ASOBI SEKSU, a New York outfit, wear their name well. From Japanese for ‘playful sex’, the band’s look and image as depicted in their cover graphics are all about sensuality. Having first emerged a mere 3 years ago into public consciousness with the self-titled debut, Singer Yuki Chikudate and guitarist James Hanna have since elevated their sound from the dreaded and overpopulated shoe-gazing category, replacing the rhythm section on the way with Haji on bass guitar and the magnificent Ben Shapiro on percussion, onto a higher plain of bitter-sweet pop promises. Despite the songs being sung partly in Japanese, partly in English, some easily identifiable classics dwell within. Now touring with this their second album, Citrus, and their recent UK released single Thursday, recorded with producer Chris Zane and through One Little Indian Records, they are gracing the halls of the Kilburn’s Luminaire.
It seems on arrival the venue is filled with journalists and dads. This odd effect is compounded by the Lynchian Roadhouse-nightmare feel of the place. The acoustics in here are good – too good, in fact. Speaking is not allowed during the shows, as any sound is clearly heard above the playing music, no matter how loud. This is, though, beneficial to the musicians – each instrument is granted a respectful slice of the action, all allowed to compliment each other in the manner originally intended.
This does not, however, improve the fact that the two support bands are a shoe-gazer’s wet dream. First on are Kontakte. A bothersome absence of microphones, or indeed any instrument other than guitars, is noted. It is difficult to devise whether they are playing at all, or entirely resorting to playback, merely posing on stage with their guitars. On closer inspection, though, a multitude of effect pedals is revealed and minute strumming motion is identified. But they, at least, have in their possession some extremely serviceable bass lines, and a highly skilled lead guitarist. Their tunes may invoke images of a roomful of stoners with a fourtrack and the whole night ahead of them, but the tunes are pleasant and original. Second on, though, is Air Formation. Drums, vocals – check. But why oh why does everyone want to be Mogwai?
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A late but welcome emergence of the Asobi elements on stage highlights the crowd’s anticipation. Unfortunately, the musicians are deigned to set the equipment up themselves, which takes rather a lot longer than intended due to technical difficulties and a seemingly disorganised and inefficient Luminaire crew. ‘Are they keeping us waiting on purpose? Is this part of their little game’ a man is overheard to inquire irately.
Finally, the tiny leather-clad frame of singer Yuki takes the front on the huge keyboard, and the band explodes into a thousand fireworks with a fevered ‘Strawberries’ and ‘New Year’s’. The big, Phil Spector-like drumming is particularly spectacular as Shapiro demonstrates the extent of his all-encompassing energy. Yuki’s vocals are so good they hit your pallet like a glacier cherry in a glass of Whiskey sour. The general feel is one of celebration. A flashing light effect emphasises the tumult and the crowd is exalted.
The band then bring the tempo down with Pink Cloud and a more subdued vocal by James Hannah, with trancey dreamy backing by Yuki. This is followed by their new single Thursday – and it’s a feminine Pulp circa His ‘n’ Hers as you’ll never hear it. A version of Then He Kissed Me re-confirms the Spector theme. All previous delays and technical horrors are forgiven at this point.
Leaving an Asobi Seksu gig is akin to stepping off the silver screen back into reality. The streets of Kilburn certainly assist in bringing a giddy person onto terra grima in no time. But that sweet and sour taste still remains.
http://www.asobiseksu.com/
http://www.myspace.com/asobiseksu
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