SSKHKH’s index: Recordings; Video; Live shows; Interview; Other projects; Other releases; Links
--SSKHKH were my fave band. They rock hard, and Aiha’s lyrics and vocals are often stunning--
SEAGULL SCREAMING KISS HER KISS HER
Aiha Higurashi--guitar & vocal
Nao Koyama--bass & vocal
Takaharu “Takape” Karashima--drums & vocal (“Takape” left the band after Pretty In Pink ‘99.)
Aiha’s new band LOVES.
The new LOVES. single, Naked Me, is KSCL 1199 on Ki/ooon Records
The title song was commisioned for a Japanese film called Welcome To The Quiet Room /Quiet Room Ni Youkoso, written and directed by Suzuki Matsuo
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Swallow Up -- (16:03) -- (1994) -- Cardinal Records -- BDCAR-CS0001
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| I love this CD, ‘cause it intoduced me to the band. Friends have noticed a NEW YORK DOLLS influence. It rocks and demonstrates some of the quirkiness of the band. One song stops, inserts a bit from someone else’s live show, then starts up again. Another starts with ‘Saturday Night Fever’, then switches to a home-made demo. Aiha, the singer/guitarist/songwriter is clever, honest and she sings in English. I listened to it in the store, loved it, and bought it on the spot. The band were quite surprised to find I had a copy of it, as it apparently sold out almost immediately. | |
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Fly -- (20:50) -- (1996) -- Polystar Co., Ltd. -- PSCR-5431 1. It’s Good It’s Real |
| I was expecting greatness, but the range displayed here surprised me. The CD opens up with a rocker, of course, “You little baby/ You wanna suck my tits/ Try to smell me/ Don’t you realize/ You’ll never find me anywhere in the whole world.” My favorite, ‘If I Happen To Fall Down (In Your Arms)’, is a beautiful ballad featuring pedal steel guitar with birds chirping in the background. Don’t relax, though. They close with a rave-up featuring wild guitar and some kind of totally out of control synthesizer. I wanted a full length SEAGULL SCREAMING KISS HER KISS HER CD even more now. | |
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Side Walkin’ 10" -- (16:13) -- (1996) -- Pamgrier -- PG-002 Side A: 1. Side Walkin’ (long version) |
| ‘Side Walkin’’ is a blues strut. It’s a minute before Aiha begins singing. The band rocks in a few minutes later, then take it back down. Nine minutes in Aiha’s name-checking American cities. The band brings it up again in the last minute. At nearly eleven minutes it’s a tough sell, but Aiha’s sensual blues moans, and Nao’s minimal back-up vocals work it. ‘Heaven’ is similar to ‘Side Walkin’’ as it’s a blues strut about a relationship. The 8-track has at least two Aiha vocals, doing leads, back-ups, and imitating the guitar. It’s intriguing how little it sounds like the blues improv of the A-side. | |
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Give Them Back To Me -- (56:42) -- (1996) -- Hate It, Damn It Records -- HDR-001CD | |
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| I listened to this, their first full-length CD, several times before I even began to get a handle on it. It’s a big world to crawl into. It includes a song each from Nao (bass) and Takape (drums), as well as a Yoko Ono cover. Members of VIOLENT ONSEN GEISHA, D.M.B.Q., THE EVIL HOODOO, BUFFALO DAUGHTER, and MUSEUM OF PHOTO, all join in the fun, and Jad Fair makes an appearance too. Each track seems to head off into a new horizon. Some of these untamed qualities are probably attributable to Masaya Nakahara, of VIOLENT ONSEN GEISHA, who co-produced it with the band. | ||
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Pink Soda -- (19:52) -- (1996) -- Polystar Co., Ltd. -- PSCR-5533
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| On this one the band continue their subversive attack on popular music with a Bob Dylan cover. Odd moments include Aiha answering the phone, “I can’t talk right now.”; and as a saloon singer in a Jamaican bar. It’s filled out with lots of great rocking tunes. One of my favorites is ‘Asking For It’, in which the phrase, “You can give me some money.” is repeated until the break when she adds, “Hey you/ Come in closer/ Hey you/ Wait a minute/ It’s alright baby/ Me and you/ Yo baby/ Fuck you!” The experimentation is still going on, but they seem to know where they’re going now. | |
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It’s Brand New -- (43:21) -- (1997) -- Polystar Co., Ltd. -- PSCR-5601 |
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| There’s still much experimentation going on, but now it seems to be along the chosen path. They’re using the all-out rock less, but only because they’ve discovered a wider range of ways to express themselves. It’s a softer approach, but it still seems capable of veering out of control at any moment, and sometimes it gleefully does. The most striking song is an a cappella duet, both Aiha, in which the vocals are unaware of each other, and a drum track, also unaware, slowly encroaches. This sounds like a band much more in control, stretching in subtler ways. | ||
