Yo La Tengo has finally made it to Taiwan. The owners of the Roxy bars tried to bring them two years ago to complete a series of concerts including Superchunk and June of 44. And even then, rumors of Yo La Tengo coming were still the main buzz for many in Taipei's rock 'n' roll pubs. Tomorrow night at 9pm, the rock trio will end the anticipation when they take the stage at the Formoz Festival.
In an interview earlier this week with the Taipei Times, Ira Kaplan, Yo La Tengo's guitarist, vocalist and major creative force said that he and his band mates, Georgia Hubley (Kaplan's wife) and James McNew, have little idea what to expect of the upcoming show. At the time of the interview, he said the group had only basic knowledge of Taiwan and was unfamiliar with most of the bands at this weekend's festival. Still, they were excited about coming.
PHOTO COURTESY OF MATADOR RECORDS
Recently returned from London, Kaplan said he's picked up a guidebook he'll probably read on the plane, and is also reading a novel, Iron & Silk, in preparation for Taiwan.
For better or for worse, however, Yo La Tengo may be in for some surprises when they get here. Though the band has been playing internationally since 1987, they've only been to Asia three times, each time to Japan. Also, Iron & Silk may not be the best prerequisite reading material. It's more or less a memoir of an American English teacher in post-Cultural Revolution China of 1982.
Fortunately, a music festival is a music festival, and should offer the band less of the unexpected. Kaplan foresees that the only major constraints on the group's stage performance will be the Formoz schedule, which limits their performance to about one hour, about half the time they normally play.
"Some of our songs are long, you know, and we always try to play a variety. So the show unfolds slowly. A short set feels a little artificial at times," he said.
Once, in London, when the group was only given around 30 minutes to open up for what Kaplan called "two more popular bands," he said they filled the entire set with a single jam. "It was kind of all or nothing ? the only other thing we thought of was playing eight of our tightest, most recognizable songs, but we decided against it," he said.
For equipment, he's bringing guitars, an organ and a couple of amps. Sensing Formoz's hard rock focus, Kaplan explained the need to bring the amplifiers, saying, "All they have at the concert is Marshalls, [the preferred amp of metal merchants like Iron Maiden, Yngwie Malmsteen and Def Leopard] which is kind of the antithesis of what we're about."
The group arrived in Taiwan on Wednesday with a planned stay of at least four days, though Kaplan mentioned the possibility that he and Hubley may stay longer.
As for the group's activities after Taiwan, he said "we're not sure," commenting that they're "kind of" in a song-writing phase right now.
"What passes for songwriting with us is jamming," he explained, describing a process in which they come up with something like a 20-minute jam, then prune it and pare it until a song comes out of it.
"We're in a habit of working slowly when we write songs. A lot of times, we just wait for a song to appear."
In the end, the process generates the highly-tuned and finely-controlled compositions that appear on Yo La Tengo's albums, songs that are almost always products of some studio (most recently Nashville) even though they seldom have what would be called a standard studio feel. That's probably because, for Kaplan, the songs are never static nor fixed. He understands, on one hand, that careful control and selection are necessary to create an album. And as a sort of corollary, he realizes that live performances present something different altogether.
"There's something exciting about live performances," he said. "You do it and it's gone. It frees you up to do different things."
The reason the band has never put much live material onto albums, he said, is because it would either take an incredible amount of work to re-listen to thousands of hours of live recordings or else they'd fall into the trap of producing something "cheap and easy."
"But you know, it does make sense to do it," he said, examining the notion in retrospect. "Because the live element is different. I realize our live performances have a lot of things that you don't find on our albums, but so far, we haven't really directed our energy towards capturing that."
One direction the band has directed its energy toward, however, is cinema. Yo La Tengo's first film project, Electr-o-pura, doubled as an album in 1995. Then, last year for the San Francisco Film Festival, the group made a 90-minute soundtrack to accompany what Kaplan called "underwater documentaries" by a French director, Jean Painleve.
These days, in fact, he said, "I almost prefer watching a good movie to going out and seeing a band."
At present though, cinema is still only a vague yet perhaps imaginable future for Yo La Tengo. In the meantime, there is absolutely no question that Kaplan, a former rock critic, and his bandmates are fully invested in music. Truth be told, they know tonnes of it and can play tonnes of it. They have even filled the occasional concert and one complete CD, Fakebook, with nothing but cover songs.
Calling those covers "appropriations," as one easily could, might make it easy to get even more philosophical about Yo La Tengo, calling the band post-modern, post-structural or even post-rock. Reviewers have gone almost as far, comparing their music to a huge variety of genres and styles, describing the music as "modal," "freeform" and "improvisational" and sometimes noise, because in segments, it can be. All too often, the group is compared to groundbreaking and seminal rock bands (dare one mention the Velvet Underground) that too many other good bands are compared to.
But as for the question of genre, Kaplan, a bit Socratic at times, said simply, "we've never answered that question."
