This work draws from Japanese folklore, and this supernatural world has modern tonality embedded in the lyrics. The songs take ideas from Hyakki Yagyo – The Night of One Hundred Demons and transform the images, stories and lore from this Asiatic world into evocative melodies that’s both a meditative and a clubbing experience.
By Ed Sum (The Vintage Tempest)
Not everyone will know of Millennium Parade, an arts collective from Japan whose music can’t be easily pigeon-holed. They are led by Daiki Tsuneta, frontman of J-Pop band King Gnu, and can be categorized as New Wave or Trip Hop. The debut self-titled album is a fresh exhilarating experience for me, and their sound is similar to but not quite like the sound from the virtual band’s Gorillaz. But anime fans will know them because they’re the composers of the opening song, “Fly with Me” for Netflix’s Ghost in the Shell: SAC 2045.
This work draws from Japanese folklore, and this supernatural world has modern tonality embedded in the lyrics. The songs take ideas from Hyakki Yagyo – The Night of One Hundred Demons and transform the images, stories and lore from this Asiatic world into evocative melodies that’s both a meditative and a clubbing experience. On the cover, a “Tezutsu Hanabi” (the oldest form of Japanese fireworks, encased in bamboo and held by hand) which was traditionally used to protect from evil spirits, and was also used to pray for a good harvest, is held by Ebisu (one of the 7 Gods of Fortune).
The Stardust Brothers originally released in 1985 and to obtain the music, fans have to import it from Japan or subscribe to a service from this country.
First off, it must be said that The Stardust Brothers have no relation to Ziggy, and nor are they firmly rooted in 80s nostalgia. Instead, what we get in The Legend of the Stardust Brothers (星くず兄弟の伝説) is a movie that’s simply bonkers. In what I found is a sprinkling of inspiration from Spinal Tap, a weighty nod to The Blues Brothers and a zaniness from The Beatles’ A Hard Day’s Night.
Here, two relative unknowns–a crooner Shinga (Shinga Kubota) and a punk rocker Kan (Kan Takagi) from rival pop bands–are paired into a hilarious manzai synthpop singing duo. To understand their rise to fame is far too gonzo and all I have to say is that this film is an experience–beginning with a black and white sequence until colour is splashed on screen–about these two parading their music to unimpressed lounge patrons. Where they are performing is ironic, and if the audience they are singing to care, I’d be surprised if they get an ovation. As any band will tell you, life after that initial moment of fame is different.