Vuvuzela is the new drone music

Hi bros and sis. So happy to hear all these vuvuzelas during the South Africa World Championship! It's really awe to have a drone soundscape as soundtrack of the football matches! Btw, here I am to announce that our new e.p. will be out next september! It will be called: "The end of of a summer e.p.", it will be composed by four tracks plus an intro titled: "All mosquitos must die", "In the shadow of a hood", "Negatives of unborn photographs", "Glasgow dried my heart" and "Plants". You will have some bitchy previews before the release date (10/09?). As I wrote in the last post, there will be a physical version on cdr 3" and also a digital one. Next steps for us are finish our new full-lenght and also announce our incoming "Good morning fall" tour. Keep your eyes and ears wide open,



Spring updates

Yo buddies, here we are back. Some exciting news for you. First of all, we played two gigs with Giovanni Stimamiglio from CRTVTR, the first live real drummer ever for us! This was a bliss, and I guess I can say that in the future we'll be together and he will be the third member of the band for live shows. The second thing is that we are almost ready to announce our European tour with CRTVTR that will begin in September. We'll play in several countries, Slovenia, Czech Republic, Germany and Norway (w/Mindy Misty) are the ones confirmed at the moment. if you are interested to make us play in your city, we still have some days off, so feel free to drop a line to booking@disorderdrama.org and ask about. Other stuff: Japanese Gum featuring Blown Paper Bags made a cover of the song "Dividing Opinions" originally by the Italian band Giardini di Mirò and it takes part of the cover album "Altri Giardini" with lots of other really cool bands. You can listen to our version here. The last news are about our new stuff: the new e.p. is almost ready, and will be released in 200 3" cdr numbered copies, hand crafted and packaged with a sweet bed sheet handly painted. If you wanna book some, drop a line to japanesegumweb@gmail.com. And also, the new full-lenght is in the middle of the making of! We hope to finish the recordings in July. Cheers fellah, d.


Happy nu year!

Hey fellah, happy new year! We have some brand news! First of all, two songs from our "Hey folks" Nevermind, we are all falling down" took part of the soundtrack from "Nike 6.0 X Fly - Partners in Crime", a documentary about bmx, produced by Nike Europe and directed by Alberto Accettulli from Docks Video. Check at the proper link to view the video! Btw, we are working on new stuff as Japanese Gum and, I'm almost ending my first release as The Combat Worms, more news soon. We collected few new review stuff:

Japanese Gum are the Italian duo of Paolo Tortora and Davide Cedolin. Their aim is to create soundscapes that are both challenging and experimental while retaining a commercial edge and to a certain extent they manage to do what it says on the tin. The music itself sound like The Jesus and Mary Chain jamming with Ennio Morricone, but the reverb laden vocals are reduced to nothing more than an annoying mumble at the back of the mix as if put there as an after thought.
If commercial success is the game plan for the guys, well it ain't gonna happen, although they do have crossover appeal for both the dance and indie markets. I do actually really like this album. I like the lo-fi production and experimental nature of it. I also like the fact that there are actually songs on here. It is easy for an act to hide behind the technology and dazzle us with a series of electronic bleeps and breaks that make no concession to actually making it an enjoyable experience for the listener. On this album Japanese Gum manage to balance the music and the technology, vocals apart, pretty much perfectly.
It would not be fair to review this on an individual track basis as it is clearly not intended to be listened to that way. Instead listen to this album as a whole and immerse yourself in the chilled soundtrack. As avant guarde as it is, it is actually an enjoyable experience. (The Music Critic)

Figli di una Genova che da sempre si dimostra patria di grandi artisti (impossibile non citare i celebri "cugini" Port-Royal), i Japanese Gum tornano sulla scena discografica con Hey folks! Nevermind, we are all falling down, album che segna il passaggio all'etichetta giapponese Friend of Mine dopo la breve esperienza con la conterranea Marsiglia Records.
Con undici brani ufficiali e tre bonus tracks, il duo ligure regala al proprio pubblico più di un'ora di indietronica d'alto livello, forte di una produzione superba e di un meticoloso lavoro in studio che non ha lasciato al caso neanche un singolo beat. Quasi tutte le tracce si rivelano infatti più che convincenti: si passa dalle atmosfere eteree dell'intro di "No help for the wicked" all'esplosione finale post-rock di "Cluster of bees", senza dimenticare i ritmi sincopati che caratterizzano "Ghost/Mistake" e la componente più spiccatamente elettronica che fa capolino in "Big whale".
Hey folks! ... rappresenta l'ennesima ottima prova per i Japanese Gum, che con le ultime pubblicazioni mostrano grande attenzione verso lo sviluppo di un sound sempre più ricercato e personale.
Brani suggeriti: Sunless summer, Cluster of bees, Big whale. (Artistsandbands)

