Fujirockers: The official fansite of the Fuji Rock Festival

Third time's a charm

Two theories:

(1) Headlining slots are more valuable. The “special guest” teaser always makes us think they’re going to book Prince or U2. Instead we get someone we’ve just seen.

(2) The bands that play 7 times are always more fun than Primal Scream. You just can’t get tired of watching Rafven, Ska Cubano or Obrint Pas.

It’s the end of the first day and Onda Vaga are already on their third show. I heard snippets of the second through the trees and it was obvious these boys were going to smash this festival.

The Crystal Palace, as you may know, is a place for legendary performances. And Onda Vaga are brilliant. There are Japanese kids singing along to the Spanish, which is impressive and surprising.

“It’s our first time in Japan, but maybe we stay forever,” says one of the Vagas.

They’ve got two tunes that sound so much better live than on CD: “Cartagena” and “Continente de Perlas”. I bet they play both at every show they do this weekend. You can’t possibly sit still while they’re playing either of those.

My only gripe is that there was too much silence between the songs. When we’re all revved up, we want non-stop music.

Pic: 中島たくみ
More pics: http://fujirockexpress.net/12/12319.html

Rocking 'frocks

The show kicks off just as I’d expected, with some Afrobeat inspired fun. But it quickly becomes evident that this is a unique band with a unique sound, mashing together funk, jazz, afrobeat and rock. It’s heavy, raucous and tons of fun. The trumpeter is especially good.

Near the climax to the show, Mrs George Clinton climbs onto the speaker and wigs out. She’s doing what we all would if we could. It’s a party on the stage and on the floor. Can’t wait to see them again.

Photo: 北村勇祐
More pics: http://fujirockexpress.net/12/14153.html

This'll teach you to call me the Indian Susan Boyle

Bir Khalsa Dal are India’s Susan Boyle. They were hot tips to win India’s Got Talent, but came in second.

Other than that, it’s hard to draw parallels. As far as I know, Bir Khalsa Dal have never been on Oprah or met Elaine Paige. And Susan Boyle doesn’t hold the Guinness World Record for cracking coconuts on her head. Three months ago they smashed 59 coconuts open in one minute. Since coconuts and human skulls seems about evenly matched for crackability, this is quite impressive. Pointless, too, but impressive.

The bit between the Rookie stage and the Crystal Palace is traditionally devoted to people doing things that might kill them. People that monkey around with chainsaws, stand on top of spinning hamster cage things, or shoot themselves from cannons. But Bir Khalsa Dal are a notch crazier than the usual death defiers. Their show only lasts about 10 minutes, but in that time they smash coke cans with their hands, spin swords and sticks and other things that could lop a man’s head off. It all happens so fast that it’s not always easy to tell exactly what’s happening, but it always looks difficult and frequently dangerous.

One of them lays on the ground and lets another one ride a mini motorbike over him. Then they repeat it with the bike riding over his head. So they’re not so much the Indian Susan Boyle as the Indian Jackass with actual skills. Fun to watch, but I can’t help worrying about their heads.

Photo: 前田博史
More photos: http://fujirockexpress.net/12/14513.html

Bugging out

Bugs Group has been playing around Tokyo for year, usually at one of the funk club events. But they’ve never put out a record, so they’re still virtually unknown outside of funk circles. That might have changed a bit last night.

They’d barely begun performing when I saw a guy turn round and mouth the words “fuck yeah” to his friend.

The 7-piece began with some really hard, pounding funk — just what the crowd was hoping for. But they took it in all sorts of directions – rolling funk, slow-burning jazz funk, wah wah coming in and out, and even some middle eastern sounds.

They were switching styles in an instant, and they paused just once in the set, for about 3 seconds. For my money, this was the best funk performance of Fuji Rock. Fuck yeah.

GAZ MAYALL'S GOLDEN PERFORMANCE

Fuji Rock has enjoyed a fine selection of ska this year, ranging from The Specials to Toots & the Maytals. And at 3AM at the Crystal Palace, many were waiting for perhaps the weirdest variety to date, Celtic Ska. Yes, that’s right ska with bagpipes, fiddle, drums, and the incredible Gaz Mayall.

