Showing posts with label Tatsuya. Show all posts
Showing posts with label Tatsuya. Show all posts

Sunday, July 10, 2011

Captain Funk: Versions 2011


Before I came to Japan in 2001, I was already a bit obsessive/compulsive about Japanese electronic music - I loved Yellow Magic Orchestra's back-catalogue as well as that of Mo' Wax contributors Major Force West Productions and DJ Krush, not to mention techno-meisters like Fumiya Tanaka, Takkyu Ishino, Co-Fusion, DJ Shufflemaster and Captain Funk.

As it shaped up I've since become mates with some of these people, in particular DJ Wada from Co-Fusion and Captain Funk's Tatsuya Oe. Both guys graciously did remixes of a couple of my tracks - Wada renovated 'Compulsion', while Oe had a shot at 'Cocaine Speaking', both of which appear on a recent CD ('Commix') through Japanese label Fountain Music - and I'm a huge fan of both gents as much for their wunderbar temperament as their talents behind rack-mounted machines and music-making software.

Anyone who's bothered to peruse this wayward blog (and with a long memory to boot) may recall my piece on Star Trek's impact in Japan - or at least lack of same - back in 2009. Tatsuya was one of the contributors there, and in fact I often call on him for his two or three cents on different silly articles I do as he's always into it and forever patient.

Anyway, he just emailed me to let me know that he's doing likewise fine here in Tokyo despite the recent spate of shakes, and is is about to unleash his Captain Funk "Versions 2011″LP worldwide tomorrow (July 11th in case you don't have a calendar handy).

Tatsuya's style has come a long way since those '90s inroads I mentioned above, and he's become one of this city's most in-demand DJ/producers, so it's definitely worthwhile checking this baby out. You can find out more by heading to his website.


Meanwhile, for those far more adept at foreign languages than I am, here's the Japanese propaganda bomb:

Captain Funk の新作”Versions 2011″ が7月11日にリリースされることになりました。

収録内容はロック色の強い新曲”Endless Possibilities”に加えて、これまでのCaptain Funkのリリース楽曲を2011年版として大幅にアレンジ改訂した”I’ll be There”と”Just Wanna Get You Tonight”の2曲、そしてこの数年Ne-YoやPhonat, Kavinsky などのリミックスで注目が集まっているフランスのプロデューサーBestrack Production (http://www.myspace.com/bestrackprod) による”Piece of You”(原曲は米国Forver 21のプロモーションで使用)のリミックスの4曲になっています。

このリミックスも含めて、それぞれ新しいオリジナル楽曲と同等の「2011年最新バージョン集」としてお楽しみ頂けるのではないかと思います。

どの曲もいつも通りファットでブライトなサウンドに仕上がっていると思いますが、特に”Just Wanna Get You Tonight” 2011年バージョンは “Weekend (kissing, touching, tasting, loving)”の流れを汲む、夏らしくダンサブルなアレンジになっていますので、これからの季節に向けて是非チェックしてみて下さい。

(Reverbnation のCaptain Funk ページにて各楽曲の試聴サンプルをアップしました。そちらもご参照下さい。)

尚、今回のリリースは米国のディストリビューションを通じて、日本を含めた各国のiTunes, Amazon, Beatport その他のMP3ストア、Spotify, We7などのストリーミングサービスで世界同時配信されます。

Friday, April 9, 2010

Flower Power 花見-style!


Every spring in Japan, the hanami (花見) – literally “flower viewing” – is a cultural necessity, and it just so happens to be a (sake) barrel of fun as well for those able to get time off work and indulge in some good spirit(s).

While this year's version hasn't really been anything to write about, at least in Tokyo (the weather's been all over the place), usually in March or April - depending upon when precisely the nation’s fabulous cherry blossoms (sakura 桜) decide to unfurl - millions of people unfurl their own blankets in crammed public spaces... ostensibly there to watch the delicate, snow-like shower of flowers, but also to catch up with friends, impress the boss, drink vast quantities of sake, carouse, get drunk, sing, and be raucous in exceptionally unJapanese ways.

These parties often stretch from daytime into the night (when the name is changed to yozakura), and lanterns hung up to drink by and warble prolific.

Needless to say I love it, but regardless set out to uncover just why the custom is so darned popular in the hearts and minds of young Japanese creative types some 1,300 years after it’s said to have kick-started during the Nara Period.


