Japan

 

Discography

Personnel

Articles

Other Related Sites

 

 

Japan

The defunct group led David Sylvian got the name first and the free trip later. Rising to prominence on the back of the New Romantics Japan were a mass of cultural conflicts. Bassist and classical musician Mick Karn wanted to pursue his sculpting, David Sylvian wanted to visit their namesake, and their copious use of make-up was not initially appreciated by their fans. Splitting in '82, Sylvian managed to make it to Japan (working with Riuchi Sakamoto), Karn ended up working with ex-Bauhaus Pete Murphy and they both still wear make-up. Probably too ahead of their time - the first ever New Age Romantics. (1)

Japan

 


 

Discography

 

 

Singles

  • Don't Rain On My Parade/Stateline
  • Adolescent Sex/Don't Rain On My Parade
  • The Unconventional/Adolescent Sex
  • Sometimes I Feel So Low/Love Is Infectious
  • Deviation/Suburban Berlin
  • Life In Tokyo/Life In Tokyo (part two)
  • Quiet Life/Halloween (#16 - 19/10/81)
  • I Second That Emotion/Quiet Life/European Son (#10 - 7/8/82)
  • European Son/Alien (#29 - 30/1/82)
  • All Tomorrows Parties/In-Vogue (Live) (#30 - 19/3/83)

 

 

  • Gentlemen Take Polaroids/The Experience Of Swimming
  • The Art Of Parties/Life Without Buildings (#23 - 30/5/81)
  • Visions Of China/Taking Islands In Africa (#26 - 21/11/81)
  • Ghosts/The Art Of Parties (#5 - 10-17/4/82)
  • Cantonese Boy/Burning Bridges (#19 - 5/6/82)
  • Nightporter/Ain't That Peculiar
  • Canton (Live)/Visions Of China (Live) (#23 - 58/5/83)

Japan

Albums

Adolescent Sex

  • Transmission
  • The Unconventional
  • Wish You Were Black
  • Performance
  • Lovers On Main Street
  • Don't Rain On My Parade
  • Suburban Love
  • Adolescent Sex
  • Communist China
  • Television

 

Obscure Alternatives

  • Automatic Gun
  • ...Rhodesia
  • Love Is Infectious
  • Sometimes I Feel So Low
  • Obscure Alternatives
  • Deviation
  • Suburban Berlin
  • The Tenant

 

Quiet Life

  • Quiet Life
  • Fall In Love With Me
  • Despair
  • In-Vogue
  • Halloween
  • All Tomorrows Parties
  • Alien
  • The Other Side Of Life

 

Japan

Gentlemen Take Polaroids

  • Gentlemen Take Polaroids
  • Swing
  • Burning Bridges
  • My New Career
  • Methods Of Dance
  • Ain't That Peculiar
  • Nightporter
  • Taking Islands In Africa

 

Japan

Tin Drum

  • The Art Of Parties
  • Talking Drum
  • Ghosts
  • Canton
  • Still Life In Mobile Homes
  • Visions Of China
  • Sons Of Pioneers
  • Cantonese Boy

 

Japan

Oil on Canvas

  • Oil On Canvas
  • Sons Of Pioneers
  • Gentlemen Take Polaroids
  • Swing
  • Cantonese Boy
  • Visions Of China
  • Ghosts
  • Voices Raised In Welcome, Hands Held In Prayer
  • Nightporter
  • Still Life In Mobile Homes
  • Methods Of Dance
  • Quiet Life
  • The Art Of Parties
  • Canton
  • Temple Of Dawn

 

 

 

Japan

 

 

Could I ever explain
This feling of love that just lingers on
The fear in my heart that keeps telling me
Which way to turn

 

 

We'll wander again
Our clothes they are wet
We shy from the rain
Longing to touch all the palces we know we can hide
The width of a room
That could hold so much pleasure inside

 

 

Here am I alone again
A quiet town where life gives in
Here am I just wondering
Night Porters go
Night Porters just slip away

 

 

I'll watch for a sign
And if I should ever again cross your mind
I'll sit in my room and wait until night life begins
And catching my breath we'll both brave
The weather again

 

Compilations

Assemblage

  • Adolescent Sex
  • Stateline
  • Communist China
  • ...Rhodesia
  • Suburban Berlin
  • Life In Tokyo
  • European Son
  • All Tomorrows Parties
  • Quiet Life
  • I Second That Emotion

