Monday, May 30, 2011

Demise of a Classic Old Tokyo Manor


Two evenings ago I was walking home in the rain from Jiyugaoka Station, and spotted about 10 fire engines, a horde of people, and a huge billow of smoke that drifted up into the sky in spite of heavy rain from an approaching typhoon.

The sad fact was that a classic Taishō period (1912-26) mansion was up in flames, and the firefighters were struggling with a huge blaze that consumed a wonderful, historic wooden building.

Today I went back to see the outcome.

The photo (right) was taken just over the front gate, where a wheelchair was disturbingly left and police tape wound across the entrance. The destruction is pretty intense - the whole building is a skeleton now, with the refuse of burned telephone books, kimono, furniture, a TV, and even a coveted old reel-to-reel tape player parked on the small roof above where the front door used to be.

For Okusawa, a generally wealthy area, this is an incredibly big space. And sadly it was probably the largest old house I'd seen in Tokyo - till now.


This is the way the place was 18 months ago.

The trees surrounding the huge property made it difficult to get a decent shot from the street; I always intended to climb the wall (discreetly!) and get a couple of good photos. Now, sadly, it's too late.

I just hope the people got out of there safely.

Saturday, May 21, 2011

Yamataka Eye 山塚アイ of Boredoms


With scraggly hair and a raucous character, Tetsuro Yamatsuka (left) is not the best candidate to hustle home and greet sheltered parents.

Despite Yamatsuka’s predilection towards changing his DJ and production names, he’s best known as Yamataka Eye, and as a member of Boredoms - one of the greatest noise rock bands in a country equally renowned for Melt-Banana and Merzbow.

Formed between 1982-1986 and likely inspired by The Birthday Party and Einstürzende Neubauten, Boredoms have rotated their membership while keeping Yamatsuka in the role of front man.

Known for his atypical vocal workouts and post-production prowess, Yamatsuka was a pivotal player in the band’s most enduring album, Pop Tatari (1993), which still stands strong 18 years on.

Beyond Boredoms, Yamatsuka also recorded an EP with Sonic Youth (1993’s TV Shit), worked with Bill Laswell’s band Praxis, John Zorn’s Naked City and released two brilliant live LPs in 1995 with experimental composer Yoshihide Otomo (under the underplayed alias of MC Hellshit & DJ Carhouse).

Thrown together in disseminated ways, Yamatsuka is a rock kami unto himself—hair awry and all.

** Excerpt (my hack bit) from a Metropolis magazine article dedicated to Japanese rock gods, published yesterday - hit HERE for more.

Wednesday, May 18, 2011

Kuramae 蔵前: Downtown Tokyo


I thought it was prime time to get off my self-indulgent corporate head-butting now that I've let off a bit of steam and come to understand these things are little more than storms in teacups in the grand scheme of things. ;)

Anyway, the other day I was in the Kuramae (蔵前) district of downtown Tokyo, conveniently packing my camera, and took some happy-snaps of what is quite an inspiring older area of this city.

It's located on the west bank of the Sumida River, near Asakusa, and apparently used to be the site of the government rice granaries in the Edo period; it's still to this day a warehouse/wholesale area and there're some amazing old buildings to be found.

The area offers up a great view of the almost-finished Tokyo Sky Tree, and it turns out that, up until 1984, this was also the home of post-war sumo - namely the Kuramae Kokugikan (蔵前国技館), a building erected by the Japan Sumo Association in 1950 since the previous, bomb-damaged Kokugikan had been taken over by occupying Allied forces after World War 2.


Tournaments were held in Kuramae until September 1984, and in January 1985 the new Ryōgoku Kokugikan was opened nearby.

Kuramae still has a few interesting toy shops, smaller shrines and temples, some signposted in English, and a number of smaller shops that look unchanged since the Edo era (1603-1867) selling everything from cleaning materials to sumo-related goods.

And then there are the exceptionally old school toy shops and the book shop pictured here (see top of page).

