FME announces the venue showcase lineups for the 2025 edition.
Tag: TEKE: TEKE
New Audio: TEKE::TEKE and Mirah Tackle The Clash For The Clash Tribute Album “Hearts & Minds & Crooked Beats”
As of last September, more than 114 million people globally have been forced to flee their homes as a result of conflict persecution and human rights violations. By the end of this year, that number is expected to reach 130 million people across the globe. Benefiting the International Rescue Committee (https://www.rescue.org) and their work with refugees, The Clash compilation tribute album Hearts & Minds & Crooked Beats invites artists, bands and visual artists to create work inspired by the legendary punk band The Clash — and to celebrate their music and human rights messages.
Slated for digital and vinyl release on International Clash Day, February 7, 2024, Hearts & Minds & Crooked Beats was mastered by Ted Jensen, known for his work with The Rolling Stones, Green Day, Norah Jones, Madonna, Alice In Chains and a lengthy list of others, the album will feature contributions from The Dandy Warhols, Smokey Brights, Seán Barna, Warren Dunes‘ Julia Massey, The Gotobeds, Big League, Labasheeda, The Rust & The Fury, acclaimed Montréal-based JOVM mainstays TEKE :: TEKE and Brooklyn-based singer/songwriter Mirah. (Track listing is available below.)
Hearts & Minds & Crooked Beats Tracklist
1. The Dandy Warhols – Straight To Hell
2. TEKE::TEKE – Bankrobber
3. Mirah – I’m Not Down
4. The Rust and The Fury – Guns of Brixton
5. Labasheeda – Deny
6. Smokey Brights – Train In Vain (Stand By Me
7. Seán Barna – Hitsville U.K.
8. The Gotobeds – I’m So Bored with the USA
9. Julia Massey (Warren Dunes) – Rock The Casbah
10. Big League – Lost In The Supermarket
International Clash Day was established back in 2013 by KEXP DJ John Richards. The holiday marks a global, annual celebration of The Clash’s influential and important message and legacy. To celebrate the 11th International Clash Day, KEXP DJs Kevin Cole and Kid Hops will transition the station’s all-day International Clash Day programming on-air to the Gathering Space for International Clash Day Live, where Smokey Brights will play a live set of Clash covers and originals. Tickets and more information are available here.
Mirah, Seán Barna and TEKE: TEKE will play a special album release show on February 2, 2024 at Brooklyn Made. Tickets and more information are available here.
Proceeds from album sales will go to the International Rescue Committee’s global fund, supporting their vital work in responding to humanitarian crises and helping impacted individuals rebuild their lives.
Today Mirah and TEKE:: TEKE shared their contributions to Hearts & Minds & Crooked Beats.
TEKE:: TEKE’s “Bankrobber” is a restrained mind-bending interpretation that’s part Spaghetti Western and partially inspired by a sound and approach that was developing in Japan during the 70s, n parallel to the UK’s punk scene with avant-garde outfits like Tokyo Kid Brothers and JA Seazer, which inspired them to sing the bulk of the song’s lyrics in Japanese. The result is something that’s familiar but somewhat alien, yet still deeply human and universal.
TEKE :: TEKE’s Maya Kuroki felt an immediate connection to “Bankrobber,” upon hearing the same words that her late father used to jokingly say “someday I’ll become a bank robber.” She wanted to represent the meaning of the lyrics as the voice of the “community” striving to counter the increasingly widening wealth gap. I envision a modern day Robin Hood, stealing from rich, greedy capitalists and giving their ill-gotten gains to the poor and needy.
The band’s Sei Nakauchi Pelletier adds, “‘Bankrobber’ was the first ever song I heard from The Clash, it was on a compilation tape a dear friend of mine had made for me in my early 20’s. The Clash went on to become one of my favorite and most-inspiring rock bands of all-time, way beyond their musical genius but also for their political stances and DIY approach.” Pelletier’s dear friend, Malcolm Baud, was enlisted to take part on the TEKE:: TEKE cover singing verses in English — a profound collaboration and full circle moment.
