Bukkake end up in a beer dive Yamamoto, head of the drum! Watts will appeal Andrassy Geragera zombies enjoy laughing such sights. When play ended, an exhausted Tsu spear over! It is proof of the lot was full of smiles

If Tjiros didn’t actually exist, no one would ever think to invent them. A Japanese woman who sings in the absolutely hands-down dirtiest blues wail I’ve ever heard, and then tears up some heavy stringed baritone electric guitar solos to boot. The fellow plays a Paul McCartney bass. I was excited to see Odouro Matilda earlier, who I compared to a Japanese Tom Waits, but he was Steve Perry compared to Tjiros. If the two of them sang together though you could cut enough wood to build a tree house. I’m wondering if she had to actually drink 200 gallons of Jack Daniels and smoke 2000 cases of Marlboro Reds to get that voice, or if she was just born with it.

Naeba Shokudo, 11:50 pm. Faces had been over for 45 minutes, and the DJs were thumping at the Red Marquee. She drew a pretty good crowd to start, but that voice pulled in anyone within a 100 meter radius like a deathstar tracktor beam. Anyone who didn’t just break out laughing, that is. If they did, screw them; Tjiros (promounced T-Jiros) is the real deal. She moves and mugs with Brian Setzer attitude when she’s playing, but that didn’t stop the woman next to me from muttering “kawaii” (cute) when she started talking. She’s got a genuine sweetness (not the of the typical treacly Japanese variety) about her that is the perfect balance to her buzzsaw voice. I’d stop to listen to her any time, any place. I really wouldn’t have a choice in the matter.

-Kern

photo by 横山正人. more here

Though veteran blues guitarist Jun Nagami dropped her professional alias, Madam Guitar, for her performance at the tiny Naeba Shokudo stage with the power trio Punch Kiita Blues, some habits die hard. As Madam Guitar she assumes the persona of a forebearing, put-upon Japanese housewife; in other words, someone whose particular species of “the blues” is recognizable to the average Japanese person. With Punch, she didn’t wear the kimono or the elaborate hairstyle, but she was still wry and ironic. She even did a couple of Madam Guitar songs, like the priceless “Kato-san,” about the difficulty of being born with (or, in this case, married into) a name that’s ubiquitous, like “Jones.”

Thoughout the 45-minute set, Nagami kept the stragglers chuckling while ripping through a wide variety of blues-derived styles, from soul to funk to enka (which, real enka aficionados will tell you, is nothing but the blues), all with the help of her deft and sympathetic sidewomen: former Super Junky Monkey bassist Shinobu Kawai and drummer Grace.

photo: Yokoyama

Told you all so. I’ve been banging on for ages about how Asakusa Jinta at the Naeba Shokudo was one of the shows to see.

Sure enough, they brought the biggest crowd and the biggest sound that the tiny Shokudo stage has ever seen. They turned a little mud pit into a party, and hopefully a few more people found out how great this band is.

I knew they’d put on a show – I just didn’t know how they’d do it on this tiny stage. The answer – they left their sound system bike thing at home, and brought a regular bass instead of the giant steel thing. They forwent the flags and whatnot that makes their shows a spectacle, but they didn’t change a thing about their sound. The brass was blaring, the bass was pounding, everyone was dancing and I hope like hell someone at Smash saw it and books them for the Crystal Palace some year soon.

Photo: 直田亨 (Supported by NIKON)

There are people at Fuji Rock that weren’t even born when Little Creatures formed. I suppose that’s true of every band, because people bring their tiny kids to the festival to give them an early taste of tinnitus and mud. But still, LC formed in 1987, which is like a long time ago.

Little Creatures are playing the Naeba Shokudo, the smallest stage at the festival. About 200 feet away, Coldplay are playing the massive Green Stage, and for some reason they’ve attracted the bigger crowd. Both bands play dreamlike music, but only one of them puts you to sleep.

I should confess that I wasn’t exactly watching Little Creatures. I had my back to them, drinking ale in the World Food Court. But I could hear them, so I think it still counts. And part of the Fuji Rock experience is having a top band as background music.

When the first song ended, wafts of “Yellow” came across the trees, and everyone shared a moment – giving the giants a miss and choosing the minnows. Then the Creatures kick off again and drown out Coldplay.

I’d describe their music, but I was only half listening. I asked the people at the table to give me some comments for this piece, but all I got was: “quite tasty, aren’t they?” and “they know how to slap a bass.” Hopefully that’s enough.

Photo: 直田亨 (Supported by NIKON)

Each time we’ve had a brief respite from the rain, I’ve become hopefully optimistic that it signalled a more permanent end, but it seems to last only until the first note of the band I’ve come to see is played.

