Trip Report: Clammbon 2016

It was certain that I wouldn’t get to Japan this year, and that I’d miss Clammbon’s tour, the one where they were selling the new album that couldn’t be bought in stores. And the signings they were holding at certain shows. And, uh, my brother-in-law’s wedding. But at just about the last moment, several events unexpectedly lined up and a trip actually made sense. We went for it.

Normally for such a tour, I’d try to get a ticket for a show in Tokyo, my home base. But by the time I knew I was traveling, The Club Quattro Shibuya show was sold out. So, plan for a long train ride. Shizuoka? Nagano? The best option ended up being the city of Mito, in Ibaraki prefecture. (It helped, in my meaning-seeking brain, that the city’s name is a homophone for the name of a Clammbon member.) And unlike the Tokyo show, it included a signing! A quick video call to Tokyo; my father-in-law stepped out to the convenience store and came back with a ticket all while while the Skype line was open.

Kichimu

Harada Ikuko owns a cafe in Kichijôji, Tokyo, called Kichimu. Somehow I’d never made a pilgrimage to this place, sure to be special for a true Dramaticker. This time I was determined to do so.

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When I sat down in the cafe to await my lunch, I opened my notebook and wrote, “Every surface in this place exudes the playful, peaceful Clammbon spirit.” After my meal, I continued, “That soborodon was one of the best things I ever ate. The piping hot rice, crunchy stuff, peanuts, lime, spicy sauce that they warned me about and then I used it all… I could eat that every day.” Indeed, weeks later, I still find myself craving it.

It was my first full day in Tokyo on this trip, and the last day of the Haruka Nakamura photo exhibit. They were playing his album Ongaku no Aru Fuukei throughout the space, and an area of the cafe was sectioned off with black curtains for the installation.

音楽のある風景 – haruka nakamura PIANO ENSEMBLE (Official MV) from KITCHEN. LABEL on Vimeo.

The exhibit was titled ∞. It featured 88 photos, printed on fabric, suspended in a figure-eight that you duck into and view from the inside. One photo at a time was also projected onto a wall of diaphanous fabric strips. The combination of the translucent photos, ever-changing projected light, and viewers moving through the space made for an ethereal, ever-shifting experience befitting Nakamura’s music.

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A the front of the cafe is a tiny shop area with a selection of art, jewelry, books, CDs, and so on, all related to or curated by Ms. Ikuko. After carefully scrutinizing every last item, I chose a book collecting the Yamauchi Masumi paintings that Ms. Ikuko has hung from her keyboard over the years, and a set of postcards by Kitamura Norichika.

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Kichimu Again

I couldn’t stay away. On a free afternoon the following week, with that delicious soborodon still hovering in my mind, I headed back to Kichijôji. The Chûô Rapid Line train took me a stop too far, to Mitaka, but walking one station back seemed like a fun idea. It was — the area between these two stations is just lovely. Tree-lined residential streets, boutiques, galleries, the huge Inokashira Park, and even the Ghibli Museum. It all has a more artsy and cheerful feel to it than other upscale neighborhoods like, say, Daikanyama.

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Kichimu is a small operation focused on inventive dishes with fresh, local ingredients, much like hip cafes on the American west coast. The menu is small and always changing. So on my second visit I learned that they only offer the soborodon on weekends, and instead all they had was a clam chowder. That was lovely, too, served with salad, potatoes, bread, and a rich spread. (By the time I realized that the spread was not a dish of its own, I had already eaten the bread. I ate it with the potatoes instead and it was great that way, too.)

This time, on my way out I discovered the little library table. It’s populated by books from Ms. Ikuko’s personal collection, which patrons are encouraged to pick up and read while they are in the cafe. Magazines, novels, nonfiction, art, and so on. I stood and read a Mito interview, about how he got into progressive rock and Five Star Stories, in a special Clammbon issue of Eureka. (His reason was the same as mine: used prog-rock LPs were cheap when he was a kid!)

On this second visit, the music selection was raw, rootsy folk standards. I discovered from a sign on the wall that for the entirety of 2016, apart from special events like the Nakamura exhibition, music in the cafe was selected by the band Tenniscoats. This about knocked me over because just a few days earlier I’d discovered (and met) Tenniscoats at their very intimate collaboration concert with Aoba Ichiko. That show was a very special experience indeed, and a story for another time.