NAOYOSHI SHIOTANI
(Director of Tokyo Marble Chocolate, character designer and unit director on Oblivion Island, as well as key animator on Mamoru Oshii's Sky Crawlers and an in-between animator on Hayao Miyazaki's Spirited Away):
“We Japanese enjoy the different feelings and peculiarities of each and every season.
In spring, we have fun under full-blossomed cherry trees, eating and drinking and romping around with our friends. And the sake you drink, surrounded by pink cherry petals dancing in the air, is somehow tastier than usual. In Japanese, we have even coined the word, hanamizake – which refers to the sake you sip under the cherry trees. Then, of course, you need to be careful not to quaff too much booze...”


TATSUYA OE
(Highly-regarded DJ-around-Tokyo who also makes music under aliases like Captain Funk and OE):

“I'm not specialist about hanami, but I think it’s interesting and so symbolic, and a typical way for Japanese to behave – it’s like a small initiation into Japanese society, especially for people just starting out in companies.
“There are much more important (hidden) elements than seeing (mi) the blossoms (hana) themselves.
“There are also some vital things for any hanami party organizer to consider: (a) deciding who to invite; (b) adjusting schedules of participants; (c) claiming a decent space to actually see the blossoms; (d) preparing sheets, drinks, blankets, karaoke machines, and so on – while ensuring that the boss’s favorite songs are loaded into the karaoke machine; (e) getting everyone together; (f) making sure people who drink too much don’t get into fights, go hunting, or generally kill themselves.
“After that there’s the big clean-up, an assurance to the boss that you’re one very smart and reliable person, and follow-up calls and emails (Otsukare samadesita!).
“Perhaps a good hanami organizer should become a good worker in Japanese society – though it must seem weird to people coming from overseas…
“So, needless to say, I’m not talented enough to organize hanami parties!”


KOU MATSUO
(Director of the Gonzo anime Red Garden):
“My understanding is that hanami is an event that marks a new start for everyone – a new school year, newcomers joining companies, and so on. A lot of people use hanami as a sort of bonding ceremony to welcome freshmen, by making it a big drinking party. I guess that’s because there are many people who cannot bring themselves to open up to others, unless they are spoon-fed the opportunities.
“Personally, I try to take advantage of seasonal events – not only hanami, but other annual events too – as they can provide a punctuation mark to daily life. At the same time, however, I try not to be dependent on them.
“One thing is for sure, though... there’s nothing like sipping sake under cherry blossoms, no matter how cold the weather is. Honestly!”


ASAE ONISHI
(Actress in 1 Liter of Tears, Beauty):


“Seeing the cherry blossoms, which mark the beginning of spring, makes me happy.
Sake, food, family, friends… It’s good to get to know each other through the hanami party. When I go to hanami, I feel as if... I wish I could stop time.”


HIROYUKI MORITA
(Director of the anime series Bokurano as well as the Studio Ghibli feature The Cat Returns):
“Cherry trees shed their leaves during the winter, and bloom in springtime, before early summer comes and the leaves begin to sprout anew. Trees that bloom amidst leaves aren’t that uncommon, but in the case of cherry trees, the blossoms dominate the whole leafless tree.
“The sight of a cherry tree in full bloom is such a unique spectacle, and just sitting underneath it makes you feel like you’ve wondered into some ethereal world. It makes you want to spend that special time with your loved ones. I think that the hanami season provokes that kind of sentiment in all Japanese people.”


NAOTO YAMAZAKI
(DJ/musician better known in Japan as Naotoxin):
“Hanami makes me happy, because spring is my favorite season. We get to enjoy good food and sake and, of course, watch the cherry blossoms. Then I really begin to realize that I’m glad to have been born in Japan. Hanami gives us a great chance to think about how beautiful spring is!”