The '80s, having always been associated with the kitsch that characterized artistic expressions of the period, is probably the least appreciated decade when it comes to its contribution to the evolution of music. This is obvious when listening to a band such as Japanese Gum. Whether its post-punk, new wave, no wave, electro-pop à la New Order, or shoegaze, it's all here. These two Italian gentlemen must have grown up listening to every great band of the '80s, and, thankfully, while paying their respect to those that inspired them, they make something unique and wonderful.
In the more than one hour of Hey Folks! Nevermind, We Are All Falling Down the duo offers us a musical journey that, while not always fascinating, is certainly interesting throughout. With vocals that often feel as if they came from the depths of the ocean, Japanese Gum is a band that seems to have woken from a deep sleep to write space-age lullabies that, at times, bring to mind groups such as Slowdive or My Bloody Valentine at their most ambient and experimental, and, at others, sing with the passion and desperation of Morrissey and a cloud of distortion accompanied by electronic madness in the background. The band's approach reminds us that, while the music of the past can be the inspiration behind someone's creativity in the first place, a true artist knows that having his own voice is what distinguishes those whose work matters from the pretenders.
Japanese Gum would have been a perfect fit for a label such as Morr Music, as the band's dream-pop is closely related to that of The Notwist or Mum. However, the band that Japanese Gum most strongly recalls is Lali Puna, as both bands seem to share the same care-free attitude and melancholy. If there is one fault the album has, it is that, despite the vast array of sounds it employs, there are times when the music becomes repetitive. The thing about lullabies is that, no matter how "space-age" they are, they do tend to put you to sleep, which isn't always what a listener is looking for in an album.
Nevertheless, this is a band with a very clear idea of what it wants to do and how it can do it. Japanese Gum makes art that is sensitive, honest, and beautiful. Listening to Hey Folks! Nevermind, We Are All Falling Down is a more than pleasant experience. Now forgive me, but I feel I need some sleep; with a soundtrack like this, my dreams will more than likely be sweet. (The Silent Ballet)

And if you go here, you can read some more and also listen to few tracks!

I guess that's all for now,
take it eazy,



Norway and new press!

Hey peeps!!!
Here we back from our norvegian vacancy! The gig at Gloria Flames was simply amazing, shared with other two kickin ass band such Laconic Zero and Le Corbeau !! So we simply thank all the folks made this possible! Takk!!! And of course special thanks to our mates in crimes in Oslo, Kenneth, Trond, Marica, Thor, Tom, Roy, Sigve! Btw, here is an italian interview and below some new reviews! Yo!

When I opened the package I thought someone had sent a pukka Japanese import. There was the ubiquitous useless strip of card, you know the thing, that sits over the spine of the jewel case but falls away once the cellophane is removed. There was also one of those mini-inlay cards inside the main artwork, with Japanese lyrics. Plus the name, of course, Japanese Gum. I’d never heard of it. I’ll bet you’ve never heard of it?
You should hear it. Oh man, you should definitely hear it.
Actually JG hail from Genoa, Italy. All the ‘Japanese’ stuff must be a little private gag. Ha bloody ha. I’ve already forgiven/forgotten about it though because…. Genoa. GENOA. That’s where port-royal come from. port-royal, the leading exponents of indietronica and YES this ‘Hey Folks….’ is a similar melting pot of glitch electronics and delayed guitars.
How is it? Awesome. JapGum front-load their album with their best numbers. Always a good tactic. But then they back it up with repeatedly high standards throughout. Tracks 1 to 3 go ‘good’, ‘great, ‘God-like genius’. (‘%’) Then instrumental ‘Sunless summer’ just hangs gorgeously in the air. No let up. Hey Folks… stays impossibly good for 8 of its 11 official tracks. ‘Cluster of bees’ is another highlight almost hitting the same stratospheric heights as ‘%’, swiftly followed by the female guest-vocaled ‘mistake/ghost’ which is particularly effective because the lyrics are more discernible:
“there was vacancy in her gaze
a feeling of absence
while we were there
growing so fast
dazzling and greeting us
with cheering smile
she said
How are you going to explain away that mistake”
If there is one mistake on the album it might possibly be ‘Converge’, the one and only miss-step in evidence. Guitars twinkle like something by Cocteau Twins and Harold Budd (Lovely Thunder, The Moon and the Melodies) but the pained vocal starts to reach agonising proportions. I suspect they were trying to juxtapose ‘abrasive’ with ‘beautiful’ since such clashes often work but this doesn’t quite pay off. In fact vocals here in general might not be for the purist. Most are heavily processed gasps or whispers. They sit at the back of the mix but not buried.
I think Japanese Gum have an obtuse sense of humour. For instance they named their tenth track ‘09’. The album title is also wilfully ridiculous. To be honest when music is as good as this, the artist can do whatever the f$#% they want and ‘09’ is a searing return to form after the ‘fingernails down the blackboard’ ordeal of ‘Converge’. ‘09’ is like Bitcrush or early m83.and if your music is being mentioned alongside those two, you must be doing something right. There’s a hidden bit within the final track and there are three bonus tracks. These add nothing but only by virtue of the fact that there literally is nothing more to add to this album. The bonuses would have made a fine EP. Japanese Gum are spoiling us. Next vacation, Italy. (Sic Magazine)

