Join sisters NinJaSistah and Pandalicious and the rest of the ESH Crew each day as they discuss video games, tech gadgets, anime, manga... pretty much everything within the geek chic lifestyle.
From Xbox 360, PS3, Wii, and PC game reviews, previews, news, and gushings to audience questions and rumor mill seeding galore you'll find it here at ESH!
The gals took the weekend off and left Evermore to his own devices [meaning Adobe SoundBooth and Final Cut Pro] to Frankenstein together another one of his infamous ESH clip shows!
There is music, there are interviews from some of our E3 booth stops, and maybe even a nugget or two of fun. From Warner Bros. Batman: Arkham Asylum to my Beatles: RockBandinterview with Creative Director Josh Randall. from Harmonix and more. [Can you say Heavy Rain walkthrough? What about Ratchet and Clank: walkthrough.]
When it comes to Japanese metal, no band shines more than Electric Eel Shock. Their heavy guitar riffs mixed in with vibrating bass and smashing drums -- along with their crazy stage antics -- make them one act everyone needs to check out. I had a chance to ask a few questions to the band via email as they were getting ready to finish the new album. (WARNING: PICTURE OF NAKED DRUMMER BELOW!!!)
You’ve played sold-out shows all over the globe, headlined many rock and metal festivals, and have probably one of the most solid fanbases of any musical act out there. Did you ever think that eleven years ago, when the band first began, that you’d all reach the heights of popularity that you have right now?
No, never. Even we have not thought we will be on tour outside of Japan when this band began. We are really glad there are so many people supporting us!
The band originally started out with 11 members (with a horn section, a keyboardist and female backing vocals). At what point did you realize that Electric Eel Shock would work out better as a trio? Did you ever think about bringing back the rest of the original members for a song or two?
When the band began, it was not actually a “band”. Aki and Kazuto were the original members and all other members were kind of session members. We corrected the other members for each show. So we never play with the same members in each show. And 1 year later, we can not keep going with so many members. All members have gone without Aki, Kazuto and Gian. So we have not had any choice with playing as a trio band.
In the song “Heavy Metal Vagabond” (from 1999’s “Slayers Bay Blues”) Aki says that he does not like Japanese metal. Why was that, and has his feelings changed about the genre (in metal and even visual-kei)?
Aki likes bad taste side of Japanese 80’s heavy metal. But he didn’t find something deep flavor about Japanese Metal… He found more interesting things in the music of Black Sabbath or Metallica. His feeling hasn’t changed by the new age of Japanese metal and visual-kei…
How do you feel about the current Japanese music scene? Do you think more people in Japan are tuning into more indie/heavy-styled bands (i.e.: you, Ling Tosite Sigure, GING NANG BOYZ, BORIS, The50Kaitenz, Maximum the Hormone), or do you think the majority still look at the idols for their musical thirst (such as Johnny’s Entertainment, Morning Musume, Hey! Say! Jump)?
I don’t know anything about the Japanese music scene. I don’t have any interest with Japanese pop music. I wanna rock!!
As a lot of people know Gian wears nothing but a cock sock on stage, which is done in respect to the Red Hot Chili Peppers. However many of your peers believe that Gian has perfected the sock-wearing technique, making him the true king of the trademark. Do you agree/disagree, and why?
I agree. Because he keeps his style longer than RHCP!!!
Where is your favorite country to play in? Your least favorite?
I cannot say only one country. Every country we’ve been has good point for us! But I would like to be back in the USA because we have not been back over in 2 years!!!
You got a Special Thanks mention in The Go! Team’s album “Proof of Youth.” What is the relationship between you two very different but equally great bands?
Kaori, who is the guitarist, is our old friend. And they are always coming to see our London show. Nice guys! And I also like their music. I like happy songs like them! I really hope to play with them one day.
For a few years now we’ve been hearing about “Sex, Drugs and Email,” a documentary about Electric Eel Shock’s rise to fame. Will it ever see the light of day?
It is still under construction…I really hope we will be able to release it this year…
I heard somewhere that Aki was going to be the original singing voice for Krauser II in the hit movie “Detroit Metal City.” How did this opportunity come about and, dare I ask, why’d it not come to be?
