Surprised to find the new Creatures album, Hái!, released in the US yesterday. Rather took me by surprise because I wasn’t aware they had been cooking one. Actually I have not been paying much attention to Siouxsie & Company for a couple of years now. Ignored the Seven-Year-Itch reunion tour and release, tossing it off as kind of crass and sad and unwilling to gather with a bunch of aging suburban Goths at that club that Tracks became. Nearly all of my Siouxsie is on vinyl and cassette tape. Which goes to show just how long I’ve been disinterested. Was once madly in love with her though. Bought the last Creatures release, Anima Animus, for a buck and didn’t really listen to it.
Maybe it was nostalgia. Maybe it was the striking art direction with the cover image by Japanese artist Kimiko Yoshida. Mostly I was intrigued by the project, collaboration with Kodo drummer Leonard Eto in an impromptu and brisk session in a Tokyo recording studio. I’ve always thought Budgie was a brilliant, inventive drummer and I’ve heard Taiko rhythms in his work before. Recording in Tokyo, I feel, continues the journey that began with The Creatures’ laying down the tracks for their first album Feast in Hawaii on vacation in 1983 and Boomerang on holiday in Spain in 1989. On these efforts Budgie and Siouxsie were really able to soak up the local rhythms and create organically charged work distinct from the Banshees. Basically Budgie’s syncopated drums, marimbas, bongos, and indigenous rhythms backing Siouxsie’s more impromptu, looser vocals. No guitars, just a few horns, keyboard, gamelons, and xylophones here and there. The big-band-like “Right Now” was a brilliant, inspired single, and though none of the other Creatures output matches its impact, the work recorded in these exotic locales by the this unorthodox husband and wife team was always intriguing.
Anima Animus was recorded in France, USA and the UK and is hollow and harsh and heavily electronic.
The marriage of actual booming Taiko drums and pop works quite well and if it has been done before I’ve never heard it. The songwriting is a little weak and the lyrics are a both over wrought and throwaway but this return to form is really Siouxsie’s best work in years. One of my pet peeves - songs called “Tourniquet.” Actually The Creatures “Tourniquet.” On this album is lovely, moody number with jazz flourishes that would not be out of place on a Bad Seeds or Congo Norvell album. The main thing is the power of these Taiko drums. Makes me want to upgrade my stereo system and speakers.
Never wanting to miss the boat of course, I suppose Japan is once again hot. Maybe the eighties are back. Maybe it has always been hot. Idealized in Kill Bill, fetishized in Demonlover, and romanticized in Lost in Translation, the land of the rising sun has been getting a lot of media, or pop culture attention. I dunno, I was just born there and spent my childhood wandering the streets and pachinko parlors and frankly I don’t find Tokyo exotic or even that fascinating. Crowded and kind of kinky, yes, and extremely goofy. Actually I think there just seems to be something a little bit off about white boys who really dig Japan. They tend to be control-freaks who get off on the discipline of martial arts or dominating “submissive” Asian girlfriends. Or maladjusted, lonely, hoping to find acceptance in an exotic culture where dorky white boys might be a little more popular. Or teaching in Japan because they can’t find a job in the US. Just generalizing here and I know I’m horrible.
It is funny that on Blondie’s new release they cover the Okinawan chant “Asadoya Yunta,” is also explored on Ryuichi Sakamoto’s Beauty (which I bought last weekend for,er, a buck). And I’ve been playing the Kill Bill OST quite a bit as well as hearing it in the stores. And I might just well see it tonight. So I guess I’ve been listening to a lot of Japancentric music inadvertently. Gotta watch myself.