Showing posts with label Urusei Yatsura. Show all posts
Showing posts with label Urusei Yatsura. Show all posts

July 24, 2016

Today's Hotness: Ski Saigon, Urusei Yatsura, Mincer Ray

Ski Saigon -- Brings The Storm Cloud (detail)

>> One of the more mysterious and evocative projects we've followed here at Clicky Clicky in recent years has been Mooncreatures. Although the music and premise of its final long-player was exciting, we were disappointed when the London band and the LP's fictive narrative intersected in reality, and Mooncreatures announced (sort of?) it was no more. Anyway, band mastermind Rhys Griffiths has returned with the even higher-concept project Ski Saigon, whose debut release Brings The Storm Cloud is due toward the end of the summer. The six-song set is inspired by '60s Cambodian pop music and concerns a fictional historical (wait, what?) narrative about French soldiers tiring of the tropical climate of Cambodia in the mid-20th century and setting about creating indoor snow skiing facilities in Saigon and Phnom Penh. Really, you just read that. Brings The Storm Cloud opens with a short, shimmering audio approximation of those blurry scene transitions in film and TV that suggests the commencement of a flashback. As soon as listeners have oriented themselves to the tune, "Wintergarden," it vanishes, and then the EP begins in earnest with the ensuing, fully realized "Sweet Dreams In The Botanics." The mid-tempo swayer rides a steady canned beat, above which sustained synth and simple guitar chords and a pleasantly lazy lead guitar obscure hushed lyrics. The tune's escapist fantasia is amplified by a 45-second coda wherein the aforementioned synth chords give way to an insectoid drone and -- curiously -- the sound of water (although we expect it is easier to present the sound of water than snow). Art Is Hard Records issues Brings The Storm Cloud Aug. 26 in a limited edition of 100 32-page book/CD bundles, as well as a digital download. Pre-order the book here, and click through the embed below to acquire the digital files. The demise of Mooncreatures felt very premature, and we're quite excited by the possibilities presented by Ski Saigon, either as an ongoing project or at least as a sign that Mr. Griffiths has no intention of quitting music any time. Stream the aforementioned "Wintergarden" and "Sweet Dreams In The Botanics" via the Bandcamp embed below.



>> We've been holding out hope for a good six years that the mighty Glaswegian indie rock combo Projekt A-Ko would return to us. Imagine our surprise when we received word in our inbox earlier this spring that not Projeckt A-Ko, but the trio's notable, '90s-spawned (and we suppose better-known) precursor Urusei Yatsura, would beat the three to the new release bin in September. Well, technically, it's old music, but it is nonetheless exciting. On Sept. 2, the choicest cuts from Urusei Yatsura's highly regarded BBC recordings (which included, among others, five sessions for John Peel and three for Steve Lamacq) will be released as an LP via London's Rocketgirl. The press materials accompanying the announcement speak, with the benefit of distance and hindsight, of Urusei Yatsura's music shining particularly bright when recorded under the constraints radio sessions necessarily present. And it is hard to argue with the results. Fans can hear a particularly fizzing iteration of the rocking 1996 A-side "Phasers On Stun" below. Rocketgirl will release You Are My Urusei Yatsura on 12" vinyl, CD and as a digital download Sept. 2. The LPs are pressed to snappy neon pink media and available in a very limited edition of 300 pieces, so you had better get to pre-ordering if you want this. To be fair to Urusei Yatsura/Projekt A-ko's Fergus Lawrie, he has produced new music over the last seven years, including some engaging "haloed guitar" guitar noise pieces with his project Angel of Everyone Murder. But given the blinding excellence of Projekt A-Ko's sole LP, 2009's Yoyodyne [hypertext!], we remain hopeful that that...erm... project will also be resuscitated. In the meantime, we've the Urusei Yatsura collection to look forward to: stream the aforementioned "Phasers On Stun," recorded for the BBC Evening Session May 8, 1996, via the Soundcloud embed below. Speaking of, fans should pay VERY close attention to the UY Soundcloud, as it features a trove of material, including some cuts found too late to be considered for inclusion on You Are My Urusei Yatsura, like this magical acoustic take on "Burriko Girl."