    On double cassette:

  • Life In Tokyo (special remix)
  • European Son
  • I Second That Emotion
  • Quiet Life
  • Fall In Love With Me
  • In-Vogue (Live)
  • Deviation (Live)
  • Obscure Alternatives

 

Japan

Exorcising Ghosts

  • Methods Of Dance
  • Gentlemen Take Polaroids
  • Quiet Life
  • Nightporter
  • My New Career
  • The Other Side Of Life
  • Visions Of China
  • Ghosts
  • Life Without Buildings
  • Talking Drum
  • The Art Of Parties

 

Japan

Souveneir From Japan

  • I Second That Emotion
  • Life In Tokyo
  • Deviation
  • Suburban Berlin
  • Adolescent Sex
  • European Son
  • All Tomorrows Parties
  • Communist China
  • Stateline
  • ...Rhodesia
  • Obscure Alternatives
  • Quiet Life

 

 


 

Articles

Japan Nipped in the Bud

Andrea Jones talks to David Sylvian

Juke - 20/3/82

David Sylvian is a reluctant celebrity. The charismatic leader of Japan, wlth his porcelain face, pink lipstick and retiring manner would look more at home on a Paris catwalk or preserved in the window of Yves Saint Laurent than performing to a stadium full of screaming fans. In fact, Sylvian would probaably feel more at home if he was Iocked away from the pressures of public life in glass display cabinet.

The man who has been described as the most beautiful man in the world Is a vulnerable spirit who has admitted that he surrounds himself with people who "can take care of things I can't cope with".

A rock and roll lifestyle doesn't agree with Sylvian. Ironically, just as Japan are beginning to gain substantial public and critical success with their fifth album Tin Drum (Sylvian says their audience has noticeably trebled in the past six months) the band has decided to back away from public life and call it a day.

The history of Japan is one of amazing evolution. The band began in the mid '70's as a means of keeping together a bunch of ex-school chums who were originally drawn together by their penchant for "dressing-up". None of them had studied music, but they each picked out an instrument and together produced an uninspired, second rate brand of heavy metal. Their German record label (they couldn't get an English one to sign them) dumped the band after several albums. Their last album with the company Quiet Life had suggested some inter- esting changes in Japan's musical concepts.

In 1980 the band signed the Virgin and their first album for the label Gentlemen Take Polaroids developed the themes explored on Quiet Life and caused quite a lot of interest in the boys with painted faces. Then at the end of last year came Tin Drum a seductive blend of Asian and classical textures which consolidated the transition. The change has been described as one of the most remarkable metamorphosises in modern music.

Almost by quirk of fate, the band's name has forecast their progression. in the past couple of years Japan has become the spiritual home of the band, so much so that this year the band's only tour will be of Japan. "I am the most comfortable when I'm in Japan as opposed to anywhere else," says Sylvian.

"Japan has been a big influence on us for the past two years. It hasn't actually surfaced before in what we've done. It has been there a little Ñ it's been there in some of the Iyrics, but it's definitely there on this album," says Sylvian by phone from London.

"The Chinese concept came together quite by accident. It was done over a period of about three months on and off recording. The concept came about after we recorded Canton (one of the album's highlights) which influenced the rest of the album. We decided to follow the theme and keep the Chinese influence going, but the overall effect shouldn't be Chinese-based. It's about the east as opposed to China. The music has been influenced by various types of traditional music and it didn't all come from China. It came from various places in the east. A lot of it was taken from traditional Japanese folk music. I listen to a lot of that sort of music myself. That was the main source, but It's very hard for any of us to pinpoint where we left from that and what outside influences came in.

"The past two albums were designed so the sounds wouldn't be offensive or anything. They could slip into the background and be used as muzuk. But at the same time it you wanted to listen to it, you could take it as that as well. But this album is entirely different.

Tin Drum is certainly the most commercially successful album Japan has produced to date - if commercial is a term you can apply at all to their sound. It has been in the Top 30 in England now for 13 weeks and has received unanimous critical praise.

"I'm very pleased," says Sylvian. "The reaction from the press has been unusually favourable. It's always nice to have good reviews but I've never taken any notice of what the press has said in the past. Most of it has been bad in the past and I haven't changed my opinion about what I think of the press, although I do make exceptions with some journalists. I don't think I'm cynical, I just don't understand the motivation for most of the English journalist anyway.

