#OOIOO

[dustedmagazine]

Marnie Stern — The Comeback Kid (Joyful Noise)

A decade ago, when we last had a Marnie Stern album to consider, she was a beacon of instrumental prowess in a world of “Women who rock” features that largely confined themselves to singers. She was a shredder then and a shredder now, and dare we hope, the world has shifted so that this is no longer so remarkable? In any case, her latest album, The Comeback Kid, is full of shimmering, ultra fanciful castles of guitar-based sound, but it’s also kind of an experimental pop gem, like Deerhoof after a month of Guitar Hero or like OOIOO any time, really.

Stern has spent the last 10 years in ways both unsurprising (she had two kids now) and mildly unusual (she plays guitar on in Late Night’s 8G band). As a result, she sounds both refreshed from the hiatus and in sharp form from the practice. This is, of course, a contradiction, but makes sense when you think about it. Playing other people’s music five nights a week is very different from making your own songs and touring them.

In any case, she is audibly raring to go, in “Believing is Seeing.” She builds a song right in front of us, asking “What if I add this? And then?” and then adding it, big crashing power chords, antic dances of off kilter picking, handclaps, sugar-rush, girl-group shouts and refrains. “Don’t bow down,” she confides before launching the wholly, gloriously excessive “Working Memory” and then DOESN’T BOW DOWN. Instead she launches a Cecil B. DeMille production of an art punk song, with trebly choirs and neck warping firestorms of electric guitar wizardry. It’s the grand finale of all grand finales, but hold on, the album’s not even half over yet.

You’ve still got the stop-start giddy assault of “Earth Eater,” for instance, showcasing rapid-fire bursts of percussion and, again, guitar, as well as fizzy, popping, girl sung choruses that have something very Japanese about them. It’s here that I’m going to pull the Wendy Eisenberg card just because I can think of no other female artist with comparable chops and experimental pop tendencies, but Stern is pure pleasure where Eisenberg can sometimes seem a puzzle maker. You can turn it all off and enjoy The Comeback Kid—or listen in and enjoy the details. (Like that Van Halen solo right at the end of “Earth Eater.”)

Celebrate the comeback, sure, but it sounds like a big bang beginning.

Jennifer Kelly

[doomandgloomfromthetomb]

Sonic Youth - Drum Logos, Fukuoka, Japan, February 24, 2001

The endless #SonicSummer rolls on! This week we're back in Japan, as Sonic Youth was bringing the NYC Ghosts & Flowers era to a close. Once again, I'm struck by how absolutely sweet that LP's songs sound in a live setting — they really feel like living, breathing organisms, surging, swelling, transforming, transcending. The jammy sections of "Free City Rhymes" flow beautifully; the one-two punch of "Nevermind" and "Side2Side" is a kaleidoscopic trip; and the title track (here dedicated to the just-departed John Fahey) blossoms into a massive wall of scary/sublime noise, spirits rejoicing in sound.

The audience seems a little subdued — but maybe this is just a polite Japanese crowd. Thurston does lead them all into a rowdy chant for opening act OOIOO, however. Whatever, they're treated to a great show; the older selections are very nice indeed — check out the slide guitar that Jim O'Rourke adds to "Teenage Riot" or Lee's raging vocal on "Mote," a tune that is always welcome in setlists.

The encore features a rad exploration of "Lightnin'" ... who is that on the gloriously dubbed-out/delay-laden trumpet? Yoshimi?!! Maybe, I think she played trumpet on some old Boredoms records. If you were there let me know!

Bandcamp | Merch | Concert Chronology

[psychterminal]

[toffeethief]

OOIOO - Right Hand Ponk

[casualslip]

Yoshimi of OOIOO and the Boredoms

Photos by Terry Richardson

[kafkasmelomania]

May 7, 2023: Gold & Green by OOIOO

*Bandcamp here.

(via https://open.spotify.com/album/20sQK5juTfESIuQQfQoutM?si=mhWHpvP6Q52DMKhThEe5Fw)

[david-sullivan-swampmonster]

Mushroom Sky with music by OOIOO

[moodboardmix]

Ryuichi Sakamoto (January 17, 1952 - March 28, 2023)

Professor Sakamoto was one of Japan’s most successful musicians, acclaimed for work in Yellow Magic Orchestra as well as solo albums and film scores.

As a member of Yellow Magic Orchestra alongside Haruomi Hosono and Yukihiro Takahashi, Sakamoto created joyous and progressive electronic pop in the late 1970s and early 1980s, alongside solo releases. He acted alongside David Bowie in the 1983 film Merry Christmas, Mr Lawrence and composed its Celebrated theme, the first in a series of film scores including Oscar-winning work in 1987 with David Byrne and Cong Su for Bernardo Bertolucci’s The Last Emperor.

