Japanese Whispers #2 Headliners Profile @THEAFTERMILES @mitsumeband @dojihatori_

The Aftermiles

Now fronted by film personality Ringgo Agus Rahman, The Aftermiles play in-your-face tunes that reflect the mix of Jakartan anger and British rock sensibilities coursing through their veins.


A group of youths from Tokyo who play sophisticated indie pop with influence ranging from jangly to electronica.


Yogyakarta Britpop stalwarts who gained recognition after being a finalist in a nationwide indie band competition, are going to make their first public appearance after four years.

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Japanese Whispers 2

Mitsume, The Aftermiles, Dojihatori

Japanese Whispers 2 : Mitsume, The Aftermiles, Dojihatori 23 March 2013 @ LAF Garden YK

MAP ACCESS TO LAF GARDEN : http://wp.me/p3cPaz-I


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Peta Akses Langgeng Art Foundation Garden

Peta Akses Langgeng Art Foundation Garden

Peta Akses Langgeng Art Foundation Garden

Peta Akses Langgeng Art Foundation Garden

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Japanese Whispers: The Story Behind

Cerita tentang Japanese Whispers berawal pada Agustus 2010, ketika itu sebuah band bernama Paraparanoid melakukan live acoustic session di Outerbeat, program radio mingguan komunitas Common People. Topik yang diangkat ketika itu adalah Japanese Shoegaze atau J-Shoegaze.  Paraparanoid sendiri adalah grup folk pop yang terpengaruh oleh J-shoegaze, dan kebetulan juga mereka adalah mahasiswa sastra Jepang. Azam, penggagas grup Paraparanoid, memiliki hubungan yang dekat dengan grup Texas Pandaa. Dalam siaran selama 1 jam itu, para personil Texas Pandaa mendengarkan dari Tokyo. Bahkan kabarnya, Rie Takeuchi, leader dari shoegazer veteran Jepang, Luminous Orange, juga ikut mendengarkan. Inilah siaran yang merupakan cikal bakal event Japanese Whispers.

Outerbeat POPcast | August 2010 | J-shoegaze with Paraparanoid

Pada awal 2011, Texas Pandaa menyatakan ketertarikannya untuk melakukan tur di Indonesia. Keinginan mereka pun akhirnya terealisasi beberapa bulan kemudian. Kuartet shoegaze asal Tokyo itu tampil di event Hyperborea #2 pada 17 September 2011 yang bertempat di CCF-IFI Bandung, dan event bertajuk Japanese Whispers pada 19 September 2011 yang bertempat di LIP-IFI Yogyakarta.

Di Bandung, Texas Pandaa berbagi panggung dengan berbagai band shoegaze dan postrock kenamaan lokal seperti Themilo, Ansaphone, dan L’alphalpha.

Lalu dua hari kemudian di Yogyakarta, Texas Pandaa berbagi panggung dengan shoegazer ibukota Mellonyellow dan Paraparanoid sendiri.

Menurut Luhur (@LXHXRX), seorang pemerhati scene independen di Jepang dalam tulisannya yang dimuat di zine Halimun, rangkaian tur Texas Pandaa ini adalah untuk pertama kalinya dalam sejarah sebuah band dari scene J-shoegaze tampil di Indonesia.


Satu tahun kemudian, giliran Texas Pandaa membantu band tweepop dari Jogja, Brilliant at Breakfast, untuk melakukan tur kecil di Tokyo. Brilliant at Breakfast berangkat bersama Azam dan Sarah dari Paraparanoid, tampil di 2 tempat yang cukup ternama di kalangan skena independen Tokyo, Koenji-HIGH dan Shibuya-ECHO. Pada 18 Oktober Brilliant at Breakfast berbagi panggung dengan 4 Bonjour’s Parties, Honeydew, Bertoia dan Texas Pandaa, dalam gig yang dikurasi oleh Yusuke Hata, leader dari J-shoegazer veteran Cruyff In The Bedroom.

Thee Boot Party

Keesokan harinya, Brilliant at Breakfast tampil di Shibuya-ECHO bersama It Happens dan Mitsume, dalam event Thee Boot Party #8 yang dikurasi oleh komunitas Twee Grrrls Club.

Setelah berbicara dengan para personil Brilliant at Breakfast seusai gig, Mitsume menyatakan ketertarikannya tampil di Indonesia.  Mereka pun direncakan tampil dalam Japanese Whispers #2, sebuah sekuel dari edisi 2011 lalu.

Japanese Whispers #2 akan diadakan pada hari Sabtu, 23 Maret 2013, bertempat di Langgeng Art Foundation Yogyakarta. Selain Mitsume dari Tokyo juga akan tampil The Aftermiles dari Jakarta dan Dojihatori dari Yogyakarta. Gig ini juga akan menjadi yang pertama bagi Dojihatori setelah beberapa tahun vakum.

Mitsume adalah band indiepop yang cukup baru di scene independen Jepang, namun cepat menarik perhatian karena mereka selain memiliki materi yang dinamis (tidak stay di satu pola) juga karena live performance yang enerjik dan menarik.