Kuramae Station (蔵前駅) is a subway station on the Toei Asakusa Line and the Toei Ōedo Line, in case you feel like checking it out when/if you come here.


I happen to teach at a kindergarten in Kuramae on Mondays, so on this occasion wandered around a bit post-lessons.

Ace. I loved the snakes-in-a-box (right), and the area is an absolute treat.

Saturday, May 14, 2011

Facebook: Inauthentic Name - Temporary Block


Yesterday, when I tried to log-in to Facebook, I realized I couldn't - for one of the first times in almost four years online with this social network thingy.

When I do try to log-in, I get a very interesting message.

It comes up with the enticing headline "Inauthentic Name - Temporary Block", then tells me in finer print that "Unfortunately, the name you entered was not approved by our system. Please wait 10 minutes and then try again." Having waited 15 minutes (that extra five as a buffer), I followed this sage advice, and got the same message again - this time with the warning that "Please note that if your next attempt is also unsuccessful, your account may be disabled."

I then waded through the maze that is Facebook Help, and finally discovered a portal via which to contact them, explaining that this is my real name, and not in fact inauthentic as the system now seems to believe.

I received this automated response: "Your account has been temporarily suspended because your profile does not list your real name. Facebook requires all members to provide their real first and last names."

Which is weird, because my name is Andrez Bergen, and that's the moniker I use on Facebook.

I don't remember having to provide legal proof or ID in order to first join Facebook three or four years ago, so I tested the waters on this and just went and signed up under an alias - and, hey presto! No problem. Easy as cooking boiled eggs.

Also, if they're so strict about real names being used, how come there are so many completely obvious aliases allowed on Facebook for DJs and band members? So, I read the automated email further and it says:

"Nicknames can be used, but only if they are a variation on your real first or last name, such as 'Bob' instead of 'Robert'. Which is, I guess, what 'Andrez' is - a nickname variant of 'Andrew' from when I was a teenager that I've adopted on a permanent professional basis in journalism, music and for my novel. I also have it on all my business cards - copies of which I sent through to Facebook.

This morning a real person, Pat, wrote back from Facebook but in no less automated a manner. She didn't address me personally, and added that "the only way we will be able to verify ownership of this account is if you reply to this email with an attached color image of your government-issued photo identification confirming your full name and date of birth. Rest assured that we will permanently delete your ID card from our servers once we have used it to verify the authenticity of your account."

Which prompted me to contact the Australian Embassy here in Tokyo - who strongly recommended against my sending any photo of my passport to anyone on the Internet due to concerns of fraud. I'd agree with that.

So I've contacted Facebook once again, advising this and again sending copies of my business cards to show that 'Andrez Bergen' is no sham moniker. It would be great to understand why I'm suddenly, without warning, being forced to prove my identity after more than three years on Facebook, and even when I do try to do so they decline to believe me.

All of this probably sounds like a complete waste of time (it does to me!), but I use this account not only in relation to my journalism work and for networking in business, but with friends and family on the other side of the world - who'll be even more unnecessarily worried on top of the ongoing concerns about earthquakes and the nuclear problems at Fukushima power plant.

Start from scratch with a new account?

Sounds tempting, but I put so much effort and time into the existing one, and when there's a cause to fight against a pig-headed bureaucracy, I can't help myself. No doubt I'll lose, but I'll go down fighting in an equally pig-headed manner! ;)

Wednesday, May 4, 2011

Production I.G slides out Drawer Hobs


I’ve also had a great relationship with Production I.G over the past six years or so thanks, chiefly, to Francesco Prandoni at the International Operations division.

We’d done stuff together before on Tokyo Marble Chocolate and Mamoru Oshii’s Assault Girls, and two months ago, just before the earthquake kicked this country in the stomach, I had the absolute pleasure of working again with Francesco on the English subtitles for a brand new anime feature from Production I.G.

It’s called Drawer Hobs (Tansuwarashi たんすわらし in Japanese), and what it lacks in the action/mecha quotient the story more than makes up for with a playful sense of humour and a refreshing, quirky and whimsical look at contemporary life in this city – giving even more clarity post-tremblor.

