miguel_myriad
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- Joined
- Nov 23, 2007
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This infectious Brighton electronic dance trio curate their own unique night. From their end they bring evocative krautrock and deep soul, with wafts of early Human League synth and the throbbing groove of Tom Tom Club, all filtered for modern times. Their new LP ‘Lightbulbs’ is released in September on Full Time Hobby.
Also on board is New York duo Project Jenny, Project Jan with their pop infused rock pummeled with dance beats. Keeping the grooves on is DJ Will Dempsey plays cosmic disco, 80s new wave, krautrock, italo and boogie jams.
Steo da Cat in association with Dublin Fringe Festival presents
FUJIYA AND MIYAGI
Support: Project Jenny, Project Jan, DJ Will Dempsey
Saturday September 20th
Hennessy Spiegeltent – Iveagh Gardens – Dublin 2.
Doors – 9.30pm
Tickets €20 (inc. booking fee) available from www.fringefest.com 1850 FRINGE (374643) or in person at the box office at Filmbase, Curved St, Temple Bar, Dublin 2.
www.fringefest.com www.fujiya-miyagi.co.uk www.myspace.com/fujiyaandmiyagi www.projectjennyprojectjan.com www.myspace.com/projectjennyprojectjan
Fujiya and Miyagi Irish Tour: Sept. 18th in Galway (Roisin Dubh), Sept. 19th in Cork (Cyprus Avenue) and Sept. 21st in Belfast (Stiff Kitten)
“F&M have added intriguing textures to the Krautrock of 2006's Transparent Things: from the title track's powerballadry to the subliminal menace of 'Dishwasher', in which vocaliser David Best reassures a loved one that 'when you are premenstrual, I will play chillout compilation instrumentals' over the bass line to Bauhaus's 'Bela Lugosi's Dead'.” Observer Music Monthly 4/5
Imagine that Fujiya & Miyagi are mask-wearing technicians dissecting music, keen to magnify particles of sound to create a pulsing antidote to the ordinary. They speak in tongues, using language as a rhythm, picking words that sound good, rhyming ‘jigsaws’ with ‘carnivores’.
Their songs are incisive snapshots of real lives that make household appliances sound threatening. They are steeped in vintage music from evocative krautrock to deep soul, with wafts of early Human League synth, Floydian Englishness and the throbbing groove of Tom Tom Club, all filtered for modern times.
In total, Fujiya & Miyagi don’t really sound like anything. Instead, they sound like everything condensed into perfectly arranged three minute chunks of infectious pop music, a strange hybrid of James Brown on Valium and Wire gone pop. Or maybe Serge Gainsbourg with a PhD in electronics backed by David Byrne’s Eno-produced scratchy guitar mixed by MF Doom. It’s Darwinism gone mad.
Formed in 2000 as an electronic duo of David Best (guitars and vocals) and Steve Lewis (synths, beats, programming), they released Electro Karaoke In The Negative Style two years later, a minimal electronic set it hangs eerily on Best’s distinctive whispered vocal. Adding bass player Matt Hainsby in 2004, they released a series of ten inch EPs that took them to the hearts of fanzineland. Gathered together these parables of personal injury, both physical and mental, made up three quarters of the well-received (Pitchfork, NME, MOJO, etc) album Transparent Things in 2006. Named after a Nabokov brain dump on the relationship between the past and the present. It sums them up.
A Regal seven-inch, Uh, further concentrated their sound. A set of vocal ticks, a funky bass and a storyline about a relationship as prickly as two porcupines, it made small talk sound sinister over an infectious groove. It was the perfect set up for their third album, Light Bulbs – imagine 11 classic ideas clicking on above your head, now with real drums in places, courtesy of Lee Adams, and the picture is complete.
Fujiya & Miyagi stay away from lyrical themes that have been done to death. Using old synths to punctuate their beautifully-observed anecdotes on romantic triumphs and disasters, heroes and villains and the world at large, their rhythms palpitate to produce modern symphonies like no-one else. Light Bulbs is a journey littered with fragmented images, anecdotes from the sublime to the ridiculous, blurry stories that you feel you shouldn’t have overheard. Each track an aural contamination set to itch your inner ear every waking moment.