The band is also adamantly opposed being classified as a rock and roll band.

"People immediately assume certain things," Sylvian attempts to explain. "What we do is totally different to a mainstream rock band and I don't play the role of being a rock star.

"There are certain traditions within the rock business that you tend to get sucked into. That's what IÕm really talking about. You don't realise you're doing it until after a year or two of doing it and then you realise the things you're doing don't make you happy. You don't enjoy it and you wonder why you re doing it. And it's at that point that I tried to change the direction of what we were doing.

"For myself, the first thing was touring. That's the first thing you get sucked into doing because when you're young and you form a band the first thing you try to do is play live. Well, that's changing now, the first thing people try to do now is get into a studio. I've never toured extensively, but I've been touring for about five years and I've never really enjoyed it that much. Although I suppose that is because we haven't really thought about our presentation.

"For the past two years we have been putting a lot into our live performances and I still don't enjoy it and so now we've taken it right down to the minimum of touring. This year we're only planning one tour and that's of Japan. The rest of the time is going to be spent in the studio.

Sylvian doesn't like work at all. "I'm not really a performer or entertainer," he argues. "I also think that the visual side of performing music limits the audience's imagination. It's like video, it's like rock films, I don't think they really work. Most of the visuals involved in rock music limit the listener's imagination as opposed to extending it."

So there is not much hope of seeing Japan perform live in Australia. Sylvian was originally supposed to come to Australia for a promotional visit early last year to promote Gentlemen Take Polaroids but opted for going back to London to record. "We wouldn't be opposed to touring Australia if it came up. But it doesn't seem very hopeful," he says.

With the shift in the band's sound has come a slight change in the band's ultra-glossy image from being the ultimate in transvestite elegance to a more off-beat kind of glamor with Sylvian sporting huge horn-rimmed glasses and the rest of the band adapting certain oriental influences Ñ from long plaits to happy shoes Ñ into their costumes.

"That's just the way things are going," Sylvian explains. "That's just the way I am. I've never tried to play up that side of it anyway although the cover of Polaroids was more fashionable Ñ or pretended to be Ñ but we've never played up on that. Normally it s the press that have picked it up.

"Like the music, those things tend to move fairly easily I think. Things tend to change direction on their own. It s an instinctive thing and it doesn't take very much effort on my part for it to happen."

Is the music Sylvian is currently writing pursuing a similar line to the music on the Tin Drum?

"Basically we re using some of the musical ideas, yeah. We wouldn't keep the actual theme going in the lyrics much longer though. We will do it for a while because there s so many ideas I could take but I wouldn't want to wear it thin. So maybe a couple more songs. After that I would try to forget it.

Much to the chagrin of their record company Japan has not seized upon their current interest in Tin Drum to actively promote the band. In fact they have effectively put the band in limbo while they pursue solo projects.

"Everyone has started on individual projects and Japan doesn't exist for the next four or five months while we get on with other work" says Sylvian. "So most of what I do and what think about revolves around what I'm going to do on my own. The first thing is to record a single with Yellow Magic Orchestra. After that I've got a couple of ideas but I'm not sure which one I'm going to take up. Actually I might make an album with our keyboard player Richard (Barbieri). We might be doing an instrumental album together.

There was also talk of Sylvian writing a film score.

"Yeah I'm still interested in doing that but not many people are interested in me at the moment Sylvian explains.

"Steve (Jansen drummer) and Mick (Karn bassist) are doing session work at the moment. They re performing with some Japanese artists who have come to England to record and Nick's then going to do a solo single and I think Steve is too."

"We have to think is it worth going back and doing another album. This is why we took the time to do what we're doing now. We think it s a good time to do it for us personally. Not from the record company point of view. At the end of it we'll know how relevant Japan is and it it s worth it and what we should be doing on the next album. Again it will be an unpredictable thing.

"Obviously after being with something for six years you don't like to see it stop. But even if Japan didn't exist we'd be working together in various ways anyway. We just wouldn't be under the name Japan.

"So it would only cease to exist as a public image."

What about David Sylvian's private life and these people he refers to who look after his life. Is that one of the trappings of success?

"I don't think that s part of success because I had that before I was successful. I guess I could be more independent but it wouldn't leave me time to enjoy the things I like doing. I don't think about things I don't have to think about. I'm in the fortunate position where I can get away with that and have people doing things for me."

So what does he do outside his musical activities?