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Desperado

When in Shibuya to meet up with a friend, I did make my regular trip to Desperado to see if there was any Spoken Words Project. The excellently-attired fellow there advised me that all they had was one dress, and that they were expecting new pieces soon. He was curious how I knew of the label, so I explained the connection to Clammbon and to Harada Ikuko.

Clammbon at Light House Mito, March 4 2016

The cushy, 100-minute Hitachi-gou express train took me from Tokyo to Mito, the capital city of Ibaraki prefecture, on the day of the concert. I had most of the day to explore the city, and I came to love its micro-Tokyo charm. (You can wander Mito with me on Instagram.) The merchandise tables opened at 17:00, outside the venue — an important detail on this particular tour. Clammbon is experimenting with an increasingly self-contained and self-sustaining business, to the point that their latest CD, Moment, is available at concert merchandise tables but not at record stores nor on the internet.

I withdrew some extra cash at the 7-11 on the corner, a comically simple process compared to the ordeal it used to be to get cash from a foreign account in Japan. The staff confirmed that I could buy as many copies of the CD as I liked, so I picked up one for myself and three for friends. Plus a T-shirt designed by Ka na ta, a brand that the band has been wearing on stage lately and that has a showroom at Kichimu.

Audients waited outside in the cold, around one of the city’s several statues of the legendary feudal lord Mito Kômon, and were let into the standing-only venue one by one according to the letter and number on our tickets. The staff person called out A1, A2… up to A150, then B1, B2, et cetera. My ticket was… C117. Quite close to the end of the 350-person capacity. But a lot of people had gone up to the balcony, and near the back of the floor was still quite close to the stage indeed.

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Floor plan from Light House Mito official site

We were really crammed in there. Several times the staff asked us to all take a step forward, when we were all already closer together than if we’d been on a rush hour Yamanote Line train. Within minutes it was sweaty hot. Once the lights went down and Clammbon took the stage, Mito high-fiving Mito, of course nobody cared.

Set List

  • Surround
  • GOOD TIME MUSIC
  • Re-Mellotron
  • (First chat)
  • Kisetsu
  • Filament
  • Flight!
  • yet
  • KANADE DANCE
  • Chicago
  • Re-Aru Kodou
  • (Encore break, second chat)
  • Musubi no Uta
  • Slight Slight

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Official photo from Tropical. I’m visible on the right!

For a few favorites — “Surround”, “GOOD TIME MUSIC”, “Chicago”, and “Re-Aru Kodou”, I believe — the audience was lit so that the band could see and interact with them, just inches away. The first words that Clammbon had to say to us were from Ikuko: 近い。どこ見ればいい?慣れよう。 — “So close! Where am I supposed to look? I have to get used to this.” Several times it felt like Mito or Ikuko was smiling directly at me, absorbing my enthusiasm. Were they really…?

“Re-Mellotron” was a first for this tour, and the one unusual choice considering its theme of January snow. “Yet” was the sole song from triology, though I’d been hoping to hear “Agitator”. “KANADE DANCE” served its usual role as a sort of centerpiece. And the set included the entirety of the new EP, Moment.

In the spirit of getting closer to their fans, The band spent a lot of time chatting with the audience. After some banter about the intonation of Mito the musician versus Mito the city, the first chat session was largely about their experience in the music business and their experiments with opting out of the normal way of doing things.

Mito gave a breakdown of where the retail price of a major-label CD goes — recording, marketing, manufacturing, distribution, sales, &c.… In the end the artist gets 5%. But after 20 years of building their business, Clammbon can do a lot of that themselves. They can record at their own studio. They already have dedicated fans, and their side projects get their names in articles and on TV, so there’s no need for the big marketing budget. (Mito does a lot of anime music, Daisuke is teaching, and Ikuko does commercials.) And instead of selling in record stores, why not bring the CDs along and sell them at the shows, if they’re touring across the country anyway?

Ikuko likened the model to farm-bought produce. She loves lotus root (Mito: “Last time it was carrots!”) and she found that she could get it fresher and cheaper by buying it at the farm. Plus the bonus of seeing the place it came from and meeting the people who grew it. A big part of the idea is for people to come to the show, hear the fresh new songs, and if they liked them, buy the new CD.

