POWERLINE A.D.

LOVE PSYCHEDELICO Arrive

Written by Fred Verhoeven. Translation by Ling Liu.

It’s an unlikely venue, but standing in San Francisco’s downtown Apple Store waiting for the Japanese rock duo LOVE PSYCHEDELICO (the caps are the official spelling) to perform an acoustic set, the energy and buzz amongst the 150 or so people
crammed upstairs gives the impression that something special and important is about to happen. As Kumi and Naoki enter and perch upon their stools, the crowd is cheering enthusiastically and by the look on their faces, with obvious awe and admiration as the two musicians strap on their guitars. These are folks who know the band, who know they’re bona fide rock stars in Japan and who know the catchy and familiar, yet utterly unique songs LOVE PSYCHEDELICO has been gifting them with since they debuted in 2000. Yeah, they know something special is about to happen.

They open up with one of their biggest hits, “Your Song” and it sounds beautiful. You can feel people around you connecting with the unpretentious vibe. It’s as fascinating to watch those in the crowd singing along with Kumi as it is to watch her and
Naoki. But as they move at a relaxed pace through another five songs, including a down and dirty rendition of their debut hit “Lady Madonna”, they have the crowds rapt attention and appreciation. It turns out this is likely the best live music those of us watching are going to see this year.

Very often Americans get so caught up in our own perceived greatness in this country. So much so, that we tend to forget there’s actually other countries in the world that have vibrant, creative and amazingly jaw dropping music scenes. America doesn’t handle this reality too well and shies away from artists from other countries, especially those who don’t, at the very least, sing in English. For DELICO (as they’ve been nicknamed in Japan) that may not be a big problem, as most of their songs are a hypnotic blend of English and Japanese, giving them a chance to quite possibly be the first band from Japan to break into the American collective consciousness.

That’s what HackTone Records is banking on anyway. They’re the label that’s releasing the band’s first US release, “THIS IS LOVE PSYCHEDELICO”, a bold move that is admirable but not unusual for a label that handles acts and reissues music that
are either out of sight and mind, or somewhat risky as far as the mainstream goes. It’s a labor of love, so the pairing with DELICO seems like a match made in heaven. The band has a proven track record in Japan (over a million copies of their debut album sold there) but at present are relatively unknown outside of the American subculture that seem to know all things Japanese that are cool. HackTone is off and running promoting
the band and set up this intimate gig and another a few days prior in Los Angeles to the delight of existing fans and as a way to introduce the band to the uninitiated.

Kumi (left, above) and Naoki (right, above) carry themselves with the confidence that comes with artistic success, yet have a down to earth quality that puts one at ease immediately. We start our conversation in a small bistro around the corner from the Apple Store, a few hours before the show talking about their popularity in Japan in relation to building a new fan base in America. “We’re just happy to play our music anywhere”, says Kumi, “but wedon’t want to only limit ourselves to Japan. For this release in America, David (Gorman) from HackTone, had listened to our CD’s we have in Japan and liked them very much. He offered to put out our music in the US on his label. It was a very natural thing. We feel very lucky.” When I ask about any having any expectations for success here, Kumi replies with a smile, “Whatever happens is OK.”

Is DELICO worried that America may still be too narrow minded to be receptive to lyrics that are not completely sung in English? Kumi views that possible problem optimistically, “No, no worries for us. I think we still have a chance because we are using
English a little but, of course, at the same time we want to introduce our Japanese culture. Plus I think our sound is unique. I think we can express something through the music, not only the language. Music can transcend a lot of these things.”

If you haven’t heard DELICO yet, you’re in for a treat when you do. Kumi’s hybrid lyrics are very unique, often going from Japanese to English mid lyric. She shares a bit of the thought process that goes into that. “It’s normal for me. Usually my thoughts are in Japanese and sometimes I think in both languages, but usually English is only used for music. It’s a natural way for me to express myself.” Kumi spent several years as a child living in San Francisco so I ask if this had any influence on her writing style. “Sure,I think the sense of the English language had an influence on me from when I lived here because I was a little child. So I was young enough to just soak up influences from the culture and the music here.”