Alongside YMO, Sakamoto continued releasing solo albums including 1980’s B-2 Unit, another influence on the robotically funky sound of electro that also foreshadowed other dance music styles. After focusing purely on solo work, he forged further connections in the west, collaborating with musicians including Iggy Pop, Robert Wyatt, Laurie Anderson, David Sylvian and more. Sylvian contributed Forbidden Colours, a vocal version of one of Sakamoto’s most famous works, the theme to second world war drama Merry Christmas, Mr Lawrence. Sakamoto also starred in the film as a prisoner of war camp commander.

Following The last Emperor (in which he also had an acting role), he collaborated with Bernardo Bertolucci again for The Last Buddha, and with Merry Christmas, Mr Lawrence director Nagisa Oshima for Gohatto. He also scored two films by Brian De Palma (Snake Eyes and Femme Fatale), plus Wild Palms for Oliver Stone, High Heels for Pedro Almodóvar, the 1990 film adaptation of The Handmaid’s Tale, and more. His 2015 score for Alejandro González Iñárritu’s film The Revenant was nominated for Golden Globe, Bafta and Grammy awards. In 2019, he composed the music for an episode of dystopian TV drama series Black Mirror. He took no further acting roles, aside from appearing as a film director in Rain, a music video for Madonna.

Mr Sakamoto released a steady schedule of solo releases throughout the 1990s and onwards, and wrote a piece for the opening ceremony of the 1992 Olympic Games in Barcelona. In 1999 he debuted the multimedia opera project Life, in collaboration with artist Shiro Takatani with contributions from Bertolucci, Pina Bausch and more. He and Takatani extended the concept into installation work from 2007 onwards.

Also in 2007, he began the ambitious Schola project, curating 17 compilations of global music ranging from composers such as Ravel and Beethoven to Japanese pop. It was released via his record label Commons, set up in 2006, which has also released work by artists including Boredoms and OOIOO.

In 2002, he began a fruitful partnership with German musician Carsten Nicolai, who used his Alva Noto alias for four collaborative albums of minimalist electronica.

Mr Sakamoto was also an environmental campaigner, opposing the use of nuclear power, and creating the forestry project More Trees to enable carbon offsetting.

Ryuichi Sakamoto - Merry Christmas, Mr. Lawrence

[puppydogpuppy]

trumpeting cat theme

Song: moss trumpeter - OOIOO

[lovehael]

〜☆ Tag ppl you wanna know better ☆〜

Tagged by: @pinkmoondoll9shihtzu

Last song: I've been listening to Cowgirl Clue's album Rodeo Star quite a bit lately so that has been playing in my head day-to-day at random times, but I did listen to this album more recently- it's so sweet and uplifting n_n

Favorite color: Mauve

Currently watching: my partner playing Lies of P. As far as series go, close to finishing up The Bear

Last movie: John Dies at the End. I want to watch RRR soon but need to start it earlier in the day since it's 3 hours

Currently reading: The Tarot Café, The Department of Truth, and This Book Is Full of Spiders

Sweet/spicy/savory: All the foods

Relationship status: We are chillin in bed rn

Current obsessions: Getting strawberry wafers n strawberry popsicles from the closest gas station, raspberry tea, better organizing things at home

Last thing I Googled: "OOIOO" after thinking about Boredoms

Currently working on: cooking n drawing skills, renewing my license n some other bureaucratic stuff

I tag: @8a8y, @angelbeatt, @anthraxplus, @cadaverette, @capacity, @crunchythursdaychild, @cyborgbuddy, @cyrsed, @death-crab, @dixiedeadshake, @ermor, @fureiya, @haely, @h0neytune-cherub, @helllnotes, @ice--ocean, @ladyvelkor, @lovingrot, @lush-retina, @mary-of-silence, @mosquitogirl, @n-award, @nookicky, @sewercentipede, @stlamb, @suturesque, @tangismyname, @tinybed, @troll-star, @type6reverb, @waveringheart

[spiderfreedom]

One of the consequences of women being gatekept from the arts is that there are so many time periods with amazing art movements, and no women in them. If I want to listen to a woman composer from the 18th century, it's slim pickings. There are many female living composers today (though not as many as there ought to be due to sexism), but they compose in today's styles.

Similarly, I love 70s prog rock! There is, as far as I can tell, exactly one all-female 70s prog rock band (Mother Superior) and they released one album and the group then disbanded! There's Curved Air, which was all male but had a female lead singer and occasional songwriter and they also disbanded. There are some more modern female prog rock bands (OOIOO, Ars Nova), but if I want to listen to 70s stuff, I'm out of luck. Women musicians missed out on one of the most fruitful eras of pop music experimentation, collaboration, creativity, and recording expertise, because of sexist managers and sexist audiences (the managers of Mother Superior had no idea how to brand them because they might be too 'sexually threatening' to male fans' girlfriends...).