Plus it has a range of oddbod kids that reside in a chest of drawers and do such offbeat chores as checking earthquake safety (ironic), cooking up feasts, drinking beer, and wild girls’ makeovers.

But the power here is not just in the visual content or the surreal nature of the yarn – both of which are superb, by the way. It’s the real people involved here who take the venture into lofty territory.

You can read more about I.G's plans for world domination @ Forces Of Geek.


DRAWER HOBS © 2011 Kazuchika Kise/Production I.G/Japan's Agency for Cultural Affairs

Tuesday, May 3, 2011

Tobacco-Stained & Out There


Well, the novel is now out - in fact it has been for a month now - and slowly starting to garner the occasional review like the one at Forces Of Geek.

My publishers are currently putting together the digital versions for iPad and Kindle (stay tuned), but in the meantime the classic old school paperback - sorry, trees! - is up on Amazon UK, Amazon USA, Amazon Canada, Amazon Japan, and Alibris.

Even better, you can order direct from my cool cat publishers Another Sky Press, where the price for the paperback is much cheaper ($4.74 plus postage), and you also get bonus glossy bookmarks (see above) featuring the cover artwork on both sides.

If you feel like it, while online @ Another Sky you can contribute more so that the publisher, the cover artist (Scott Campbell) and I actually make some dosh in the long run.

The funky postcard is not yet available except here in Japan, but I'm working on it, and eventually hope to achieve world domination with bumper stickers, a Scout patch and iPad apps... even if I don't have one of those darn tootin' gadgets yet myself.

Bah; humbug.

Saturday, April 30, 2011

Little Nobody interview (in Japanese)


There's a new interview up at Japanese site Clubberia, which is ostensibly there to focus on an upcoming gig I'm playing @ Unit in Tokyo called Charter the Top Number.

It's set to happen on Saturday 7th May, is being put on by the cool cats at Fountain Music/Plaza In Crowd, and features other DJ/producers Shin Nishimura, DJ Wada (Co-Fusion), Hiroshi Watanabe, Foog, DJ Sodeyama, Dublee, Temma Teje, etc.

You can find out more about the party HERE.


If you just so happen to be in Tokyo that weekend, I definitely recommend it as these guys are the cream of what's happening over here in Japan in the techno/house/electronica scene; I just happen to be riding roughshod on their coattails.

In the meantime, if you do happen to speak a smattering of Japanese (日本語) or are just plain curious, you can check out the Little Nobody interview/waffle HERE.

There's stuff about the new album, the novel, and the recent disasters in Japan - from a more positive perspective, methinks.

Friday, April 29, 2011

Qantas: the Fillet of Australia?


I hate to be somewhat moronic here and spin a droll comment on a corporate logo - that's done enough in this world on cantankerous blogs as much as in the 'professional' media.

It's also a bit passe. But I'm a little angry, and whether or not a concept is old hat or not doesn't really swing for me at the moment.

The thing is, if Qantas truly is the Spirit of Australia, then the email I just got from them is a sad state of affairs and makes me ponder swapping citizenship.

Regardless of whether or not you've read anything else in these pages, most people would know about the March 11 earthquake in the Tōhoku region of Japan, and the resultant aftershocks and problems with the Fukushima nuclear power plants.

Obviously these have been of a tiny bit of concern to even those of us here in Tokyo, though we're 230km away; the water supply was briefly (and marginally) effected by radiation, and while things now seem to be coming under control, for a few weeks there no one knew what to expect.

During that time my family and I discussed options, including the possible need to fly out of the country.

I've been a member of Qantas Frequent Flyers since the mid 1990s, and a Qantas aficionado since flying as a wee tacker with the old TAA domestic airline in the 1970s (it was incorporated into Qantas). In English lessons I teach, Qantas occasionally comes up and in those moments I've got all star-struck and proudly mentioned the airline's longevity (it's the third oldest in the world), good safety record and the origin of its acronym (Queensland and Northern Territory Aerial Services).