>> The charm of lo-fi, and particularly '90s lo-fi, is that it characteristically sounds thrown together, but still sometimes fumbles its way to transcendence. Sometimes that's just the sound (the example we think of it this Perfect Pussy interview that describes recording clean basic tracks and then layering noise), and sometimes things are actually, you know, thrown together (see every live thing Crazy Horse did with Neil Young). Although we've previously deemed the act mid-fi, Mincer Ray's delightful, be-flanneled recent digital EP Early Morning Am Moritz firmly falls within the latter category. A brief note at the Berlin-based act's Soundcloud reports the short stack of songs was "[c]onceived & recorded to cassette in 3 hours & 47 minutes (more or less)." The collection commences strongly with the yearning, mid-tempo, and alt.-countrified strummer "Everything Is Green," a should-be hit whose straightforward presentation can't hold down the sweeping melody of the big, lovelorn verse. With almost no warning the verse become its chorus, which points to an anthemic, ripping guitar solo that aspires towards David Pajo's amazing face-melter from Palace Brothers' epic "Horses." The balance of Early Morning Am Moritz isn't quite as memorable, although the concise basher "Ned Norris" is bracing to the point of infectious and the loose and gritty "Dine" wouldn't feel entirely out of place on Viva Last Blues. Mincer Ray's EP hit the Internerds in late June, and you can stream the entire thing via the Soundcloud embed below (click through to download all five numbers as .wav files). The set is also now available on cassette via the Chicago and Berlin-based Shaky Tooth Tapes. We last wrote about Mincer Ray right here in 2014.



April 21, 2014

Five: Projekt A-ko's Yoyodyne



There has been a 57:32-sized gap in the 21st century Internet for years, and it has been a source of regular disappointment, not being able to easily recommend to the attention of friends one of our very favorite records, Glaswegian noise-pop act Projekt A-ko's titanic 2009 full-length Yoyodyne. The album was released five years ago yesterday, and while we have very happy personal associations that go along with the record, Yoyodyne is remarkable for a number of reasons any indie rock fan can grasp: amazing hooks, massive guitars, visionary songcraft, engaging dynamics and mind-boggling lyrics. We named it our second-favorite record of 2009 here, and band fronter Fergus Lawrie kindly wrote a track-by-track guide to the record for Clicky Clicky readers here back in the day.

While the album has a purposely glacial opening fade-in that may stymy impatient listeners (an homage to bygone Boston chimp rock heroes Drop Nineteens and the title track to that band's watermark 1990 LP Delaware), Yoyodyne presents an embarrassment of hits, all in a row, straight across the record. Commencing with the alternately skittering, dreamy and thunderous "Hey Palooka!" and closing with the uncharacteristically spare, powerfully poignant and horribly resigned ballad "Don't Listen To This Song," it's impossible for us to pick favorite tracks from the album. But we've certainly got favorite moments, moments we carry around with us every day. There's the break-down at the beginning of the second verse of "Palooka!," when Mr. Lawrie sings "and all the stars are out, they kiss you on the mouth, they kiss you on the...." There's the repeated observation "every day you fail" in "Nothing Works Twice;" the barreling beginning of "Supertriste Duxelle;" and the repeated exclamation "Dear God" in "Here Comes New Challenger!" (the second of two songs on the album whose title contains an exclamation point, from an album on which every song title could just be piles of exclamation points). The album does not let up.

Maybe you've noticed: we unreservedly love Yoyodyne. Sure, it reminds us of spring, it makes us think of the birth of our daughter, but most important of all it is fucking awesome. So awesome, in fact, that we asked Lawrie personally if we could post the record to YouTube for a while so people could have a listen and then buy it. It's excellent, and people need to hear it, and we are thrilled to have received his consent in time to post the record for this anniversary. While a follow-up was mentioned as soon as Yoyodyne was released, and in the intervening years has apparently been started and stopped numerous times and as recently as two years ago, and there is a fairly active rumor mill regarding new music from the trio, there has not yet been any formal successive release from Projekt A-ko. Mr. Lawrie's interests have led him deep into both documentary work and Glasgow's improvised noise scene, and besides a thrilling cover of Drop Nineteens' "Winona" that was emailed to certain fans years ago, the wait for new music from the act has been, well, a wait. But we'll always have Yoyodyne, and we continue to be hopeful that we have not yet heard the last from Projekt A-ko.

Buy Yoyodyne here.