Brooklyn-based artist’s Mirah recruited Erica Freas and Karl Blau for a slow-burning, sultry yet deeply sweet take on “I’m Not Down” that maintains the original’s guitar-driven heart and kookiness while seemingly drawing from The Shangri-Las. “One of the best things about being asked to work on a project like this is the opportunity it gave me to play a bunch of Clash albums all at once and to pay close attention as I was listening,” the Brooklyn-based artist explains. “I wanted to pick one that felt right for my voice, with words which reflected something about me and my own experiences. Like a lot of people, I began having some run-ins with anxiety and depression during the pandemic. I wasn’t playing shows or making much music and I was spending nearly every waking hour with a tiny person who I’d given birth to 15 months before the pandemic started. ‘I’m Not Down’ was written as a sort of F you to hard times and depression, and that felt, and feels, pretty relevant.”
New Video: JOVM Mainstays TEKE: TEKE Shares Playful Ripper “Hoppe”
Montréal-based collective and JOVM mainstays TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — initially began as loving homage and tribute band of legendary Japanese guitarist Takeshi “Terry” Terauchi, featuring a collection of accomplished local musicians, who have played with Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others.
2018’s debut, Jikaku EP saw the Canadian outfit come into their own highly unique and difficult to pigeonhole sound that features elements of Japanese Eleki surf rock, shoegaze, post-punk, psych rock, ska, Latin music and Balkan music.
They then signed to Kill Rock Stars, who released their critically applauded full-length debut, 2021’s Shirushi.
The Canadian JOVM mainstays’ highly-anticipated sophomore album, the Daniel Schlettt-produced Hagata is slated for a Friday release through Kill Rock Stars. “Hagata,” as the band’s Maya Kuroki explains “is a very deep word, something present but also something leftover from someone or something no longer there. It’s like waking up from a dream, or being connected to the other side of something.” As a band, the Canadian psych pop outfit are intimately familiar with the duality of splitting reality between past and present, complex melodies and hushed interludes, intense action and lingering response. After building their genre-defying sound on Shirushi, the septet indulged in and learned from stretching out in free-floating experimentation both on the road and with Schlett during recording sessions in Mountain Dale, NY.
Last month, I wrote about “Doppelgänger,” a track that saw the JOVM mainstays pairing a cinematic arrangement that prominently features strummed guitar, and a brooding horn line with Kuroki’s achingly wistful delivery. Part bittersweet ballad, part brooding meditation, “Doppelgänger” speaks of the duality of identity: “Being of mixed Japanese and French-Canadian culture, I always feel like in some way I’m living two parallel lives…a big part of me is here in Canada, obviously, but another part of me is on the other side of the planet…this could be said about most of us in this band” the band’s Sergio Nakauchi Pelletier says.
Hagata‘s latest single “Hoppe” may arguably be among the most mosh pit friendly punk-inspired rippers in the band’s growing catalog with the song built around slashing guitars, dreamily fluttering flute and a brooding horn arrangement while Kuroki spins a Kafkaesque fable featuring men emerging from mysterious foods. But under the seemingly playfulness of the song is a sobering admission of nothing lasting forever.
Directed, shot and edited by the band, the accompanying video for “Hoppe” pairs the band’s signature visual blend of live action and animation while capturing the band’s frenetic live energy. “I always thought of ‘Hoppe’ as having a bit of a 90’s vibe, maybe the Fugazi in me (but with Maya’s delirious tale about an old man who’s cheeks fall off after eating a rice cake… ha, ha) so we tried to simply capture the raw and punk energy of the song and keep the camera moving, with a fish-eye type lens,” Teke: Teke’s Sergio Nakauchi Pelletier explains.
New Video: JOVM Mainstays TEKE: TEKE Shares Bittersweet “Doppelgänger”
Montréal-based collective TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — initially began as loving homage and tribute band of legendary Japanese guitarist Takeshi “Terry” Terauchi, featuring a collection of accomplished local musicians, who have played with Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others.