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Sweet Home -- (18:38) -- (1997) -- Polystar Co., Ltd. -- PSCR-5654
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| The songs on this CD seem fully developed. There is still a good deal of rocking going on, but it flows easily in and out of softer moments. The results remain unique, and the more fully fleshed-out song structures show off Aiha’s growing gifts as a songwriter. Nao (bass) has added piano and recorder to her contributions, and guest musicians introduce saxophones and “virtual” strings. Surprisingly, it feels perfect, and allows Aiha to more easily express the mixed emotions and beauty her vocals have always promised. | |
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17 -- (50:09) -- (1998) -- Polystar Co., Ltd. -- PSCR-5703
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| There’s a definite primitiveness to this disc. It’s as if they’ve started over from scratch. The band is stripped back to guitar, bass and drums. Often there’s even less than that supporting the vocals. A few songs feature violin, but often as an alternative to the guitar. As always, the material is wide ranging, but the song structures are as simple as Aiha’s ever written, and when they aren’t rocking, the sound is sometimes barren. This band has always experimented with its sound. Cutting back to the basics may have been the biggest stretch yet. | |
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Pretty In Pink -- (13:03) -- (1999) -- Polystar Co., Ltd. --
pscr-5754
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| Starting with a rumbling bass, SEAGULL SCREAMING KISS HER KISS HER cruise through four of Aiha’s idiosyncratic pop songs. There’s some piano, but mostly it’s guitar, bass & drums, and these songs sound full, even when instruments drop out. As the title suggests, the songs are sweet, seemingly dealing with Aiha’s new family, but SSKHKH’s rough edges keep the sound real. It’s Aiha’s vocals which are deservedly featured here, but I’m also enjoying Nao’s added bg vocal presence. This is a band that is obviously working together, playing pop music that fits today! | |
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No! No! No! -- (37:41) -- (2000) -- Polystar Co. Ltd. -- PSCR-5861 |
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| I don’t much like the hairdos. Otherwise, everything on this CD is wonderful. Takaharu’s gone, leaving just Aiha and Nao. The drums are split between Yoshiki Watanabe and Yasunobu Arakawa. Violin, cello, saxophone, keyboards and samples come and go, and Yoshiki & Aiha’s daughter, Juniha, makes a brief appearance in ‘Guitar For Me And Milk For Her’. The maturity is still here and the rocking attitude is back strong. It’s a stripped-down band, but the added instruments fill up the sound, and the songs are varied, real, and warm. It’s a worthy addition to their oeuvre. | ||
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No! No! No Star 2000 -- (43:58) -- (2001) -- Polystar -- PSCR-5935 | |
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| Aiha’s motherhood has kept the band in Japan lately. This is what we’re missing. Recorded on their No! No! No! Tour in July of 2000, it features mostly recent material, one new song, and ‘Check 1, 2,’ a ten-minute improvised introduction of the touring band, including Aiha, Nao, drummer Yasunobu Arakawa, plus keyboards, a violin, a cello, and a tenor sax. The supporting players are subtle and ‘Check 1, 2,’ is the only song they cut loose on, but they definitely add a resonance to the trio in front, and the result is some good rockin’ fun. It’s for those of us who can’t wait for the next U.S. tour! | ||
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Sentimental Journey -- (17:51) -- (2001) -- Polystar -- PSCR-5952
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| ‘Sentimental Journey’ and ‘L´amour´’ are both on Future Or No Future. Both are strong, and in both Aiha uses Japanese and English, (enough English to upset the FCC). In ‘Sentimental Journey’ a man recites French synchronized to Aiha’s whispers, reminding me of The VELVET UNDERGROUND’s ‘The Murder Mystery’. ‘Count Zero Zero Zero 1’ (9:17), starts and ends with the ‘Count Zero Number 1’ riff from 17. Inbetween is a sweet tune with piano, shifting into extended rocking interludes with rambunctious drums. For true fans this may be worthwhile. For tasters, I’d recommend the full meal. | |
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Future Or No Future -- (38:37) -- (2001) -- Polystar -- PSCR-5957
