Saturday, 3 February 2018

🌏 VISITS — KUSHIRO

We arrived in the dark at a railway station in the middle of Kushiro. It was cold here, even colder than Hakodate had been. We made our way to the hotel by following the maps on our iPad and managed to slip on thick ice down a backstreet on the way. This town seemed hardy, there were no small dainty buildings, just concrete and hard corners.

After checking into our business hotel we headed out to find dinner, it was Friday night and things were getting busy. Down corridors inside buildings people were loitering, heading up flights of stairs to undisclosed locations, presumably to bars and karaoke places. Kushiro was daunting at first. It felt tough and unfriendly. Salarymen in suits slipped in and out of snack bars, groups of men in smart suits drank heavily and jeered at people. We saw a fight start happening between two groups of men. This was, we thought, all very un-Japanese behaviour and we weren't sure how to take it. We were tired, too tired to force ourselves to be brave and push our way into a bar so we fell back on the ever-present konbini and got ourselves some sake and sushi and retreated back to the comfort of our hotel room to watch TV and drown our travelling sorrows.

The next morning the sun shone on the crisp white snow and we were greeted to a view of the longest sheet of icicles we've ever seen. A local told us not to stand underneath them or our head would get squashed. The town's pale concrete streets were empty, a Tannoy echoed around, the voice of a woman over the PA, sweet and gentle, pumping out general messages. Like an old communist town, it was a steely ode to industrial Japan. The tourist draw to this town is the national park and the famous and very rare Japanese cranes. We were too late to catch the very precise bus to the crane sanctuary, so instead we decided to catch a train to the outskirts of Kushiro-shitsugen National Park.

Comprising excitingly of just one carriage, our train chugged its way through the countryside saturated with snow. It was unbelievable to see fans hanging from the ceiling above our heads—how could this Siberian deep freeze ever get warm enough to warrant using them? There were a handful of fellow passengers, a group of students and a couple. We all got off at Kushiroshitsugen station, a small platform with a wooden cabin. It was like being in a model train set. We scrambled up some snowy steps and adventured into the wilderness without any clear direction. The views from up high revealed a sweeping land below, a marshy National Park as far as the eye could see. We found a road and followed it one direction, stomping through snow as far as we could and then doubled back and explored lower down in the other direction, past Lake Takkobu. Here we walked parallel to the train tracks and said hello as we passed by fishermen trying their luck in the river; we spotted the wild shika deer and a steam locomotive trundled past us as passengers waved out of the window like a page from The Railway Children. What time were we in? Old traditions never seem to fade and die in Japan. The winter's sun was dropping and was time to board our one carriage train home to Kushiro, tired and cold from a day walking.

That evening we had an incredible night. We had read online about Restaurant Izumiya (レストラン泉屋) a yōshoku restaurant which sells a Japanese take on Western cuisine. From the window display downstairs it seemed like we were in the right place: intricate plastic models showed off the food on offer upstairs, so we headed up the narrow staircase anxiously. Inside the restaurant was busy with businessmen and couples and we were showed to our seats and handed the menu. It all looked tasty and we deciphered what we should eat.

By the time we had completed our delicious delve into yōshoku cuisine it was 10 o'clock and we were out on the frozen streets again and feeling in the mood for more drinks. We found our way to two alleyways of tiny izakaya all hidden behind sliding doors, each bar or restaurant had room for maybe six people on tall stalls around a bar. They were all really busy, packed with people having fun with their friends on a Saturday night. But we wanted to join in – going to an izakaya is one of those things to do in Japan – so we chose one and slid the door open. The place was empty apart from the guy behind the counter, we asked him if it was ok to come in and he nodded and motioned for us to sit at the counter; there was no room for tables.

There was a huge list of sake to choose from, so we asked what he recommended and went for that one. He put a cup onto a small plate and poured sake in till it overflowed. Delicious gleaming flavour. And then they guy, who didn't really speak English, started handing us plates of food - we'd already eaten but we simply had to eat it. Delicious bowls of octopus. Seaweed. And possibly the most delicious sushi rolls we ate in the whole of Japan, melt in your mouth amazingness. Two customers came in. Two young women, they had a chat with the guy behind the counter and were very please to see us. We tried so hard to talk to each other, using Google Translate and sign language. We all got on a laughed together anyway. Then another customer walked in, a young guy who actually spoke English! He worked for the local television channel and sat down at the bar to eat and drink. He became the translator. It turned out you were meant to book at place in these bars but the owner behind the counter was really kind and let us in and have a place. It was probably a shock for him to see two foreigners wander in to his bar.