There wasn’t a seat or an open space of room left when the band took to the stage. And in fact, a big crowd of nearly a hundred or so were left outside due to capacity issues. Shame everyone couldn’t make it inside, but for those who were looking forward to this performance, they got in early and didn’t want to risk disappointment. Shame they ran out of Guinness halfway through the set, as many had to switch to wine and champagne.

Gaz Mayall’s Trojans are a regular fixture at Fuji Rock, appearing every two years, and rekindling the spirit of Joe Strummer who enjoyed world music and everything that was authentic and anti-corporate. Music should be an expression of joy, and that’s what Mayall brings, along with an incredible silhouette with floppy hat, suspenders and either his white suit coat or a sequined Union Jack Number.

The band really hit their stride at the end when Anton took to the bagpipes and belted a happy tune, ending out the night with “Celtic Ska” and setting the stage for Baby Soul who DJed classic vinyl at the end of the night. Everyone deserves a gold medal for this performance.
More photos here: http://fujirockexpress.net/12/14321.html
Photo credit: 北村勇祐

THE ARTIST HOLDING A BRAIN, WAITING FOR PENALTY KICKS

After much anticipation, Brain Food-ball will begin tonight. Visitors will be invited to take their chances kicking a soft, rubbery brain through the goalposts. If they are able to hit the metallic spear in the middle, they will get a prize, maybe a round reflective sticker. Or maybe a shave or a haircut. Rugby type kicks are also possible because the goal sticks extend upwards, a few meters into the air.

This is the brainchild of Belgian-artist, Wims. He’s been coming to Fuji Rock for the past few years and is the man responsible for the reflective stickers that you see everywhere. Originally, these stickers were part of a project to turn the Crystal Palace into a room equipped only with black light. The stickers were to be put on column posts making the room look quite eerie. Unfortunately, the tent wasn’t properly equipped to hang the 3 meter by 5 meter blacklight set-up. So the plan was abandoned, though the stickers have remained a special part of Fuji Rock.

Last year, the girl giving haircuts at this booth was part of the Tree Pirate crew. She’s not here this year, but Wims is still hoping to find someone to provide this service. He’s also responsible for the car covered in graffiti near the World Court and a huge 3 meter ball at the Cafe de Paris. Before, he would take this ball for a walk, but too many enthusiastic people kicked it about and it soon came off the leash and knocked over a few people. Now, he don’t take this ball, nor his other balls out. Just brain kicking and maybe a few haircuts this year.

In bed with Maradona

Remember Rafven from Fuji Rock 2009?

They came unknown, played every stage they could get their feet on, and left as arguably the festival’s highlight. This year, labelmates Onda Vaga will attempt the same feat. They’re scheduled for 6 shows, from the Orange Court to the tiny Naeba Shokudo. Chances are you’ll see them whether you want to or not.

They hail from Argentina, but they formed on a beach in Uruguay in 2007. The official story is that they grabbed whatever instruments were lying around, started jamming, and never really stopped. When a venue boss asked the boys their name, they made one up on the spot and kept it. It translates literally as vague wave, but I believe it means something more like free-and-easy style. Or it might not.

I emailed the band’s trumpeter, Marcelo Blanco, last week to pick his mind. Here’s what he said:

Most people string together half a dozen genres when they try to define your sound. How would you describe it?

Pop acoustic coral psycho party rumba reggae.
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DJ SCRATCHY IN BUDAPEST

If we told you DJ Scratchy was the Clash’s DJ, you might look at us funny.  No they didn’t, you’d say.  The Clash weren’t bloody Linkin Park, ya know.

Let Scratchy explain.

“The word DJ itself has different connotations these days,” says the infamous DJ Scratchy, whose work in London, UK was spread around the world as he came to tour with various artists – most notably, a two-year stint with The Clash.“I began before so-called DJ Culture and the advent of turntablism. I’ve had people say to me ‘I didn’t know the Clash had a DJ.’ And they didn’t, not in the sense that someone was on stage with them adding scratching effects. My handle ‘Scratchy’ came for completely different reasons, well before we were aware of Grandmaster Flash.”

