Fujiya & Miyagi (10 Year Anniversary of Transparent Things)
599 Johnson Ave.
Brooklyn, NY, 11237
Doors 7:00 PM (event ends at 10:30 PM)
This event is 16 and over
Fujiya & Miyagi
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.
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.
Annie Hart is best known as one-third of Au Revoir Simone, the beloved all-female synth trio that counts David Lynch as a superfan (and also recently appeared on Twin Peaks). But with the eight tracks on her solo debut, Impossible Accomplice (Instant Records, Sept. 15), Annie will emerge as an electrifying artist and producer in her own right.
During the band's hiatus, she has been crafting pop songs on classic synthesizers, with a less-is-more approach, writing and engineering the record on her own in the basement of her Brooklyn home, sneaking sessions in while her children were sleeping. Greatly influenced by the spare synthesizer sounds of Laurie Spiegel and the stripped-down sensibility of artists like Alex Cameron, Annie has embraced her love of meticulously crafting the perfect tone to match the emotion of a song.
In songs such as the first single, "Hard To Be Still" (featured on an episode of Netflix series, Gypsy, starring Naomi Watts), Annie cuts back the layers to reveal a rawer version of the dreamy synth pop her band was famous for forging. Solo, Annie has opened for artists such as M. Ward and Neko Case.