Projekt A-ko: Facebook | Last.FM | MySpace

Related Coverage:
Today's Hotness: Projekt A-ko
Today's Hotness: Projekt A-ko
Today's Hotness: Projekt A-ko
Today's Hotness: Projekt A-ko
Today's Hotness: Projekt A-ko
Fergus Lawrie On Album Of The Year Contender Yoyodyne
Today's Hotness: Projekt A-ko
Projekt A-ko Is Awesome And This Is A Post About Them

July 6, 2011

Today's Hotness: Mike Quinn, Projekt A-ko


>> We were excited to hear from Mike Quinn, who in the prior decade fronted erstwhile Scranton, PA-based indie rock champions Okay Paddy. That band's 2006 set The Cactus Has A Point [review here] was one of our favorite records of 2006. Around the time Okay Paddy hung up its gloves for the last time, Quinn moved on to the more trad-leaning folk/vaudeville/bluegrass concern ...And The Moneynotes, which put out a couple nifty, sometimes wacky, releases including New Cornucopia!, which we reviewed here in late 2008. Well, all that set-up is just to contextualize the news that Mr. Quinn is back with an enjoyable solo set called Magico, which was released June 7.

The collection is proof positive that Quinn continues to both embrace traditional, roots-leaning styles and possesses a charming sense of humor. The uptempo, harmonica-appointed, acoustic strummer that opens the record is titled "Big Shit." We have no idea what the shambling rocker "What It Wud" is about, but Quinn's diction delivering lines like "then maybe we oughta go out to Fairmount Park, see if they got any chocolate sauce like they did before" is either aping Adam Sandler's portrayal of the undersmart or sorta satirizing a Pennsylvania accent, to brilliant effect. The highlight of Magico has to be "The Devil Has A Heart," which commences with shuddering slide guitar and buries a pretty piano melody before setting a wickedly jaunty groove. As with much of Quinn's recent work, the chorus sounds best when hollered with thick glass beer mug in hand. We've embedded the curious video for the tune above, in which Quinn appears to imagine a series of lonely accidental deaths out in the beautiful Pennsylvania wilderness. Buy Magico from Bandcamp right here.

>> It can't all always be good news, dear readers. Word came down Monday from amazing Glaswegian indie rock underdogs Projekt A-ko that a planned second album has been, ahem, scotched for now. Fronter Fergus Lowrie, he formerly of '90s luminaries Urusei Yatsura, contacted folks who had paid for a pre-order of the album last year, stating with admirable frankness that "[w]ork, births and deaths have all played a part in the delay, but the main cause has been a continuing evolution in my understanding of tone and texture. Multiple recording sessions have been ditched and each time I seem to be moving further away from any destination. Until I can work out where I’m at I can’t guarantee when (or even if) the next Projekt A-ko album will be completed." Mr. Lowrie continues working with his experimental noise outfit Obscure Desire of the Bourgeoisie and has devoted a lot of time recently to co-producing a documentary about the abstract noise scene in Scotland. "This exposure to experimental music has made me think long and hard about my own musical assumptions and experiences," Lowrie wrote. All of that said, he has left open the door to perhaps one day getting a second Projekt A-ko record completed, and we are quite hopeful this happens. The trio's debut Yoyodyne was our second favorite album of 2009.

April 17, 2009

Fergus Lawrie On Album Of The Year Contender Yoyodyne

projekt_a-ko_alexwoodward-crimsonglow_edit
[PHOTO CREDIT: Alex Woodward/Crimson Glow Photography] We've raved about Projekt A-ko's towering debut Yoyodyne so much already that a review at this point would be superfluous. Instead, we've asked band fronter Fergus Lawrie for a track-by-track breakdown of the record, whose official release date is Monday in the U.K. Mr. Lawrie was kind enough to oblige, but first we do have these remarks: if there is anything disappointing about Projekt A-ko's full-length debut it is that, at least for the time being, the band is solely a recording unit, and no touring to tout the record is planned. This is a shame, as we believe Yoyodyne is the best record released in 2009 to date. Lawrie, et al.'s potent amalgamation of early (read: good) Mercury Rev, Teenage Fanclub and mid-period Dinosaur Jr. would certainly win fans were the band to snag a slot on a hot tour supporting, say, Dinosaur, or Johnny Foreigner, or... well, it doesn't really matter. There's no tour to look forward to for now. There's also no distribution, no press agents (beyond some help from Darren Walker of Filthy Little Angels, who initially hipped us to the record), no advertising -- Yoyodyne is wholly DIY, released on Projekt A-ko's own Milk Pie imprint, only available by Internet order and in select shops in Glasgow. The good thing is there are more recordings in the offing, including what promises to be a shattering cover of Drop Nineteens' "Winona," which is one of Lowrie's all-time favorite tracks (and one of ours, as well). So we've that to look forward to. Now let's see what Lawrie has to say about the songs on Yoyodyne.
Track One: Hey Palooka!