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| All of the songs are originals. The usual instruments add to and color the sound. Pop/rock/beautiful & still edgy--this is a very strong release, and seems artfully aimed to expand their audience without betraying their fans. The production is simple. The sound is full and unified. Individual songs have unique spins that surprise and delight. Five have Japanese along with the English, a new development. Some songs are just plain catchy, while others have the soulfullness we’ve come to expect from this band. The antics are toned down. The language and the rocking aren’t. Evolution indeed! | |
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Lullaby -- (11:12) -- (2001) -- Polystar -- PSCR-5979
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| ‘Lullaby’ is on Future Or No Future. Cello and violin expand the sound, while Aiha explains her distaste for lullabies. Tracks two and three are tasty rockers. All three songs include some Japanese, which seems a new trend. In ‘Psycho Melody’ Aiha wants to break in and touch you. The bass pulses threateningly, and the song closes with screams that mimic the guitar. ‘Doko E Iku No?’ rocks easily with, “I’m a runaway girl” repeated as the only answer. A buildup is resolved with a nice falling guitar line. Inside, the lyrics are printed with two charmingly childish illustrations by Aiha. | |
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Dying For Seagulls! -- (76:34) -- (2002) -- Polystar Co., Ltd. -- PSCR-6039 | |
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| It’s SEAGULL SCREAMING KISS HER KISS HER’s first collection, and it’s a winner! The depth and variety of this band are stunning, and here it is on display in chronological order. If you’re looking for a place to start with this band, here it is! Material no longer available was ignored, but the tracks are well chosen, including many of my favorites. The three new songs at the end don’t quite stand up with the rest of the material, but they’re icing on the cake, and ‘Oui Et Non’ sounds like an early demo, which is fun. The only way to significantly improve on this would have been to make it a double CD. | ||
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Red Talk -- (60:48) -- (2002) -- Arrivederci Baby!/Cherry Red Records -- CIA0002CD (U.K. release) | |
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| Here’s the proof that Dying For Seagulls! could easily have been a double CD. Red Talk is another good compilation, and shares only six songs with it! In exchange for the three new songs on Dying For Seagulls!, here you get a movie of ‘Sister Sister’. It’s basically another opinion of a great band’s best material. If I had to make a choice, I’d probably choose Dying For Seagulls! by a hair, but Red Talk has some great songs not included there. You can’t go wrong either way. Perhaps we need one more compilation of the best of the unavailable material, which Red Talk also ignores. | ||
---VIDEO---
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Motorhead And Drive Video | |
| 1. Coma [Directed by
Emiko Nakayama] 2. Double Life [Directed by Keigo Oyamada] 3. Down To Mexico [Directed by Mei Sumita] 4. Rhythm Voice [Directed by Emiko Nakayama] 5. Slow Start [Directed by Yasunobu Arakawa] 6. Living On The Same Planet [Directed by Aiha Higurashi] 7. Don’t Cry My Bunny [Live at Osaka Club Quattro] 8. Sister Sister [Directed by Nobuyuki Ohashi] 9. Count 0 Number 1 [Directed by Aiha Higurashi] 10. Drive A Car [Directed by Aiha Higurashi] 11. Seventeen [Directed by Mei Sumita] |
----SSKHKH leave the building (unlisted) 12. School Lunch [Directed by Koichiro Tsujikawa] ----Photo session for 17 cover & credits (unlisted) |
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| Basically, this is 17 as a video, with ‘School Lunch’ (from It’s Brand New) and a few bits of documentary fun replacing the demo of ‘Down To Mexico’. These are, thankfully, not like the big-budget, Hollywoodized videos you see on MTV. Some are even filmed on Aiha’s camcorder, but most are well thought out presentations of the songs, and professionally done at a reasonable expense with some artful editing. It’s a great introduction to this uncompromising band. The low budgets present them honestly, and you feel you are seeing the band, rather than a glossy production. It’s fun, too! | ||
---LIVE---
Seagull Screaming Kiss Her Kiss Her--Mercury Lounge--2/27/99
Wow! This is one of those
days I will always remember. I woke up early, met the band (my favorite!)
at 11AM and interviewed them with Hitoshi taking pictures. The show itself
was way too short, perhaps half an hour, but it was marvelous and they definitely
left the crowd wanting more. Afterwards people crowded around the stage to
buy CDs, singles, tapes and stickers. I’ve never seen that big a crowd
buying the band’s stuff after a show. They started off a bit shaky, but
soon had the audience in their grasp. They played some of my favorites and
everybody in the band did a fine job. Aiha is more than just fine, though.