Scratchy has been working in clubs, at concerts, and on radio for decades. At shows, he keeps the crowd entertained between acts.  He also acts as an MC – “in the pre-hip hop Master of Ceremonies sense” – from the moment they walk through the door.  While he certainly tailors his sound for the crowd, his website calls Scratchy’s music “an irresistible blend of rock’n’roll, reggae and roma, a true mestizo mix of the greatest music on the planet, from and for all times.”

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reggaelation independance

So much music and so little time. Fuji Rock is just a complete overload of good sounds and trying to the narrow down favorites from the festival is not easy. Here are mine:

1. Reggaelation Independance

2. Marc Ribot Y Los Cubanos Postizos

3. Mogwai

My top choice definitely goes to the Japanese afrobeat/dub band Reggaelation Independance. Mainly for the fact that there is nothing that I love more than going to see a band or movie that I know absolutely nothing about and then being blown away by it. I stumbled into the Crystal Palace very late on Saturday night not even knowing who was going to be playing there and could not believe how cool these guys were. Looking at their site, I discovered that one of their members is someone they have doing a live dub style mix using echoes and effects on their high energy Fela Kuti style afro funk tunes. What an incredible combination that was.

Photo by 府川展也. More here.

Altz has a hard job tonight. Coming on at 10:30 pm in the Crystal Palace, he’s fighting for a dancey crowd. But that crowd is all watching Chemicals Tom & Ed, doing their headline thing down on Green. At the same time. Man, talk about tough calls.

Fresh from a DayDreaming set this morning where he’s a solid, and longtime regular, I’d say that unfortunately even though he’s made it to a coveted Palace spot, he’s probably playing to less people. I’m counting ten on the floor, and about the same on the periphery.

But you know what? This is great disco, and ridiculously funky tunes that are floating through the speakers. Smooth tunes, that are just perfect for starting an evening, rather than finishing it. I’m loving it. The only thing the Chems have over Altz tonight is that we all know the name of the tunes they’re playing. But now the Chemicals have finished up, there is a quietly growing crowd.

I was at the Chemicals for the first hour, and I can honestly say, I prefer this. Maybe that’s because my working day is almost finished, and party time is starting soon. But maybe, it’s because it’s more interesting. I vote for a pay rise for Altz next year. Because we know he’ll be back.

As I mentioned in the Osaka Monaurail review, Lincoln gave up the first 25 minutes of his set for OM to play on. What a gent.

As you can guess, at 4:25 on a Sunday morning, when the last band leaves and the final DJ starts his set, there’s a stream of people heading for the door. Lincoln’s first tune is a slow-burner, too, so most people don’t know what’s coming. I’ve heard Lincoln DJ dozens of times, and his sets can be jazz, funk, soul or rare groove. Last night it was all of that, and probably the most classics I’ve ever heard him play.

I Know you got Soul, You’re Losing Me, Funky Nassau, Tighten Up, It’s a New Day, the latin version of Wouldn’t Change a Thing, Move on Up… if this were 4 hours earlier, the place would be heaving. But it was late, and I counted around 90 people in the tent. The dancers probably loved it. It seemed Lincoln had brought some of his jazz dance mates and they were putting on a show. Every so often, the DJ would leave his records spinning and come down to boogie too. That man is about 40 years old, but dances like a 16 year old.

After his late start, Lincoln was allowed to run on past his 5am finish time, but my body wouldn’t let me. I crawled to my bed.

photo – 府川展也

The Miniscule of Sound, the world’s smallest nightclub according to the Guinness Book of Records is making its 3d consecutive appearance at Fuji Rock, and has appeared at Glastonbury 13 years. There is no cover charge, but you will have to line up to get into a space that is only 2 square meters, accommodating between 6-8 people at a time, though the record is an incredible 26 people ( 3 were crowd surfing).
Mini Mark, the person featured in this photo fills many roles at this club, often going inside to man the DJ decks which are located slightly above the audience. There are lazers, carpeted walls and music ranging from Nirvana to the latest electro, whatever the DJ feels like playing. A coat check is also around the corner. And to ensure proper turnover, a smoke machine inside goes full blast inside, sending many to the exits and ensuring that no one lingers too long.