When it comes to writing their music LOVE PSYCHEDELICO give a little insight to their process. Kumi explains, “Naoki brings me a riff, just a riff and we play the guitar together. We try and find a rhythm and a groove. After we have that, we try and come
up with the sound.” Naoki adds, “Yes, first we should find the groove. The groove is the most important thing. A long time ago, the concert posters, like some of the Rolling
Stones concert posters, had writing on top that said things like, “Let’s Dance” for example. I think rock music was probably a kind of a dance music. We want to make music that makes people move. That’s why the groove comes first.” As for the the lyrics Kumi says, “Lyrics are last. For me they come from the sound, I take the words from the sound.”

For a band that has a very unique, identifiable sound conscious originality doesn’t seem to be in the forefront of DELICO’s mind. Naoki explains how it’s more about belief and love in what you do. “ We have no ego. Basically, music has a history of respect. Because there was Chuck Berry, there was John Lennon. Because of the Beatles, rock music developed harmony in the 70’s. In the 70’s there were bands like the Eagles and Fleetwood Mac and that helped launch new sounds in the 80’s. It’s like a form of respect. Especially in America, each generation is influenced by the previous ones and honors them with new sounds. Every musician respects the classics, the
greats that came before them. There’s no ego there, only love. Even though we’re Japanese, we have a great appreciation of this musical culture. The music of America is great, we exist because of it. It’s nothing we started or created, it’s just an expression of our love of the music here. I feel fulfilled by it.”

It’s been a unique road for DELICO vis a vis technology. Their first single, “Lady Madonna” was released as a cassette single in Japan. There are probably a few readers here who don’t know what a cassette is. It illustrates a huge shift in how music
is distributed among fans. “It’s both a good thing and not so good a thing” says Kumi. “It’s good to have music all around. Anytime, anywhere, we can enjoy music, lots of
different music and thats a good thing. But the bad thing is the sound quality of the music is getting lower. It’s becoming a cheaper sound...a little thinner. It’s not so good.”
Naoki adds, “I wonder how civilization came to this technically efficient level to spread music around, everyone, anywhere can get music, even in the remotest places. In the 21st century technology is moving forward but why does music, it’s sound quality, seem to be regressing when we share it with each other? I don’t know.”

Naoki muses about how technology affects the music business. “Not to change the subject, but in the time of Mozart, music wasn’t really a way to make money, it was more of a pure form of the art. Nowadays, making a copy of the music is reasonable so it can’t be big business anymore. That’s too bad for some people on the money end of the music business but I think it’s likely that music is going back to that type of pure art
form, not so much big business.” I ask if that’s why they were comfortable signing with a smaller label like HackTone rather than waiting for major label support. “Yeah, we’re real
happy it worked out this way” says Kumi. Naoki warmly adds, “They’re a part of the LOVE PSYCHEDELICO family now”.

The band returns to Japan at the end of May but will return to Los Angeles for the summer. They’ll write material for a new album in the City of Angels. DELICO seem to have a serendipitous path to their creativity. Kumi says “there’s no expectations, no ideas yet. It will happen when the time arrives.” They may do some recording there as well and seem excited about the endeavor as a whole. HackTone is hoping to set up some kind of tour during the time as well and as Naoki is looking forward to bringing the guys who back them up live out to Los Angeles, there may be an excellent chance of seeing more of the band out performing this year.

Later that evening Kumi and Naoki are sitting at tables set up in front of the Kinokuniya Bookstore in San Francisco’s Japantown. The mall is buzzing with nearly everyone who was at the Apple Store show, surprised shoppers who recognize DELICO
and store clerks pressing their noses against glass panes to sneak a peak at the celebrities. There is a long line to buy copies of “THIS IS LOVE PSYCHEDELICO” and for an opportunity to meet Kumi and Naoki, get an autograph and a handshake. They must shake 200 hands and sign as many autographs, each fan greeted with a smile and a heart felt thank you. One man asks Naoki to sign his shirt and gets weepy when he’s
obliged. It’s a touching reminder of the band’s status outside the U.S. Standing there, witnessing that, it’s easy to imagine this scene repeated in the future to larger and larger
crowds in the US. The quiet confidence, unaffected attitude and memorable hooks that LOVE PSYCHEDELICO generate seem sure to grab America. Combine an album inspired by the Southern California scene with those sensibilities and it could be just thing to catch the attention of everyone here.