Why do you know that?? The thing was coming from Sony Japan. They had an audition for that, but they could not find good voice and somebody recommended Aki. But their choice was other guy because EES joined their compilation album…it doesn’t make sense for me.
You’ve been known to do some great covers (Black Sabbath’s “Iron Man,” 44 Magnum’s “No Standing Still,” AC/DC’s “Back in Black,” Minnie Riperton’s “Lovin’ You”). What is one song that you’d like to cover but still haven’t had the chance to?
Heavy metal version of "La Bamba!" Or Lizzy Borden’s “Give ‘Em The Axe” I don’t know why, I may love bad taste.
You’re currently in Okinawa recording your latest album, which is being spent on with money raised by your fans on SellABand. What made you choose the most southern island of Japan instead of Bauhaws Studios in Amsterdam?
There are several reasons for that. One reason is Gian cannot go out of Japan for a long time. And one reason is that is a resort island and that is where in Japan we can relax! And one more reason is the studio gave us a discount!!
How do you feel the recording process has been compared to years past?
Almost finish. Only mix down is left. We are waiting for our mix engineer to be free.
Does recording help or hinder Aki’s fishing habits? If you don’t mind revealing, what are some good fishing tips our readers can use to make a bigger catch?
Aki loves fishing, Aki hates recording. He is crazy to fish; he wouldn’t mind dying for fishing… He doesn’t sleep, he always bring his fishing pole on tour. He says “Use Gary Yamamoto’s plastic baits, if you want to catch more.” Because he has a sponsorship with them…
What can fans of Electric Eel Shock expect of the new album?
Next one is our 5th or 6th album… Even we can’t count it clearly. Most bands starts to get bored and feel bored themselves from 5th to 6th album… But we never! We are still enjoying it! Because we have 2 sides of EES. One side of EES is keep changing and updating our music style. We are a chameleon, we play funky, jazzy, poppy and of course heavy metal same time. The other side of EES that never changes is the core of our music. We keep making something funny, stupid, lovely but also interesting and sharp. We love EES more than our fans! I think next album has perfect balance of both side of EES. So you will enjoy the new EES sound in the basic EES world.
Do you have a special message for your American fans?
Yes, we will be back to US finally this summer!! We will announce soon, just wait and see!
My thanks to Electric Eel Shock for taking time off from the studio to ask these questions. Look out for their new album later this year, as well as a US tour!
This is King Baby Duck: Doing the Metal and Killing the Blues with Rock 'N' Roll!
When I started watching "Samurai Champloo" a couple years back, my ears caught the sound of an amazing rapper. As the curious ducky that I am, after I watched the first episode I went online to check out who it was. My search found one name: Shing02.
Since 1998, when he first started recording under the Mary Joy Recordings label, Shing02 has been changing the underground rap scene dramatically. From his fast and philosophical lines to his catchy, original beats Shing02 has proven to anyone who listens that he is one of the world's best. This year marked the release of his long-awaited (and brilliant) album "Waikyoku." Via email I decided to ask him a few questions about his past, his career, and his hopeful future.
King Baby Duck: Do you remember the first rap album you ever bought?
Shing02: I actually don't, regardless of genre! I remember when I got my first Walkman though, that was in junior high. I thought it was so crazy to listen to music with ear phones. I remember dubbing a lot of my sister's music collection, and swapping cassettes with friends in Japan. I was a very casual listener until i moved up to college, that's when I really got into the music "scene" which was absent in my high school days.
KBD: When did you realize that you had this sort of musical talent? What inspired you to go forth on the path of an aspired rapper?
S02: I don't know how you define musical talent, but I started making hip-hop because it was fun. I enjoyed every single aspect of it, like writing, recording, mixing, doing the album covers, selling it at stores, etc, the whole DIY [Do It Yourself] ethic, and finally doing shows and tours off your work, which did take a long time to develop.
I would have to say my environment that I was brought up in as an artist inspired me the most, if it weren't for my fellow artists and friends in the Bay Area I would not be making music right now. Maybe some kind of art, but most likely not an MC.
KBD: You have lived in many different parts of the world. You were born in Japan, raised in Tanzania and England, and now currently reside in California . How have the cultures of these different worlds inspired you to be the person and artist that you are today?
