‘a new high mark of maturity’
There were fundamental differences in band preparations for Japan’s third LP. The material for the first two albums, Steve Jansen explained, ‘was performed extensively live before we had the opportunity to record it. Therefore, those albums serve more as a document of what we’d learnt as a group performing together. There was very little recording craft involved, just a lot of energy and influences from an eclectic mix of styles, which were all a part of our early teenage years onwards.
Continue reading “The Other Side of Life”
‘some sense of nostalgia’
Sometimes it’s difficult to remember why you made a particular decision. Especially one that you wish you could change afterwards… It was late 1982 and I was in the final year at school. Important exams were looming the following year which would determine whether I would achieve my ambition of going to university, and if so, which one I might attend. My fascination with Japan had developed in the preceding months as the singles ‘Ghosts’ and ‘Cantonese Boy’ had been lifted from Tin Drum, catching my attention and drawing me to the album. The plethora of Hansa singles had got me exploring the back catalogue, and I was guided through by an enthusiastic friend.
Continue reading “Ghosts – live”
‘One of the strangest tracks’
Following their excursion into commercial pop territory with The Dolphin Brothers, Steve Jansen and Richard Barbieri’s next joint project was set to take a very different direction. ‘We try to alternate our recordings in terms of types of album,’ explained Jansen. ‘Our first album [Worlds in a Small Room] was instrumental, the next vocal; so this should have been instrumental. Also, the record company weren’t budgeting enough for a vocal album, which requires studio time. If they had said, “do another vocal album, here’s the budget,” we’d have done it. But we were quite happy not to.’
Continue reading “New Moon at Red Deer Wallow”
Tin Drum was my introduction to the music of Japan and from there I explored the previous releases. These were my final years at school and it was an exciting time with a world of music opening up to me that I just hadn’t been aware of before. A friend encouraged me to listen, passing me C90 cassette tapes of his favourite music which I would lose myself in, then saving my Saturday job money so I could visit the local record shop to buy the vinyl. The skull-and-cross-bones symbols may have said that home taping was killing music, but it also helped to foster a life-long appreciation of some incredible recordings – many of which I now own in multiple copies: vinyl, cd, re-releases, remasters…
Continue reading “In Vogue”
‘A completely different approach and feel’
It seems that there were certain aspects of being in a band that David Sylvian felt liberated from after Japan split up, but there were others that he missed almost immediately when setting out as a solo artist.
In 1986, just after the release of his second solo album Gone to Earth, he explained that his desire for musicians from a jazz background to perform on his records ‘came out of the frustration of working within a band like Japan which was studio-bound. Nothing was improvised except in rehearsals when you are putting the track together. Going into the studio everything was well prepared and you really knew what you were doing, and it was only a matter of sound you were working with. So, when Japan split up I wanted to get into something that had a bit more life to it, a bit more spontaneity to it.’
Continue reading “Red Earth (as summertime ends)”