Band interessante, i Japanese Gum. Un duo (ex trio) proveniente da Genova, che canta in inglese. Sono Paolo Tortora e Davide Cedolin, attivi discograficamente dal 2007 e con quattro album in curriculum (tre autoprodotti), l'ultimo dei quali, oggetto della presente recensione, sancisce il debutto ufficiale per la label giapponese Friend Of Mine Records.
Undici tracce, in cui la band non perde di vista l'elettronica che aveva caratterizzato gli EP precedenti mescolandola a un uso di chitarre e synth che rendono l'ascolto dell'album piacevole praticamente a chiunque. Un'indietronica eterea, avvolgente e sognante, risultato di un lavoro lungo e impegnativo in fase di scrittura e preproduzione, che pone una volta di più l'accento sulla bontà del prodotto finale.
Chi volesse gustare qualche esempio può fare riferimento al profilo Myspace del duo, dove è possibile ascoltare diverse canzoni tratte dall'album, fra cui la bellissima e avvolgente "Chlorine Blu" che risalta fra tutte assieme alle coinvolgenti "Make Ghost" e "09". Da queste parti la musica elettronica non è molto apprezzata, ma quando musica elettronica significa belle canzoni, a volte rilassanti, altre veloci, con melodie armonizzate fra loro che ti fanno venire voglia di riascoltare tutto da capo, beh allora viene facile per chiunque adorare anche questo genere. (Loudvision)

I Japanese Gum sono due “alieni” genovesi (Paolo Tortora e Davide Cedolin) che, dopo un Ep pubblicato per la Marsiglia Record, Talking Silently, esordiscono ufficialmente con l'album Hey Folks! Nevermind, We Are All Falling Down prodotto dall'etichetta giapponese Friend Of Mine. Questo disco è un pianeta mosso da gravità elettroniche e venti solari indie-rock. I suoi anelli planetari sono una commistione di particelle melodiche e vocali, polveri cristalline di synt, feedback e drones, che ruotano attorno alla centralità delle emozioni slegate dallo schiavismo del marchio di fabbrica preconfezionato.
Sali minerali s'infrangono nell'elettronica liquida di No Help For the Wicked (The Month Of The Dictators). Il sound fluido continua a scorrere con Big Whale e %. Viene emanato calore acustico da Sunless Summer seguito dal cielo di note di Under a pale cold sky e dai vorticosi giri “antiorari” di Chlorine Blue. Con Cluster Of Bees il suono si satura lievemente oscillando verso ritmi più rock, mentre con Ghost – Mistake tutto si dilata e diventa battito sognante con Converge. In 09 la voce si scontra col suono e il moto spaziale cessa con le deflagrazioni sonore di Raskol'Nikov. Tre bonus-track permettono di scoprire maggiormente le abitudini della piccola comunità di autoctoni Japanese Gum: To Erase pains, Hon.e, First reminder.
Questo Hey Folks! Nevermind, We Are All Falling Down è un corpo celeste naturale e genuino dove perielio e afelio sono così vicini da riscaldare l'orecchio dell'ascoltatore. (Rock action)