The evening got more and more silly as we drank and laughed and drank some more, all squashed into this tiny white portacabin-type square of a bar. We made each other laugh and then ate and drank some more in a whirl of warmth and happiness. What a place Kushiro is: on the surface steely and unfriendly with nothing of interest but just with a little effort, just under the surface is a Hokkaido culture all to its own. In this cold and icy concrete port the heart of Japan is warm.

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REBECCA ALICE SAUNDERS
@yesnotravel



Friday, 2 February 2018

🗞 HUMAN TOY MACHINES: BUWANBUWAN COLLECTIVE AND DULO MNL TEAM UP FOR COMMUNITY FUNDRAISING

It is not usually the place of chiefly electronic and experimental music collectives to put on charity events; that is usually the realm of internationally renowned artists, with these smaller groups often being concerned only with music—sometimes with how it is consumed. However, it is the tight-knit support-network-type makeup of grassroots and underground musician and producer collectives that arguably puts them in a better position to understand bringing their communities up with them, not being too far removed from it themselves.

It is this personal connection with the local community that helped Manila-based collective BuwanBuwan nurture the idea for Human Toy Machines. The event, being held at Makati city's shiny new resto-cafe and eventspace Dulo MNL, is "A Fundraising Gig for the Benefit of the Children of San Diego Elementary School," with the specific goal of raising money to buy science-oriented toys and reading materials for the children of the school. It comes from the mind of collective member Luis Montales, aka producer AHJU$$I, who first encountered San Diego Elementary in his last year of senior high when tasked with thinking of a sustainable community project as an act of service.

"Upon research, we discovered Philippine Toy Library, an agency here in the country that provide underprivileged children with toys and reading materials, but more importantly a safe place to play and be creative," Montales tells YES/NO over Facebook messenger. Though all they had to do was donate to the agency themselves, he explained, there was a feeling of wanting to do more within his group, and soon San Diego Elementary School – "one of the oldest toy libraries that the agency has established" – came to light. "That’s how I got connected to the school," he says.


San Diego Elementary School. Photo by Luis Montales


San Diego Elementary School. Photo by Luis Montales

Later on, and more recently in the timeline of things, Montales approached BuwanBuwan Collective head Jorge Juan Bautista Wieneke V aka Similarobjects, in hopes of putting on a fundraising gig. The specific mission was to buy science-oriented toys and reading materials for the children because, as Montales tells us, "there's a stigma against taking up science-related careers in the Philippines."

A stigma?

"To be more specific, science research careers," he explains. "Parents would often tell their children to be a doctor rather than a researcher because the former makes a lot more money. Even my teachers in school who are researchers say that if you want to be a scientist, it’s like pretending you’re unemployed. Scientists here in the country admittedly lack funding and support from our government. Because of this, they look outward and go abroad to pursue their careers. This is definitely alarming because science and technology is important and even necessary to a developing country like the Philippines."


"By instilling in the children the value of science and technology at a young age, we hope that this gets them to pursue science-related courses and ultimately increase the number of scientists in the country!"

d It's a big community-driven dream which has a good partner in BuwanBuwan, itself the dream of producer Jorge Wieneke. Its history doesn't just go back a few years, but rather hundreds, based on the Philippine myth of the Bakunawa, a huge serpent said to be the cause of eclipses. In more detail, "buwan buwan" is the name of a children's game: one plays as the Bakunawa, and the rest in a circle on the ground (buwan — the moon), who must touch one of the players inside the circle without going inside the circle; a successful touch means swapping places.

In more relative terms, Wieneke explains that pre-colonial tribesfolk would try to scare away the Bakunawa by gathering outside their homes and banging on pots and pans, making a lot of noise, hoping to scare the creature away; others would take a different approach, playing gentle songs with bamboo instruments in an effort to soothe the monster to sleep so that a brave warrior could close in for the kill.

"With monthly 'Bakunawa' events," he writes in an email, "Pinoy beatmakers and live electronic musicians of the BuwanBuwan Collective give a modern nod to these ancient lunar gatherings. With selections of both original and carefully curated electronic music, they aim to awaken, to mesmerize, and to bring people together." It is both this monthly sense of togetherness and the childhood origins of the name itself that ring true with the Human Toy Machines event. And further strengthening that bond of support and equity, he concludes: "In the playground that is music, everyone deserves a chance to be at the center."

The two agree wholeheartedly with each other, with Montales telling us on messenger, "I also wanted to host a charity gig because I believe that good music for an equally good cause is lacking here in the Philippines." After the event itself, and once the toys and books are collected, Montales and his group will be at the San Diego Elementary School every day for 2 weeks "to teach and play with the children and to turn over the new toy library to the teachers of the school!"