S02: I think seeing different sceneries when you're young and having diversity ingrained in you as a child is very fortunate. My parents were definitely thinking ahead. (For instance, making sure my name would be easy to pronounce, etc.)
My dad was a businessman so we moved around a lot. It was definitely hard leaving friends behind every time, but you learn to adapt wherever you go. I know some kids who couldn't fit in to any culture as a result, so I am lucky my family kept me positive.
Interestingly enough, I've been sort of a hermit in terms of having a home because of my childhood, I think. I live in LA now, but I was in the Bay Area for 18 years because it was so comfortable. I still love touring and traveling though.
Shing02 (prod. Eccy) - Ultimate High
KBD: You’ve collaborated with the likes of DJ Krush, Nujabes, DJ A-1, DJ $HIN, and many others. Who has been your favorite person you’ve worked with?
S02: I've learned something new form every collaborator, because they all have very distinct styles, and because I always look for those type of people to work with. The best situation is to do something you've never done before, so you challenge yourself to grow.
Working with the sorts of DJ Krush, Ryuichi Sakamoto, Tadanobu Asano would be something I never dreamed of when I started, but it definitely wouldn't have happened if I didn't make sure I was satisfied with every project along the way.
KBD: Many people know you from the song "battlecry" (with Nujabes), which was featured in the hit anime series "Samurai Champloo." How did performing this theme song come to be, and do you feel that something like "Samurai Champloo" helped to bring the sounds of Japanese underground hip-hop into the ears of the mainstream crowd?
S02: I first worked with Nujabes on a song called Luv(sic). When I first heard the beat I knew I had to rhyme over it, so I had to beg Pase Rock to give it to me who was originally going to use it.
The Luv(sic) series have been popular (part 3 and counting) so I'm quite happy about that. So after working with Nujabes on several projects, he asked me to do Battlecry. Originally I did a Japanese version on a different instrumental of his but he didn't like it (I did!) so we switched to a darker beat for the English version. At the time I recorded it, I had no idea it would be syndicated in the US, so it's been interesting to see people get into my work because of it.
KBD: You invented an instrument called the Vestex Faderboard. Where did this idea originate from, and how do you feel about the fact that many other people in the rap industry are using it?
S02: The idea came from different sources. As much as I was into writing songs, being around world class scratch DJs had me thinking about experimental sounds. One day I just put it all together and came up with the idea that I could duplicate with a multi-track recorder, and the rest is history.
You can check out the FAQ page for more info (http://www.e22.com/faderboard/). I'm really glad people continue to use it all over the world. The distribution is very limited now, but the idea will get out more in the future. Hopefully upgrades.
Shing02 (with DJ A-1) - Embrace [LIVE]
KBD: Your latest album, "Waikyoku," was recently released in many parts of the world. I remember hearing a couple of the demo tracks from the album over two years ago, notably "Jukou," "Houyou" and "Nagusame," and how it felt refreshing to hear something new and refreshing in the hip-hop world. Was there an idea for a concept for this album (perhaps dealing with "Waikyoku," or "torture" as it is translated)? What was the lengthy process of making this album like?
S02: Waikyoku actually means Distortion (as in a story) or Contortion (of a shape). Wai is like Y, the chromosome, Kyoku also means Song, so a lot of play on words. I just thought it would be a good title so I had it saved for like ten years. The concept was really dealing with being human and overcoming trials and tribulations from the spiritual side.
Musically, I wanted to keep it analog and organic as much as possible. I started out sampling sounds from my drummer Motoki and musicians around me to build the basic track. Then I got busy finding antique gear for mixing and adding EFX over the tracks. Dub music influenced me a lot over the years too.
Making the whole album was very much like creating a feature film. Although it involves a lot less people, I feel the effect you can have on a listener is just as great because it asks for the visual imagination of the audience. The final phase of editing in Tokyo was so hardcore, I was holed up in a studio for two months. I don't think I can ever go through something that strenuous for a while. when I finished mastering, I joked around with my mates that I had PTSD (Pro Tools Stress Disorder), no disrespect. I did not want to look at waveforms for a while.