Met slechts enkele optredens in thuisland Italië, zal Japanese Gum vast niet het best bewaarde geheim van het land zijn. Het project bestaat uit de vrienden Davide Cedolin en Paolo Tortora. De twee deden het eerst nog samen met Luigi Bozzo, maar bleken toch beter als tweetal door de deur te kunnen. Ze sloten zichzelf op in de studio en Hey Folks! Nevermind, we are all falling down werd geboren. De muziek karakteriseerde zich door vertraagde gitaren, rustige zang, elektronische beats en aardig wat synths. Het is echter niet terecht om ze hierdoor gelijk in een bepaalde hoek te duwen. Ze zijn namelijk nergens in te duwen. En hoewel ze met hun EP nog ambient-achtig waren, is het deze plaat meer shoegazing psychedelisch. Zelf noemen ze het 'a perfect balanced combo of liquid atmosphere, droning guitars, suspended vocals, electronic patterns and real drums.'
Wanneer je de 70 minuten aan muziek hoort, is het begrijpelijk dat je even schrikt. De nummers zijn namelijk voorzien van een flink portie white noise. Alsof je naar de radio aan het luisteren bent, maar het net niet goed hebt afgesteld. Hoewel dit in het begin erg vervelend luisteren is, past het erg goed bij de muziek. Hierdoor zijn de veertien nummers nog dromeriger geworden.
De debuutplaat is zeker een opvallende. Het klinkt erg vernieuwend en bijna buitenaards, maar is hier wel publiek voor? De mensen die naar een heerlijke plaat willen luisteren voorzien van een behoorlijk pak ruis, zijn waarschijnlijk om een hand te tellen. (Roar Ezine)

Olen siin nädala jagu sõbra bändile Tolmunud Mesipuu väikestviisi promo üritanud teha, visanud nende albumi "Puusse panen" tasuta allalaadimise kohale viitavat linki kodumaiste foorumite lehtedele, jaganud sõpradele otsepostitustega, reklaaminud neti nn. sõbrasaitidel nagu Orku ja Facebook ning saatnud autoriteetsematele stoner/doom´i blogidele kirju. Tänu sellele ei tohi aga ma ka ignoreerida analoogseid enesele saabuvaid e-mail´e kus viisakalt palutakse muusikale pilk peale visata ja kui meeldib, siis ka paar rida blogi jaoks kribada. Itaalia ansambli Japanese Gum downloadlink ja palvekiri potsatas mu postkasti nädal tagasi. Esimene emotsioon peale paari loo kuulamist oli, et kui mu enese tehtud muusika sedalaadi kõlaks, ei oleks minul küll mitte midagi häbeneda, pakuksin meelsasti kõigile kuulata ja ei muretseks vastukaja pärast. Ega tegu ole millegi erilisega aga seda elektro-kitarr mussi oskab duo nii tagasihoidlikult ja armsalt pakkuda, et igati mõnus kuulata. Mitte liiga puhas, veitsa krobeline ja kombitav, kohati rokkivam ja siis jälle tasastesse ambient voogudesse vajuv. Meenutas vahest kõige enam hetkel suurt populaarsust nautivat The Big Pink´i aga kuna ma ei ole just sedalaadi ( Kohvirecords?) muusika fän, siis oskan soovituseks vaid paralleeli vedada, samuti duoga ju tegemist. (Trash Can Dance)


more reviews and interview!

Yo fellah,
here you can give a look about our opinions about our last album. And below, new reviews!!
Stay warm,