If you’ve seen Osaka Monaurail before, you know what they were like here. The songs change, but the sound doesn’t. It’s 1960s funk, razor sharp, note perfect, played by a troupe of musicians in matching uniforms. The J.B.s of Japan. The intro is always heavy and fast. After a couple of tracks, frontman Ryo Nakata (James Brown) comes out in a slightly different uniform and begins yelping like someone who has 12 seconds to explain how to defuse a bomb. The trumpet players spin their horns in unison between notes, they bow together, they don’t seem to need any cues to know what’s next and when to step left or right.

“Can you do the mashed potato?” asks Nakata of the audience. If he means make like a shapeless white blob, then yes. Otherwise, no.

They play Lee Dorsey’s “Ride your Pony”. A song with just 9 words. “Ride your pony, get on your pony and ride!”. I love funk lyrics – they never try to be clever, and rarely contain more than a dozen words in total. Most seem to be lists of things the singer likes to eat. “Mashed potato, popcorn! Mashed potato, popcorn!”, or hints about sex. And really, that’s a much more honest account of our thoughts than anything Bob Dylan ever wrote.

As the set went on, my mind was wandering, thinking about what it must be like to be in this band. When I saw the New Mastersounds, Obrint Pas, Mate Power and Asakusa Jinta, I thought “wish I could play in that band”. But Osaka Monaurail? No way. You probably have 14 hours of rehearsals a day, I bet there’s no talking back to Nakata, and any money they make, after being split 9 ways, goes to the tailor to keep producing new costumes. I wouldn’t do it. Great show though. In fact, it was so good that the next DJ, Lincoln, began clapping for more. He then gave up 25 minutes of his set to hear more Monaurail.

Photo: 府川展也 (more here)

Daisuke Kuroda is the DJ I always wanted to emulate, but couldn’t. He plays very deep, dancefloor funk 45s – last night included JB, the Highlighters Band, and one rendition of Tighten Up, though  I forget which.

Kuroda is the only person I know who can mix funk flawlessly without scratching. And he likes to switch the tracks up quickly. I’ve heard that Keb Darge reckons Kuroda is his favourite DJ. Pretty easy to see why.

I know Kuroda plays original issues, so by my reckoning, the set we heard last night would have cost more than a million yen to compile.

Conventional wisdom says that crowds come to the Palace for bands, and leave for a wee while the DJ plays. But Kuroda had a packed floor – as long as you don’t count the patch that Lincoln (who would DJ later) and his pals had created for their wild jazz dancing.

Daisuke on the decks is like a doctor performing surgery. He doesn’t dance, not even a little, his hands move slowly and deliberately,  and he has a poker face throughout. You’d think he was oblivious to the crowd, except that he played a masterful set that had the place up and dancing.

Photo 府川展也 (more here)

WHEEEEEEEEEE!

Jean Monti – man of motorcycle high-wire riding and swaying pole standing.

I was supposed to watch his show on Friday night, but that session was cancelled due to the rain. I was lucky enough to catch him on Saturday, before I was due for NOKIES! at Rookie A Go-Go.

This guy gets paid to risk his life for your entertainment.

Personally, I always get nervous when I see people doing semi-suicidal things like bungee jumping, sky diving and the like. And although this guy is a pro, I couldn’t help cringing as I saw him climbing up that metal tower of Death and Doom. Well, perhaps that’s a bit overdramatic given that he’s been doing it for like 40 years and, unless zombification and vampire making is not just stuff of movies, then he hasn’t splatted yet.

I have to confess that along with the cringing, I do have a secret desire, wishing people risking their lives like that would topple down. Don’t get me wrong I don’t want anyone hurt, or dead (well, maybe other people, but not them), but perhaps a healthy dose of self-preservation would do some good.

But then again, this is coming from a grade A chicken who will barely jump from the diving board at a public pool. (I might slip and crack my head open! Or worse, my bikini top my slip off! (Actually the latter does actually happen and is thus more of a potential risk that I’d rather not take))

Regardless, Jean Monti climbs poles that sway and he does it well. I assume. I don’t really know what the criteria of a good sway pole climber is. He didn’t drop to his death and received plenty of applause though, so I’m guessing he fulfilled his mission.

Oh dear...