2018’s debut, Jikaku EP saw the Canadian outfit come into their own highly unique and difficult to pigeonhole sound that features elements of Japanese Eleki surf rock, shoegaze, post-punk, psych rock, ska, Latin music and Balkan music. They then signed to Kill Rock Stars Records, who released their full-length debut, 2021’s Shirushi last year, and in the lead-up to the album’s release, I wrote about five of its singles:
The acclaimed JOVM mainstays’ highly-anticipated sophomore album, the Daniel Schlettt-produced Hagata is slated for a June 9, 2023 release through Kill Rock Stars. “Hagata,” as the band’s Maya Kuroki explains “is a very deep word, something present but also something leftover from someone or something no longer there. It’s like waking up from a dream, or being connected to the other side of something. As a band, the Canadian psych pop outfit are intimately familiar with the duality of splitting reality between past and present, complex melodies and hushed interludes, intense action and lingering response. After building their genre-defying sound on Shirushi, the septet indulged in and learned from stretching out in free-floating experimentation both on the road and with Schlett during the recording sessions in Mountain Dale, NY.
“Doppelgänger,” Hagata‘s latest single sees the acclaimed JOVM mainstays pairing a cinematic arrangement that prominently features strummed guitar, a brooding horn line with Kuroki’s achingly wistful delivery. Part bittersweet ballad, part brooding meditation “Doppelgänger” speaks of the duality of identity: “Being of mixed Japanese and French-Canadian culture, I always feel like in some way I’m living two parallel lives…a big part of me is here in Canada, obviously, but another part of me is on the other side of the planet…this could be said about most of us in this band” the band’s Sergio Nakauchi Pelletier says.
The accompanying video created by the band’s Pelletier and Kuroki was shot during a recent trip to Japan: The pair took their camera all over Kyoto, Kamakura and Chiba, places, where they have family ties. The video features footage from that trip, along with childhood footage of the band members. It’s a deep care and low that at times overcomes distance, time and change — while pointing out that change is inevitable.
New Video: JOVM Mainstays TEKE: TEKE Return with Cinematic and Mischievous “Dobugawa”
Initially started as a loving homage and tribute band to legendary Japanese guitarist Takeshi “Terry” Terauchi, the Montreal-based collective TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — features a collection of accomplished Montreal-based musicians, who have played with the likes of Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others.
With the release of their debut EP 2018’s Jikaku, the members of the Montreal-based septet came into their own highly unique and difficult to pigeonhole sound that features elements of Japanese Eleki surf rock, shoegaze, post-punk, psych rock, ska, Latin music and Balkan music.
Kill Rock Stars Records, released the Canadian collective’s full-length debut Shirushi last year, and in the lead-up to the album’s release, I wrote about five of its singles:
- “Kala Kala:” Deriving its title from a phrase that roughly translates to English as clattering, “Kala Kala” is centered around a mind-melting arrangement and song structure, Kuroki’s howling and crooning. And to my ears, the track accurately captures the band’s frenetic live energy.
- “Chidori,” a cinematic yet mosh pit friendly freak out that’s one part psych rock, one part Dick Dale-like surf rock, one part Ennio Morricone soundtrack delivered with a frenetic aplomb.
- “Meikyu:” Deriving its title from the Japanese word for labyrinth, the track is a no bullshit, no filler all killer ripper with menacing guitar work, dramatic bursts of trombone, fluttering flute, thumping tribal drumming and some wild soloing within an expansive, mind-melting song structure.
- Yoru Ni,” a fever dream featuring dreamy blasts of flute and trombone, menacing and slashing guitars and intricate Japanese shamisen. Deriving its name from the Japanese phrase for “at night,” the song despite it’s mischievous tone, is a somewhat romantic and spiritual tale about its central character letting go of a long-held delusional quest.
- “Barbara,” a mischievous and cinematic track with a stomping, punk rock energy that sounds like the perfect soundtrack for a misfit circus — or the Coney Island Mermaid Parade, as each instrumental part seemingly introducing a new and strange character. Much like the previously released singles, “Barbara” captures the frenetic energy of their live sets. The lyrics as the band explained are a twisted take on zashiki-warashi, spirit beings, who like to perform pranks and bring good fortune to those who see them.
The Montreal-based JOVM mainstays announced a short run of tour dates that includes their first ever New York stop, November 11, 2022 at Public Records. As always, you can check out the rest of the tour dates below. And along with the tour announcement, the band shared a new single from the album, “Dobugawa,” a cinematic song that feels and sounds like a seamless Twin Peaks-era David Lynch and French chanson, with a subtle bit of mischievous fantasy.