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DETROIT7 Interview

Interview and photo by Fred Verhoeven 

Detroit7 is trio from Tokyo, Japan that I liked from the first time I heard them. I got a chance to see them live this past March in San Francisco during their stop at The Independent as part of the Japan Nite 2008 Tour. They rocked the house and were
easily the best band of the line-up and my level of liking them shot up to them being my favorite band right now.

The band is fronted by Tomomi Nabana, a lefty guitar slingin’ woman with an earthy, raw and honest voice and presence. On bass is Nobuaki Kotajima who really impressed me live, loads of energy and along with drummer Miyoko Yamaguchi, sustain
an intense, steady rhythm. Detroit7’s whole sound sounds larger than the three people playing and I attribute that to the tight rhythm they provide.

After that show at The Independent, they had one more stop in Los Angeles before returning to Japan. I was curious to ask them a few questions what it was like to tour America. Tomomi was nice enough to answer via email. 

POWERLINE A.D.: Audrey Kimura has become a very important person in the music scene. How did Detroit7 hook up with her and become a part of the Japan Nite 2008 Tour?
 
DETROIT7: We gained contact with Ms. Kimura through the band Go!Go!7188. We did a show together in September of 2007. But we actually met Ms. Kimura for the first time at the airport for the “Japan Nite Tour”. We were surprised by her powerful force and tiny physique!

POWERLINE A.D.:  Compared to Japan, America is a much bigger country. Was the tour hard for you, in terms of getting on planes and all the traveling required?

DETROIT7: It wasn't hard as we anticipated. We were able to finish the tour with enough energy to spare. We wanted to keep on touring.

POWERLINE A.D.: Did you notice a difference in the crowds around the country?

DETROIT7: We noticed some differences, like the timing and different areas where people react to the music. We only know the audiences of the US and Japan though.

POWERLINE A.D.:  Was it hard eating mostly American food all the time? Any favorite foods? Best Japanese food you had in America?

DETROIT7: It wasn't hard at all. We didn't try any Japanese food on this tour. The foods we enjoyed a lot were The hot dogs they had in Austin and the clam chowder in Boston.

POWERLINE A.D.:  Was there a difference for you playing the American clubs compared to the Japanese live houses?

DETROIT7: As far as playing music goes, there was no difference. We like the fact that US clubs have full bars.

POWERLINE A.D.:  Did you get a chance to visit any music stores or record stores?

DETROIT7: In Boston, I bought a guitar foot pedal call “Red Witch”. Has a sharp and piercing sound.

POWERLINE A.D.:  It's an exciting time to be a part of the indie scene. What are your thoughts about the fact that bands like Detroit7 can come to America and have a successful tour but many Japanese mainstream acts like Hikaru Utada seem to fail trying to gain an American audience?

DETROIT7: We can only say we felt the US appreciates Rock n Roll more.

POWERLINE A.D.:  More than America, I think Japan has some really great bands with women ranging in a variety of styles. Bands like Shonen Knife, Ex-Girl and Super Junky Monkey blazed the trail for female rockers. Were Tomomi or Miyoko inspired by any of these bands that came before you?

DETROIT7: We have been influenced by foreign artists much more than those Japanese artists but they stimulate us a lot.

POWERLINE A.D.:  To follow up on that question, do you notice any difference in the way Japanese males in the audience and American males in the audience react to you? Or is not even an issue?

DETROIT7: It wasn’t an issue. The only thing we noticed is that there were more camera’s in the US audiences.

POWERLINE A.D.:  When can we expect to see you tour in the USA again?

DETROIT7: No plans so far, but we would love to tour the US again.

POWERLINE A.D.:  Finally, do you have any aspirations to make America a part of your regular touring schedule? Is it important to you to have success here?

