Julian Cope’s JAPROCKSAMPLER top 50 albums. Author: RamonesIstKrieg. Julian Cope’s top 50 “Japrock” albums, from his totally rad book. Julian Cope, eccentric and visionary rock musician, follows the runaway underground success of his book “Krautrocksampler” with “Japrocksampler”, a cult. Michel Faber tunes in to Julian Cope’s Japrocksampler.
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Julian Cope presents
One larger idea he japrocksapler grapple with is the Japanese talent for mimesis. Japanese Independent Music, issued in by Sonore a French publisher is out of print. He raves about the ‘fascinating and wildly eventful’ multi-generic pastiches created by theatre score composer JA Caesar mostly only released as cassettes sold at stalls in the theatresand the bizarre jazz-rock tangents spawned out of the Japanese cast of Hair Shedding the ‘proper historian, me’ persona, his true voice breaks loose with the closing section, his all-time Top 50 Japrock LPs.
Indeed, his cpe history of post- Tokugawa dynasty Japan strikes a formal tone not far removed from that of a Victorian essayist: Cope argues that the West-to-East translation process creates ‘a peculiar copy coe the original,’ japrocksamplr wrongness that in some instances allows the Japanese version to surpass its inspiration.
Experimental violinist Takehisa Kosugi takes time out from the avant-garde to compose music for the children’s cartoon series Atom Boy.
Krautrocksampler sought to rekindle an interest jjaprocksampler music that was once widely appreciated in Britain but which had fallen into neglect due to changing fashions and fickle journalism. The way he tells it, his psychedelic renegades were central to the violent unrest that gripped Japan in the late s, whereas in fact most of the clashes were between riot police and an army of Dylanesque protest singers.
Context-setting is just dandy, but was it really necessary to start with the arrival of US vessels on Japanese shores, thereby ending centuries of cultural isolationism? Topics Music The Observer. Inhe published Krautrocksampler, an evangelistic overview of Germany’s greatest gift to the modern world, that immensely charming genre of 70s music known as Krautrock.
The oligarchical structure of the Japanese music business also meant that records – and the groups who played xope them – were often put together by company bosses and producers. His lack of affinity with folk or the subtler forms of jazz causes him to ignore or sideline many of Japan’s most distinctive artists. The Taj Mahal Travellers hit the road in their runeinscribed Volkswagen minibus, searching for windswept beaches where they can provide musical accompaniment to the waves at dawn.
Julian Cope presents JAPROCKSAMPLER.COM
But for the most part, the book persuades you there’s reams and realms of triptastic Japanese music that deserve the wider world’s ear. It quickly became a cult item and was widely credited jjlian kick-starting the Nineties boom of interest in Krautrock something of an over-estimation, given that groups like Stereolab had long been citing Neu! Music books Julian Cope reviews.
Passionate, pithy, and portable, Krautrocksampler was wittily styled as a pocket-sized field guide along the lines of the Observer Book of Birds. A pop star in the s, he has spent the subsequent decades crusading against “greedhead” values and commercial compromise. T welve years ago Julian Cope published his celebrated celebration of s German cosmic rock. Alan Cummings, the most knowledgeable and bilingual British scholar of Japanese alternative music, writes articles for the Wire but has not yet written a stand-alone text.
Krautrocksampler and Japrocksampler are decidedly different, however.
Cope astutely notes that for the Copw, the entertainment industry was “a mythical hinterland wherein almost any opposing ideas could meet head-on”, an environment where a singer could contribute to an avantgarde freakout while maintaining a parallel career crooning Perry Como ditties in japrocksamplfr velvet tux. There are moments in Japrocksampler that will make more sceptical readers wonder if that very syndrome isn’t going on in Cope’s own text.
Either way, a certain windy ponderousness of phrase and tone creeps into the prose now and then, suggestive less of long hair and loon pants than of donnish tweed and leather-patched elbows. All human life is here, somewhat mangled in translation.
I’ve spent a fortune buying Japanese stuff because it has a great jacket’. The first, really a prequel to the book proper, deals with the s, with chapters examining Japanese experimental music a scene hugely impacted by musique concrete, with Yoko Ono and her erstwhile composer-hubby Toshi Ichiyanagi prominent among the cast of charactersthe ‘Eleki’ craze for Shadows-style twangy instrumental rock, and the ‘Group Sounds’ movement suit-wearing Japbands modelled on the British beat boom.
Japrocksampler is by turns hilarious, wearisome, fascinating and obtuse. Japrocksampler divides into two parts. By contrast, the music discussed in Japrocksampler has made almost no impact outside Japan, partly owing to the barrier of an undecodably alien writing system.
New Crimson Petal Stories is published by Canongate. As a work of scholarship, Japrocksampler is slapdash and error-strewn. His ultra-vivid and hilariously over-the-top descriptions of a legion of German post-psychedelic records suggested that this prolific musician he’s just released his umpteenth solo album, You Gotta Problem With Me might have missed his true vocation as a Lester Bangs-style advocate.
Now here comes Copey with a sort-of-sequel, japrockwampler time exploring and exalting the even more esoteric world of Japanese freak rock.
No, We Are Spiders!
Especially early on, there’s a self-conscious air of scholarship. This consumer advice is the fruit of much labour and expense, Cope reveals, the sifting process being ‘an arduously hit-and-miss affair Cope himself is not a Japanese speaker, but his omnivorous LPcollecting and his friendship with some of Japan’s current rockers make him a credible candidate to write this book.
Although it contained lots of little-known information, the earlier book didn’t belabour the back story but focused on Cope’s rabid enthusiasm for the music. Or did he just develop a taste for research while working on his highly-regarded ‘stone circle’ histories The Modern Antiquarian and The Megalithic European?
If Cope’s exaltation of Les Rallizes Denudes seems like mystique-building covering up simple underachievement he hails the hermetic, retired Mizutani as ‘this great nihilistic spirit, this sonic executioner’elsewhere his evocations of all this authentically inauthentic music are enticing and convincing.
Strangely, though, Cope doesn’t make much of the parallels between Krautrock and Japrock: In parallel to the way Amon Duul were involved in Germany’s commune-dwelling counterculture and allegedly had ties to Baader-Meinhof, one member of Les Rallizes Denudes participated in the Japanese Red Army’s hi-jacking of a Boeing A young Yoko Ono attempts suicide in frustration at being upstaged by her first husband Toshi.
Japrocksampler – Wikipedia
Less adventurous japrocksamp,er may simply enjoy the anecdotes about a host of chancers, mad idealists, Buddhist gangsters, Monkees clones “Are We Not Crazy Cats? Julian Copeself-styled “visionary rock musician and musicologist, hip archaeologist and one-time frontman of the Teardrop Explodes”, is one of Britain’s more colourful fi gures.
Japrocksampler is a far more substantial work, for better and for worse. Shedding the ‘proper historian, me’ persona, his true copw breaks loose with the closing section, his all-time Top 50 Japrock LPs. But in a book as over-amplifi ed as this, acoustic guitars don’t register.