Her vocals live were amazing, switching through a kaleidoscope of sexy, cool,
sad, raunchy, and proud. She didn’t stop there. She puts on a show, shaking
her hair, writhing seductively with one arm behind her head, expressively
directing the band with her arms, and bending over backwards, staring into
the audience while grinding away on her guitar. Her breathy vocals are stunning,
and most of the show I felt like she was staring at me as she sang, but I’m
sure I was not the only one. I was very impressed and can’t wait to see
them again. Dan joined me, and both Aimee and Hitoshi showed up during the
show. They were all glad they came.
Seagull Screaming Kiss Her Kiss Her--Knitting Factory--7/16/01
That was definitely one of the
best shows I’ve ever seen! Yeah, I know. I’m prejudiced, but believe
me, this was a great show! Bob showed up, and though he’s not a big one
for rock bands, he readily admitted he had seen something special tonight.
NEED NEW BODY played before them, and though I had heard good things about
them, I knew seeing SEAGULL SCREAMING KISS HER KISS HER again was going to
be enough for one night. Besides, I was enjoying just sitting in the same
room with them. The crux of the show, I think, was that Nao had some troubles
with the amp. They didn’t realize it at first, and tried changing her
cord, then changing her bass. They would start the song, realize it wasn’t
working, and try something else. Then they’d play through a song, realize
it still wasn’t working, and try something else. Finally they brought
out a new amp and the set started. It took about twenty minutes, and the good
sized crowd waited patiently. Meanwhile, Aiha was doing an improv stand-up
comedy act, which kept everyone, except Nao perhaps, entertained. Song, after
wonderful song, was pulled out, and kicked around. They played songs from
throughout their career, as far back as their first full-length, and every
single one was a classic, and done in good style. Yasu, the new drummer (though
not a bandmember proper), and Nao were right there, did a great job, and let
Aiha rule the roost. Did she ever! In between songs she kept up the wise-cracking.
The early equipment problems had set her off. She rocked, strutted, yelled,
and cooed her way through song, after song. This band has a deep repertoire,
and their range of styles continues to grow. It was not a jaw-dropping set.
None of the band-members are trying to show off what great musicians they
are. It was just kick-ass, fun, rock music. We, the audience, were having
a damn good time, but Aiha was obviously having the most fun of anyone in
the room. At one point she climbed down off the stage, and moved out into
the crowd, cranking hell out of her guitar the entire time. At some points
she’d chide the audience that they couldn’t be New Yorkers, ‘cause
they were all too nice. At others she’d tell ‘em, “Say something.”
and then, “Don’t speak. If you don’t like it, go home.”
She got funnier and funnier as the set went on, and the wonderful songs just
kept coming. Mid-song, she dedicated ‘Angel’ to Joey Ramone. They
closed the set with ‘Count Zero Zero Zero 1’ from the Sentimental
Journey CD. It’s one of their longest, most expanded songs to date,
and gives Yasu his only real chance to let loose on the drums. Aiha let loose
quite a bit herself, and so did a number of people in the audience, who began
leaping about in joyful celebration. The band was called back for two encores.
The second time, Aiha walked out and said, “What? You want more? Really?
It’s late! Go home and have sex with your wives. Oh, you don’t have
one? I don’t have a husband. Buy a CD, go home, and listen to it. It’ll
sound better!" They closed the show with a rockin’ version of ‘Pink
Soda’.
--Interview--
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“We did some shows, and we didn’t have our band’s name yet. I asked one of my friends, and he chose Seagull Screaming..., this name from the album called The Big Express, from XTC, and everyone liked that name, ‘cause it’s too long...”
Aiha, Nao, and Yasu, met Chinar and I on July 15th, 2001, at a small restaurant on Sixth Avenue, on a sunny afternoon. We would have had to wait for a table, which none of us wanted to do. Instead, we followed Aiha down the block and around the corner, and soon settled in on the second floor of a Pommes Frites [Belgian (French) Fries] shop. At one point during the interview, Aiha pointed at a window across the street, saying it was the apartment she had lived in during her stay in New York. |
Takape, Yasu & Divorce Before the interview had really started. I mentioned Takape, who’s no longer with the group... Aiha: He’s been really a good friend. And he’s
still a good friend of ours, but, I don’t know... As a drummer...
