Making Music in Japan's Underground: The Tokyo Hardcore by Jennifer Milioto Matsue

By Jennifer Milioto Matsue

Grounded within the fields of Ethnomusicology, Anthropology, well known tune reports, and eastern experiences, this e-book explores the underground Tokyo hardcore scene, finally asking what play as resistance via functionality of the scene tells us approximately jap society typically. Matsue highlights the advanced positioning of younger grownup eastern in modern Japan as they negotiate either expanding social calls for and extending difficulties in society at huge. additional drawing on theories of play, id development, and the development of gender, all trained via the more and more influential box of functionality Studies, this booklet deals a hugely interdisciplinary examine the significance of musical scenes for expressing resistance on the flip of the twenty first century. in the underground Tokyo hardcore scene this resistance is expressed via play with person and collective id, in intimate and possibly illicit areas, with an arguably not easy sound and function style.

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Extra resources for Making Music in Japan's Underground: The Tokyo Hardcore Scene (East Asia: History, Politics, Sociology & Culture)

Sample text

11 On certain occasions, I wanted to enjoy the performance and attempted to shut off my ethnomusicologist’s eye for the evening. I would position myself right in front of the stage with other members of the primarily Japanese audience who had similar inclinations. In this setting, it seemed appropriate to move around, relax, and even dance a bit on occasion, although dancing in front of the stage was never a major part of this scene. But such interaction increased my sense of solidarity and belonging with others around me.

Both the terms angura or chika, although suggesting different nuances, are best translated as “underground” when referring to such musical scenes in English, and therefore the term “underground” is the most appropriate for capturing the character of the scene in question in Tokyo. Approaches to underground music-making are often associated with political movements (Cushman 1995; Szemere 2001). But here the term “underground” refers to music-making associated with bands without labels, or on local independent labels, known as “indies,” indîzu (インデ ィーズ) or jishuseisaku (自主制作) in Japanese, without direct expression of a unified, reactionary political stance, as can be found in other cultural contexts.

Despite these issues of musicality, performing even one song with a band was a tremendous experience for me, as I usually performed in the audience. I had become well known 18 Making Music in Japan’s Underground among the bands that regularly played at 20,000volt, so many individuals were extremely supportive of my efforts. As this was my fi rst live, I was extremely nervous during the sound check. But I sang, or rather screamed, with great effort during the actual performance. The band decided that I should sing that song with them anytime they played at 20,000volt, and later at their other lives as well.

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