Dulo's eventspace. Photo by Nicollo Santos/Neil Patrick Valero

Even Dulo MNL fits the bill. A fusion of coffee and Taiwanese-Filipino cuisine on ground floor, upstairs is a wide space for the purpose of, well, anything. "The idea was to become a safe haven for dialogue and creative pursuits, for artists under all forms and genres of art, from one end or dulo of the arts spectrum to the other," writes Alyosha J. Robillos in a piece for NOLISOLI. In the same article, one of Dulo's founders Alexa Arabejo explains that they are a creative community platform, uncensored, unfiltered, and are driven not only by art but by a desire to contribute to the community, "as well as help artists and art enthusiasts by providing a space where they can gather."

Ultimately this act of gathering, synonymous both with BuwanBuwan's Bakunawa events and the ethos of the eventspace where Human Toy Machines will take place, is the rumblings of building a community. And when people are not helped and encouraged from the top down – by leaders, by parents, or whomever they may be – that help and encouragement must come from the bottom up, from the community, from the people.

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Human Toy Machines: A Fundraising Gig for the Benefit of the Children of San Diego Elementary School

Chinese Plastic Toys
Teenage Granny
Similarobjects
Jason Dhakal
Lustbass
Pamcy
Tito

Find details of the event on Facebook

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  • 🔔 The vivid flyer for the event was created by Gilbert Redona.
  • 🔔 Last year Jorge Wieneke put together a guest mix for YES/NO as Similarobjects, looking at the history of Filipino music by taking in both in urban psychedelic flavours as well as indigenous music. You can listen to that over here.


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Thursday, 1 February 2018

🌏 VISITS — HAKODATE

We had caught the ferry from Honshu and arrived in Hokkaido the same evening. The ferry was empty apart from a handful of industrial workers presumably on their evening commute and two or three Asian tourists.

It was dark and bleak as we looked out across the water and that uneasy sort of feeling filled out stomachs, the feeling of diving into an abyss, not knowing what was going to happen on the other side. How would we find where we were staying? Would there be a bus? What was going to happen? The usual type of travel anxieties.

The ferry docked in darkness of Hakodate, the terminal oily and abandoned. After a long wait in the cold, a bus journey, and then a second bus journey we had finally arrived at our destination. Our kind host Michiko was ready and waiting for us in her little boxy lemon car as we got off the bus and crunched our heavy feet down onto snow.

Michiko was in her 60s and ran a local cafe where she served coffee and home cooked dishes to the local community. She rented her upstairs rooms out to students from the nearby university and also on airbnb which is where we happily found her. That evening she had offered to take us to an onsen, one of many typical things to do in Japan, and a scary proposition, but it turned out to be fantastic.

The next morning, relaxed and laid-back from the onsen experience the night before, Michiko was hard at work in the cafe's kitchen preparing bento boxes to deliver to local businesses. She was a busy lady but had time to make us some cinnamon toast and coffee for breakfast.

We caught the bus in to Hakodate on the same route that we had taken the night before. On most buses in Japan passengers take a ticket when boarding and hand it over to the driver when they want to get off, the driver then charges a certain fee for the distance travelled.

Deciding to leave the climb to the top of Mount Hakodate a high point which looks out over the city until night fell, we followed our map to Fort Goryokaku, a European-type fort shaped like a five-pointed star. The fort is now a city park with a museum and a viewing tower. The Park was like a battle level on Mario Kart, different levels and layers and corners to explore. It was covered in thick, untouched snow when we visited and Chinese tourists, dressed in brand new puffer jackets on their Chinese New Year trips, stood in family groups taking selfies in the snow. We made snow angels and tried to follow untouched paths.

Hakodate used to be an industrial city; it was the first in Japan to open its port to foreign trade in 1854 and is now one of the main cites on Hokkaido. Because of the history of openness to foreign trade, a Western-influenced area grew up called Motimachi: this is where Westerners in the shipping and trade industry lived and worked, the whole of it looking like it is somewhere in Europe.

Unexpectedly the city was busy with tourists. We walked up through the streets towards to the ever-looming Mount Hakodate at the top of the city. Red brick warehouses that have long since lost their purpose have been regenerated to sell expensive gifts and unnecessary items to Chinese tourists. We wandered through disinterested, the architecture and buildings themselves being the attraction.

As the sun began to sink we made a slow ascent up the hill toward the famous chairlift to take us to the summit of the city. The Michelin Green Guide: Japan marks it 3/3, ranking up there with two other vistas: the view of Hong Kong from Victoria Peak, and of Naples from Vomero hill. The cobble style walkway was steep but we took our time, stopping for coffee at a trendy stripped back coffee shop - the type that's all bare grey concrete with a bike hanging on the wall. It was here that we sipped on the second most expensive coffee we bought in Asia (the first being in Guiyang in China) and zipped up the rest of the hill in a caffeine fuelled daze.