The model seems to be working — the farm-direct Moment has made as much profit as if it had hit (I believe) #4 on the Oricon chart! In contrast, triology reached #13, and Clammbon’s highest chart position ever was #11, for 2010. Where does all that money go? Mainly back into the music: high-end equipment, studio space, &c.

The second chat session was about finding more places to sell the CDs. At first the idea was that they’d be for sale only at venues on the day of a concert. But over time local businesses — cafes, restaurants, clothing shops, galleries, and even a few record stores — have been carrying it too. There were survey forms at the show, with fans invited to submit ideas of eclectic places that might be willing to sell the CD. Lately the official Clammbon Twitter account has been overflowing with announcements of shops carrying the album. Mito joked that maybe they should have called this the “Where Shall We Sell” tour, in the spirit of their past “Where Shall We Play” tours.

Clammbon had recently written and recorded the ending theme for the new Shinkai Makoto anime She and Her Cat, which Mito explained that they couldn’t play live yet, because it was just airing for the first time later that night. One audient informed Ikuko that it wouldn’t actually air in Ibaraki until two days later, so we couldn’t go home and watch it just yet.

It was a little strange for the encore to consist of two new songs, and for there to be no “Vital Sign”, but it was important to the band to play us the entirety of their new CD so that we could judge for ourselves whether to buy it. Plus, time was limited as there was still a signing to do! The new songs were captivating, and covered a wide range of styles and instrumentation. The audience was just as enthusiastic for this new and unfamiliar material as we were for the old favorites.

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A very special Mito Kômon noren for Ikuko’s keyboard, by Yamauchi Masumi. Photo by @tsubametachi.

For the signing, everyone was sent back outside. This was a perfect time to redeem the mandatory drink ticket you paid ¥500 for on the way in, but didn’t have time to redeem while rushing to get a good spot. A cold Yebisu under the statue of Mito Kômon was just the thing to cool down from that sweaty room. Anyone who bought merchandise and had a ticket to the show was given a card with a number on it; another number-calling ritual began.

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Photo of fans waiting for the signing (including me!) by @Ruby_S_Arms

My number — 92, I think — was called. I went. Just inside was a little table, and Clammbon was there. Sitting here in my bed in the USA now, typing this on my phone, my mind stumbles, trying to believe it. But I have the memories. I have the tweets. And of course I have the autographs.

First was Mito. He about fell over when he saw my Dramatickers shirt.

(The following exchanges all took place in Japanese, of course.)

“Your shirt! That’s amazing!”
“Is it!?”
“Dramatickers, huh? Wow!”
“Yeah! It’s from 2002, Shinjuku, at Liquid Room.”
“2002, wow. Liquid Room… it must have been with Toe?”
“With Rovo, actually.”
“Rovo! Right. Well, thank you very much for coming out.”
“Thank you.”

Mito shook my hand briefly, then angled around for a strong homie handshake, while delivering another impassioned “thank you.”

Daisuke, as expected, was reserved. He signed, shook hands, and said a sincere “thank you.”

Ikuko greeted me with a huge, excited smile and wiggle, as if she’d been surprised at work by an old friend.

“Dramatickers!”
“Haha, yep!”
“That’s great. I was watching you.” She pointed to her eyes and then to me.
“You were?”
“I saw you singing.” She flapped her hand like a puppet.
“I was.”
As she drew the little character that serves as her autograph, I added, “That’s cute!”
She gave me a smile and a handshake, and said, “Let’s meet again.”

That was it. My dumbfounded banter may have been weak, but the atmosphere was of gratitude and joy. The band made an effort to make everyone feel welcome and appreciated, and every face was smiling. And while I didn’t want to slow down the line by talking about this site, it was gratifying to have been seen and acknowledged, to know I’d made a small impression. Perhaps when I write in to request consideration for foreign fans as they develop their direct business model, I can mention that I was the foreign fan in the classic shirt at Mito, and they’ll remember. That would be nice.