Such was the case with the Kensington Hilbillys, as tight an outfit of guitar twanging fells as you’ll find in the fair city of Toronto. Just as I arrived, the rains started, only difference this time being we’re at Naeba Shokodo under the trees, meaning a deluge of turgid drops from the trees above long father the rains stop.

No matter, as the four members on stage tonight played a great mix of lively originals such as The Cat Down In The Well, as well as covers from country greats such as Hank Williams. Recognising the significance of Joe Strummer, they dedicated “Go Straight To Hell, Boy” to his memory. That may sound a bit wrong in print, but it worked as a respectful homage in person.

It will be interesting to see these guys play a bigger stage. I think it would translate best into a boozy bar with saloon doors, and a big selection of whiskey & bourbon.

Photo by 直田亨
More photos HERE

Last year, a friend of mine came to Fuji Rock for a day. She checked out the Red Marquee, the Green Stage and… absolutely nothing else. That’s extreme, but I’d wager most people miss at least one stage. Here’s a little guide to the little stages.

Naeba Shokudo
I went to Fuji Rock Festival for three years before I figured out where the Naeba Shokudo stage was. I’d seen it, but never realised it was an official performance space. I thought it was just a noodle stand inviting their mates to busk. It’s fair to say that every act performing here is too big to perform here, and that’s what makes it so fun. This year’s lineup is the strongest ever: EKD, Asakusa Jinta and the Kensington Hillbillies should all be top shows.

The Pyramid Garden
This stage debuted last year in the campsite area, only for campers. Well, they deserve something for having to sleep in a tent on a mountain, in the shadow of a comfy hotel. It’s produced by the same people that set up those candle displays by the entrance to the Field of Heaven. This year, Sandii of Sandii and the Sunsets ought to be fun, and Takeshi Hosomi of Ellegarden and The Hiatus will play a solo set the day before his band plays the White Stage.

Cafe de Paris
It’s outside the festival proper, past the Orange Court, down by the river. The Cafe de Paris seems to be appearing every other year now, with a Frenchy cabaret theme. Big Willie is bringing his Burlesque show to the tent ever day, and JoJo Swing Quintet will also play three times. And then there’s this.

Day Dreaming & Silent Breeze
No idea. Never been to this stage in all the years I’ve been going to Fuji. But Fujirocker Dom says it’s worth a look. And you get to try the world’s longest cable car ride.

Mokudotei
A little wooden stage in the woods, and one of my favourite spots. You’ll find it halfway along the boardwalk that connects the White Stage to the Field of Heaven and the Orange Court. The Kensington Hillbillies and Olde Worlde ought to be worth checking out.

Nara rockers Watusi Zombie slayed on the Rookie A Go-Go stage at Fuji Rock in 2005.  The garage rock trio will return to FRF this summer, bringing their chaotic and insanely fun live show to the Naeba Shokudo stage at 10:40 pm on Saturday, July 30.  Their 2005 FRF gig saw the three sweaty members heading into the audience (drums and all!) to close out their set.  If they do the same thing this year, expect things to get wonderfully wild at the very intimate Naeba Shokudo.

Continue Reading…

Jun Nagami has a pretty good gimmick. She’s a blues guitarist, and while that alone can earn her some curiosity cred in Japan since she’s a woman, it obviously isn’t enough for Nagami, whose technique isn’t going to make Stevie Ray Vaughan’s corpse sit up and take notice. What people do notice is that she’s fast approaching 50, but rather than resist the unflattering labels that usually attend such life changes, she embraces them in her act as Madam Guitar, a housewife with teenage kids and a salaryman husband who happens to play guitar. As she so ably demonstrates, homemakers get the blues, too: Their husbands drink too much and stay out late, their daughters hang out with boys that seem a little sleazy, and they know they’ll never get that big house they were always told they deserved if they took care of their families. The last time she played Fuji Rock, in 2007, she had a full band who could fill out her tales of woe, which were funny but nevertheless sounded pretty true. (We don’t mean to imply that this is a reflection of Nagami’s own life; it seems to be an act, but in any case it’s a very sympathetic one) What was particularly impressive was how varied Nagami’s music was. The band helped her realize a wide array of styles, from swinging jazz to walking blues to stomping funk. As it turned out, women in starched kimonos and fierce power chords aren’t mutually exclusive concepts. They went together pretty well, as a matter of fact. Continue Reading…

For the first time ever, two of the artists I most want to see will be playing at the Naeba Shokudo, the tiny little stage stuck onto the side of the udon joint.

It’s hard to imagine how Asakusa Jinta will ever play on that stage – it’s way too small for the kind of shenanigans they usually get up to, including driving a self-contained sound-system bicycle around the stage. Check the video below where they explain that they were forced to build the car battery powered speaker bike because “there were no live houses in Asakusa and we wanted to make noise.” According to the video, they describe their music as “asianica”, which makes no sense. The nearest I can think of is Shibusa Shirazu, who have the same sort of party-style free jazz with gypsy and enka inlfuences.