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How an NME cassette launched indie music (Sample Post)

Nick Hasted, The Independent, 27 October 2006

C86, the unassuming mail-order cassette compiled by NME, through which the indie sound and scene first coalesced, will have its 20th anniversary celebrated tonight with the first of two gigs at London’s ICA, the venue where many of the tape’s bands performed.
A double-CD released this week, CD86, sets out the wider scene these bands were part of, and a documentary, Hungry Beat, will be released next year. It is a remarkable upsurge of interest in a scene that self-consciously kept itself on the fringe of the mainstream, but nevertheless became hugely influential.
Of the 22 bands on the original tape, only Wedding Present and Primal Scream went on to make a lasting mark, but the sound and look that C86 captured still characterises a section of British music culture: it is a world of jangly Rickenbacker guitars, defiantly asexual feyness, DIY fanzines and seven-inch singles, bowl-cuts, hair-clips, and childlike innocence.
“It was the beginning of indie music,” Saint Etienne’s Bob Stanley, the man behind much of the present activity, says in CD86’s sleevenote. “It’s hard to remember how underground guitar music and fanzines were in the mid-80s. DIY ethics and any residual punk attitudes were in isolated pockets around the country, and the C86 comp and gigs brought them together.”
Club nights such as Alan McGee’s The Living Room in London and fanzines such as Are You Scared to Get Happy? fed a network of micro-scenes and bedroom labels, much as MySpace and live acts with devoted followings below the media radar continue to do so today.
NME intended its compilation (a sequel to C81) to stake out a new independent scene, 10 years after punk. Technical expertise was not an issue, as wonky time-signatures and raw singing on most releases proved. The music had obvious antecedents in the jangly funk of early 1980s Glasgow bands Josef K, Orange Juice and Aztec Camera (whose Roddy Frame plays the ICA tomorrow), the Rickenbacker miserablism of The Smiths, and the Spector-meets-Velvet Underground splicing of The Jesus And Mary Chain (initially signed to Alan McGee’s Creation Records, and habitués of The Living Room). The Velvet Underground’s softer side and 1960s girl groups were common ground for them all.
After punk’s Year Zero attitude, and early 1980s’ synth-pop, this return to the past is one of C86’s defining legacies. Primal Scream’s “Velocity Girl” began the tape, and inspired The Stone Roses, in turn sparking Oasis, who would be signed alongside Primal Scream by McGee, shortly before conquering the world with their fuzzed Beatles riffs. From The Living Room to Knebworth was not such a long trip.
C86’s gentle image seemed a calculated insult to the raw rock of punk’s original DIYers. But if, as pop theorist Simon Reynolds contends, C86 was “post-punk with its most radical elements … purged”, its sexual politics also made a mark that can still be seen. This anti-macho, chaste music made women feel welcome as musicians, not sex objects. “We thought it was wrong to use
pictures of women to sell records,” Matt Haynes said of his Sarah Records, the ultimate post-C86 label. “So we used pictures of Bristol.”
The Riot Grrrl bands of the 1990s (Huggy Bear in Britain, Bikini Kill in the US) were influenced by C86, and the equal gender balance at most gigs today may be one, slowly ripened fruit of its feminist attitudes. The year 1986 was also the year of The Queen is Dead, the grand crowning glory of The Smiths and Rough Trade, a band and label who took jangly guitars and the independent ethic to heights C86’s motley crew could never match.
There were also landmark albums that year from artists as diverse as Elvis Costello, Billy Bragg, Miles Davis and Prince (whose “Kiss” was cheekily covered by C86’s Age of Chance, breaking ranks from a scene largely mystified by black music).
The bands NME brought together were never meant to last that well, as their penchant for releasing ephemeral flexi-discs and tapes shows, and much of CD86 is indistinguishable and anaemic. But the rough absurdity of Liverpool’s Half Man Half Biscuit (who combined children’s TV and 1980s politics on The Trumpton Riots), the wobbly tempoed, joyfully pop-fixated Tallulah Gosh, and British pop’s most eccentric near-genius, Lawrence of Felt (at the ICA under present alias Go-kart Mozart tomorrow) are among the odd, unclassifiable characters this wilfully unworldly scene had room for.
It is unlikely this weekend’s gigs will match C86’s original week at the ICA, which Primal Scream’s Bobby Gillespie fondly recalls as a time when “it felt like anything could happen” even today making him “proud”, (althoughNME’s review at the time found the gigs patchy at best). But, from the very C86 Belle and Sebastien to the Arctic Monkeys and the Mystery Jets, British indie’s stubborn eccentricity remains in rude health.
Back to the 80s

Side One
* Primal Scream – ‘Velocity Girl’
* The Mighty Lemon Drops – ‘Happy Head’
* The Soup Dragons – ‘Pleasantly Surprised’
* The Wolfhounds – ‘Feeling So Strange Again’
* The Bodines – ‘Therese’
* Mighty Mighty – ‘Law’
* Stump – ‘Buffalo’
* Bogshed – ‘Run To The Temple’
* A Witness – ‘Sharpened Sticks’
* The Pastels – ‘Breaking Lines’
* Age of Chance – ‘From Now On, This Will Be Your God’

Side Two
* The Shop Assistants – ‘It’s Up To You’
* Close Lobsters – ‘Firestation Towers’
* Miaow – ‘Sport Most Royal’
* Half Man Half Biscuit – ‘I Hate Nerys Hughes’
* The Servants – ‘Transparent’
* The Mackenzies – ‘Big Jim (There’s no pubs in Heaven)’
* bIG fLAME – ‘New Way’
* Fuzzbox – ‘Console Me’
* McCarthy – ‘Celestial City’
* The Shrubs – ‘Bullfighter’s Bones’
* The Wedding Present – ‘This Boy Can Wait’

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