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Chûkasoba Suzuki

Mito’s love for noodles is well-known; he appears at various ramen establishments in the band documentaries and on social media, sampling each city’s best offerings over the course of a tour. When during a chat session he mentioned that he’d been to a place called Chûkasoba Suzuki that day, the crowd murmured approval. So the next day I hunted it down.

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The place is barely labeled; just a fabric drape in front of the doors that says 中華そば — “Chinese noodles”. I gathered the courage to go inside, where a woman who very well could have been there since the place’s founding in 1960, said, ラーメンしかないけどそれでいい? — “All we have is ramen, you want some?” I agreed and sat at a tiny table, surrounded by patrons of advanced age slurping their noodles and saying nothing. A man gave me a nudge and quietly encouraged me to use the stool at his table to set down my bag. Eventually my ramen showed up: the most standard, classic bowl of it you can imagine.

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It tasted perfectly ordinary. I brought the bowl to the lady when I was done, as I had seen others do. She accepted it and unceremoniously asked me for ¥250, about $2.25. I handed her the coins, which she took with one hand while stirring a pot with the other.

It was an experience to remember. But it was not especially filling. Ninety minutes later I had a big bowl of shio châshûmen at Ajihei.

Here I Go ✈️

Hello friends! Things have been tremendously hectic for me lately, so I have barely had a moment to think about the site. (And I am not ignoring your emails!) But there has been some news in the Clammbon world.

Right now the band is in the midst of the awkwardly-titled Venue-Sale-Only Mini-Album Tour! The five-song EP, titled Moment, can only be bought at a tour venue on the day of a concert. Some shows include a signing, at which anyone who has bought a qualifying merchandise item can meet the band and have it autographed!

I was pretty broken up about this whole thing, when I thought there was zero chance I could go. But a lot of circumstances aligned such that I’m taking off for Tokyo tomorrow, and on March 4 I’ll be making a one-night excursion to Mito city in Ibaraki prefecture for a Clammbon show, with signing!

There are some other Clammbon-related excursions planned for this trip, too. Stay tuned for updates!

Budôkan trailer & Warner remasters

Clammbon has released a lovely trailer leading up to their big tour finale at Nippon Budôkan. Really, really wish I could be there! And I hope all this high-quality footage suggests a third documentary film, or at least a concert video.

Also! I didn’t see this go by on the official band site, but apparently Warner is issuing remastered editions of the first five Clammbon albums. They come in deluxe paper sleeves, with some bonus tracks; either songs from maxi-singles or live tracks. There’s been some trouble with the production, though, so they’re delayed until further notice.

Hello Hello Hello

This is the Dramatickers Dot Com soft open! The real grand opening is coming later this week [update: this turned out to be a lie], but if somehow found your way here early, you are welcome to follow along as we get everything in order.

yet available!

Hi friends! Clammbon’s first new song in 2½ years is out now! This is an epic-sounding tune with strings arranged by none other than Yoko Kanno. You can get it at iTunes Japan, Ototoy, or on CD. The band will be playing some very special live shows around Japan this month, where folks who bought the single on CD will have a chance to get it signed!

I have been hard at work on Dramatickers dot com, which is why there has not been much activity around here. The idea is to launch the new site some time between the announcement and the release of Clammbon’s next album. It sounds like the band is really ramping up on announcements lately, so here’s hoping we will hear about it soon!

Clammbon Guide Book: Interviews!

Today I got my copy of Clammbon Guide Book, thanks to my friend Josiah (who you’re going to be hearing more from pretty soon). It’s superbly detailed, the quality is impressive, the included extras are fun… it even smells good.

But I wanted to hurry up and translate the short little interviews with each band member that appear at the beginning. Let’s see if I can get through them all here in bed before I go to sleep.

Harada Ikuko

  • When and how did you start playing?
  • I start learning classical piano at age 4. I give up at 14. At 16, I’m blown away by jazz piano. I start again. I go to Tokyo and meet the other two members. I arrive at the present.

  • Who are some musicians that influenced you?

  • Thelonious Monk. A pianist I’ve admired and adored since my teens. I still listen to him. The silence when he’s not playing, where the sheet music shows a rest, that’s there i learned the secrets and the richness of music.
  • Nina Simone. She and Monk were true punks. That unwavering groove. A marvelous performer.

  • What are some influential albums that you recommend?