KBD: You’ve mixed many different styles into your music, such as the Pink Floyd-ish "Shakunetsu," the reggae feeling in "Saikou," and the traditional Japanese flavor in "Kushi to Kanzashi." When writing a song do you already have in mind the beat and feel of how it will sound, or does the idea of the rhythm appear after the song has been scribed?
S02: With an album like this one, the songs literally took a life on their own after a while. Or I allowed elements to brew on purpose, just for kicks. For example, after I finish the basic track and the rhyme, I would take a step back to see what would make it complete.
Sometimes it took months, if not years, for the right concept or musician to come along and make it full. It was really about paying attention to the layering that would enhance the vibe the most.
It's not the most efficient way to work, but I am glad I took the time for this particular album. Looking back I was too ambitious to involve so many live musicians, but being able to feature the talent was the reward that I was looking for.
KBD: The two-part song "Bijou" tells a story of some kind with exciting speed and flow. However, as it is a story told in Japanese, the story is lost in the ears of the gaijin (foreigners). If you can, please describe the tale for the non-Japanese listeners.
S02: OK :) The gist of the story is about the Hunter (Karma) meeting the Princess (Mei), by way of freeing this creature (Bijou) from a trap. By the end of the story (lol), he is involved in a war, risking his life to save the Princess, and he doesn't even know whether he trusts her or vice versa. At the same time, he subtly confesses to the audience that it was actually his trap that caught Bijou in the first place. The narrative also suggests that the creature may not have existed at all.
So the story is really a tale about love, how we get entangled into relationships (AKA war between two nations) but it's really our own undoing in the first place. How educational. Anyways, writing the story was a lot of fun, I actually wrote the entire tale from the perspective of four characters, and I had to cut a lot of the narrative out while editing (a la movies) so I might have to retell the tale in different episodes.
Also working with Kakushin Nishihara (biwa) and Philip Gelb (shakuhachi) for the intros and outros was so crucial to this play, it really wouldn't have happened without it.
Kakushin's late teacher (Kinshi Tsuruta) was a collaborator of Toru Takeitmitsu for the epic "November Steps", which was a huge inspiration as well. Kakushin now has a biwa version of the whole tale, which is wonderful. I don't think an original biwa score has been written in a while, at least in this kind of production.
KBD: Do you think that Japanese music has (or ever will) become popular in America as it has in many other different parts of the world? How is music able to break the language barrier so much easier than other forms of communication?
S02: I think the good thing about the current technology is that if you're interested about anything, you can grab the information instantaneously. It's quite a luxury we take for granted.
Even in my eyes Japanese music is often looked upon as extremes (pop or quirky), so I would like keep feeding the world of music that I think is universally interesting.
KBD: Besides your hip-hop stuff, you are also involved with the futuristic jazz trio Kosmic Renaissance. How was this band formed, and how do you balance both styles of music? Do you feel that jazz and hip-hop still share a strong connection, or has this connection weakened as years passed?
S02: The band was formed as a result of me carrying around the Faderboard and reaching out to musicians to spread the word. I have to credit Charles Brack for putting us together.
Honestly I haven't really balanced my hip-hop style and the free jazz too much, I like to keep things separate somehow. I can envision rapping when I am old, and also playing Faderboard when I'm even older. (Maybe develop some crazy natural transforming.)
My involvement with music comes in circles. When I started Kosmic Renaissance I was purely interested in sound, I had little inspiration to rap. Back then around 2003, with the global turmoil I had to go back to re-learning music because I actually felt I wasn't getting anywhere with words. I lost confidence in shooting blanks at the world, it was that deep. Now I feel I can relate to music in a positive light, so I am very grateful I'm able to continue doing it.
KBD: Not only do you keep yourself active in the music world, but also in the activist world; most notably "Stop Rokkasho" (founded by Oscar-winning composer Ryuichi Sakamoto), which deals with the dangers of the recently-built Rokkasho Reprocessing Plant. How important is it to have a voice in a matter such as this (or for anything with a greater cause), and how did you find yourself becoming part of something that was crucial to the world?
S02: It's extremely important, because the more you learn, the more you'll be conscious of your actions and how you can influence the world. You need knowledge in order to form an opinion, so you can speak on it at the least.