"How’s it feel to be surreal, how’s it feel to be corporeal?" The oldest song on the album written (as a development from Urusei Yatsura songs "Plastic Ashtray" and "Majesty") as part of an ongoing effort to get to grips with "Winona" by Drop Nineteens, an all time favourite song of mine -- we’re working on recording a cover version just now. The long intro to "Hey Palooka" is kind of meant to be intentionally frustrating to people who expect bands to put the obvious "hit" song at the front of the album. The tracklisting was devised by my friend Captain Polaroid as I felt too close to the songs. I think he did a great job of creating a flow and making the album a real grower. Also includes the phrase "pyroclastic flow" (thanks to Kenny!).

Track Two: Nothing Works Twice

"A unique confluence of movement and time -- or not." Sardonic attempt to acknowledge the futility of being in a band coupled with a warning to stop being in a band whilst still being in a band, doh! At one point we actually literally rip off Pixies as opposed to being "heavily influenced" by them or whatever...

Track Three: Supertriste Duxelle

"A gown of Martian spores." Possibly a Stereolab song with the drone surgically removed. Lyrically seeking synthesis of retro / sci-fi / historical / hardboiled / personal / microbiological inspirations. I tried to be fearless with words for these songs even if it meant overdoing it a bit sometimes.

Track Four: Here Comes New Challenger!

"Hey Keiko, give a little milk!", "I tried, but my tears were wine." A light-hearted romp through mortality and the human condition. All post-modern pop is self-aware and in this case the last verse serves as a critique of the song itself [This is totally our favorite part, too -- Ed.].

Track Five: Xavier

"Wish I had a luminous left arm!" An historical epic. A long time was spent structuring this song and I guess it just about hangs together. References include 1) a saint who lived in a cave in Fife and copied the Bible by the light of his glowing right arm and 2) The Bangles. The guitars actually sounded even more foul and brutal until Steven Ward -- who did an incredible job producing and engineering the album -- ditched a couple of Fender Twins we’d used in the recording from the mix. I love Elaine’s vox on this song, especially at the end. It's been great having her start to sing and I hope she’ll be doing a lot more.

Track Six: Molten Hearts

"Eyes like atomic decay, hearts melt like snow bouquets." Finally, the secret truth about Dr. Phibes and Vulnavia! This was the last song written for the album and a lot of fun to record and play; I’d love to play it live. The drums and some of the guitars + vox for this and "Ichiro," "Scintilla" and "Black Empire" were recorded at CaVa studios in Glasgow by Geoff Allan.

Track Seven: Scintilla

"Jars of State moonshine." Drunken Cosmonaut fires death ray at random, or thinks he does. We had a "2001: A Space Odyssey"-type arrangement for the middle drone, but it made the section too exciting so we dropped it in order to save all the extra instrumentation until the end of the album. The Tommy Cooper-style guitar solo was completely unrehearsed and done in one take -- I’m not sure whether to be proud of that or not...

Track Eight: Ichiro on 3rd

"The mind democratic, the heart is a fascist." Ichiro Suzuki [outfielder for the Seattle Mariners, according to Wikipedia -- Ed.] trapped in the jaws of America. He fantasises about a past lover before hitting a home run. He runs towards Japan. Too late, he’s already dead!

Track Nine: Otaku Blue

"Kevlar Superstar do your vinyl best." Underground Celebrity-obsessed geek thinks he's a robot. The alternative stars sing to him from the chorus to try and make him see sense. Nearly all the vox for this album were done in one take (yeah, I know, it shows!) apart from the little scream before the final verse which I had to do about 12 times before it sounded remotely convincing. That was in The Diving Bell with Marcus Mackay, who recorded some of the guitars and vox [he also recorded Frightened Rabbit's Sing The Greys, or at least parts of it -- Ed.]. My voice is knackered from belting out "Kewpies like Watermelon."

Track Ten: Utopia

"Anatomise thy foppery, just don’t fake on me now." Yes, the chorus is a Swirlies reference! It's possible the album breaks out in a fit of optimism at this point before collapsing into noise. We used a lot of effect boxes in a feedback loop to create the sonic squiggles at the end.

Track Eleven: Black Empire

"No man is an island but I am an isthmus." Some nice crisp drum fills from Ian. The distorted vocals were created using a baby monitor.