En reise på tvers av sjangre. Dette er neimen ikke indierock, men elektronika. Eller? Kjært barn har som kjent opptil flere navn, og dette italienske, islandsk-lydende bandet med det Japan-refererende navnet (blir det world music av slik tverrnasjonal omfavnelse?) faller da også under flere stoler. Synthdominerende elektroinstrumentaler, programmerte rytmer, flerstemte vokalpartier, vegger av gitar; lydbildet er mangfoldig. Tilsynelatende er også «Hey Folks! Nevermind, we are falling down» i lengste laget, helt til det viser seg at de siste tre sporene er «Japanese only bonus tracks». Og vi bor i Norge.
Første sporet, «No Help for the wicked (the month of the dictators)», starter som musikken som akkompagnerer den endelige befrielsen av prinsessen i tv-spill-klassikeren Super Mario 3, før den kulminerer i en postrockeksplosjon en diktator verdig. Det er heller ikke det eneste bidraget som lukter av sjangeren; i symbiose med beats som veksler fra det drønnende hip-hop-aktige, til det knitrende elektroniske, har mange av sangene det svevende, drømmende og nøysomt oppbyggelige preget som kjennetegner mange av postrockens voktere. «Under a pale cold sky» er for eksempel en Múm-kamuflert Mogwai-låt, «Cluster of Bees», et crescendo på fire minutter, hvis bølge bruker to og et halvt minutt på å bryte og den frådende sjøen sluker resten. «Mistake/Ghost» høres ut som en blyg Björk, og er fundamentert på en grunnmur av solide beats. Platens sang nummer ti – «09» – innledes av skrivemaskintasting før vokalharmoniene overtar. Disse flyter oppå trekkspillet, som vedvarer fra den rolige begynnelsen, til den høyenergiske slutten der trommene lyder som kontinuerlige maskingeværsalver. Japanese Gum er et interessant bekjentskap, som har sin berettigede eksistens i skjæringspunktet mellom musikalske diametrale motsetninger: Lavmælt indiepop versus støyende postrock og shoegaze, Sigur Rós-parafraserende overveid melankoli versus nesten dansbare rave-stemninger i retning 120 Days. Sistesporet «Raskol´Nikov» utstråler dessuten ikke noe ønske om å gå ut med et fengende smell. Snarere beveger det seg i et saktegående drum'n'bass-landskap – om noe slikt finnes – mot et stadig mer støyende og skittent klimaks, frem til pipingen og skurringen avslutter platen som et likegyldig «fuck you!», lik en film som etterlater seeren med en håndfull ubesvarte spørsmål. Forøvrig er dette neimen ikke elektronika, men postrock. Eller? (Studvest)

Figli di quel Nord Europa che si distingue per toni cupi e malinconici; reduci dalle crociate indietroniche di inizio millennio e da una lungo vagare tra alcune delle principali netlabels nostrane, i Japanes Gum completano il loro corso con un album sulla lunga distanza licenziato nel Sol Levante e distribuito in tutto il mondo dalla Friend Of Mine records.
Un album paragonabile al compimento della maggior età di questi due ragazzi che dagli esordi su Marsiglia Records hanno saputo far si che il suono indietronico tanto osannato nei sui primi anni di vita, potesse avere un suo seguito ed una vita propria passato il boom dei primi anni.
Stabiliti i limiti entro i quali “agire”, i due non hanno dovuto far altro che prestare maggior attenzione a personalizzare suoni e strutture, ad alternare nel migliore dei modi il cantato maschile con quello femminile, a far intravedere una forma canzone mai troppo al centro della scena, ma sempre presente per indicarne la strada. Il risultato è un album maturo, in perfetto Japanese stile, che si allinea alla perfezione, e non ha davvero nulla da invidiare alle ben più note produzioni nord' europee con cui è doveroso un piccolo paragone. (Musicaoltranza)

Sembra tutto sospeso. Tutto in balìa di un evento che di lì a poco spazzerà via la quiete che si estende tra i solchi di questo album. I Japanese Gum restano in equilibrio per buona parte dell'album, con un elettronica eterea e dilatata; un'alba sono...ra dove i vari elementi affiorano e si dilatano fino a diventare indistinguibili. Il cantato affiora artico e lontano, ed il più delle volte è sussurrato e sovrastato da strati sonori e rumorismi di fondo che ne sporcano la facciata; "Under a pale cold sky" rimanda ai Board of Canada più organici e anche in "Big Whale" sembra di essere sospesi in acque profonde ed insondabili. Mentre "Raskol'Nikov" e "%" si sporcano le mani con i Sigur Ros di "Von". Ma non di sola elettronica è composto l'album, nel magma sintetico si trovano "No Help for the wicked (the month of the dictators)" e "Chlorine Blue" che portano dentro sè un germe shoegaze da poter sviluppare maggiormente in futuro e vicino agli Epic 45 meno strumentali. "Hey Folks!..." esce per l'etichetta giapponese Friend Of Mine che sancisce anche il taglio internazionale del prodotto anche se la band è tutta italiana (Paolo Tortora e Davide Cedolin sono genovesi, parenti musicali dei Port Royal?). Inoltre è possibile scaricare gratuitamente dal sito dei JG i primi ep "Talking.Silently" e "Without You I’m Napping". Insomma un lavoro stratificato che potrebbe farvi perdere il filo conduttore dei vostri pensieri, e quindi da ascoltare senza far altro, possibilmente a luci spente. (Shiver webzine)