“I’ll never be Big Maybelle,” says David Best of his unique singing style. True, but as a stylist fronting a band inspired by their evolution, plundering the past but set in the future, Fujiya & Miyagi’s Light Bulbs carves a niche of its own. This is truly contagious music, a completely unique take on modern pop music that’s completely their own.
-Dave Henderson, Summer 2008
PROJECT JENNY, PROJECT JAN
No, Brooklyn’s Project Jenny, Project Jan has neither a Jenny nor a Jan, but the music of vocalist Jeremy Haines and electronic maestro Sammy Rubin will find you hard pressed to pigeonhole.
In college, Jeremy had become great friends with Sammy's best high school buddies, and Sammy had become close with Jeremy's mates. Once they finally met each other through a twisted web of coincidences, the two became solid co-conspirators. On one such night of revelry at Sammy's house, Sammy discovered that Jeremy's freestyling skills well surpassed his own, so he played an accompanying feedback solo on his microphone. Perhaps this was the planted seed that grew into Project Jenny, Project Jan, though it's best not to ask too many questions and just enjoy the music.
In late 2005, Project Jenny, Project Jan released their first self-titled EP and offered the mp3s up free-and-legal on their site. The press took notice, calling it a “shockingly dynamic, danceable, and hilarious affair” (Billboard) and “incomparable” (Deli Magazine). Their engaging live show got its well-deserved attention too: “This is a band that should be taken seriously, even while singing about homemade sex tapes and the Chinatown bus.” (gothamist.com).
Continuing where the EP left off, in 2007 the band released their debut album titled ‘XOXOXOXOXO’ on Might Records, that once again garnered the attention of the press, calling it “almost too much fun in one album” (MSN) and “as entertaining as it is clever.” (All Music Guide). In support of the album, the band saw themselves tour with British favorites Fujiya & Miyagi and continued to prove both their studio and live ability, being called “one of the most entertaining live acts I’ve seen to date.”
Also on board is New York duo Project Jenny, Project Jan with their pop infused rock pummeled with dance beats. Keeping the grooves on is DJ Will Dempsey plays cosmic disco, 80s new wave, krautrock, italo and boogie jams.
Steo da Cat in association with Dublin Fringe Festival presents
FUJIYA AND MIYAGI
Support: Project Jenny, Project Jan, DJ Will Dempsey
Saturday September 20th
Hennessy Spiegeltent – Iveagh Gardens – Dublin 2.
Doors – 9.30pm
Tickets €20 (inc. booking fee) available from www.fringefest.com 1850 FRINGE (374643) or in person at the box office at Filmbase, Curved St, Temple Bar, Dublin 2.
www.fringefest.com www.fujiya-miyagi.co.uk www.myspace.com/fujiyaandmiyagi www.projectjennyprojectjan.com www.myspace.com/projectjennyprojectjan
Fujiya and Miyagi Irish Tour: Sept. 18th in Galway (Roisin Dubh), Sept. 19th in Cork (Cyprus Avenue) and Sept. 21st in Belfast (Stiff Kitten)
“F&M have added intriguing textures to the Krautrock of 2006's Transparent Things: from the title track's powerballadry to the subliminal menace of 'Dishwasher', in which vocaliser David Best reassures a loved one that 'when you are premenstrual, I will play chillout compilation instrumentals' over the bass line to Bauhaus's 'Bela Lugosi's Dead'.” Observer Music Monthly 4/5
Imagine that Fujiya & Miyagi are mask-wearing technicians dissecting music, keen to magnify particles of sound to create a pulsing antidote to the ordinary. They speak in tongues, using language as a rhythm, picking words that sound good, rhyming ‘jigsaws’ with ‘carnivores’.