DETROIT7: It’s important for us. We have a dream of hosting a Detroit7 Rock Festival in Detroit!

Many thanks to the band for taking the time to tell Powerline A.D. their thoughts.

You can visit Detroit7 at their MySpace page here (links to Amazon so you can buy their CD’s) or their website here. Keep your eyes and ears open, I’m sure we’ll be hearing lots more from and about Detroit7.

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LAURA CHEADLE Q&A 

Laura Cheadle, pictured above performing at The Baggot Inn in New York City’s Greenwich Village in a photo by Carol Ann Goldberg, has been immersed in music for her entire life. Cheadle, a New Jersey native, released her debut album, Falling In, in 2006. The album is available on iTunes. Cheadle has also recorded a live album and a Christmas album. Her second studio album is due to be released later this year.

Cheadle’s music incorporates many elements, including blues, jazz, funk, and acoustic rock. Cheadle hails from a very musical family, and she was exposed to many different kinds of music while growing up. Cheadle’s band features two family members, her father James S. Cheadle on keyboards and older brother Jimmy Lee Cheadle on lead guitar. The band also includes Paul Galonsky on drums and Dil McDaniel on bass.

I became aware of Cheadle and her music through MySpace, and have since seen her perform live several times in New York City. Cheadle puts on an energetic and fun live performance. Cheadle’s onstage patter is quite funny, and she will often answer back to audience members that shout things out during the performance. And that audience is quite enthusiastic and is growing by leaps and bounds. Her last New York City show was packed and had a great atmosphere. This rising star from the Garden State is definitely a performer to keep your eyes on in 2008 and beyond.

Cheadle recently took some time out to participate in an e-mail Q&A with Powerline A.D. The results of the Q&A session are below. Enjoy.

POWERLINE A.D.: When did you start singing?
Laura Cheadle: I have been singing since I was about five years old.

POWERLINE A.D.: What was the first song you heard that really grabbed hold of you, that made you want to be a musician? And what was it about that song that interested you?
L.C.: It was this song by Stevie Wonder called “Whereabouts.” It is such a melodic, beautifully sung and written song. When I heard that song, I felt as if I needed to express a beautiful song the way Stevie Wonder did.

POWERLINE A.D.: Your brother and your father play guitar and keyboards, respectively, in your band, and the onstage rapport between you and your father is an enjoyable part of your live show. Can you talk a bit about how your brother and your father influenced you musically?
L.C.: My father is my main influence. Ever since I could remember, my dad was exposing me to funk, jazz, and blues as well as other various types of music. He definitely made me into the musician I am today and I am so grateful for that. He is an amazing musician and I aspire to be just like him. My brother has also inspired me as I would grow up watching him play guitar. My entire family just has this musical vibe that you can’t help but catch.

POWERLINE A.D.: When you were younger, you performed in a band with your brothers called Sibling. What kind of music did Sibling play?
L.C.: Sibling was a rock/pop band and I played drums in that band and sang.

POWERLINE A.D.: How many instruments do you play?
L.C.: I play drums, piano, guitar, and sing.

POWERLINE A.D.: Were you in the chorus and/or band when you were in school?
L.C.: Yes, I was. I played the French horn in middle school and was in the high-school chamber choir.

POWERLINE A.D.: How old were you when you wrote your first song? What was the song called and what was it about?
L.C.: My very first song was when I was eight years old called “We’re In Love” haha but I would say my first song that I still perform is called “Wrapped Up In You,” which is on my Falling In album. This song expresses never being able to get over someone and continuing to go back for more.

POWERLINE A.D.: The Internet has played a considerable role in growing your audience. Can you discuss the importance of the Internet as a means of getting the word out about your music?
L.C.: If it weren’t for MySpace, many people would never even hear of me. The Internet brings out the people to my shows and seriously exposes my music to all parts of the world.

POWERLINE A.D.: As an up-and-coming performer and recording artist, how concerned are you about all of the upheaval in the music industry of late (mass layoffs at record companies, free music giveaways by the likes of Radiohead, etc.)?
L.C.: I do feel that is a concern, but, as an independent artist at the moment, I sell CDs at shows and do hope people will respect and support the independent artists. I think you need to take it one day at a time and truly focus on the music itself.

