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JapanArticle from Electronics & Music Maker, January 1983 |
On studio, stage work, and future solo projects
Japan have made a name for themselves over the last few years as one of the most interesting bands on the UK pop scene. Despite their popular appeal, their approach to studio and stage work differs greatly from that of the average rock band. Keyboard player Richard Barbieri explained to E&MM how the band works, what its influences are, and how solo projects feature in the plans of each member of the band in the immediate future. Finally, we review one date in what is planned as Japan's last world tour.
We wanted 'Tin Drum' to sound acoustic and natural rather than electronic, although a lot of it is played on synths with David taking about 45% and myself about 55% of the work. The percussion is quite dominant because we wanted a lively sound, and we used a new producer as opposed to John Punter who worked on 'Quiet Life' and 'Gentlemen Take Polaroids' and who's doing the live sound for our tour, John's been involved in about half our music, but on 'Tin Drum' we were looking for a different sound, a hard acoustic sound with a sort of 'dead echo' using single repeats as opposed to a lot of echo or reverb. There's no reverb in Chinese music!
We feet very emotional about the music but a lot of careful thought goes into it, particularly in stereo placement of the instruments. It's actually a very sparse album and so the placing of rhythmic patterns and instruments is very important; we build up a track very gradually and carefully and try to put in the absolute minimum, we like to keep it simple. The spaces are the most important part of any piece of music!
David writes most of the songs, in that he'll start with a title and come up with lyrics and a very sparse chord structure, which we'll then add to as we want. Sometimes he might have a more detailed idea in his mind, but he doesn't force any particular arrangement on us and we're free to do our own pieces. A year ago I played all the keyboards, but on 'Tin Drum' it was useful to arrange it so that if I had an idea to fill up a piece I could go and play it, or if he had a different idea he could go and play it — it reduced the pressure because there's no way I could imagine playing all the keyboards on that album. In fact we have very different styles, but it all comes over as one style on the album.
Once we've got the basic idea we put a rhythm machine track on tape and begin to add our parts over it. Steve then plays the drum parts in between for a much tighter feel before we take the drum machine off; he's a very tight drummer anyway, with impeccable timing. We're all self-taught; none of us is a virtuoso, it's just a matter of knowing and having respect for what the others can do. If I program a drum sound and have a pattern but can't quite get the timing right, I give it to Steve to play, for instance.
We don't feel we can perform very well on stage ourselves, because we see the studio as the creative medium in which to work. Some bands are more creative live, but we tend to feel a little uncomfortable; ideally we'd like to create the relaxed mood of a classical concert, but we'll probably always get screams and shouts because we're labelled as a rock band, which I don't really feel we are.
On the other hand I enjoy the excitement of live work, which is why I'm not sure that I want to use the headphone monitoring system; I like to be able to hear the audience or even the occasional feedback. In the studio David multi-tracks the vocals, whereas on stage Mick will sing as well; I don't think I'll ever be able to sing!
We also have to use some backing tapes to do 'Tin Drum' live. Normally we take the master tapes from an album and remix them in the studio to produce a backing tape with just a few of the important rhythmic elements on it. Steve monitors that on headphones, and the rest of us play in time with him, so we can't get out of sync with the tape. We try to keep it all as simple as possible really; I haven't used the built-in sequencer on the Prophet 10 yet, because even if it was triggered in some way I think it would still interfere with the backing tape because that's already got some keyboard patterns on it.
Also we always have a guest musician on tour who takes the guitar parts and some keyboards. In the studio David plays a Rickenbacker guitar with an E-Bow, but there are only two or three guitar solos on 'Tin Drum'; Mick's bass on the other hand is very important, his bass riffs have so much personality. He's in great demand now for other people's projects and I think his style has had a lot of influence.
We try to be visual on stage without making it too complicated. Rather than changing the sets we make them appear to change by using different lighting. We haven't been too involved in video yet because we've never been sure of having total control, although we were very happy with the video for 'Visions of China' which won a music business award as the best video of the year. We are going to release a video of the tour to go with with the double live album, but we want to make them in some ways different from the normal rock band material.