The energy issue is really all about values at the end of the day, whether you choose to exploit natural resources at the expense of the environment and more immediately, health issues. People have a right to be alerted to the truth. I encourage people to look at both sides of the issue and not just listen to the benefits that corporations advertise. That's too easy.
Shing02 - Nagusame
KBD: It seems that a lot more people are listening to more hip-hop with a more peaceful, and hopeful image (i.e.: Flobots, Gnarls Barkley, and the Streets to name a few). Do you think the changing times (political, economical, environmental, etc…) have something to do with the rise of serene rap, or do you think that it is something else?
S02: That's what everybody is saying, but times have been changing drastically every year. Music serves both as tools of education and entertainment. Some people are good at one thing, some are good at both.
I have no knock on the current state of music. As long as the creators are responsible enough things are going to be alright.
KBD: What’s the future hold for Shing02? Any touring plans that the American fans should look out for?
S02: I really don't know what the future holds. I really don't make extended plans because the world is in a flux. It's more important to be available whenever the opportunities arise.
Right now I'm in the works to make more stuff with talented people, and I just want to travel more!
I would like to thank Shing02 for taking time off his schedule to answer these questions. His new album "Waikyoku" is available on iTunes, as well as his "iTunes Live From Tokyo" EP. I urge you all to check these out, as well as some of Shing02's earlier works!
This is King Baby Duck: "Original organic till the day that I die!"
In March of 2005, a couple days after seeing the pillows live at the Knitting Factory in New York City, I went into Tower Records inside Trump Tower. The new Queens of the Stone Age album had just come out, and I went to purchase it. Sitting next to the new QOTSA album was an album from a band that I had (at the time) just recently heard of: "The Best Little Secrets Are Kept" by Louis XIV.
I had only heard their song "Finding Out True Love is Blind" on the radio and in an EA Sports baseball game, but I was enchanted by its album cover: the song titles written on the back of a naked woman. I had to own it. The next night I took a listen, and I was enthralled by its power and sound. The era of Sex, Drugs, and Rock 'n' Roll had returned; and I was a happy little ducky. TBLSAK wound up being my favorite album of '05.
This year Louis XIV's third album "Slick Dogs & Ponies" was released, and it has proven to be one of this year's best. I went and saw them play last Monday at the Middle East in Cambridge, Massachusetts, and they put on a show that was almost too good for words.
I was originally going to interview the band, but by the time the show had ended my ride had arrived. I sent a letter of apology to guitarist/vocalist/pianist Brian Karscig, who told me to send him the questions; and then would proceed to email me back the answers.
The following email interview contains 10 of my own questions, 6 from the fans taken from the band's forum, and one final question from me:
King Baby Duck: Where did this asphyxiation for Louis XIV originate from? Why not another king?
Brian Karscig: Well, we recorded our first self titled album (out of print now, but soon to be re-released) at a friend’s flat in the Latin Quarter of Paris in 2003. We were just ending a long relationship in another band, and went to Paris to get away and take advantage of a cool place to record and free place to stay.
If our friend lived in England, we very well may have been Henry VIII.
KBD: When you go into recording an album or a single, do you have a special routine that you do (like something that motivates you to create and record)?
BK: There is no better feeling than completing a song, or any piece of art for that matter, and feeling good and confident about it...In fact, I think that is what has kept me a songwriter to this day, is chasing that feeling of accomplishment.
Jason, Mark, and myself have been friends since grade school, and have been playing in bands together since then....We have an irreplaceable knack with working together, and all love making music.
KBD: How was recording "Slick Dogs and Ponies" different from the process of making "The Best Little Secrets Are Kept"?
BK: Well, it was a little more difficult. We went crazy trying to figure out what kind of album we wanted to make, and there were points of anxiety and self-consciousness...
The one certainty we all agreed on is that we did not want to repeat ourselves and make the same album...
Louis XIV - Guilt By Association
KBD: Your band has some of the most unique album covers. Your first album had that sort of classic 1950s song-titles look, and then for both the "Illegal Tender" EP and "The Best Little Secrets Are Kept" you had the nude ladies (which fit the style of your music perfectly). For "Slick Dogs and Ponies" what made you want to return to the classic record look instead of the girls?
