Here in Japan there have been various promotions all year celebrating this, the 30th anniversary of Super Mario Bros. We’ve had special promotions at Tower Records, exclusive merchandise for sale at various Otaku stores, and of course the release of Super Mario Maker for the Nintendo Wii U. But things hit a crescendo this past Sunday, the actual anniversary date, with Nintendo’s official Super Mario Brothers Anniversary Celebration Festival, held at Duo Exchange in Shibuya, Tokyo. Continue reading
It’s Saturday, which means I’m in HMV minding my own business looking for new wave records.
I got a routine going when I’m not working.
Anyways, so I’m in HMV, browsing the alt rock section when I start to hear some strange 70s mid-tempo disco/funk. It’s cool. I’m grooving to it. Then traditional Japanese instruments start to kick in over it. I’m hearing what sounds like a biwa and a koto mixed in with some radical wah-wah guitar and a groovy bassline. I’m digging it hard.
I decide to buy the record right when the slide whistle and flute kick in.
I’m pretty happy with this purchase. Continue reading
Demons isn’t exactly a good movie, but it’s definitely a memorable one. A low-budget 1985 Italian horror flick about a movie theater overrun by, well, demons, it features quite the ludicrous plot; amazingly bizarre characters; and some wonderfully over-the-top and disgusting gore effects. It’s a solid piece of 80s eurocheese and it has only gotten more gloriously bizarre as the years have gone by.
Probably one of the only aspects of Demons one can appreciate non-ironically (aside from the killer make-up effects) is the score by Goblin’s Claudio Simonetti. It’s a creepy little piece of music, composed almost entirely on synthesizers. As such, it’s just as dated as the film it came from, but in the most wonderful way. And now it’s back in print via new limited edition CD and LPs, but are they worth the price? Continue reading
I’ve been living in Japan for a little over a year and a half now, and let me be the bearer of bad news: Japan really isn’t that weird.
Sure, you see the occasional mascot roaming the streets and everyone on TV seems just way too excited about everything (especially food), but it’s really not that different than anyplace else. And, let’s be honest, a lot of the “weird Japan” concept comes from misunderstandings at best and flat out racism at worst. I also can’t see how a country like America, where walking into a Wal-Mart with a semi-automatic weapon in your hands is legal, has any right to call any other country weird.
All that being said, Babymetal, a heavy metal/pop hybrid featuring a trio of pre-teen girl singers, is the kind of weird shit that could only exist in Japan. Continue reading
Recently a friend from the states came to visit me in Japan, and as she is a huge wrestling fanatic, she begged me to take her to some Japanese wrestling events.
Luckily for her, we were able to make it to not one, but two. One by New Japan Pro Wrestling, the major wrestling promotion here in Japan (and the second-biggest wrestling organization in the world behind the WWE), and a local, indie event by Fukumen Mania, a luchadore (Mexican wrestling) style organization.
It was probably the most fun I could have with men in skintight spandex that I’d be willing to talk about on a blog that my mom reads. Continue reading
I own more albums by Tangerine Dream than I do any other artist, although that speaks more to their insane output than anything else. Excluding their numerous (and typically fantastic) soundtracks, the Tangerine Dream albums that I treasure the most are their first four for Virgin Records: Phaedra, Rubycon, Ricochet and Stratosfear. It was with these records that the band moved away from their ultra-experimental krautrock beginnings and into a much more electronic/ambient space that saw them through most of their career.
Now, these four albums have been re-released in Japan as “high resolution” formats; SHM-CD, Platinum SHM-CD and SHM-SACD.
And I realize that most of your eyes have probably just glossed over so I should probably go over those really quick.
- SHM-CD stands for “Super High Material CD,” and use a different polycarbonate material that supposedly results in higher sound quality with reading errors.
- Platinum SHM-CDs are the same, but instead of using a standard aluminium coating they use platinum. This also supposedly boosts audio quality.
- SHM-SACD are Super Audio CDs, an entirely different audio format that is not compatible with standard CD players. These discs can hold more information and playback surround sound audio. They also supposedly sound better than traditional CDs.
Notice that I’m saying “supposedly” a lot. That’s because most of this is audiophile snake oil bullshit. SHM-CDs have never been known to sound notably better than traditional discs, and while I don’t know much about their platinum variants, I can’t imagine the change in coating makes that much of a difference. SACDs have their own benefits of course, the added storage space and surround sound capabilities are nice bonuses, but I’ve never been able to hear the difference between an SACD and a regular disc, a view that science backs me up on.
But I still bought the platinum SHM-CDs for these four titles. Why? Because while the science behind “SHM” is mostly balderdash, SHM-CDs can often sound better than their regular CD or digital counterparts. This is because they frequently use different masters that place more of an emphasis on dynamic range and preserving the feel of the original recording, and not on mucking with the source material or making them as loud as possible.
I also wanted an excuse to write about Tangerine Dream. Continue reading
Since moving to Japan I have bought a lot of game music. Seriously, like probably too many. In my travels and adventures in buying these LPs and CDs, I’ve discovered that there isn’t a lot in the way of editorial information online in regards to these releases. Sure, there’s the VGMDB, but that’s just factual info on content, I mean reviews and more in-depth information.
While I don’t consider myself the end-all expert on game music (my lack of knowledge/interest in RPGs kind of makes that impossible) I’d like to think my obsessive collecting has given me some credence to talk about these releases. So I present to you the Game Music Revue, where I will take a look at all the crazy, bizarre and insane (as well as the boring, mundane and not very good) game music releases that I’ve bought and continue to buy in this wonderful country.
And I felt that it would be best to start at the beginning.
Grand Theft Auto V was one of the biggest and best games of 2013. Its re-release on the PS4 and Xbox One also made it one the marquee titles of 2014, and it’s upcoming PC release might make it a standout release of 2015 as well. It’s a rare feat for the same game to be a newsmaker three years in a row, but GTAV certainly deserves it. Despite its heavily problematic elements, which includes a wicked misogyny streak and more than a few disgusting digs at minorities, the game is an absolute blast to play. This is in large part due to its amazing immersive world, which in itself is largely due to the stellar in-game soundtrack. Continue reading