"I don't do very much that's worth talking about. Most of my time is spent with a small group of people. I'm not really interested in going out much. I spend most of my time in- doors. I can't really talk about it because there isn't much to talk about. My life revolves around the work I do and I don't take any time off because my thoughts are always towards that."

Tin Drum Review 1

Five albums and two record companies into a career which has only previously achieved success in their namesake country, Japan have come up with an album which at last frees them from unflattering comparisons with Roxy Music (although David Sylvian's voice still sounds disturbingly similar to Bryan Ferry's strained - and mannered emissions) and places them squarely in the camp currently inhabited by the likes of Ultravox, Orchestra Manoeuvres In The Dark and Gary Numan.

Utilizing tile quite extraordinary rhythmic talents of Mick Karn, whose fretless bass-playing is reminiscent of Weather Report's Jaco Pastorius, and the staccato drum playing of Steve Jansen. Japan have neatly moved from Roxy Music's florid romanticism to a David Byrne-like industrial and electronic starkness. Where this process becomes fascinatingly innovative is in the band's decision to meld their western electronics to oriental rhythms thus, in one stroke, achieving a blend of occidental and oriental, romantic and industrial.

Tracks like "Still Life in Mobile Homes" with Yuka Fujii wailing in the background as synthesisers float and bass and drums punctuate the spaces, or "Canton" and "Cantonese Boy" with their miraculously uncorny Chinese moods, bear witness to this strange amalgum. The wonderfully minimalist "Sons of Pioneers" is equal to, yet quite different from, Eno's Taking Tiger Mountain by Strategy. "Visions of China" has a bizarre counterpointing of almost military drum patterns with wailing, oriental synths. Without exception each track on this album is the work of a very great band at the height of its powers. No one, not even the Yellow Magic Orchestra, has attempted such a unique synthesis. That it works so well should make Tin Drum one of the definitive electronic albums of the 1980's.

Tin Drum Review 2

A Review of Tin Drum by Betty Page

Unknown publication.

The initial phase of the newly sinewy arrangement of 'Art Of Parties' heralds the new way the funk flirtation has passed, with a heavy absorption of recent Oriental electronicana and not so recent traditional elements having taken its place.

It's no longer of any consequence as to whether the eternal Numan/Sylvian/Ferry triangle overlaps, it's as though David & Co have transcended to another plane. Up to you to say whether it's higher.

In Talking Drum there resides a staccato percussion reminiscent of Takahashi; in the poignant 'Ghosts', ethereal Sakamotoid synth. The distinction is a balladeering Sylvian, doubly introspective, his rich tones contrasting with stark Koto-like electronics.

"Just when I though I could noo be stopped / When my chance came to be king The ghosts of my life blew out into the Wind". Self analysis, already.

'Canton' consummates the fascination with the enigmas/austerities of China, a thoughtful melange of full-blown tribalism fused with ethnic synthetics. Sylvian loves his themes and this one threads through like the mother lode, achieving the precise interlocking elements essential to conjure up yellow magic.

'Still Life In Mobile Homes' veers towards the avant-garde end of Nipponpop: jazzy, atonal keyboards, tasteful smatterings of Frippish guitar, a smearing of plush, lush melodies, slipping into 'Visions Of China'&emdash; dancier, chunkier, slippery-slidier, flexing funkier muscles. More chimes, more pure plucking. Red Army calls 'Cantonese Boy' the one who bangs his tin drum. It's a cleansing experience that reflects Japan's quiet discipline. Haunting but sensually pleasing. Calming and carefully structured, but ultimately maintaining the balance between cold calculation and human feeling.

And that's what touching the right nerves is all about.

Tin Drum Review 3

A Review of Tin Drum by George O'Brien

Unknown publication.

Japan's fifth album finds them more into Eastern imagery and sound than ever before. From the portrait of Chairman Mao gazing inscrutably over ever-lovely ans ever-melancholy David Sylvian on the album sleeve to the synthesized oriental orchestration it's a cultural exchange all the way. Young English Romantics find art, success and escape in the land of the rising sun; and returned home to find that changeing fashions have softened the critics' and public's hearts to their indulgences. Sylvian's influences are obvious as ever but less annoying as time wears on and Roxy Music fade into the shadow of their past. Japan have served their apprenticeship and now rule their own roost. They deserve the seccess and interest they currently generate.