I need more skills, ‘cause Nao is rehearsing really hard. I’m
not really good at rehearsing, but I need it. When I come up with some
songs, lines and material, I need a more skilled drummer. So, I talked
to Takape, and he understood. Paul: ...not a member of the band? Aiha: Right. Paul: Your husband is a drummer as well, right? Aiha: Yeah. I got divorced. So I’m raising my child by myself. Six months after she was born, we got divorced. It’s OK to talk about. I’m really open about it. It’s sort of casual. I mean, it’s OK for me.
Aiha: Yeah, I’m sorry too. I mean... Yeah, I really hoped that it’s gonna last long. I mean, ya know, no one’s gonna get married thinking about divorcing, but... It’s just unfortunate... and we are still friends, so... |
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Nao’s Home
To get an insight into their private lives, I asked them both to describe their homes. Nao described her apartment as small, and inexpensive. Everything is wooden except for a big, fake, brick fireplace. She complained that there was no room for anything because of the fireplace. “That’s why it’s so cheap!” laughed Aiha, who also offered that there were pictures of Nao’s boyfriend everywhere you looked. |
Very Unusual Paul: I noticed that this time you’re releasing two singles from the album, which is a new thing. Aiha: Very unusual, and usually we don’t take songs from the albums. We usually make new songs for the singles, new songs for the albums, but this time we have some, ya know, same songs, I mean, overlapped. Paul: So, did Sentimental Journey, the single, do pretty well? Aiha: Yeah. I guess so. (laughter) I mean, I don’t know about commercial stuff, and I’m scared about, ya know, how much we could get into it... I’m really satisfied with it, simply because I love that song! |
History Lesson Paul: Please give me a brief history of SEAGULL SCREAMING KISS HER KISS HER. Aiha: I started with my tape-recorder, putting my voice on it, and I couldn’t play guitar at all. I make songs by humming, and I picked my phrase from my brain, from my mind to the guitar. I don’t know any chords, still. I mean, I only know A and C, (Editor: If you know her guitar playing at all, that’s difficult to believe!) but I can play anyhow. So, I met a girl (Sachiko Ito), and she became one of my best best friends, and she never played bass, but I asked her, because she looked really great, I mean, with bass, and she has some taste, too. So, we did some shows, and we didn’t have our band’s name yet. I asked one of my friends, and he chose Seagull Screaming..., this name from the album called The Big Express, from XTC, and everyone liked that name, ‘cause it’s too long... (laughter) You know, it seemed really difficult to remember, because it’s long, so people can’t remember. I don’t know... Seagull something... really long one, ya know, so... (more laughter) Paul: Right. I bought the first CD I found, Swallow Up. I bought it because I liked it a lot. I usually don’t buy EPs, but I bought it because I knew I would never remember that name.
Nao: Me, too. Aiha: (laughter) But I just called up Nao, and, “I’m going back to Japan. Will you be in a band with me?” and she said, “Yes.” Alright! Then I bought a bass for her here. She bought it, and I called up Takape, and we started to rehearse. Then, time flew! Yeah, really. Time flew, and it’s been like seven years since then? Nao: I think so. Aiha: Yeah. So, I’m doing bands like almost ten years. |
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Aiha’s Home
Aiha replied that she and Juniha (her daughter) live in a small, fourth-floor apartment, not far from her parents. It faces west, allowing them a view of the sunset. She described Juniha as very talkative, and quite mature for one year and ten months old. Already she can recite her A, B, Cs, and sing ‘Twinkle Twinkle Little Star’ in English. Some of Juniha’s favorite pastimes are having fingernail polish applied, and trying on Mommy’s shoes. Those are pretty big feet to step into, but it sounds like she’s getting a good start. |
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Music at Home
I asked them both what kind of music they listened to at home. Nao beamed when explaining that she listens to punk music almost exclusively. Aiha stated that, when she gets home, loud guitars are the last thing she wants to hear. She prefers softer folk and classical music to help her relax. |
Getting Bigger Paul: How is your band doing in Japan now? Aiha: It’s getting a lot bigger than before. We can do shows on tour in Japan (at) a lot bigger places, and we managed to participate in the biggest festival, Fuji Rock, or this year we’ll participate in Ezo Festival. It’s name is Rising Sun Festival, in Hokkaido. This is a really, really incredible festival. It’s not too commercial like Fuji Rock. It’s very nice. Paul: How big are the places you’re playing now? Aiha: Now... how can I explain it? We draw, only our band, like eight hundred capacity, eight hundred to two thousand. If we do shows with other bands, like two thousand or more. So, we’re getting bigger.