The farthest Kaplan says he's gone is calling Yo La Tengo "a guitar band, but even that leaves a lot of leeway because it encompasses so much. And then again, in most shows we'll play one or two songs without any guitar. I'll play the organ instead."
Likewise, the group doesn't dwell much on influences. "I've never accepted the equation that your favorite band influences or equals your music," he said.
Locally, however, many groups, most notably Sugar Plum Fairy (
Fortunately for such admirers, Kaplan says the band usually does things to make themselves accessible to shy or introverted fans, especially through activities like selling T-shirts and signing CDs. Though he deferred to say exactly how that might happen in Taipei, he hinted that one way or another, it probably will.FridayWood Stage
1150am Mess
1240pm Reproduction (複製人)
0130pm Editec
0220pm Snow Dance (雪舞)
0310pm Seventh Movement (第七樂章)
4pm Captain Peanut (花生隊長)
0450pm Charlie Swiggs
0540pm Curse (詛咒)
0630pm Very Ape (Japan)
0720pm The Wall Tigers
0810pm 1976
9pm Sugar Plum Fairy (甜梅號)
0950pm Out Of Control (失控)
Wind Stage
Fortune (旺福)
Hardcore Chicken Rice (強力雞腿飯)
Deliverymen (售貨員)
Bite The Fungus (噬菌體)
Tizzy Bec
Mazer (Hong Kong)
Strawberry Liberator (草莓救星)
Dark Force (黑暗勢力)
Hyponic (Hong Kong)
Cloud Panther (雲豹)
Red Nail Polish (紅色指甲油)
Obstinate (強辯)
Nipples
Psychedelic Kindergarten (迷幻幼稚園)
Pig Fight (豬打架)
Show Girls (鋼管辣妹)
SaturdayMountain Stage
>
3pm Opposition Party (反對黨, Singapore)
5pm Softball (Japan)
7pm Clippers (夾子, Taiwan)
9pm Yo La Tengo (US)
11pm Tolaku (脫拉庫, Taiwan)
Fire Stage
4pm Anarchy (無政府, Taiwan)
6pm Magane (Japan)
8pm Yellow Machinegun (Japan)
10pm Biohazard (US)
Sunday
Mountain Stage
2pm Milk (Canada)
4pm The Chairman (董事長, Taiwan)
6pm Backquarter (四分衛, Taiwan)
8pm Chthonic (閃靈, Taiwan)
10pm Megadeath (US)
Fire Stage
3pm Garlic Boys (Japan)
5pm Echo (Taiwan)
7pm Celluloid (賽璐璐, Taiwan)
9pm LMF (Hong Kong)
11pm Joy Topper (豬頭皮, Taiwan)
In late October of 1873 the government of Japan decided against sending a military expedition to Korea to force that nation to open trade relations. Across the government supporters of the expedition resigned immediately. The spectacle of revolt by disaffected samurai began to loom over Japanese politics. In January of 1874 disaffected samurai attacked a senior minister in Tokyo. A month later, a group of pro-Korea expedition and anti-foreign elements from Saga prefecture in Kyushu revolted, driven in part by high food prices stemming from poor harvests. Their leader, according to Edward Drea’s classic Japan’s Imperial Army, was a samurai
The following three paragraphs are just some of what the local Chinese-language press is reporting on breathlessly and following every twist and turn with the eagerness of a soap opera fan. For many English-language readers, it probably comes across as incomprehensibly opaque, so bear with me briefly dear reader: To the surprise of many, former pop singer and Democratic Progressive Party (DPP) ex-lawmaker Yu Tien (余天) of the Taiwan Normal Country Promotion Association (TNCPA) at the last minute dropped out of the running for committee chair of the DPP’s New Taipei City chapter, paving the way for DPP legislator Su
It’s hard to know where to begin with Mark Tovell’s Taiwan: Roads Above the Clouds. Having published a travelogue myself, as well as having contributed to several guidebooks, at first glance Tovell’s book appears to inhabit a middle ground — the kind of hard-to-sell nowheresville publishers detest. Leaf through the pages and you’ll find them suffuse with the purple prose best associated with travel literature: “When the sun is low on a warm, clear morning, and with the heat already rising, we stand at the riverside bike path leading south from Sanxia’s old cobble streets.” Hardly the stuff of your
April 22 to April 28 The true identity of the mastermind behind the Demon Gang (魔鬼黨) was undoubtedly on the minds of countless schoolchildren in late 1958. In the days leading up to the big reveal, more than 10,000 guesses were sent to Ta Hwa Publishing Co (大華文化社) for a chance to win prizes. The smash success of the comic series Great Battle Against the Demon Gang (大戰魔鬼黨) came as a surprise to author Yeh Hung-chia (葉宏甲), who had long given up on his dream after being jailed for 10 months in 1947 over political cartoons. Protagonist