For lads who couldn't even play their instruments when they left school in 1976 they've come a long way. Percussionist Steve Jansen and bassist Mick Karn weave complicated patterns that sound almost free form at times - but they aren't. Karn plays a fretless bass and uses a flanger, giving a sort of rolling sway to the music. On top of this we have the many synthesizers of Richard Barbieri and Sylvian used, at times, percussively, at times to create moods, and at all times with taste. This record must contain some of te best synth sounds anywhere - rich and evocative.

The cream on the cake is of course the plaintive crooning of Sylvian who wrote or co-wrote all the tracks. It's entirely understandable that some that some people can't stand him but it's also easy to find the appeal. Thankfully his vocals don't dominate the album.

Yuka Fujii helps out with vocals on Still Life in Mobile Homes and Simon House guests on violin histrionics (he palyed on Bowie's Lodger album). Canton is an instrumental that could be the soundtrack to a kung-fu movie...great stuff.

Engineering is by Steve Nye who also co-produced with the band and the result is excellent. If you wanted to find fault with the album you could say that, lyrically and musically, they sometimes try too hard; but forgiveness comes easy considering all the good points.

Not a dance record or even one that demands attention, but perfect for those moody moments after a chop suey. Reccomended buying.

Live Review (post Tim Drum)

Venue: Theatre Royal, London

I didn't know how to start this piece. Should I mention the beauty first or the ugliness? Japan are a strange, magical, lighter than air device, floating, hovering, just above global stardom.

They have more good ingredients than any band has a right to! The delicate asexual attraction of one called Sylvian, looking oh so cool in a pale suit, with sultry pout, dripping talent. His foil is the cruely mincing Karn on bass, throwing us offers we can never take-up and venomous licks from his unfretted instrument.. Looking like a toy soldier - beating a Tin Drum? - Mick thrusts bass(ic) reality down our throats, relentless as a New York super-stud! (Don't get too carried away - Ed).

Musically, this has been my gig of the year - the drummer sitting majestically on a 20 foot high scaffold, keyboards/- computer synth breathing a peculiar fire through the PA, an anonymous lead guitarist weav- ing chords into the structure with the precision of a surgeon performing an eye operation and the antics of the inseparable 'Twins'. Tonight stank of soul.

The set, a mixture of numbers from Gentlemen Take Polaroids and Tin Drum proved musically impeccable. And it's a relief to know even drummers on high towers, protected by the mantle of impending super- stardom, can break sticks and still carry the show.

Timelessness - the numbers from 'Drum' which is the LP of the year, if not the decade. The beauty that before was David is taken from his face and wrapped in vinyl caresses. A logical, cold but not heartless musical landscape has been presented, a place where souls can travel passing all barriers. Japan now are an Oriental painting come to life. Any critic who doesn't recognise this unique art must be bitching from pure jealousy! Japan on record, or on stage, are unashamed art. Sad that such ideal purity attracts dirt....

Words will never describe the feelings of this reviewer. If you're not convinced already, you never will be. . . Also, I'm typing this with a damaged fin- ger, the result of 'talking' with over-enthusiastic security staff. I tried to ask for a track list, I wanted the name of the guita- rist, I wanted to tell the band, personally, how much their music meant to me. And I was kicked in the face and nearly run over as the band sped off in their luxury van. Perhaps this is Japan's trouble. . . the fact that they carry all the trappings of stars, before anyone has told them they actually are! The hundred or so fans clustered around the stage door were treated abominably by bouncers and roadcrew. This was the most callous exhibition of heartless strength I've ever witnessed. The band, it seems, refused to see anyone, not even to sign autographs for kids who'd come from Scotland just for the gig.

I feel desperately hurt, because the visions of beauty have been soiled with the expected trappings of The Business. Tonight, a priceless gem - integrity - was plundered and raped. A group which I thought had escaped the confines and dictates of the industry, behaved as though they had Invented it! If this is their treatment of people who idolise them, Japan's reign will be very brief.

VALAC VAN DERVEEN (Unknown Publication)

Live Review (Rainbow, London 1979)

Rainbow, London

MELODY MAKER, April 28, 1979 (Thanks to Paulo in Brazil for this)

When Japan first emerged on the British rock scene almost a year ago supporting Blue Oyster Cult, they were confronted with volatile criticism from many who regarded them as little more than another New York Dolls. However, penetrating behind the pretty looks and dyed hair it became clear that here was a youthful British group of considerable musical talent - their debut album, "Adolescent Sex," being in my opinion one of the finest releases of '78.