Manu Chao at the Crystal Palace was certainly one of the gigs of the festival, though it was in my opinion no Gogol Bordello. It would appear that Kern and Dave are not in agreement with me though, they found it a shirt raising experience. For disturbing photographic evidence, click the “More” link, but be warned, click at your peril! Continue Reading…

So the Manu Chao set at the Palace of Wonder was pretty wild. There must be some bruised torsos this morning. And just about the only band this year that could reasonably follow that was Obrint Pas. The only problem was, there was an hour of Don Letts DJing in between. Ordinarily that would have been a nice set, but sandwiched between these two manic sets, all it did was thin out the crowd.
By the time Obrint Pas came on, I half wanted to run and tell everyone to come back, and half wanted to crawl into my bed.
For the rest of the set, whenever there was a lull, my legs turned to spaghetti my eyes starting drooping and I shuffled towards the door. Then they’d suddenly rev it up again and I had to come back and dance.
There were an awful lot of people on the stage, including a DJ, though I couldn’t tell what he was contributing to the sound. I’m pretty sure they could leave him at home and split the fee between fewer people. But it’s up to them, I guess.
Anyway, can Obrint Pas recreate anything close to that when they play the Orange Court later today? Only one way to find out.

Photo: Julen Esteban-Pretel (Supported by NIKON)

Manu Spreading his love

On Friday you had two chances to Manu Chao La Ventura. Option 1 was to watch him with thousands of other people as he sang his uplifting songs of revolution and freedom on the Green Stage in the afternoon, or you could have kept your ears open and listened to the rumor that he would be the very special guest at the Crystal Palace Tent at the Palace of Wonder at 1:30 in the morning. The Crystal Palace with its wooden floors, multitude of mirrors and circus like atmosphere was a wonderfully intimate venue to enjoy Manu’s folk, ska and rockabilly anthems and the crowd was simply going wild when his started his signature “Hey” chants.

Photo by 前田博史. More here.

LINCOLN

The first time I saw Osaka Monaurail (and the second, third and fourth times) was at an event called Searching. It was in La Fabrique, hosted by DJs Lincoln and Daisuke Kuroda. Fabrique doesn’t exist any more, and Searching hasn’t happened in a while, which is a shame because it was the best funk event in town.

Saturday night at the Palace of Wonder this year has all three acts, making it a sort of Searching revival. I asked Lincoln what he’s got in store for us.

You play jazz, rare groove, northern soul and deep funk… which can we expect at Fuji?

My little set is in the early morning, after Osaka Monaurail, so I’ll play Funk 45s, a few classics mixed with some rare bits… from the ’60s and ’70s to some of the great new funk band stuff like New Mastersounds, Mountain Mocha Kilimanjaro, The Bamboos and Speedometer. I’ll also play some northern soul, uptempo stuff, Archie Bell, Jackie Wilson, and from that maybe go into a some classic ’70s soul – Stevie wonder, Isley Brothers, Curtis Mayfield. Just all good, uplifting music that makes you dance with a smile on your face.

You played the same tent in 2007. How was it?

Last time I played was a ball. It was great being in the big tent, although the DJ decks were a bit far from the crowd. I like to play some tunes and dance along with everyone to them, but that didn’t stop me from running back and forth a few times. Good fun. Bring your dance shoes in a plastic bag. It’s great to play this obscure black music to a crowd that may not have heard those sounds before. So long live Fuji Rock.

Lincoln is playing the Palace of Wonder at 4am on Saturday. Osaka Monaurail plays the same stage from 3.15am, with Daisuke Kuroda on before them, at 2.15am.

The New Mastersounds will play the White Stage on Friday at 3.40pm.

“Jean, honey, what do you want to do when you grow up?”

“I want to stand on top of a big wobbly pole, ma.”

“Jean, honey, that’s not a job. How about becoming an accountant?”

“Wobbly pole. Definitely wobbly pole.”

This video shows Monti on his “sway pole”. From the looks of it, he has one foot locked in, so it actually looks like quite a lot of fun. I’d have to find out how much he gets paid, but I’m thinking that might be slightly better than my job.

But the Palace of Wonder wouldn’t be quite the same without someone risking their life for our drunken entertainment, so Monti will also ride a bicycle across a high wire. Come and see whether he survives or pancakes himself.

