Tag Archives: New Wave
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From Art to Music with Millennium Parade’s Debut Album!

12 Feb

Image result for Millennium parade

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).

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[Fantasia 2019] The Stardust Brothers are Back and Where to Find Them

25 Jul

By Ed Sum
(The Vintage Tempest)

The Stardust Brothers has no relation to Ziggy, and nor it firmly rooted in 80s nostalgia. The Legend of the Stardust Brothers (星くず兄弟の伝説) is a movie that’s simply bonkers. I found a sprinkling of inspiration from Spinal Tap, a weighty nod to The Blues Brothers and a zaniness ala The Beatles’ A Hard Day’s Night. I’m more inclined to say The Monkees, because I watched too much of this television show when I was a wee lad.

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 to make sense of it all. 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 these two are performing now 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.

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