FUMINORI KIZAKI
(The director of anime outings Afro Samurai and Basilisk):
The hanami season coincides with the end and beginning of the school year in Japan, meaning that it is the time of year that graduation and entrance ceremonies are held, or when many people, including new graduates, start new jobs. So, it is the season of parting with old friends, and also meeting new ones.
“Enjoying the beautiful blossoms and the shower of their petals while drinking sake is an activity that makes you realize the Japanese sense of aestheticism, but it is also a very emotional season too, and the beautiful cherry blossoms can have a therapeutic effect in those cases. But since I am not a party-goer, I personally do not enjoy rowdy hanami parties that much...
“There was a rocket-powered kamikaze aircraft, or a manned cruise missile, named ‘Ohka’ (meaning cherry blossom) that was employed by Japan during WWII, and so the ephemeral image of cherry blossoms that begin to shed their petals as soon as they come to full bloom sometimes reminds me of the young souls that died in battle.
Although I’ve never really thought of it this way, I think the cherry blossom season is a very important time of the year for the Japanese people that has been imprinted in our hearts since our childhood.”



TAKA KATO

(Animator responsible for the iconic Honeinu-kun):
“Well, I think the most important thing is not sake, nor food, and not even the cherry blossoms themselves!
“The most important thing is friends. We plan hanami parties to meet together and talk in a completely unusual situation, in the evening, outside! It’s kind of exciting.
“Oh, and the second most important thing for hanami is a coat – you know, an early April night outside can be very cold!”


TOSHIYUKI YASUDA
(Musician, DJ, Megadolly label boss, former member of Fantastic Plastic Machine - and the man behind Robo*Brazileira):
“Hanami is a good excuse to drink with new and old friends. The immediacy and intransient nature of the cherry blossoms also make people think about relationships and ourselves...
“Especially in my case, as it’s my birthday around the same time!”


MANABU ONO

(Director of the anime series Dragonaut)
“We often go for a hanami party with the members of our studio. I always hope to go for a hanami again with the staff of the shows!”

Let's hope he enjoyed this year's comparatively lackluster season - which still was fun despite the travails of global warping.

Sunday, December 20, 2009

REVIEW: Battle Royale (2000)


Perhaps not quite so internationally obscure now - nine years on - as it was when it was first released in Japan, Battle Royale would have made a far more fitting final movie for director Kinji Fukasaku instead of its lesser sequel three years later... which in fact his son Kenta polished off after the director's death at age 72.

You certainly couldn’t take style, content and inspiration any further a field from Fukasaku senior's earlier action-adventure romp Legend Of 8 Samurai, nattered about in this blog two weeks ago.

So clear your frazzled silly-season brain. It’s a not-too-distant future. Japan is again a fascist state. An arbitrarily-chosen bus full of high school kids are knocked out with sleeping gas, kidnapped, then shipped on to an isolated island - where they’re informed by their embittered former teacher Kitano ('Beat' Takeshi Kitano) that the only way they will leave said island is by killing all their classmates – or by ending up in a body-bag themselves.

In order to enforce this mandate, each student is shackled with an exploding collar, à la Wedlock, and Kitano punctuates the students’ plight with a well-aimed penknife to one of the girl’s foreheads, thereby launching a battle for self-preservation.


Shuja (Tatsuya Fujiwara, more recently the star in the live-action Death Note franchise) and Noriko (Aki Maeda; she’s appeared in both Gamera and Godzilla movies, did the voice of Yuki in the Studio Ghibli anime The Cat Returns, and teamed up last year with Kiichi Nakai in Samurai Gangsters) team up, then are later aided and abetted by mysterious transfer student Kawada (Taro Yamamoto, who appeared in Seijun Suzuki's musical romp Princess Raccoon (2005), with Hiroko Yakushimaru from Legend Of 8 Samurai).

There’re some hilarious acting histrionics and amateur execution techniques along the way, and the true stand-outs are Takako (played by Chiaki Kuriyama, a.k.a. Gogo Yubari in Kill Bill: Vol. 1), Yuko Miyamura (who does the hyperactive and chillingly genki Training Video Girl, and previously voiced Asuka Langley Sohryu in the anime series Neon Genesis Evangelion) and – of course - Takeshi Kitano.

While he previously popped up in a not-so-memorable English language role in the Keanu Reeves vehicle Johnny Mnemonic (1995), Kitano was outstanding in his own movies Sonatine (1993), Hana-bi (1997), and Zatoichi (2003). Here the actor underpins the rancorous teacher - with a 'pen' chance for revenge - with a whimsical ease and blasé humour that’s gloriously disturbing.

Some incongruous orchestral music by Johann Sebastian Bach is thrown in for good measure, as well as an overall soundtrack by Masamichi Amano – who previously scored the ultra-violent anime Legend Of The Overfiend (1989).