The songs title translates into English as “dirty river,” and it sets the scene for an off-kilter, romantic tale about the ambiguity of identity. “Set in a poor industrialized town in 1930’s Showa-era Japan, an ambiguous couple take a stroll along a dirty river (Dobugawa) said to be filled with all the city’s hidden words,” TEKE: TEKE’s Maya Kuroki says.
Animated by the band’s Maya Kuroki and edited by the band’s Serge Pelletier, employs the use traditional animation and collage, which emphasizes the fantastic and surreal elements of the song — while being subtly menacing. “This is a very cinematic song, with elements of fantasy and surrealism. I wanted to keep the animation simple so as to give off a dark, sparse feeling of what lies beneath in contrast to what otherwise seems like a peaceful, spring afternoon, Kuroki explains.
The video also features English-translated subtitles, allowing the viewer to further engage with the song’s lyric and meaning.
New Video: JOVM Mainstays TEKE: TEKE Release a Frenzied and Mischievous Visual for “Kala Kala”
Initially started as a loving homage and tribute band to legendary Japanese guitarist Takeshi “Terry” Terauchi, the Montreal-based collective TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — features a collection of accomplished Montreal-based musicians, who have played with the likes of Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others. The Montreal-based act quickly came into their own when they started to blend Japanese Eleki surf rock with elements of modern Western music including shoegaze, post-punk, psych rock, ska, Latin music and Balkan music. Adding to a bold, genre-defying sound, the band’s arrangement meshes rock instrumentation with traditional Japanese instrumentation.
With the release of their debut EP 2018’s Jikaku, the members of the Montreal-based septet came into their own highly unique and difficult to pigeonhole sound that features elements of Japanese Eleki surf rock, shoegaze, post-punk, psych rock, ska, Latin music and Balkan music. Last year was a momentous year for TEKE: TEKE. They signed to Kill Rock Stars Records, who released the rising Canadian act’s full-length debut Shirushi earlier this year.
In the lead up to the album’s release, I wrote about five of its singles:
- “Kala Kala:” Deriving its title from a phrase that roughly translates to English as clattering, “Kala Kala” is centered around a mind-melting arrangement and song structure, Kuroki’s howling and crooning. And to my ears, the track accurately captures the band’s frenetic live energy.
- “Chidori,” a cinematic yet mosh pit friendly freak out that’s one part psych rock, one part Dick Dale-like surf rock, one part Ennio Morricone soundtrack delivered with a frenetic aplomb.
- “Meikyu:” Deriving its title from the Japanese word for labyrinth, the track is a no bullshit, no filler all killer ripper with menacing guitar work, dramatic bursts of trombone, fluttering flute, thumping tribal drumming and some wild soloing within an expansive, mind-melting song structure.
- Yoru Ni,” a fever dream featuring dreamy blasts of flute and trombone, menacing and slashing guitars and intricate Japanese shamisen. Deriving its name from the Japanese phrase for “at night,” the song despite it’s mischievous tone, is a somewhat romantic and spiritual tale about its central character letting go of a long-held delusional quest.
- “Barbara,” a mischievous and cinematic track with a stomping, punk rock energy that sounds like the perfect soundtrack for a misfit circus — or the Coney Island Mermaid Parade, as each instrumental part seemingly introducing a new and strange character. Much like the previously released singles, “Barbara” captures the frenetic energy of their live sets. The lyrics as the band explained are a twisted take on zashiki-warashi, spirit beings, who like to perform pranks and bring good fortune to those who see them.
The Montreal-based JOVM mainstays just announced a 2022 North American tour that includes a handful of club dates and some Winter festival appearances. Sadly, there aren’t any New York dates on this run. But if you happen to be in or near any of these cities, go and catch them. As always, tour dates are below. But in the meantime, the band released a trippy visual for album single “Kala Kala.”
Directed by the band’s Maya Kuroki and Serge Nakauchi Pelletier, the video is a deft and playful mix of illustrations and old-timey collages by the band’s Maya Kuroki, close-up footage of the band by Lily Pelletier, live footage of the band and more, edited by Serge Nakauchi Pelletier. It’s a frenzied and arresting visual delight, chock full of Easter eggs and sight gags.