I told you. Your Song Is Good will be one of the Palace of Wonder acts. At least in DJ form. I got the rest wrong. For a funk fan like me, Saturday night at the Palace looks like a dream. Top of the bill will be Osaka Monaurail – crammed into that tent, this is right at the top of my to-see list, even though I’ve seen them dozens of times before, and they always deliver pretty much the same thing – the tightest funk since James Brown.
Continue Reading…

Every year we all bang on about the Palace of Wonder, and how it’s the highlight of the festival etc etc. The POW is the tiny stage outside the main gate, so if you’re so inclined, you could skip the tickets, sleep all day, and enjoy the best bits for free. And as an added bonus, you’d miss Coldplay.

Anyway, every year the highlight of the POW for me is one of the bands who played the festival proper and then play a second set in the spiegeltent. Gogol Bordello, Rafven and Ozomatli in particular.

So, I’m having a look at this year’s line-up and trying to guess who’ll be putting in a late-night appearance this year.

In my dreams it would be Lee ‘Scratch’ Perry, Your Song is Good, and Sam Moore. But if I was gambling proper money, I’d guess Shonen Knife and Little Tempo, but I’m stuck after that. Any guesses? Mick Hucknall’s DJ set? Tokiko Kato with Atari Teenage Riot?

If I line up this long, there’d better be an oven-baked pizza at the end of it, not some kid in a Scream mask shouting “boo!”.

Did anyone make it inside? What was it all about?

Bit late in reporting this, but well, you know how festivals are.

Trombone Shorty, ex-Kravitz brass man, followed up his Orange Court main gig with a show at the diminutive Crystal Palace. He played one of those short trombones without the slide; you may know it as a trumpet, but still wheeled through the tracks on his new “Backatown” album. I’ve always liked the sound of the trumpet more, so this was a chance to hear the album with extra wallop.

He’s got a whopping 8 members onstage here. Sure, 8 isn’t whopping for a brass band, but it looks pretty cosy on this stage.

Trumpet Shorty plays a funky version of “Let’s Stay Together”, followed by a storming “On Your Way Down” without the help of Allen Toussaint, who appears on the album, and sings “Something Beautiful”, the track that had Kravitz’s voice on the record. Judging from these performances, Trumpet could have saved himself a few dollars and done the whole thing himself.

About halfway through the set, Angelo Moore of Fishbone pops in to take over vocals, leaving Trumpet to stand at the back. Surprise VIP appearances are fun, but, well, I can’t even remember what the difference was.

Fun ★ ★ ★ ★ ★
Funk ★ ★ ★ ★
Palace of Wonderness ★ ★ ★ ★

So Ozomatli played a storming show at the Field of Heaven, and had to do it all again 9 hours later in the much smaller Crystal Palace spiegeltent. Every year the Palace seems to have one act that tears the place to pieces, and it wasn’t hard to guess that Ozomatli would be the one this year. So the two questions were:

* Could they top their first show?
* Could they top Rafven and Gogol Bordello’s madness of previous years

The quick answers: yes, and maybe.

They were more playful than earlier in the afternoon. At one point, Ulises makes a gesture with his finger and thumb to his lips. He then gets a sax solo, so the gesture must have been the reed to his mouth. Then the band join in and it’s “Pass The Duchie”. Probably wasn’t a reed gesture then. In quick succession, “Pass the Duchie” becomes “Top of the World”, “Pass the Duchie” again, “Strawberry Fields” and back to Musical Youth, all with a sound halfway between reggae and traditional Ozomatli.

From the new album, there was “45″, “Elysian Persuasion” and “Malagasy Shock”. The latter is clearly the one that’s set to become an Ozo live favourite.

What’s most amazing about this show is that they steered clear of most of the giant hits and live signatures, but had the crowd revved up as much as ever. With this band it’s not about which songs they play – they know exactly how to whip up an audience and they’ve got 5 strong album’s worth of music to mine.

When the music stopped, we waited for the encore, but it never came. This ain’t Woodstock. Ozo didn’t even get to take their instruments into the crowd, and I suspect it wasn’t their choice.