Track Twelve: Yoyodyne (Scintilla II)

"You only really exist in the days you fight." These last two songs were arranged by my friend Richard Spiller, an amazing musician who does a lot of music for TV shows. "It is nice party after all" is a line from a Bollywood film I was watching one night, "Angelica of despair" from an online poetry generator. Oedipa Maas from "The Crying of Lot 49" makes a brief appearance. I particularly like the arpeggio which decays into nothing at the end of the song, inspired by a visit to Glasgow’s premier minimal art/sound/noise festival Instal. Entropy in action.

Track Thirteen: Don’t Listen To This Song

"I made you love me then I let you down." I wrote the lyrics for this on the train to the recording so they’re kind of scratchy and unfinished, but it suits the song. This song is a spell. Don’t listen to it -- it can only work if you do, like using the video in "The Ring" or the disk in "Pulse" or the phone no. in "Cell."

March 27, 2009

Projekt A-ko Is Awesome And This Is A Post About Them

Projekt A-ko
We suppose we should start at the beginning of the story, which is this: when we were music director at the radio station of our small liberal arts college in Connecticut in 1996 we took delivery of copious excellent records. And in those days, pre- ubiquitous Interhoozle and MySpazzz and all that, one reliable indicator of whether the indie rock you were about to hear was any good was what label it was released on. So when we saw a new CD EP come through the door that spring from the very respectable Che Records, we took notice. The disc was Urusei Yatsura's Plastic Ashtray EP [video], and like all good things in 1996, we almost immediately took it into the auxiliary studio and copied it to cassette tape, the now quaint storage media. We played that tape to death, and always maintained an interest in Urusei Yatsura while not actually hearing any of the ensuing recordings. Along the way some legal friction with a Japanese comics outfit or some such forced the band to drop the "Urusei" from its name for releases in certain markets, but otherwise the Glaswegian foursome continued to make and release records until 2001, during which we moved around a lot, played some cards, had a few jobs and largely forgot about the band. That is, until about a week ago, when Parisian blogstress and Johnny Foreigner fan Veee sent us a message asking if we were hip to the band. Almost the same day we received an email from a fellow in England saying something about a few bands and mixed in there was the name Urusei Yatsura, who we had only a week or so before seen used as an RIYL for the rising British band Wet Paint. So we thought, hey, that's weird, everybody's talking about Urusei Yatsura nowadays, and then we doot-doot-dooed like Homer Simpson for about a week before going back to the email mentioned all the way back in the previous sentence.

Upon further review, we learned that said email was indicating that three former members of Urusei Yatsura had formed several years ago the new combo Projekt A-ko. The new trio -- Fergus Lawrie on guitar and vocals, Elaine Graham on bass and vocals, and Ian Graham on drums -- will release the full-length Yoyodyne April 20 on its own Milk Pie Records, and we've heard a few tracks from it, and they are amazingstunningawesome. There are a couple non-album MP3's at the Yoyodyne microsite, and even those are awesome. Yoyodyne took three years to write and record, and the tracks "Here Comes New Challenger!" and "Nothing Works Twice" have been selected as singles from the 13 cuts, although it is unclear whether that means they are, you know, actual singles coming out on vinyl and whatnot, or just the band saying "hey! radio programmers! play these tracks!" It's a little confusing because these tunes have already been issued: Filthy Little Angel records released a Projekt A-ko/Horowitz split EP in February 2008 in an edition of 200 vinyl copies which contained the tracks "Nothing Works Twice" and "Goodbye Sunlight" on it. We will spend most of the weekend thinking of ways to justify spending six pounds sterling for that. Then in March 2008 Broken Tail Records issued a four-band EP Four By Four More, which contains that cracking Projekt A-ko track "Here Comes New Challenger!" We love this tune so much we are offering it for download below along with one of the non-album tracks we turned up at the band's site. Yoyodyne is already available for pre-order, and its 10 pounds sterling price includes worldwide shipping, which means we'll have a second import expense to torture ourselves over all weekend. Oh well. Expect to see a lot more about Projekt A-ko here at :: clicky clicky ::, as we're quite taken with them.

Projekt A-ko -- "Here Comes New Challenger!" -- Yoyodyne
Projekt A-ko -- "Our Teenagers Need Healthy Touch"
[right click and save as]
[pre-order Yoyodyne from the band right here]

Projekt A-ko: Internerds | MySpace | YouTube | Flickr