  • Thelonious Monk: Solo Monk
  • Nina Simone: Nina Simone & Piano

  • What is it like to perform in Clammbon? What are you particular about? What is important? What is unique about it?

  • First, for most of our songs (other than the ones we write during sessions), Mito provides the melody, keyboard riffs, voicing for the harmonies, and so on, the phrases that make up the core of the song. We practice it over and over, making it a part of our bodies. The three of us practice it over and over as an ensemble and make a groove out of it. And as we play it over and over live, we nurture it. And it nurtures us.

  • What do you think as you touch your instrument now, and what do you want to do with it in the future?

  • I really do love touching an instrument. That’ll never change. And yet, I still have a long way to go. I’ve been practicing classical pieces from time to time, and it’s fun, like working muscles you don’t usually get to use. I want to keep taking the time to gradually study, or pursue it, on my own. This phenomenon known as sound.

  • What would you like to say to those who are holding this songbook?

  • With all these little notey things [lit. tadpoles!?] all over the place, you might get discouraged (laughs), so we also put some fun stuff like concert photos in the design. This book is faithful to the studio recordings (including overdubs), so there are songs that have changed quite a lot in being arranged for live performance as a three-piece. So it really is a guide book. When you’re playing, it’s okay to play it differently, or come up with a new song. To make discoveries, and to scream. On our path. Off you go…

Mito

  • When and how did you start playing?
  • As a fourth grader, I was handed a bass and told to play in the back-up band at my parents’ concert.
  • Who are some musicians that influenced you?

  • Tom Jenkinson (Squarepusher)
  • Scott LaFaro (Bill Evans Trio)

  • What are some influential albums that you recommend?

  • Squarepusher: Ultravisitor
  • Bill Evans Trio: Waltz for Debby
  • Tetsuya Komuro: Digitalian is eating breakfast

  • What is it like to perform in Clammbon? What are you particular about? What is important? What is unique about it?

  • It’s hard because I have a lot to do apart from the bass.

  • What do you think as you touch your instrument now, and what do you want to do with it in the future?

  • I want to go back to music school. I want to properly study things like wind and strings harmonics, and start over on learning orchestration.

  • What would you like to say to those who are holding this songbook?

  • It’s not that hard♡

Itou Daisuke

  • When and how did you start playing?
  • Starting in fourth grade, taiko drums. Junior high, woodwinds. High school, woodwinds.

  • Who are some musicians that influenced you?

  • Max Roach
  • Steve Gadd

  • What are some influential albums that you recommend?

  • Steely Dan: Aja. The performance of the young Steve Gadd, Bernard Purdie, and the others is amazing.
  • Kinniku Shoujotai: Sister Strawberry. I listened to this pretty much every day in junior high.

  • What is it like to perform in Clammbon? What are you particular about? What is important? What is unique about it?

  • I just put my heart into making the best drum sound that I can.

  • What do you think as you touch your instrument now, and what do you want to do with it in the future?

  • No matter how much I try and try, I still have a long road ahead to get to the level I want to be at… so I’ll practice.

  • What would you like to say to those who are holding this songbook?

  • I’ll be happy if it serves as a reference for you. Have fun!

Clammbon Guide Book announced

Musicians rejoice: the next stage of the band’s 20th anniversary year is Clammbon Guide Book, a musical score collection. The book will include all of the parts for these songs:

  1. Hanare Banare
  2. Pan to Mitsu wo Meshiagare
  3. Doggie & Maggie
  4. Chicago
  5. Kimi wa Boku no Mono
  6. Surround
  7. Lullabye Sarabai
  8. Binsenka
  9. Contrast
  10. id
  11. Folklore
  12. Vital Sign
  13. Good Time Music
  14. Carnival
  15. Kanade Dance
  16. Now!!!

The release date is July 7, but it’s not yet clear exactly where it’ll be available.

Clammbon 20th Anniversary!!!¡

Sooo somehow the biggest Clammbon news of all time has managed to escape my attention for the past six weeks.

In celebration of the 20th anniversary of Clammbon’s founding, the band has made a towering stack of fabulous announcements:

  1. The 9th studio album is coming at the beginning of 2015!! I love how they just kinda casually mentioned this huge fact in between a bunch of other announcements.