BK: I think we wanted to go back to the beginning in some way. Try to not over think anything, and set out to just be artists again....That was our mentality when the group started, so we brought it back.
KBD: One song in particular I’m interested in learning about is "Stalker." How was the song and its rhythm created, and is there a story behind the song?
BK: Jason came to the studio one day with the b-minor descender part on the piano, and made a beat around the sound of a gun shot, a match being lit, and a clock. I thought it was the coolest thing ever, and we both came up with a story of a stalker, because the groove had an evil feel to it...We both went out on the mic and started just kind of vamping melodies and wrote the words around them.
KBD: In "Sometimes You Just Want To" what is the meaning behind the lyrics "You used fucking as an adjective/But you can’t save time at a bank for kids"?
BK: It’s about my girlfriend...She's the most lovely woman in the world, but loves the "F"-word to describe everything.
KBD: In the song "Money Bunny" you say "Who wants true love when you can buy it temporarily." Do you truly believe in that? Why or why not?
BK: Not really, it was sort of a double meaning and tongue and cheeky at the same time...The song was about women who love money, so it just seemed suiting, but at the same time, we wrote it shortly after the success of “Finding Out True Love is Blind.” I was ready to move on from just being the FOTLIB band, so "Who wants True Love when you can buy it temporarily" was also in some ways a statement about moving forward into the next phase of the bands identity.
KBD: What has to be the worst show that you’ve ever played, and why?
BK: That’s a toughy...Probably NYC black ball with David Bowie, and Alicia Keys...It was mind blowing being on that bill, and Tom Cruise and his wife were 5 feet from me in the front row...Weird? But they were super cool afterward.
KBD: Recently, you lost a good friend: Natasha Shneider. On your website you talked about how "everyone whom she had contact with is better, different and changed." How did she do that, did she give any kind of advice to you that any one out there can follow?
BK: I still haven't come to terms with her passing...She's hands down the most talented musician we've ever worked with, beautiful in mind and spirit. I’ve taken a lot away from the experience with working with her.
KBD: What do you think of the state of American rock ‘n’ roll? Do you think it’s gotten better or worse in the past few years, in your honest opinion?
BK: That's a tough question...I don't really like speaking negative about anyone’s music or politics for that matter, but I think that American music is becoming more homogenized...Everything is starting to sound the same, and it feels very forced and sterile.
Bands that I listen to (i.e.: Led Zeppelin) used to make "albums,” and that’s what we like to try to achieve as LOUIS XIV, not just a "single" and 9 filler songs...which is what the state of the business seems to have become.
Louis XIV - God Killed the Queen (from the album "The Best Little Secrets Are Kept")
Now I would like to present to you the questions from the fans!
Sans Nom: I always kind of wondered why they named their label The Pineapple Recording Group.
BK: We all lived in a house many years ago, and when we built our first studio in there, there were these bronze etched Pineapples...So we just named ourselves Pineapple Recording Group.
janna: What is their favorite city to perform in?
BK: I love a lot...NYC, Berlin, Paris, London of course, but also some of the smaller ones Montreal, Tolouse, and Zurich.
orangeblossom: Will Brian ever lose the beard?
BK: I'm sure I will.
samwise: I would like to know if they are planning to release another single from SDAP.
BK: None planned.
xxiolla: do they know about all the remixes that have been done to their songs and how do they like/feel about [them]?
BK: I haven't heard them, but would love to hear them...
Kat: Whatever happened to Dominique?
BK: The world may never know...
The final question:
KBD: What is Louis XIV’s plan on taking over the music industry?
BK: We will do what we've always done, and just make uncompromised music for ourselves, and keep challenging ourselves creatively, and hope our fans come along for the ride.
Louis XIV - Air Traffic Control
I would like to thank Brian for taking time out of his extremely busy schedule to answer these questions. My gratitude towards him and the rest of the bandmates is ever eternal. I would also like to thank the people on the Louis XIV Web Boards for their great questions.
Louis XIV's "Slick Dogs and Ponies" is available in stores now. It's one of my top albums of 2008 to check out.
This is King Baby Duck saying, "It takes a lover that knows I love her like no other."
