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…


  • 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”.


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.)


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)


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
  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)


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
  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


En subtitling status report

I am about 50% done subtitling En, the second Clammbon documentary! It’s so very fun to watch the band interact, rehearse, and dream up new versions of our old favorite songs.

En preview 2

Excitement about going to two concerts this August is propelling me forward. There was actually another Tokyo show announced, at this bizare-looking joint, but it’s for the day after I leave! Oh well, I certainly can’t complain that I only get to see two shows.

Asakusa ticket GET!!

Update: Even more against all odds, I also won the Hot Stuff Promotion lottery via Pia for the Friday show, so I am going to see Clammbon at Asakusa two nights in a row!! My heart and my brain just about can’t take it.

Somehow, against all odds, I secured a ticket to the August 29 show at Kaminari 5656 Kaikan in Asakusa, Tokyo. It’s a tiny, cozy 325-seat venue, and I’ll be sitting in the 7th row, right about where this photo was taken:

5 6F

My first real Clammbon show, after 13 years of being a fan, and 10 years of running this site. I’m about as happy as I’ve ever been about anything. It’s making me want to finally write down how I got into the band and what it’s been like to follow them from afar for all this time.

In between work and finishing grad school, I have started funneling some of that excitement into subtitling En. There is quite a lot of casual mumbling between longtime friends, captured from just outside easy earshot, so it will be a challenge. Many scenes seem to be meant not to expose the content of conversations, but simply to portray relationships. I am committed to translating and timing as much of it as I can make out!

En preview

Unofficial English Clammbon Fansite