Since then they have travelled far, with great success appropriately in Japan, and last week returned to London for a one-off appearance at the Rainbow. With no vinyl offering since their second LP "Obscure Alternatives," I wondered whether headlining such a venue was a wise decision, as they have yet to make their full impact in this country.

Judging from the empty seats towards the back of the hall it would appear that the move may have indeed been slightly premature. Nevertheless, those in attendance were treated to an excellent performance by a band for whom I predict a very promising future.

The material comprised a selection from both albums together with several new numbers. Of these, a couple strongly suggested Giorgio Moroder, doubtless due to the fact that the Midnight Express Oscar-winning producer worked on one song with the band quite recently. The disco element managed to bring yet another dimension to Japan's style, which already incorporates funk and reggae with basic rock.

Leader singer David Sylvian was in fine voice, although he looks somewhat handicapped with a guitar in his hands, and lost some of his force as a front man during the time he spent playing an axe. Yet for the rest of the show he appeared cool and well in command, even venturing into keyboards playing for a couple of songs.

The visual side of the gig was enhanced by the inclusion of a few short films of the band in very surrealistic surroundings. Musically, the highlights were "Suburban Love," "The Unconventional" and the title track from the first album, and "Automatic Gun" amd "Rhodesia" from "Obscure Alternatives."

It was enjoyable to see Japan live once more and when they return to the capital with a third album behind them those empty seats will no doubt be filled.

 


 

Personnel

Pick a Face

 

 

 

David Sylvian

The shy leader of the band (songwriter and unofficial musical director), eloquently able to defend the band from harsh critics from behind a cool layer of make-up. Never claiming to be totally original and sighting his main influences as love of travel. Outside project (for example Riuchi Sakamoto - YMO) always fulfilled his need to experiment in different ways and relies on emotions for lyrical inspiration to a great extent. Never liked the repetition of touring.

 

JapanJapan

 

David Sylvian
A Ghost in the Moon
Rarities Archive
Everything and Nothing
Sideral


Mick Karn

The restless part of the group, both on stage and in fashion. A fluid bass style borne from no formal training to constrain his feeling for the music. For him to escape the tedium of touring he turned to sculpture and specialises in unusual mutant forms of human life, the down side being the solitude when creating. He also opened the Penguin Cafe to satisfy his love of oriental foods.

"Something of a myth has grown up. The biogs always say that I'm a multi-instrumentalist and that I had a background in classical music. Yes, I was in the LSSO [London School Symphony Orchestra] as a bassoonist, but I was never really classically trained. They tried to train me, but it never really worked. As an adolescent, I'd always wanted to play an instrument. I observed that other people seemed to enjoy it, and I wanted to find the one that would make me feel the same. I tried the mouth-organ, the violin. I was unlucky in my choices. I was slow at reading music and I relied on playing music by ear. The same thing happend with the bassoon. I'd been playing for six months and there was an audition for the LSSO which my school sent me to. I went along; they were thrusting sheets of music in front of us as tests. I asked the guy next to me to play it so I could pick it quickly by ear. Somehow I got chosen and that devastated me; it was the last thing I was expecting. I was playing in an orchestra when I wasn't up to the job. Instead of being the enjoyable thing I'd envisaged, it was very traumatic." Rescue came from an unexpected quarter. "On my way home to Catford [one of London's less salubrious suburbs] after the first LSSO concert, my bassoon was stolen by a group of skinheads. They asked me what was in the case. I told them. They showed me a broken bottle. I gave them the case. It was very simple. The school wouldn't buy me another bassoon, so in retaliation I bought a bass for £5 from a kid at school and got together with David who was playing acoustic guitar." It was 1974, and transgression the order of the day. Lou Reed, Bowie, Iggy Pop and The New York Dolls were powerful presences for the youthful Karn.

("Karnal knowledge" by Louise Gray, The Wire 122, April '94.)

"Our sound was something we developed together, drawing inspiration from each other. The one thing I knew about my bass playing, was that I didn't want it to sound like anyone elses, and most of all I wanted it to be heard clearly, and not lie buried merely marking the beat."

("Mick Karn - en basartist" by Michael Dee, Musiker Magasinet 6-94, June '94. 'tis an approximation, as it's been translated into swedish, then back to english for your comfort.)