The other band, which I first saw in a tiny bar in Shibuya, is EKD. Erstwhile Fujirocker Jinki once wrote that they sound like Manu Chao meets Dick Dale, and I won’t argue with that. This is another band that wouldn’t fit on the shokudo stage in their usual incarnation, but they play as a trio or even a duo sometimes, so I’m expecting that at Fuji.

So what if there are superstars playing just round the corner… these two shows are must-sees.

In 2006 Broken Social Scene became the first non-headliner I have seen do an encore at Fuji Rock.  Tonight Hideki Kaji became the second.

Continue Reading…

Moriarty’s Friday afternoon show at the Gypsy Avalon may be my favorite set so far mainly because it was such an unexpected surprise. There was therefore no surprise when the France-based sextet took the tiny Naeba Shokudo stage at midnight on Saturday, though it’s a good bet that the folks who were occupying every mud-slathered nook and cranny at that odd venue had no idea what to expect. The reaction was all the more rewarding. Continue Reading…

I met Rory just before his Naeba Shokudo performance started. He struck me as a genuine guy, just as indicated on the Don’s preview piece. Kinda genuinely happy that I’d be watching.

The rain started a few minutes in, and built up steadily. Good thing? It certainly made for a more intimate show, as everyone crowded into the postage stamp size undercover area at Shokudo. I wanted to catch Rory at some point this weekend, and had decided this would be the pick. I think this kind of thing is best enjoyed in a small space. Continue Reading…

There’s only so much epic music a man or woman can handle in a single night, and after Them Crooked Vultures* and Broken Social Scene I was epic’d'out, so Muse was out of the question. Instead, I had dinner. With everyone at the festival at either Muse or !!! (or further afield), the food court was empty, and I had the rare treat of selecting the perfect meal from multiple vendors. This will heretofore be a thing which I do at Fuji Rock, take advantage of the empty food stalls while the main attractions are drawing the attention of the rabble.

Then I sat down and took in a bit of Yuzoband at the Shokudo stage.

Continue Reading…

The French rockabilly revivalists Mustang are one of the ubiquitous bands this weekend. By they time they took the tiny stage in back of the Naeba Shokudo near midnight Friday, they’d already played twice, and there was still at least one more gig to go. At the Red Marquee the previous evening during the pre-fest party they were greatly aided by the crowd’s anticipatory verve. The band was rather stiff, making their old-style rock-n-roll feel a bit academic, but people would have whooped and danced to Mozart’s “Requiem” at that point. Continue Reading…

As Jinki says, Fuji is a place to discover new acts, even before the festival. I don’t know who the 9 Miles are, but they’re great. They’re playing the Naeba Shokudo on Saturday. They’re not on YouTube yet. Click here and listen.

And by this, I mean bands, not attendees or virgin Fujirockers like Clay.

One of the things myself and fellow Fujirockers really look forward to each year is getting a chance to see which new (or near new) bands get to give it a shot on the Rookie A Go-Go stage late in the evening at the Palace of Wonder. Continue Reading…

I’d already been to two Fuji Rock Festivals when I first realized that the Naeba Shokudo was an official stage and not just one of the food places letting some buskers throw out some impromptu tunes. I knew there was a stage called the Naeba Shokudo, and I knew from the map that it was somewhere near the Red Marquee, but it never occurred to me those first two years that the little wooden platform next to the noodle place was it.

Usually it plays host to some cheeky little Tokyo act that didn’t mind catching the bus to Naeba. This year is the first year there’ll be an international artist on the Naeba Shokudo stage that I’ll make a special effort to see: Rory McLeod.
Continue Reading…

Last year’s additional stage was the Moulin Rouge-accented Cafe de Paris tent way at the ass end of the festival. We haven’t heard yet whether or not it will be continued this year, but if it is there are plenty of French or Francophone artists on the menu to provide it with the proper je ne sais quois, though we doubt seriously that the two pop techno freaks of Air would ever deign to play such a puny venue. They are, after all, headlining the Red Marquee Sunday night. Moriarty, though they generally sing in English, is based in France, and they’re already playing at least two gigs during the weekend so it’s likely they could be talked into a third. Then there’s the French swing ska punk ensemble La Ruda, who’s slated for the Orange Court Saturday afternoon. With eight members it might get a little tight in the CdP, but I’m sure they’d be game. And while singer-songwriter Emeline Michel is Haitian, she sings in French and creole and would likely fit right in. Continue Reading…

We’re now live from the fest at: http://www.fujirockexpress.net/09e/

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Flickr and Vids to come.

jinki