We can rediscover female artists and creators from the past, but it is not enough, it will never be enough. It is a loss that women experienced that we were massively underrepresented in so many artistic and intellectual movements. We can't go back in time and recreate them, the time is over, it's done. We can only fight to get more women in today's movements and tomorrow's. But I had to grieve about it, because it is a loss. It is something the men of that time took away from those women, and we today are all the poorer for it.

[dustedmagazine]

Melt-Banana — 3 + 5 (A-Zap!)

A squeak, a screech, a battery of tortured guitar sounds, an ear-piercing chant, and they’re off. It’s been 11 years have elapsed since the last Melt-Banana album, a geologic era in pop culture terms, but the duo of Yasuko Onuki and Ichiro Agata seem remarkably unaltered. 3+5 sparkles and blitzes and caterwauls, a sugar-y tuneful-ness glittering amidst jolts of industrial noise.

These songs hurtle forward like an amusement park ride, they rush, they swoop, they hang you upside down then careen back to safety, delighted screams trailing. The pack maximum sensation in brief, adrenalized containers, the sounds a heart-pounding blur. “Hex” judders to life on a sped-up Talking Heads riff, dodges shrapnel from incoming percussion and musters an undeniably anthemic chorus in trebly Minnie Mouse register. It’s over two and a half minutes but feels like a universe.

“Stopgap” is even shorter, a rocket launch of a cut, all strobe-lit stabbing guitars, battering how-am-i-going-to-keep up drumming and a shrieking spatter of verbiage. “Flipside” sounds a lot like the Lightning Bolt, which is to say molten and out-of-control and full of strident joy. Everywhere, Melt-Banana is going as fast as it can, moving like heat-excited particles in a physics experiment, and every jerk and punch and explosion is precisely timed and executed. Yasuko is famous for insisting that she’s not influenced by anyone, but you could draw lots of connections to noise artists from Japan and elsewhere: OOIOO, the Boredoms, Deerhoof and Otoboke Beaver.

This is a Red Bull of an album, a total kick in short bursts but likely a strain on your heart in larger doses. I wondered what this kind of mayhem would look like, on stage, and found this video. Nice place to visit. Living there would kill me.

Jennifer Kelly

[hooved]

OOIOO (1997) for dinner tonight yum 😋

[toffeethief]

[transingthoseformers]

G1 2020s au: Maybe the war against the quintessons is what eventually led to the Autobot-Decepticon war? Like how the War of The Threefold Spark and its aftereffects in IDW2?

Not sure how that works in G1 though, since it's been several generations since the rebellion and none of the cast except Alpha Trion was propably alive back then

OOIOO TGATD BE INTERESTING, though it'd take some work to fit

[yui-on]

閑話休題 伍

「YoshimiO & U-zhaan

LIVE IN POLARIS Release Commemorative」

at 結音茶舗

【日時】5/3 2023 (水曜日・祝) open 18:00

【会場】結音茶舗

　　　　大阪府大阪市中央区谷町六丁目14-2 路地奥

【料金】限定20名先着（※要予約） 4,000円+ワンオーダー

【予約】E-mail : mailto:tea@yui-on.com

　　　　Tel : (06)4305-4926 (12:00-24:00・月曜休)

出演

LIVE

YoshimiO x U-zhaan

Hideo Nakasako

にしもとひろこ

DJ

あらゆるゔぇーだ

Sound: Kabamix

YoshimiO & U-zhaan

LIVE IN POLARIS

シタール奏者のヨシダダイキチが結成した実験的インド音楽ユニット「SAICOBABA」のメンバーとして1999年から数多く共演をしてきたYoshimiOとU-zhaanが、出会って23年目にして突発的に初開催したデュオ即興ライブのフル音源をBandcamp限定でリリースする。マスタリングはkabamix。

YoshimiO and U-zhaan, who have performed together numerous times since 1999

as members of SAICOBABA, an experimental Indian music unit formed by sitar player Yoshida Daikichi, will release the full soundtrack of their first duo improvisation live performance, which was held suddenly and unexpectedly 23 years after they met, exclusively on Bandcamp The mastering was done by kabamix.

YoshimiO/

Vocal, Piano, Bamboo Flute, Triangle, Synthesizer

　

U-zhaan/

Tabla, Kanjira, Alto Horn

Mastered by kabamix.