  2. “Clammbon Music V Shuu”, a music video collection, is coming April 2!! That’s like, soon! This is a huge deal. I have long lamented how half of the band’s videos are only available on the rare limited version of Best, and half aren’t available anywhere at all. Now, we’ll get super high quality versions of 38 videos on Blu-Ray and DVD. See the track list at the official page. Plus, it includes an entirely new video for “Binsenka”!!

  3. The first Clammbon tribute album is coming this autumn!! Start placing your bets on who will participate. Toe? Husking Bee!? Spangle call Lilli line!?!?

  4. A book of Clammbon sheet music is coming!! Some time!!

  5. A big fancy 20th anniversary site has gone up with details about all of this lovely stuff, a new official band photo with everyone looking all grown up, and a video in which the band reminisces about their history. A 20th anniversary Twitter account and Facebook page have also gone up.

V bd

Ms. Ikuko and her Melodica

This is a great little clip from a show called Yurunavi back in… wow, 2007! I happened to be in Tokyo at the time, so I tuned in to check it out when it first aired in the middle of the night. It was just a little five-minute thing, but it made a big impression on me. At the time, all I could do was write it up. But thanks to the magic of YouTube, here it is for everyone to enjoy!

This really encapsulates a lot of what we find charming about Ms. Ikuko, don’t you think? Particularly her ability to maintain a sort of childish sense of joy. She says in this clip that part of why she likes that old beat-up melodica so much is because it makes her feel connected to her childhood self.

Ikuko news

Here’s some stuff that Ikuko has been up to lately.

New on the discography page is the soundtrack that Ikuko created for a stage adaptation of the comic book Cocoon by Kyou Machiko. The album is available on Ototoy along with your choice of one of four special illustrations. Many of the songs are arrangements of existing Harada Ikuko or Clammbon songs, or covers of other acts. This seems to be the first release on which Ikuko plays a significant amount of strings; she has guitar, bass, and cello credits on various tracks.

You can also watch some clips of Ikuko on the new TV show Artist with Ômiya Ellie. She performs “Ginga” with a jazzy middle section by herself, then Ellie and Ikuko perform a really sweet violin & piano piece that they wrote together called “Kawaru”.

Baan!

Here is some fun news: Ikuko has collaborated with Thai comic book artist Wisut Ponnimit on an album of folky acoustic songs called Baan — that means “home”, according to some Thai-speaking friends of mine (who have also offered to help translate any songs that contain Thai for us).

Check out the promo video:

It looks like Ikuko has come a long way from the scene in En where she puts on a guitar for the very first time!

There is also a guest appearance by Pod, from a band called Moderndog which is apparently very popular in Thailand.

The release date is December 4, and it will be commemorated by a live performance at Ikuko’s cafe, Kichimu. The physical release looks to be a deluxe affair, with a CD and DVD, and a book of Ponnimit’s art. It’s not clear yet whether the album will be available on iTunes internationally, but it does look like Ototoy will have it.

You can see more, including the video for “Soft Cream” at ikutum.com.

Update: Looks like it is on iTunes Japan but not iTunes USA. If you buy at Ototoy, you’ll get a huge PDF of the booklet with super-cute art and official English lyric translations.

Live Report: Clammbon at Kaminari 5656 Kaikan in Asakusa, August 29–30, 2013

So I’ve been a Clammbon fan for 13 years, ever since my serendipitous encounter with their music on my first-ever visit to Japan. At some point they became my favorite band, and I started maintaining this fan site to spread the word about them 10 years ago. But except for a fleeting half hour or so that barely counts, until recently I had never managed to see them in concert. Somehow my nearly-annual trips to Japan just never seemed to line up with a Clammbon show.

Afraid that that might remain the case forever, after viewing one of my collection of Clammbon concert deeveedees I marched into the next room to make a declaration to my wife: “I am gonna see Clammbon play live someday before I die.” She took it in stride, casually suggesting that we wait until they announce dates for their next tour and then buy plane tickets.

All right. That was easier than I’d expected.

