The Tokyo Concert Experience

Stand up shows by international comedians are rare in Japan, when this one was announced I didn’t hesitate to get a ticket. Seeing stand up live, delivered from a true comedian, is an experience unlike any other when it comes to entertainment. I would say that is similar to watching a horror movie in the sense that your body will respond in ways that it’s not used to. Adding to that, the live aspect of it makes it even more unique and exhilarating. I enjoy watching the specials on Netflix, but the few opportunities that I’ve had of seeing stand up live have been a whole different thing altogether. You’re in a room laughing along with a group of people for over an hour or so while reflecting on the absurdity of most things. That’s hard to beat. I was looking forward to this show so I got there early. It was my first time at Nissho Hall which is a serviceable appropriate venue, not far from the fancier Suntory Hall. Once inside it felt like if I was in another country with lots of

This concert season will be the last for Sylvain Cambreling as the principal conductor of the Yomiuri Nippon Symphony Orchestra . With lots of recordings for the Kairos label under his belt, a label specialized in the most hard hitting kind of contemporary music, Maestro Cambreling has always been a champion of the avant-garde. For this evening, in one of his last concerts as a principal conductor of the Yomiuri Symphony Orchestra, he chose a program of rarely performed pieces from the last century. The concert took place at Kioi Hall, a building that, just like its bigger brother The Tokyo Opera City Concert Hall, quotes European traditions from a late 20th century urban modern perspective. The acoustics were top notch as proven by the number that opened the evening: Octandre by Edgard Varè se . This piece for eight wind instruments and a double bass revealed some interesting crescendo and diminuendo dynamics in a live setting that are tough to discern in the recordings. Its b

A double bill with two of the most extreme acts in the business is always welcome. I didn’t hesitate to get a ticket, especially since this was going to be the first time I witnessed either of the main acts. I was looking forward to Watain the most, but secretly rooting for Anaal Nathrakh. As I was getting recently into their discography I discovered the intricate and multiple references in their projects. Their liner notes reflect a type of misanthropy that is quite smart and engaging. Hybrid Nightmares , from Australia, was the band in charge of starting the procedures. Their brand of metal leans towards a progressive sound. The intertwined lead guitar work from the two guys at each end of the stage was particularly good. They’re not afraid of lengthy guitar solos in a genre in which they’re sometimes frowned upon, I’m talking about black metal, they were all in corpse paint. Too bad for some sound issues rendering the vocals inaudible throughout the set; I’m guessing that’s wh