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Nao--Illustrator
I talked with Nao about her illustrations for manga (comic books). She continues to illustrate for Moyoko Anno, a famous manga author. One of the most well known titles Nao has worked on is Happymania. She also freelances, and recently was involved in illustrating promotional material for an independant film called Body Drop Asphalt, a wacky movie about a young woman who writes an imaginary love story for herself, and becomes a successful novelist. |
Influences Paul: Did your time in New York influence or inspire your music at all? Aiha: Actually, I used to live in London, too, before that, before I came here, and it was just a short time, like six months, ‘cause I wanted to learn English, and I really liked music in England. I really liked British punk stuff, and other stuff too. I liked electro, or house, acid-house, any kinds, or garage, ya know, dance music, anything. So, a lot influences me--living in New York, living in London, but, ya know, living in Tokyo is also exciting. |
Punk Rocker of the World
In ‘Check 1, 2,’, from No! No! No Star 2000, Aiha introduces Nao as “punk rocker of the world”. I asked Nao if she truly was the punk rocker of the world, and she replied, in her succinct way, “I hope so!” Aiha laughed and added, “She is so great! She is always thinking. Wherever we are, she is always thinking something weird.” |
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Future Or No Future Aiha attributed the unified sound of Future Or No Future, their latest full-length release, to Yasu. She explained that when he joined the group he was unfamiliar with punk-style drumming, or punk at all, but she liked that he was technically skilled. Though he was a big fan of their band, he was much more influenced by Frank Zappa, and PHISH. She and Nao have been training him in punk-style drumming, and in the process, admit they’re learning from him, as well. |
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He
(Yasunobu Arakawa) used to be the manager of our band, but he was also
a big fan of ours, and I knew he was a super drummer, and he knew every
song I made, so I just asked him to be in the band. He said, “OK”,
but he’s playing as a support drummer. Not like... 
Paul:
Well, I’m sorry it didn’t last.
Aiha:
(laughter) Good one! Successful! (more laughter) Yeah, then I came here,
and spent two years here. Then I got really bored, ‘cause I knew
I was gonna continue my musical things. I came here for studying in
university, but I knew that was not what I really wanted to do. So I
went to a lot of shows around here to see the bands. It was so exciting!
I saw Jad Fair, WEEN, John Zorn, Thurston Moore, SONIC YOUTH, SLANT
6, many others. That means lots. I was like, I couldn’t stop myself,
ya know, being in a band again, and I called up Nao, ‘cause I remembered
her face, and she was like energetic, and eager to be in a band, and
she mentioned she used to play a guitar, but she never played bass before.
All interview photos by Chinar Gupte
--Other Projects--
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GAL |
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Nao Koyama--bass |
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Gal -- (16:22) -- (1999) -- Polystar Co., Ltd. -- PSCR-5805
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| There’s a sweetness and a sadness here, straining towards beauty. The songs are good, and the production’s fine, though it’s probably a home-recording. Aiha’s vocals, as usual, are the highlight. In ‘Flick’ you even get to hear her sing in Japanese! Besides Yoshiki Watanabe on drums and occasional guitar, this is SEAGULL SCREAMING KISS HER KISS HER. It sounds like it too, though a tad more mature. Given that this is all material she could have easily handled with SSKHKH, you’ve got to figure Aiha wanted to work with Yoshiki Watanabe. Perhaps in the future they may explore farther afield. | |
| RAVOLTA | |
| Aiha Higurashi--vocal Tsutchie--dj |
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Sky -- (32:39) -- (1998) -- Skylarkin Corporation -- SKYDISCO-00598
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| If you want to hear Aiha outside the realm of SEAGULL SCREAMING KISS HER KISS HER, here it is. Aiha holds up her end of the partnership well. She’s created some good songs for this project. A few of them are gems. Tsutchie is from SHAKKAZOMBIE. Granted, my knowledge of DJs is limited, but often the sounds he provides to back Aiha’s vocals seem scanty. They pale to the “jammin’ and brutal magnificent sounds” promised in ‘Navigation’. Yet, this CD is growing on me. It’s great to hear Aiha and her “beautiful Japanese accent” in new surroundings. Yes, that’s George Michael’s ‘Faith’. | |