After a tense wait, Tokyo dates came out for the “Where Shall We Play Tour 2013”. On these tours, the band solicits ideas from their fans for unique and intimate venues where you wouldn’t normally go see a rock & roll show. A 1900s drama theater, the school that inspired the anime K-On, a former hostess club… the more unusual, the better. The shows I was aiming for were a pair of nights in Asakusa at a traditional theater in a community center, capacity 325. This is a band that these days can draw several thousand fans to an outdoor venue like Yomiuri Land East or the Ryougoku Kokugikan. Seeing them in such close quarters would be a treat indeed. It was too late to go through the byzantine process to join the fan club and get early ticket access, so I took my chances with the similarly byzantine public ticket lotteries… and somehow secured a ticket for each night. Twitter was crowded with people disappointed that they’d failed to get even one ticket, so I felt miraculously lucky.

Hop forward several months and I am in Tokyo, my three-week stay nearly at an end. I forgot to charge the wi-max receiver, so I had to navigate to Asakusa and to the theater without Internet access. Of course I got wildly lost and was almost late for showtime.

Kaminari 5656 Kaikan:
Kaminari 5656 Kaikan

Not a lot of people in front of me:
Not a lot of people in front of me

Not a lot of people behind me either:
Not a lot of people behind me either

When the curtain rose, we saw not Clammbon but this woman sitting in the middle of the stage in kimono, among all the rock & roll gear. She quickly assured us, “don’t worry, this is a Clammbon concert. But to get you into the Asakusa spirit, I’ll be playing you a few songs first.” It was Hirayama Yoshiko, a shamisen player. (Photo from Mito’s tweet.)

Yoshiko

After two lively shamisen songs, the band showed up on stage and I had my first really emotional moment. I was in the same room as Clammbon! It was real. I got a little misty.

August 29th Setlist 

(Image from Mito’s tweet)

29th

Intro by Hirayama Yoshiko

  1. Mizu no Fukasa
  2. Shinagawa Jinku
Main Set
  1. Hanasaku Iroha
  2. Good Time Music
  3. Lady Madonna
  4. Yobigoe
  5. U&I
  6. Odayaka na Kurashi
  7. Shiawase Negau Kanata kara
  8. Goldwrap
  9. Vital Sign
  10. Chicago
  11. Namiyosete
  12. KANADE Dance
Encore
  1. I’m Getting Ready
  2. Surround
  3. Re-Zansho
The banter started early, with Mito and Ikuko observing that Daisuke has been inserting unexpected drum breaks at dramatic moments in certain songs lately. But Daisuke clarified that usually it’s just because he dropped a stick.
 
On “Lady Madonna”, which has some incorrect lyrics on the album version (“feel” instead of “feet”, for instance), Ikuko sang the correct lyrics! She must have been clued in some time since the album was recorded.
 
Mito introduced “Goldwrap” as an exceptionally difficult song to play, especially on piano. Ikuko had to stand up from her seat to play it, and you could tell that it took all the fierce concentration she could summon. The song went very well, and at the end the audience applauded all the more for knowing what a challenge it was. She melodramatically basked in the response.
 
Much of first night’s set felt pretty mellow and straightforward, probably because of the gentle setlist flow, including a string of moderate-energy covers. People sat down for much of the first half. The people around me weren’t all that active, so I didn’t allow myself to get too carried away with dancing and singing along.
 
Once it came to “Vital Sign” and “Chicago”, though, the place seemed to really come alive. I found myself crying again now that I was witnessing such Clammbon classics in person. When Mito smashed his bass against the speaker cabinet at the climax of “Vital Sign”, I could see wood splintering off of it. The rest of the main set carried that energy onward and made me wish the whole show had been that way. For “Nami Yosete”, the band got everyone swaying and singing the chorus together.
 
After the break, the band members each came out in a differently-colored Clammbon shirt, drying off with a Clammbon towel. Ikuko completed the merchandise plug by pretending to answer a call on her phone, enrobed in a Clammbon iPhone case. I always knew it, but Mito imploring us to buy merch if we enjoyed the show and wishing that he could afford a really nice traditional Asakusa meal reminded me that that bands of this scale don’t make a ton of money.
 
For the encore, Mito gave us an extended lesson in gospel backup singing so that we could help out with “I’m Getting Ready”. He divided the audience into male and female singers, encouraging the males to “pretend to be about 20 kilograms heavier” in order to make up for the feminine bias of Clammbon fans. It felt a bit odd to be the one Westerner in the room, singing that English backup vocal with perfect pronunciation.
 
“Re-Zansho” was a special treat that the band broke out for the first time this tour, judging that it was about the right time to begin performing a song about lingering late-summer heat. And the emotional intensity of it was just right to finish off the show.
 
I made my way to the merch table for a shirt and iPhone case of my own. The prices (¥2500 and ¥3500) were of course kinda absurd, but I see it as more of a donation than a purchase. I’m quite willing to pay an extra pile of yens to a band that’s brought me this much happiness.

August 30th Setlist 

(Image from Mito’s tweet)

30th

Intro by Hirayama Yoshiko

  1. Kyou wa Ryougoku
  2. Shinagawa Jinku
Main Set
  1. The New Song
  2. Rough & Laugh
  3. Hanare Banare
  4. Desire -Jounetsu-
  5. U&I
  6. Shiawase Negau Kanata kara
  7. Tiny Pride
  8. Goldwrap
  9. Vital Sign
  10. KANADE Dance
  11. Surround
  12. Re-Zansho
Encore
  1. Chicago
  2. NOW!!!
  3. Summer Nude
On the second night it was just outrageously hot, and everyone was obviously feeling it. I got the sense that instead of trying to keep cool, the band and the audience both kinda just gave up and accepted that they’d be sweaty and gross anyway, and allowed themselves to rock out to the max.
 
Clammbon’s second night in Tokyo is a special moment of the tour. The band had gotten to sleep in their own homes for the first time in months. They could leave their equipment set up overnight, and didn’t have to worry so much about the sound setup or technical problems. So the feel of the show was more confident, more warmed-up, and more fun. The setlist had a more energetic and playful flow, too, with several pretty intense high points: “Tiny Pride”, “Re-Zansho”, and an ecstatic performance of “Summer Nude”.
 
I was in the very back row this time, allowing me to see the entire crowd and pick out all the most energetic people to relate to. The people around me, too, were more enthusiastic than my neighbors on the first night. This all made it easier for me to get really into the show. Two girls on my left were talking excitedly throughout the night, and spread out into the aisle so that everyone could dance. The guy on my right seemed like a typical suit-wearing salaryman on his own, reserved to the point that I wondered what he was even doing at a rock & roll show. But once the set started, he was as exuberant as anyone in the room, bouncing around and singing along and having the time of his life.
 
During her introduction, Hirayama Yoshiko apologized for playing one of the same songs from the previous night. She polled the audience for who had been there, and quite a few people responded. I had been worried that it might be frowned upon to get tickets to both nights and thus deprive somebody else, but apparently it’s not a big deal. (Besides, I’d waited 13 years for this!)
 
The most memorable banter was during “Desire”, when Ikuko encouraged the crowd to snap along with the beat. The song has a detached 80’s coolness to it, so she coached us in how to snap casually — turn to the side, put on a bored expression, and make your snaps just barely audible. I did my best, and the girls next to me took notice of my technique!
 
When it was done, I thought I might exchange some impressions with some of my neighbors, or at least a knowing, satisfied look. But the girls simply agreed to each other, “I’m full!” and disappeared, while the guy put on his jacket, transformed back into an ordinary salaryman, and scurried out. If I have one major regret about this whole concert experience, it’s that I didn’t get to make any personal connections to anyone. It could be partially because Japanese culture isn’t big on connecting to strangers. It could be partially because Clammbon fans in particular are kinda nerdy and shy. And it could be because I’m a foreigner and thus difficult to approach. In retrospect maybe I should have broken the ice by joining in with the fans who spontaneously started singing “Bass, Bass, Bass” in the merch line.
 
In any case, it was an experience that will stay with me forever, that permanently connects me to my favorite band in an even more meaningful way, and that was well worth the wait.

En subtitles drafted

Hi friends! This project went way faster than the tayu tau subtitling, fueled by my excitement about getting to go see Clammbon in Tokyo this summer. Every scene of En has been subtitled, with just a few difficult lines left unfinished. There are probably bugs and such, but if you are in a hurry to give it a try, here is the file! Let me know if you run into any problems.

En subtitles alpha version

Yomiuri

Unofficial English Clammbon Fansite