Lyric Video: JOVM Mainstays TEKE: TEKE Releases a Mischievous and Frenetic New Single
Featuring a collection of accomplished, Montreal-based musicians, who have played with and alongside the likes of Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others, the rising Montreal-based Japanese psych punk septet TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — was initially founded as a loving homage (and tribute) to legendary Japanese guitarist Takeshi “Terry” Terauchi.
With the release of their debut EP 2018’s Jikaku, the members of the Montreal-based septet came into their own highly unique and difficult to pigeonhole sound that features elements of Japanese Eleki surf rock, shoegaze, post-punk, psych rock, ska, Latin music and Balkan music. Last year was a momentous year for TEKE: TEKE. They signed to Kill Rock Stars Records, who will be releasing the band’s highly-awaited full-length debut Shirushi on May 7. 2021. And to build up buzz for the album, the band has released four singles off the album:
“Kala Kala:” Deriving its title from a phrase that roughly translates to English as clattering, “Kala Kala” is centered around a mind-melting arrangement and song structure, Kuroki’s howling and crooning. And to my ears, the track accurately captures the band’s frenetic live energy.
“Chidori,” a cinematic yet mosh pit friendly freak out that’s one part psych rock, one part Dick Dale-like surf rock, one part Ennio Morricone soundtrack delivered with a frenetic aplomb.
“Meikyu:” Deriving its title from the Japanese word for labyrinth, the track is a no bullshit, no filler all killer ripper with menacing guitar work, dramatic bursts of trombone, fluttering flute, thumping tribal drumming and some wild soloing within an expansive, mind-melting song structure.
Yoru Ni,” a fever dream featuring dreamy blasts of flute and trombone, menacing and slashing guitars and intricate Japanese shamisen. Deriving its name from the Japanese phrase for “at night,” the song despite it’s mischievous tone, is a somewhat romantic and spiritual tale about its central character letting go of a long-held delusional quest.
“Barbara,” Shirushi’s fifth and latest single is a mischievous and cinematic track with a stomping, punk rock energy that to my ears at least, sounds like it would be a perfect soundtrack for a circus or the Coney Island Mermaid Parade, as each instrumental part seemingly introducing a new and strange character. Much like the previously released singles, “Barbara” captures the frenetic energy of their live sets. “I remember er i being pretty late at night in the studio, everybody was perhaps feeling a bit edgy from a long day of recording,” the band’s Ian Lettre recalls. “And after having a chat about Brazilian band Os Mutantes, somehow we just thought ‘you know what? How about we all get in that room together and play ‘Barbara’ like there’s no tomorrow. That ended up being cut that’s on the album, haha . . .”
The lyrics as the band explain are a twisted take on zashiki-warashi, spirit beings, who like to perform pranks and bring good fortune to those who see them. “The initial inspiration for this song is a true story that happened to me,” the band’s Hidetaka Yoneyama explains. “I was randomly mistaken for an old lady by this stranger on the street, who came up to me screaming ‘Barbara? Barbara?! It’s you?! Barbara?!’ Maya then had the idea of taking the story to another level by turning it into this psychedelic tale of yokai (ghost or spirit) that escapes a house and goes on doing all sorts of pranks on people, that spirit being Barbara.”
The recently released lyric video was animated by the band’s Serge Nakauchi-Pelletier and Maya Kuroki and features some childlike and mischievous line drawings of the band performing and of the song’s equally mischievous titular character Barbara, evading attention, playing pranks and causing some good hearted trouble.
New Video: JOVM Mainstays TEKE: TEKE Releases a Trippy Fever Dream
Featuring a collection of accomplished, Montreal-based musicians, who have played with and alongside the likes of Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others, the rising Montreal-based Japanese psych punk septet TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — was initially founded as a loving homage (and tribute) to legendary Japanese guitarist Takeshi “Terry” Terauchi.
With the release of their debut EP 2018’s Jikaku, the rising Montreal-based septet came into their own highly unique and difficult to pigeonhole sound, a sound that features elements of Japanese Eleki surf rock, shoegaze, post-punk, psych rock, ska, Latin music and Balkan music. 2020 was a big year for the Canadian psych act. They signed to Kill Rock Stars Records, who will be releasing the band’s highly-awaited full-length debut Shirushi. The band also released two singles off the album, which is slated for a May 7, 2021 release:
“Kala Kala:” Deriving its title from a phrase that roughly translates to English as clattering, “Kala Kala” is centered around a mind-melting arrangement and song structure, Kuroki’s howling and crooning. And to my ears, the track accurately captures the band’s frenetic live energy.
“Chidori,” a cinematic yet mosh pit friendly freak out that’s one part psych rock, one part Dick Dale-like surf rock, one part Ennio Morricone soundtrack delivered with a frenetic aplomb.
“Meikyu:” Deriving its title from the Japanese word for labyrinth, the track is a no bullshit, no filler all killer ripper with menacing guitar work, dramatic bursts of trombone, fluttering flute, thumping tribal drumming and some wild soloing within an expansive, mind-melting song structure.
Shirushi’s fourth and latest single “Yoru Ni” derives its name from the Japanese phrase for “at night” and the track is a Dick Dale-inspired fever dream centered around dreamy blasts of flute and trombone, menacing, slashing guitars and intricate Japanese shamisen within a cinematic and expansive song structure. Adding to a fever dream-like vibes, the band’s Maya Kuroki breathily singing and howling lyrics in French and Japanese respectively. Sonically, “Yoru Ni” further establishes their mischievous and unique sound — a sound that’s one part Quentin Tarantino soundtracks, circa Kill Bill, Ennio Morricone and spy movies. However, despite what the song sounds like, the lyrics tell a much different story, with the song being a somewhat romantic and spiritual tale about its central character letting go of a long-held, delusional quest.
It probably shouldn’t be surprising that a trippy fever dream of a song “was literally written in the middle of the night,” the band’s Serge Nakauchi-Pelletier explains in press notes. ‘’I woke up suddenly and had this melody in my head, as if it had come to me from another world. It really felt like I was following some kind of spirit or ghost, it was taking my hand and wanted to take me somewhere.”
The recently released and cinematically shot video features the members of the band as spectral apparitions appearing in a typically suburban house — at night.
New Video: Montreal’s TEKE: TEKE Releases a Frenzied Balls-to-the-Wall Ripper
Featuring a collection of accomplished, Montreal-based musicians, who have played with and alongside the likes of Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others, the rising Montreal-based Japanese psych punk septet TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — was initially founded as a loving homage (and tribute) to legendary Japanese guitarist Takeshi “Terry” Terauchi.
With the release of their debut EP 2018’s Jikaku, the rising Montreal-based septet came into their own highly unique and difficult to pigeonhole sound, a sound that features elements of Japanese Eleki surf rock, shoegaze, post-punk, psych rock, ska, Latin music and Balkan music. 2020 was a big year for the Canadian psych act. They signed to Kill Rock Stars Records, who will be releasing the band’s highly-awaited full-length debut Shirushi. The band also released two singles off the album, which is slated for a May 7, 2021 release:
“Kala Kala:” Deriving its title from a phrase that roughly translates to English as clattering, “Kala Kala” is centered around a mind-melting arrangement and song structure, Kuroki’s howling and crooning. And to my ears, the track accurately captures the band’s frenetic live energy.
“Chidori,” a cinematic yet mosh pit friendly freak out that’s one part psych rock, one part Dick Dale-like surf rock, one part Ennio Morricone soundtrack delivered with a frenetic aplomb.
“Meikyu,” Shirushi’s third and latest single, derives its title from the Japanese word for labyrinth and the song is a, no bullshit, no filler, all killer headbang centered around an expansive, mind-melting song structure that features some muscular and menacing guitar work, dramatic bursts of trombone, fluttering flute, trumping tribal drumming, and some of the wildest soloing I’ve heard in the better part of a year. Maya Kuroki’s crooning and feral howling add to the song’s balls-to-the-wall, maximalist frenzy — and it kicks major ass.
Fittingly, the Montreal-based act released a DIY yet cinematically shot video that features live footage of the band performing individually — perhaps as a result of pandemic restrictions — and gorgeous animations from the band’s Serge Nakauchi-Pelletier and Maya Kuroki. “When plans with a hired animator fell through, Maya and I decided to take things into our own hands,” Nakauchi-Pelletier says. Kuroki adds, “I’ll make some drawings or paintings and then use whatever tools we have, learn new software on the spot and ways of working as we go.’’
“Musically, we wanted a fast-paced repetitive pattern that would have a hypnotic and unnerving effect,” the band explains. Kuroki continues, “the song tells the story of a young character trying to escape the grasp of a twisted spirit that took the form of a labyrinthe-like mansion in a psychedelic atmosphere, slightly inspired by visuals from Japanese art-horror flick Hausu.”
Doubleheader is a collaborative project between Arthur Comeau, a musician and producer, who has released material as Radio Radio, Nom de Plume and under his own name — and multi-instrumentalist, producer and arranger Jean Massicotte, who has worked with Patrick Wilson, Jean Leloup, Lhasa, Arthur H, Alejandra Ribera and a lengthy list of others. Interestingly, Doubleheader finds the acclaimed musicians and producers blending a wild mix of ideas, genres and sounds, including beatmaking, DJing, hip-hop, worldbeat, pop and others — as a way of showing the world what pop music can feel and sound like in the 2020s and beyond, continuing a larger push towards a genre-less world. Importantly, the duo’s sound and approach is specifically crafted to be a reflection of the world we should be aspiring to right now — a multicultural world that celebrates diversity in all of its forms.
The Montreal-based act’s 10 song, full-length debut Slim Wall finds the duo collaborating with an equally accomplished collection of Canadian vocalists including 2020 Juno Award-winning artist Dominque Fils-Aimé, 2019 AFRIMA Award-winning artist AfrotroniX, 2020 Juno Award-winner Djely Tapa, Samito, EIDHZ, Quentin Hatfield and TEKE: TEKE’s Maya Kuroki to create material that eschews genre and language constraints in an interesting yet accessible fashion.
Late last year, I wrote about “Djanto,” which featured achingly plaintive and evocative vocals from acclaimed Malian-Canadian artist Djely Tapa artist over shimmering acoustic guitar, skittering beats, twinkling synth arpeggios and a soaring hook to create a club-banging track with elements of reggaeton and Afropop. Underneath the euphoric, club friendliness though, the song is actually centered by a thoughtful and much-needed message: we have to take care of our only home — and that taking care of nature involves protecting both animal and human life.
Slim Wall‘s latest single “Criddora,” is a strutting and laid back, sun-kissed jam centered around skittering beats, reggae-like riddims, shimmering and reverb-drenched squiggling guitar blasts paired with Samito’s achingly plaintive vocals, which to my ears, manage to evoke longing and desperate loneliness within a turn of a phrase. Because of our forced confinement and isolation, the song’s ache feels so deeply familiar to me — as it should to you.
“‘Criadora’ is a reggaeton with a deep luso blues flavour and laid back beats and guitars,” the rising Montreal-based duo explain in press notes. “The song tells the story of a tortured man in a state of near-madness searching for relief. Exploring social isolation and stereotyping, Samito offers insight into the perceived discrepancy between what is said about him and what he believes is true.”
Doubleheader is a new collaborative project between Arthur Comeau, a musician and producer, who has released material as Radio Radio, Nom de Plume and under his own name — and multi-instrumentalist, producer and arranger Jean Massicotte, who has worked with Patrick Wilson, Jean Leloup, Lhasa, Arthur H, Alejandra Ribera and a lengthy list of others. Doubleheader finds the acclaimed musicians and producers blending a wild mix of ideas, genres and sounds — including beatmaking, DJinng, hip-hop, worldbeat, pop and others — as aa way of showing the world what pop music can feel and sound like in the 2020s and beyond, continuing artist’s push towards a genre-defying and genre-less world. But more Importantly, their sound and approach is specifically crafted to be a reflection of the world we should be aspiring to — a multicultural world that celebrates diversity in all of its forms.
The Montreal-based act’s 10 song, full-length debut Slim Wall finds the duo collaborating with an equally accomplished collection of Canadian vocalists including 2020 Juno Award-winning artist Dominque Fils-Aimé, 2019 AFRIMA Award-winning artist AfrotroniX, 2020 Juno Award-winner Djely Tapa, Samito, EIDHZ, Quentin Hatfield and TEKE: TEKE’s Maya Kuroki to create material that eschews genre and language constraints in an interesting yet accessible fashion.
Acclaimed Malian-Canadian artist Djely Tapa contributes achingly plaintive and evocative vocals to Slim Wall single “Djanto,’ a track which pairs shimmering acoustic guitar with skittering beats, twinkling synth arpeggios and a soaring hook in a slickly produced club banger that finds the members of Doubleheader meshing elements of reggaeton and Afro pop. But underneath the club friendly, tweeter and woofer rocking thump, the song is centered by a thoughtful and important message: taking care of nature involves protecting both animal and human life.
Montreal-based collective TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — features a collection of accomplished Montreal-based musicians, who have played with Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others. Initially started as a loving homage and tribute band to legendary Japanese guitarist Takeshi “Terry” Terauchi, the Montreal-based collective came into their own when they started to blend Japanese Eleki surf rock with elements of modern Western music including shoegaze, post-punk, psych rock, ska, Latin music and Balkan music on their debut EP 2018’s Jikaku.
Last year, I caught the genre-bending Montreal collective play an energetic set of material that reminded me of The Bombay Royale at an M for Montreal showcase at the Cafe Cleopatre, one of the most interesting venues I’ve personally ever been in. (A live music venue with a strip club down stairs? Uh, sure.)
Earlier this year, the members of TEKE: TEKE released “Kala Kala,” the first single off the rising act’s forthcoming full-length debut. Deriving its title from a phrase that roughly translates to clattering, “Kala Kala” captures the band’s frenzied live energy and difficult to pigeonhole sound centered around a mind-melting arrangement and song structure and Kuroki’s wild howling and crooning. Since the release of “Kala Kala,” the rising Montreal-based act signed to Kill Rock Stars Records, who will be releasing their forthcoming debut.
“We are deeply honored to be joining the great Kill Rock Stars family, a label we’ve long admired and that shares our community-oriented values and artistic vision,” the band shares in press notes. “Not to mention, the incredible roster that was pretty much the soundtrack to our lives, featuring artists we humbly look up to. Exciting things to come.” Slim Moon, Kill Rock Stars’ President and Founder adds “I learned about Teke::Teke from Mi’ens, who are another Canadian band on our roster. I love every single thing about them, and I believe they will be embraced by fans of all ages, cuz the magic of the music and their personalities are just impossible to deny. They are perfect ambassadors for what Kill Rock Stars is all about as we head into our 4th decade.”
“Chidori,” TEKE: TEKE’s second single of this year is a cinematic mosh pit friendly freak out that’s part psych rock, part surf rock part of Ennio Morricone soundtrack centered around a propulsive groove, shimmering organ arpeggios, Dick Dale-like guitar lines, delivered with a frenetic aplomb.
Initially started as a loving homage and tribute band to legendary Japanese guitarist Takeshi “Terry” Terauchi, the Montreal-based collective TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) — features a collection of accomplished Montreal-based musicians, who have played with the likes of Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others. The Montreal-based act quickly came into their own when they started to blend Japanese Eleki surf rock with elements of modern Western music including shoegaze, post-punk, psych rock, ska, Latin music and Balkan music. Adding to a bold, genre-defying sound, the band’s arrangement meshes rock instrumentation with traditional Japanese instrumentation.
Last November, I caught the Montreal-based genre-bending act play at an M for Montreal showcase at the Cafe Cleopatre, one of the oddest venues I’ve ever been in — and while playing one of the most energetic sets I had seen in several months, the act’s sound reminded me a bit of The Bombay Royale; in other words, mischievously anachronistic yet cinematic sound that somehow seems to be part of the soundtrack of a Quentin Tarantino.
Since the release of their debut EP, 2018’S Jikaku, the Canadian genre-bending act have melted faces — including mine — at festivals across Canada. Recorded and mixed by Seth Manchester at Pawtucket, RI-based Machines with Magnets Studio and mixed by Heba Kadry, the band’s self-released latest single “Kala Kala” is the first taste from the band’s highly-anticipated full-length debut. Roughly translating to clattering, “Kala Kala” captures the band’s frenzied energy and difficult to pigeonhole sound: the song features distorted, rock-based guitar power chords, gorgeous fluttering flute, trombone blasts in a slow-burning and atmospheric intro before quickly turning into a full fledged psychedelic freak out, centered by Maya Kuroki howling and crooning in Japanese. The end result is a song that feels simultaneously familiar and alien.