So, being a bit of a fan and veteran frequent flyer, I decided to check how many points I had on my Qantas account - and discovered there were zero.

This was news to me. If they don't want to pay postage costs to Japan (and fair enough to), then the company could at least email me (free) to advise that they're deleting in excess of 10,000 frequent flyer points, with a reason as to why.

But I'd heard nothing.

Being a long-time customer, a fellow Aussie, and in a potentially diabolical situation, I wrote to Qantas early on in April as follows:

Dear Sir/Madam,

This is Andrew Bergen, an Australian based in Tokyo, Japan, for 10 years now. I hope you can help me to sort out a matter of surprise and relative discomfort.

I have been a long-time member your Qantas Frequent Flyer program, and while I may not fly so regularly now (I have a young family with a five-year-old daughter), we are preparing ourselves for the worst here in Japan, and looking at flying out if the situation with the nuclear reactors happens to worsen.

I was under the impression that I had 10,000+ points on in my Frequent Flyer account, but when I checked just now it appears that I now zero points - because 10,169 points were deducted from my account on 28 February 2010, but I was not warned about this in advance, or otherwise advised of the deduction, until I checked today.

Is there some time limit imposed on points? I wasn't aware of any expiration date on points.

And in the circumstances, would it be possible to waive such time limits? These points would certainly help us (in a small way) to pay for the three tickets we will need to leave Japan in an emergency.

I hope you can help us further,

All the best,
Andrew Bergen


Almost two weeks passed before I received the courtesy of a reply, so I'm grateful that the reactors up north have been as patient as we have.

Unfortunately it wasn't quite what I'd hope to hear. While I'm no stranger to bureaucratic corporate policy trumping basic human decency, it's still sad to see long-time loyalty to a huge, profitable company respected... with nothing at all except a notion of brushed-off indifference:

Dear Mr Bergen,

Thank you for contacting The Qantas Club and Frequent Flyer Service Centre.

I'm unable to reinstate your points that expired in February 2010.

Your points expired because there wasnt any activity on your account over a three-year period. We make every effort to let our members know the status of their points through their online Activity Statements.

If youd like to know more about the Frequent Flyer program, please visit qantas.com/frequentflyer where youll find full details of your membership benefits, along with our latest news and offers.


The Spirit Of Australia my arse - and for god's sake get a spell-checker next time you mail me.

Coincidentally, two days ago I lost a few cards while on my way to work in Kanagawa. One of those cards was my worn out old Qantas Frequent Flyer Card.

To whomsoever finds it: keep the thing. Souvenir it. I don't need the card now, and certainly won't be replacing it.

Monday, April 25, 2011

Hardboiled Little Nobody


You know, I just looked up the word ’schizophrenic’, probably on the worst possible resource (Wikipedia), and it says that it’s “a mental disorder characterized by a disintegration of thought processes and of emotional responsiveness. It most commonly manifests as auditory hallucinations, paranoid or bizarre delusions, or disorganized speech and thinking, and it is accompanied by significant social or occupational dysfunction.”

Commonly, however, most people think of schizophrenia as related to those people on the train, bus or tram who’re seated there talking to themselves, quite often in heated debate, which is what I decided here to try out for size: Yacking with myself about myself. You know, a bit of me, myself & I. Weird concept, for sure, especially before breakfast.

It’s occasionally interesting (and some optimistic types would suggest insightful) to read what people write on their personal soap boxes across the broad spectrum of social networking sites – a form of schizophrenic propaganda bomb, since these diatribes are usually inscribed in the comfort of one’s own home and head space.

Then there are mine, which somewhat fizzle.