Artwork by UTA

YoshimO・ヨシミオ（a.k.a.Yoshimi P-We)

1986年BOREDOMSのEYE等とUFO OR DIEを結成。

初めてドラムを叩き、初動でシャウトするステージから、

1988年より30年以上世界で最も先鋭的なエクスペリメンタル・ハードコアバンド・

BOREDOMSのコアメンバーとして活動。

1993年Kim Gordon,Jullia CafritzとのFREE KITTENのドラマーとして加入後、

1995年より自身のプロデュースバンドOOIOOを結成し、ギターヴォーカル＆トランペットでの表現は現在進行形である。

1999年からシタール奏者のヨシダダイキチが結成した実験的インド音楽ユニット「SAICOBABA」を経て、

2015年には古代ヌメロロジカルな手法をもとに演奏されるラーガコアバンド

[SAICOBAB]をヨシダダイキチ、HAMA(滞空時間）等と結成し

Vocalist・YoshimiOとしての活動を始める。

2020年よりYoshimiOのすべてのインプットは和泉希洋志からアウトプットされる

YoshimiOizumikiYoshiduOでピアノを奏で発声。

複数のパーマネントな音楽活動はもちろん、世界中を舞台にした数え切れないセッション・ワークやレコーディング、プロジェクトへの参加、  映画のサウンドトラックをはじめとするソロ=YoshimiO名義での音源制作、他ミュージシャンへの楽曲提供、 CM音楽制作、さらには、自身のブランドemeraldthirteenでの服飾デザインまでをもこなす、正にポリフォニックな多層型アーティスト。

音楽制作、延いてはその根幹となる器楽演奏や発声の方法までもが完全にオリジナルなメソッドで

貫かれており、楽器や音そのものから放たれるバイブレーションと素直に対峙することから始まる

身体的反応を第一義としたプリミティブな表現を核に、同時代性を伴う鮮烈な色彩感覚をちりばめた、独自のエートスを獲得している。　

U-zhaan・ユザーン

オニンド・チャタルジー、ザキール・フセインの両氏からインドの打楽器「タブラ」を師事。2000年よりASA-CHANG&巡礼に加入し、『花』『影の無いヒト』など4枚のアルバムを発表。2010年に同ユニットを脱退後、U-zhaan × rei harakamiとして「川越ランデヴー」「ミスターモーニングナイト」等を自らのサイトから配信リリース。2014年にはゲストに坂��龍一、Cornelius、ハナレグミ等を迎えたソロ名義のアルバム『Tabla Rock Mountain』を発表した。2021年にU-zhaan×環ROY×鎮座DOPENESSによるアルバム『たのしみ』、2022年に蓮沼執太との共作アルバム『Good News』をリリースしている。

Hideo Nakasako

関西を拠点にAmbient〜Dub〜Technoに影響を受けた電子音楽を制作するプロデューサー。現在は自身で録音したフィールドレコーディングやシンセサイザーで作ったテクスチャーをレイヤーしたAmbient Musicに傾倒している。

Blue Arts Music,shrine.jp,Muzan Editionsなど国内レーベル中心にリリースを重ね、自身のBandcampにて精力的に作品をリリースし続けている。2023年2月Muzan Editionsより「Collected Sound Fragments」をリリースする。

2017年よりクラブの音響、環境でアンビエントミュージックを楽しむパーティーDon't Danceを主宰する。

https://hideonakasako.bandcamp.com

にしもとひろこ

散らばる光と戯れるように、独特な声色でうたを紡ぐ。

アコースティックデュオ「たゆたう」、女性5人バンド「Colloid」などで活動するほか、主に声のみで物語を奏でるソロパフォーマンスやボーカル・コーラスサポートも行う。

2014年 劇団sunday『友達』、2016年 423アートプロジェクト『とちのこゑ』、 2017年 瀬戸内サーカスファクトリー主催『サカイデマングローブ』、2018年 『大阪府障がい者舞台芸術オープンカレッジ2018「うみのうたごえ」』、BRDG vol.5『Whole』、2020年BRDG vol.6『ふれる～ハプロス』などで楽曲提供、劇中での生演奏に参加。

日々の暮らしの中、歌ったり、描いたり、作ったり、多岐にわたるアーティスト活動をめぐりながら独自の世界観を表現する。

あらゆるゔぇーだ ARAYURUVEDA

コロナ禍において自宅をインドに近づけるために、インドのレコードを聴きながらカレーをつくる活動をはじめる。インドの音楽をより楽しむために、近隣諸国のレコードも買うようになり、戸惑う。BGMにより空間が唐突にアジア、アラブ化するのを楽しんでいる。

結音茶舗

542-0012

大阪府大阪市中央区谷町6丁目14-2 路地奥 結音茶舗

電話 06 4305 4926

map

https://goo.gl/maps/ePqVuHhzoU72

googleMapで「日本茶バー」検索

営業時間

お昼 12:00 - 深夜24:00

ランチタイム 12:00 - 15:00

喫茶 15:00 - 17:00

日本茶バー 19:00 - last

定休日毎月曜 第三火曜

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