"June 1st was the 22nd anniversary of Japan's first ever concert, which happend to be at my brother's wedding. It must have sounded dreadful but, up until that point we had been writing music around songs that David had written. We were only 14, and I was the vocalist but it was only moments before the curtain went up that I froze and said, David, I can't do this - you should do it as they're your songs and you know the vocals off by heart. I was so nervous, I couldn't even remember half of the lyrics. He reluctantly became the vocalist there and then. Reluctantly, because he's never really liked the limelight, and still doesn't. It was a set decision that we made, in years to come, that I would visually take that responsibility away from him, live; that I would be the one moving around and doing crazy things so people wouldn't focus on him so much. The actual words that Dave was singing were always much more important than the melodies; he was never a very strong melody writer, so he was looking to me for that, too. I guess that was the training of making the bass the lead vocal and letting other vocals kind of sit on the surface. It was interesting."

"Japan was never successful in America; we went there in 1977, for our one and only tour, if it can be called a tour; four dates, two on the West Coast and two on the East Coast. It was at a time when punk was at its height, and we weren't accepted at all. David Sylvian really built up a phobia about ever going there again. So we never made it back - a shame. Touring with Japan was always a mixed bag; I was probably the only one who enjoyed it. David hated it, absolutely hated it."

"The tours were never long, about three or four weeks at a go, and we were supported all those years by success in Japan the country, which enabled us to tour elsewhere. Without that the band just would have dissolved. We were always disappointed by the fact that, when we would play big venues in Japan, the majority of the audience would be girls, screaming their heads off. There were never really any boys in the audience. But we found that, as the success grew in Europe, to the point of our last tour, the exactly same thing was happening over here; it was full of screaming young girls and you begin to think, What am I doing this for? Nobody's actually listening to what we're doing any more. And that made Dave feel even worse about touring, to the point of stopping completely. Things have really changed, now. I've just been to Japan for a week to do some promotion, and there seems to be a string of new bands, really young bands, admitting that they were in the audience in those days, camouflaged amongst all the girls! Way too late, off course."

("Tooth or dare" by Gibson Keddie, Bassist & Bass Techinques, Oct.'96.)

JapanJapan

Karn's Alternative Discography
Interview in Bass Player Magazine
The Divinity of Rhythm
The Mick Karn Web Project


Steve Jansen

In keeping with the group Steve had no musical training or influences, another case of feeling what was right and fitted into the band - especially Mick's bass playing. His other passion is photography, citing the fact that the band always seemed to be having photo shoots as an influence in wanting to be the other side of the lens. In the early days his shots were used for the cover of 'The Art of Parties' and to illustrate catalogues for Mick Karn's sculpture exhibitions.

 
JapanJapan

Jansen's Alternative Discography


Richard Barbieri

The most reclusive member of the band who admits to being more interested in sound than music, also not much good with a keyboard but very happy on a synthesizer. He tends to build a scaffold of repeated notes and patterns for the rest of the band to negociate. An actual member of the band who likes touring (mick also does really) - saw a very healthy future for the band after Tin Drum also.

"I actually joined the group in 1974, I was in the same class as David and Mick at school, Steve was a couple of years younger. It's very hard to say what the influences were. I was into those overblown, pompous progressive bands, but I guess we were also into that whole glam thing, plus Tamla Motown." The name stuck after an industry party which the boys gatecrashed turned out to be heaving with Japanese delegates and press.

"I really enjoy touring."

"I really enjoyed making Quiet Life because it was a very happy time and it was a really consolidated group effort. Tin Drum was more painstaking and the group was beginning to slightly disintegrate. We weren't all there at the same time, and me and David spent days in the studio programming. It was a very laborious process, but more creatively satisfying. Tin drum was perhaps the first album where we actually produced something that was completely original."

("Rich pickings" by Phil Ward; interview by Andrew Jones, Keyboard Review, Sept.'94.)

 

JapanJapan

Barbieri's Alternative Discography


Rob Dean

Always the outsider in the bands of high school friends and brothers after being hired through an ad in Melody Maker. A guitsrist was needed to allow David to concentrate on his vocals.

 

 



 

References

(1) A Decade of Ideas - the encyclopedia of the '80's by Id Magazine.

 


 

The Other Japan Related Site

Nightporter

lifeintokyo.net

JapanSylvian.com

Visions of Japan - Very good - in Spanish

facebook

 

Thanks to Lech Linkiel for some of the quotes!