Their songs are incisive snapshots of real lives that make household appliances sound threatening. They are steeped in vintage music from evocative krautrock to deep soul, with wafts of early Human League synth, Floydian Englishness and the throbbing groove of Tom Tom Club, all filtered for modern times.
In total, Fujiya & Miyagi don’t really sound like anything. Instead, they sound like everything condensed into perfectly arranged three minute chunks of infectious pop music, a strange hybrid of James Brown on Valium and Wire gone pop. Or maybe Serge Gainsbourg with a PhD in electronics backed by David Byrne’s Eno-produced scratchy guitar mixed by MF Doom. It’s Darwinism gone mad.
Formed in 2000 as an electronic duo of David Best (guitars and vocals) and Steve Lewis (synths, beats, programming), they released Electro Karaoke In The Negative Style two years later, a minimal electronic set it hangs eerily on Best’s distinctive whispered vocal. Adding bass player Matt Hainsby in 2004, they released a series of ten inch EPs that took them to the hearts of fanzineland. Gathered together these parables of personal injury, both physical and mental, made up three quarters of the well-received (Pitchfork, NME, MOJO, etc) album Transparent Things in 2006. Named after a Nabokov brain dump on the relationship between the past and the present. It sums them up.
A Regal seven-inch, Uh, further concentrated their sound. A set of vocal ticks, a funky bass and a storyline about a relationship as prickly as two porcupines, it made small talk sound sinister over an infectious groove. It was the perfect set up for their third album, Light Bulbs – imagine 11 classic ideas clicking on above your head, now with real drums in places, courtesy of Lee Adams, and the picture is complete.
Fujiya & Miyagi stay away from lyrical themes that have been done to death. Using old synths to punctuate their beautifully-observed anecdotes on romantic triumphs and disasters, heroes and villains and the world at large, their rhythms palpitate to produce modern symphonies like no-one else. Light Bulbs is a journey littered with fragmented images, anecdotes from the sublime to the ridiculous, blurry stories that you feel you shouldn’t have overheard. Each track an aural contamination set to itch your inner ear every waking moment.
“I’ll never be Big Maybelle,” says David Best of his unique singing style. True, but as a stylist fronting a band inspired by their evolution, plundering the past but set in the future, Fujiya & Miyagi’s Light Bulbs carves a niche of its own. This is truly contagious music, a completely unique take on modern pop music that’s completely their own.
-Dave Henderson, Summer 2008
PROJECT JENNY, PROJECT JAN
No, Brooklyn’s Project Jenny, Project Jan has neither a Jenny nor a Jan, but the music of vocalist Jeremy Haines and electronic maestro Sammy Rubin will find you hard pressed to pigeonhole.
In college, Jeremy had become great friends with Sammy's best high school buddies, and Sammy had become close with Jeremy's mates. Once they finally met each other through a twisted web of coincidences, the two became solid co-conspirators. On one such night of revelry at Sammy's house, Sammy discovered that Jeremy's freestyling skills well surpassed his own, so he played an accompanying feedback solo on his microphone. Perhaps this was the planted seed that grew into Project Jenny, Project Jan, though it's best not to ask too many questions and just enjoy the music.
In late 2005, Project Jenny, Project Jan released their first self-titled EP and offered the mp3s up free-and-legal on their site. The press took notice, calling it a “shockingly dynamic, danceable, and hilarious affair” (Billboard) and “incomparable” (Deli Magazine). Their engaging live show got its well-deserved attention too: “This is a band that should be taken seriously, even while singing about homemade sex tapes and the Chinatown bus.” (gothamist.com).
Continuing where the EP left off, in 2007 the band released their debut album titled ‘XOXOXOXOXO’ on Might Records, that once again garnered the attention of the press, calling it “almost too much fun in one album” (MSN) and “as entertaining as it is clever.” (All Music Guide). In support of the album, the band saw themselves tour with British favorites Fujiya & Miyagi and continued to prove both their studio and live ability, being called “one of the most entertaining live acts I’ve seen to date.”