In my ho-hum bio on Resident Advisor it says “Australian expat Andrew Bergen (a.k.a Andrez) has been making music as Little Nobody since 1997, and relocated to Tokyo in 2001. Formerly from Melbourne, Bergen helms Melbourne/Tokyo label IF? Records. He’s played live in Tokyo, Osaka, London, Detroit, New York, San Francisco, Beijing, Windsor (Canada), in the Netherlands, Hong Kong, Singapore, Sydney, Adelaide, Brisbane and especially Melbourne.” Yawn. I can’t actually remember when I hacked together this vacuous claim-to-fame – I think in about 2006 or 2007, around the time that I did a more churlish one for MySpace, which now sits pretty on Soundcloud: “Entrenched in Tokyo, Andrez likes to steal furtive glances in a pseudo-metaphysical rear-vision mirror, greedily brushing up on the ‘found art’ chapter of the Dadaists’ handbook – all the time stimulated by Marcel Duchamp’s display of a toilet urinal. Blah, blah. Oh yeah, and he also happened to run IF? Records.”

(By the way, that MySpace site is a chaotic mess; soon I’ll get around to tidying it up, but these days… does it really matter?)




The platform on Facebook for Little Nobody is just plain sad: “Little Nobody is the 14-year musical itch of Tokyo-based Aussie expat DJ/producer Andrez Bergen, also known as Funk Gadget, DJ Fodder, Schlock Tactile, Conversational Dentures, Atomic Autocrac, and a member of the LN Elektronisch Ensemble.”

Insightful my arse.

Insight probably better comes via the music itself I purport to make, and let it be said right here and now that making music is for me a hobby rather than a profession – something I like to potter over in the wee hours or in those moments when my wife and 5-year-old daughter aren’t home. I do often play the half-finished tunes to my daughter (she’s one of my best critics), but the act of making music in this day and age is hardly one that’ll support family livelihoods, so I have a rash of other jobs that actually pay the bills.

Also I have a deliberate tendency for waywardness in my music that tends to make chart-action unhappy. See, I was brought up listening to jazz and Gene Krupa, and discovered Cabaret Voltaire, Throbbing Gristle, and a post-punk mentality in my late teens; my Melbourne Uni thesis was about the industrial music putsch in Britain in the 1970s. This madness just has to have some kind of disruptive effect on any kind of attempt at ’stream-lined’ music or the quintessential smooth groove.

Other people tend to be more tactful, which is nice. Sebastian Bayne, who took over IF? Records last year, in promoting my new album Hard Foiled wrote that “Little Nobody and his unique take on the regions between house and techno can be often times raw, with a swinging groove yet never formulaic; he treads a path that would be considered unsafe by other artists, letting nothing get in the way of creativity.”

That sounds far better than anything I’d tend to ‘fess up here, so let’s stick with this theory.

You can read more of this somewhat schizophrenic and completely self-indulgent waffle on the Techno How? site.

Thursday, April 21, 2011

Reasons to be Cheerful, Part 1


Something lighter here, as life appears to be edging back on track and into the realm of normality, at least for those of us in Tokyo and elsewhere - at a distance from the smoldering nuclear smoke-stacks at Fukushima.

Personally, I have a lot of reasons to celebrate.

One of these is my family, and my five-year-old daughter Cocoa, who is a just plain god-send. She's funny, talented, and growing up way too fast!

Another is my first novel Tobacco-Stained Mountain Goat, which was officially released through Another Sky Press at the beginning of April and is now available on Amazon. Yep, it's on Amazon (the UK, USA and Japan versions) and I keep clicking on one of these everyday to peer at the wayward tome and sigh - silently, of course. I don't want people to concern themselves too much with my mental state.

It just got reviewed by Forces Of Geek today, and the reviewer, Tony Pacitti, seems to completely "get" where I was coming from. I love what he writes, even the negative. You can check it out here. Wow.


Another reason to be cheerful is my new Little Nobody album, Hard Foiled, which is finally being released today. It's a collection of electronic/techno stuff I've cobbled together over the past couple of years and is being released through IF? Records.

There's a digital version via Beatport as well as a limited edition CD (with less tracks, but still clocking in at 70 minutes) via Lulu.

Last reason? I live in Tokyo. And I love Japan. This is my home.