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From Swedish rock magazine
Schlager nr.52/12 October 1982
Photo by Lars Torndahl. Translation by Peter Isgren.
Nothing new under the sun
JAPAN Konserthuset
Stockholm
For some reason I've been placed on the sixteenth row while all other
reporters sit ten
rows closer to the stage when Europe's leading
Japanese soon are to entertain a full concert house. Have I've been put
there because I'm
half as important as the public relations people or because EMA-Telstar
instinctively
thinks I'm double as receptive. The guy beside me is elegantly clothed
in costume and has
a elegant
tape recorder so that he, later at his elegant home, will be able to
listen to ambitious,
stylish music there too. Besides that I get pretty disappointed at the
"beautiful
people", you see almost as much "beautiful" outside 1984 or the
restaurant
Tattersall one Friday night.
Japan is a strange band. Equipped with a sound, a supply of musical
images that no other
band can match when it comes to perfection, width or purity. But still,
often so amazingly
without character in the essential for their musical style, the
melodies. The question
seems to be if they are they not interested in writing melodies with
character or if they
are not able to. It is this that makes me rather listen to Lustans
Lakejers forthcoming
album, despite the fact that it by many will be dismissed as
"Poor-mans-Japan".
Cause even thought the sound naturally isn't as perfect in every
detail, as with Japan, it
has got melodies. "Art of Parties", "Still life in mobile homes",
"Cantonese boy",
"Porter song" and of course their greatest song "Ghosts", sure there
are moments when Japan impress with more than sound and skill.
Masami Tsuchiya is the source to some of the other moments. Tsuchiya is
the borrowed real
Japanese in Japan that stands, smiling and disciplined like a Japanese
is supposed to.
When in the next moment he goes crazy and on his knees waste away
sounds from his Fender
like a speeded Adrian Belew. Mick Karn, the much talked about bass
player, is the source
to some other. In one song it is exciting to see him, with small steps,
glide over the
stage like a ballerina, while maniacally staring at the audience (a
stare which by the way
is almost the only contact with the audience). But, by the second song
I'm already tired
of him and his widely acknowledged bass playing which
indeed is very special and originative (which he deserves respect for)
but in the long run
just as limited as all rock bass playing. David Sylvian sings
reservedly and shallowed
like a bleached Bryan Ferry after a visit to a modern beauty parlour.
His brother, the
drummer Steve
Jansen who wears headphones, spreads drum layers in stereo. He is in a
double sense in the
background together with the keyboardist Richard Barbieri (who produced
Lustans Lakejer).
Obviously I'm not very impressed by Japan, at least not live. I'm just
not that interested
in fashion shows. Or did I simply sit to far from the stage or to far
from the nearest
modern rock musician who could have told me how
impressed I should have been?
Lars Nylin
The text below the image said:
David Sylvian wander round like a shallow Bryan Ferry in a David Bowie
costume.
Visit
Peter's David Sylvian web site at
http://www2.cybercities.com/d/davidsylvian/
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