POWERLINE A.D.: What is your favorite song of yours to play live? And what cover song do you enjoy performing the most at gigs?
L.C.: My favorite song to perform is “Midst of Your Mystery.” That is a true story that I wrote and I love the bluesy feel of it. It also has this awesome build up in it and I lose myself in the music. I love performing Stevie Wonder cover songs live!

POWERLINE A.D.: Can you walk us through your songwriting process?
L.C.: I usually wake up with lyrics in my mind and then a few days or months later, put music to it. I have, on several occasions, written a song in about an hour. It sort of builds up within you and comes out. It’s such a rush.

POWERLINE A.D.: How many songs have you written?
L.C.: I am still writing but I would say over fifty songs.

POWERLINE A.D.: What is your favorite venue to play and why?
L.C.: I love playing at The Baggot Inn in Greenwich Village NYC. The Baggot Inn has been so great to me. New York City has an incredible vibe and everyone treats me so wonderfully there.

POWERLINE A.D.: If you could perform with another artist, who would it be?
L.C.: Stevie Wonder!

POWERLINE A.D.: What do you do when you’re not making music? Are you a student? Do you have a day job?
L.C.: I am currently a student. Almost done!

POWERLINE A.D.: You taught yourself to play guitar. How difficult was that? Have you ever taken a guitar lesson?
L.C.: I grew up around amazing musicians. It wasn’t difficult for me to teach myself. It just came out of me. I am sure all of the influence of growing up with music made it a lot easier for me to do so.

POWERLINE A.D.: Are you working on new material at the moment?
L.C.: Yes I am, and my new album will be out later this year.

POWERLINE A.D.: After the gigs of yours that I’ve seen in New York City, you spent a lot of time talking to the fans that attended. What does it mean to you as an artist when your fans tell you that your music has connected with them?
L.C.: It makes it all worth it. That is why I perform: to make a musical connection with other people. It really means the world to me.

POWERLINE A.D.: Do you feed off the energy of the crowd at your live gigs?
L.C.: Absolutely! I live for it!

POWERLINE A.D.: Final question: What are your plans musically for 2008?
L.C.: Finishing my new album and to do some more touring!


For additional information on Laura Cheadle, see:
http://www.lauracheadle.com
http://www.myspace.com/lauracheadle

Interview by John Curley

NEW RELEASES

NINE INCH NAILS
"The Slip" 

OVERVIEW: Perhaps not as overall masterful as other NIN releases such as Pretty Hate Machine and With Teeth, The Slip is beautifully cathartic with the same mixture of angry, disturbing, struggling, detached-from-society feelings, but intentionally-bodied with an almost gleeful drumbeat that pumps like a heart unwilling to give in — no matter how dire the atmosphere. In the end, it wants to beat on and persevere.

No need to convince you to buy this new NIN — it's free online. Go online, download it, and judge for yourself. But if you want to save downloading time, here are the best songs:

Download: Echoplex, Demon Seed, 1,000,000. 

Grade: B+

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TOKYO POLICE CLUB
"Elephant Club"

OVERVIEW: I don't know why TPC reminds me of Death Cab For Cutie on first listen. They are certainly more energetic, heavier in resonance, less brooding, livelier in outlook, and guitar-oriented. Maybe it is the singer, David Monks, or a synthetic pop backbone to the music. But all this is a good thing. The sound and album are very enjoyable in places.

Downpoint: The buzz was a Strokes sound-alike. The Strokes first album was a masterpiece; Elephant Hell, however, is not. With its quirky looseness, TPC is like a band that has yet to truly find itself. 

Download: Graves, Juno, Tessellate, The Baskervilles. 

Grade: B

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THE MARS VOLTA
"Bedlam in Goliath" 

OVERVIEW: Aberinkula starts a simulation of musical intoxication. Let's talk a speed high that doesn't let up through twelve intense lengthy songs. By the time you get to the last number, Conjugal Burns, your head will be reeling. But those are the side-effects of heavy narcotics such as these.