Groups of Chinese teenagers on a school trip were also making the climb. The wide cobbled road turned into small lanes and we cooed over old store houses and wonky buildings. We stopped to asked a local woman what a thin, triangle-roofed building was, they said it was called 'kura' (a storehouse; about a hundred years old) and called for more neighbours to come and chat; we smiled and talked together in broken versions of each others languages. One of the ladies spoke Italian. It was becoming abundantly clear the further we travelled in Japan how kind-hearted and interesting Japanese people are and how similar British people are to Japanese people in their manners and politeness.

We trundled on to the entrance of the cable car but it was overwhelmingly busy. We stood and watched the pods move by silently overhead packed with the school children, all loud and excited to be on their school trip. We considered the money we would have to part with to take the cable car and then walked away. This wasn't what we wanted to be doing, we wanted to be exploring Japan, not getting caught up in a tourist scene. We kept walking and found a shinto shrine nearby, further up the hill.

The shrine sat perfectly in the snow, lanterns led the way up to it. The wash basin iced over. We threw our coins and bowed. Turning round we caught the view of the city as night fell. A lone schoolgirl came to pay her respects and left. Lights began to be switched on appearing as small squares of pin pricks, the mood rose round in the coldness of the night and boats moved along in the channel, their work never ending. The city appeared huge and vast and we watched it alone, from the grounds of the snowy shrine on the hill, the old buildings and the city of Hakodate before us.


REBECCA ALICE SAUNDERS
@yesnotravel

🐣 D/R/U/G/S — SOLID SKY [初演 • PREMIERE]

The sheer force of the ambient atmosphere created in this track has the vastness of beyond the sky on its side, stretching from where you perceive yourself to be and vaulting into a glowing void far above. Thick plumes of synth create the viscous swelling foundation of 'Solid Sky' by Manchester DJ and producer D/R/U/G/S, a warm comforting atmosphere; soon against this soft backdrop sharper synth tricklings contrast and cut through bright and glittering. A vocal sample speaks about space and you almost feel like floating away. Freedom.

More than just a liberating sense of out-of-body experience in one track, freedom is actually one of the core values that glows at the heart of D/R/U/G/S' new music for the upcoming Solid Sky EP. "I wanted to get back to the mindset I had 4/5 years ago when I first started making electronic music," explains the musicmaker. "For the last couple of years I've been mostly working on pure club stuff so it was nice to get back to doing something with no structure."

"That was the idea with 'Solid Sky' especially," he continues, "to have a blank slate and experiment with soundscapes and samples and not worry about fitting it into a DJ set." And so we get the ambient fog of 'Solid Sky', a gargantuan cloud pierced in the middle by an intense cavalcade of crashing beats and wheeling synths: a ray of blinding light, the fuel for life, pierces the galactic nimbus.




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🐣 VARSITY STAR — SOFT NOTHING

Here there is the sound of a vague dwindling hope sailing through the air like a stream of faint aurora lights, against the void of despair and the absence of hope. The rounded, clanging synths have a delicious texture to them – tinged with warped decay – as they play the downcast melody, but things do begin to look up, the plaintive song teeters between giving-up and persevering, the beat propelling it forward with clusters of thin snares, and later a shimmering parade of icy cymbals. An ambient hiss whooshes as a backdrop, making this feel all the more vital, authentic, a mild eruption of life amidst a broken landscape.

It arrives from the mind of New York-based musicmaker Varsity Star. Beginning life as an idea on a friend's Roland Alpha Juno, recorded on an iPhone and archived, it was two years until it surfaced again. "The morning after the 2016 election in the US, I came across the recording again and immediately felt where it could go," the producer told us via email. "The working title was "Hopeless", but after I got more of a blooming sound into it, I felt like there was more to the track than that, so I called it "Soft Nothing". I like to keep titles short if I can, and for me that was the shortest way to describe my late-2016 feeling of insignificance."


  • 🔔 This is from Varsity Star's self-released album Model Home. Speaking to us about the ideas behind it, the musicmaker told us that it was inspired by the scenery of the New England suburb in which he grew up. "I don't expect anyone listening to necessarily see those same things that I do when they hear the music," he explained, "and that's why I chose the title Model Home: it's there for people to put their own 'furniture' into and visualize their own experiences in." You can stream it, and purchase it, on Bandcamp.
  • 🔔 The art for the album is by London-based studio Partners In Crime; Varsity Star told us about them: "The designers who worked on the album cover did a really beautiful job of bringing that kind of vague notion of the area [of New England] to life, especially considering they're from another continent."


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