Altogether the tour by the time it's over will have covered two weeks in Europe, six weeks in the UK, then Japan, Hong Kong and Thailand. In Japan they're not quite sure what to make of us — we've been popular there for about four years but have only lost the teeny-bopper fans in the last year and become respected as serious musicians.
Programming synths is what I feel most comfortable doing. I can only read music very slowly, and if I sat down and tried to play scales I'd have some difficulty. On the other hand being self-taught helps to develop your own style, and I now find I can imagine a sound in my head and then produce it on the synthesiser.
I prefer to get the sound by programming the synth rather than by using effects. The ring modulator effects on the Prophet are my favourites, but I do use a rack with a Roland Digital Delay, a Roland Stereo Flanger, Six Channel Mixer, Pitch to Voltage Convertor and an MXR Flanger. Now the keyboards are going to be in stereo on stage which means I can get the benefit of the chorus effects.
We don't use a lot of tapes in the studio; about the only ones are those based on a Chinese traditional singer which are cut up and triggered from the Prophet's keyboard. As far as we're concerned the voice is another sound, like an instrument; we've been very much influenced by Holger Czukay's album 'Movies' (see E&MM May 1982) which involved three years of collecting and editing instrumental sounds.
We've just bought a couple of Roland MC4 Microcomposers and next time we record we'll use them to put down some interesting patterns which can be left on the tape as opposed to taking off the backing track. I don't want to get too computerised because it always shows: I was longing to get these things but found I was thinking too much about numbers and mathematics and not enough about music. For the same reason I don't think our music would ever become so complex that we'd use a Fairlight.
I've just had a little trigger interface made up for the Prophet after seeing one in Sweden, and I'm thinking about doing a solo album next year. On the other hand that might not use only keyboards, or even any keyboards at all. I might just arrange some music for other people to play, because I've always wanted to work with an orchestra although perhaps one made up of traditional instruments rather than the normal orchestral instruments.
I've just been working on Mick Karn's solo album 'Titles' which has a very Eastern feel; we're both into Turkish and Arabian music. I think we'd all like to work on more solo projects before recording again; after the tour 'Tin Drum' will be totally out of our systems, as it is I think anything we do in the very near future might be too similar.
The group's been going for eight years now, but I think in a sense it's a good thing to reach the limelight relatively late in the day because it gives you a more mature sound. In the future I'd still like to be able to say that we've never gone out of our way to be commercial, that we've never done anything because we had to.
Hammersmith Odeon
18th November 1982
An evening of elegance, both musical and sartorial, enhanced by an excellent sound mix and very imaginative stage set and lighting. Extensive use of tapes rounded out the sounds produced by Richard Barbieri's Oberheim OBX and Prophet 10, the two Prophet 5s used by David Sylvian and the guest lead guitarist, Mick Karn's bass and the acoustic drums of Steve Jansen. Visually, the focus of attention on stage was divided between the immaculate cut of Sylvian's clothes and hair and Karn's robot-like appearance as he glided eerily across the stage.
The songs were a selection of old and new. Beginning with 'Sons of Pioneers', the set included 'Private Lives', 'Gentlemen Take Polaroids', 'Taking Islands in Africa', 'Cantonese Boy', 'Visions of China', 'Still Life in Mobile Homes' and 'Methods of Dance'. Most memorable were the highly atmospheric 'Night Porter' and 'Ghosts'. The subdued lighting combined with the glockenspiel and clarinet on 'Night Porter' to send shivers down the spine. 'Quiet Life', which drew the loudest roar of the evening, and 'Burning Bridges' closed the set.
The audience had to work hard to bring them back on stage. Japan accepted the adulation as no more than their due, and returned for two brief encores before the house lights came up and the clapping and stamping reluctantly died away.
Worlds In A Small Room (Richard Barbieri) |
Worlds In A Small Room (Steve Jansen) |
The Musician's Producer (Steve Nye) |
Sylvian - Behind the Veil (David Sylvian) |
Songs From Four Strings (Mick Karn) |
Master Craftsman (David Sylvian) |
Exorcising Ghosts (David Sylvian) |
Sons Of Pioneers (Rain Tree Crow) |
DIY - Steve Jansen & Richard Barbieri (Steve Jansen) |
Medium rare (Mick Karn) |
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