Not for the timid, The Mars Volta is for an acquired taste. Yet Aberinkula may be one of the best songs of the year so far. It has a hair-standing intensity that has not been created in years. This level of intensity continues from there: the guitar is beautifully chaotic, the vocals a shrill rhapsody.

Downpoint: Sometimes there's too much, too long... too many unnecessary bits to attack the synapses.

Download: Aberinkula, Goliath. 

Grade: A—

VAMPIRE WEEKEND

OVERVIEW: The blog buzz is true. This band is the real deal. Indie rock that is as hip as it is nerdy. With accents of Elvis Costello, The Police, and even worldbeats ala Paul Simon.

Downpoint: There really isn't any. It's an exciting and enjoyable CD.

Download: Campus, Mansard Roof. 

Grade: A 

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CD REVIEW

The Hives
The Black & White Album

Review by pprince

I knew when The Hives complained to music journalists that they were bored and restless with their sound, it was a bad, bad sign. And, after a couple listens to their new release, The Black and White Album, the foreshadowing came true. The album’s title itself is misleading. With its interspersed cheerleader chants, pub rants, and vaudevillian flair, The Black and White Album comes off as a more  colorful creation but in the same glaring and surreal way an Xctasy tab can create anxiety.

While solidifying a great riff — a classic Hives riff — the band excels to a welcome beginning with Tick Tick Boom; and even if it is a bit over-produced, the song shows promise for the listener. Instead, the album descends into a polished experimentation that can be almost defined as a desperate search for musical identity. This would not be alarming if The Hives lacked an identity —they had a fantastic identity and seemingly got tired of it before the fans did.

One of the producers of B&WA told Rolling Stone last month that past rock bands have succeeded with the inclusion of a disco crossover. If he is referring to the Rolling Stones… then, yes, they were successful with Miss You and Emotional Rescue. However, even the Rolling Stones took heat from the faithful for those singles. What makes anyone think it should be less for The Hives, who’ve built their following on a perfected garage punk sound? And a song like T.H.E.H.I.V.E.S., for instance, sounds more influenced by Justin Timberlake on a bad day than a classic funky 70s disco number.
    It’s a disappointment, and possible the biggest disappointment of 2007, and rock fans will have to wait for the next release in hope of The Hives returning to what had made them so listenable. In other words, can I justify paying ticket price to see these new songs live? Absolutely not. I’ll enjoy the memories of their live shows of the past.

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PJ Harvey
White Chalk

Review by pprince

What a departure for P.J. Harvey. The woman that created some of the most incredibly intense rock from 1992 to 2004, has decided to experiment with a more mellow, ethereal, and haunting music. 

Gone is the guitar and its place is a piano, crossing over to the territory more associated with Tori Amos. A listen to "When Under Ether" will reveal how well-crafted the songs can be, a perfect fit in that niche of alternative rock.

A true artist in her own right, no one can blame Harvey for pushing her creativity. But I miss her trademark cathartic howl, her blaring guitar, her lyrical anger. "Dry" and "Rid of Me" are two of the most masterful rock albums of the 90s, and I am hoping for a return to that with the next CD.

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Mae
Singularity

Review by pprince

Alternative Press made Mae's new CD Singularity seem like it was the most anticipated rock release in a decade. And everything I read about the band seemed interesting (incl. the name of the CD, Singularity, which means 'the ultimate unknowable in science... the interface between the natural and the supernatural’). But enough of the niceties. This was perhaps my least favorite listen to a rock release... EVER! To me, it was bombastic, pompous, pretentious, over-slick... should I go on? Just when you thought a song started off with some promise, in comes the chorus — fancifully over-dubbed, vocals soaring ahead like gaudy messengers over hard rock-induced power chords. Gawd, it's everything I dislike of the sound of emo or commercial punk or pop punk or whatever you want to call it. I wanted to start throwing things at the stereo. MAKE IT STOP! I'd rather be forced to listen to Reo Speedwagon 24/7 than this. Singularity is the ultimate unknowable I don't want to know. It was like expecting meat and biting into marsh mellows. If this is the future of rock, please just let it die.