| AIHA HIGURASHI | |
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Aiha Higurashi--vocal, guitar & bass Kosaku Abe--drums & percussion |
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Born Beautiful -- (38:11) -- (2004) -- Ki/oon Records -- KSCL 635
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| Aiha’s first solo outing is markedly different from her work with SEAGULL SCREAMING KISS HER KISS HER. Most obviously, it doesn’t rock. Much of it is sweet. Occasionally it achieves beauty, and sometimes the layering of tracks create interesting effects. Most of the songs involve her feelings and relationship with her daughter. It’s a new Aiha, and the sound is so simple and gentle, one might easily sample and move on, but if you stay, it’ll be hard not to relax and let its charms seduce you. Her newfound maturity has made her more accepting of herself and the rest of the world. | |
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Aiha Higurashi--guitar & vocal Abe Kosaku--drums & bg vocal |
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Silly Girl -- (9:17) -- (2005) -- Ki/oon Records Inc. -- KSCL 769
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| ‘Silly Girl’ switches between a digitally constructed track and a more standard rock band format, which gives Aiha a chance to rock out a bit, and it’s always nice to hear her do that again. ‘Secrets’ and ‘Over’ are both constructed tracks by Miho Hatori, formerly of CIBO MATTO. ‘Silly Girl’ and ‘Secrets’ sound like songs, and in both Aiha uses both Japanese and English. ‘Over’, in English and French, comes off as more of an improvised track around a simple riff. This CD is a departure from Born Beautiful, and announces, with a new full-length on the horizon, that Aiha is not done stretching. | |
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Aiha Higurashi--guitar & vocal Yutaka Aoki--guitar & track making |
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Platonic -- (52:58) -- (2005) -- Ki/oon Records Inc. -- KSCL 825 | |
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| This is beautiful and mature pop music. Aiha’s used a lot of musicians here, but most for only one track each. Pop, rock, jazz, and digital track making all appear, and even some of Aiha’s quirky comments on sex, love, and life are back. Keigo Oyamada (Cornelius), Miho Hatori (CIBO MATTO), and Yumiko Ohno (BUFFALO DAUGHTER) have all helped out, and though it doesn’t often rock like SSKHKH used to, it’s stretching in the same way that band did, as if its hunger for new sounds is unquenchable. There’s a real feeling of contentment, though, and it’s comforting, like pop music should be. | ||
| LOVES. | ||
| Aiha Higurashi--vocal & guitar Takahiko Akiyama--drums Iwatani Keishirou--guitar & sequencer |
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Lucky Me -- (53:26) -- (2007) -- Ki/oon Records -- KSCL 1188 | |
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| This fractured, art rock should make Aiha’s SSKHKH fans happy, though only the punk esthetics are in place. There’s rocking going on, but though her compatriots in LOVES. happily jump through as many hoops and odd styles as could be wished, they rarely find themselves outmaneuvered. It’s great to see Aiha rocking again, and wonderful that she’s in a situation where she can stretch to her heart’s content in all sorts of crazy and beautiful directions. Hiroshi Nakamura’s support sax is a treat. Plus, the extravagant packaging suggests Ki/oon is behind this band. That’s a good thing! | ||
--Other Releases--
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Bend It! Japan 98 -- (43:17) -- (1998) -- Polystar Co. Ltd.
-- PSCR-5689
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| Interspersed with wacky soccer bits (it’s quite popular in Japan now), are samples of Trattoria’s artists. Highlights for me, of course, are SEAGULL SCREAMING KISS HER KISS HER’s ‘48’, a fine rockin’, no-brainer; and Hirohisa & Aiha’s shattered, hip-hop take on THE ROLLING STONES’ classic, which sounds like it may have been the inspiration for RAVOLTA. Most of the rest of this is light, good-spirited, pop music of varying styles. Other highlights include SALON MUSIC, with a classy slice of faux euro-pop; and PATE + GENTA, who dredge up a sludgy repetitive riff and messily bury it in the middle of the soccer field. | |
Aiha Higurashi's solo site:
Aiha Higurashi’s MySpace page:
LOVES. Official site:
LOVES. MySpace page:
MySpace.com/LOVESAihaHigurashi
RAVOLTA’s MySpace page:
IN CORRIDORS (Nao's band w/her husband) Official Site:
IN CORRIDORS’ MySpace page:
Nao Koyama’s MySpace page:
Nao Koyama’s illustration site:
