Japan Guitar Shop: The birth of the cool
Music journalist, critic, author, and all-around cultural icon Lester Bangs said: “The only true currency in this world is what you share with someone else when you are uncool”. So allow me to share…
End of last week, I found myself on a rare excursion into town to meet with Japan Guitar Shop ahead of their upcoming gigs in Phnom Penh and Siem Reap respectively (details below). I had seen the band play twice previously and was keen to learn more about their plans, influences, and direction. As individuals, I was familiar with two of the members from previous associations.
Arriving at Oscar’s, the band was still deep in rehearsals for the up-and-coming shows, and, it transpires, some recording sessions. As they were working on the musical arrangements for one of their more hip-hop numbers, I listen to assess what I can discern regarding the sound of this eclectic group of musicians. Recalling the first gig I saw them play, I recalled finding the sudden shift to Rage Against The Machine-inspired, angst-loaded hip-hop somewhat jarring.
That said, I am all for bands delivering unpredictable soundscapes, the more surprising it is, the more appreciative I tend to be. I was keen to learn their motivations for such a switch in styles, amongst other things.
As they wound down, we retired to the balcony to discuss all things Japan Guitar Shop.
The members I knew were ubiquitous drummer Ricky Haldemann (drums – with every band in Phnom Penh it seems), and Lewis McTie (who I know from Little Thieves, as well as across the chess board – I lost), Cove Aaronoff (vocals and guitar) and Colin Hodgkins (bass and rap) make up the core. Two things are immediately apparent; the mutual respect that exists for their individual talents, and the combined love they have for what they are creating.
The lads geographical histories are as diverse as their musical influences, with Lewis hailing from Scotland, Colin from the USA, Ricky from Switzerland Cove from the British Virgin Islands. They began life as a three-piece in 2020 when Colin approached Cove with the refrain: ‘I have a proposition for you, do you want to start a band?’
Ricky replaced the original drummer and as they themselves say, the band was immediately ‘elevated’. They continued, honing their sounds and experimenting with instrumentation, including trumpet. Lewis then joined up to thicken the sound. He’d previously fronted his own band Little Thieves, and currently also performs with Skin and String.
Colin effusively describes Cove as ‘one the greatest living songwriters’ – he clearly means it. Cove sites the influences on his writing as Tom Waits and The Roots, high targets to aspire too. His vocal delivery is most inspired by Vic Chestnut’s indie-folk/alternative country output since the 1990’s.
Colin’s own background is in performing hip-hop in the USA. Originally from Indiana, he became very active on the New York hip-hop scene before re-locating to Phnom Penh and his serendipitous meeting with Cove. It is that stylistic difference, referenced above, which I found unexpected and a bit of shock. Switching from indie-folk to Rage Against the Machine aggression is quite an artistic leap. The lads have no explanation beyond feeling it themselves, and nor should they. As Cove says, ‘there is soul in every genre of music, we try to tap in to it all’.
The name Japan Guitar Shop was lifted as a spare of the moment thing from the rehearsal room they used to use in Tuol Toumpong.
Phnom Penh – musical rebirth.
The conversation switches to the current proliferation of young, innovative musicians performing in Phnom Penh. Back in Scotland in 1979, a new indie record label called Postcard marketed itself with the slogan ‘The Sound of Young Scotland’. I won’t dwell on that here. Interested readers can source the book ‘Simply Thrilled: The preposterous story of Postcard Records’ by Simon Goddard (It’s a must for anyone with an interest in fringe music) and check some of the artists that began life with Postcard. At that time, young creative people were taking the music industry by the horns and throwing out the rule books and creativity flourished. That, to my mind at least, is occurring right now on our doorstep. Innovative, original, music being produced right here in Phnom Penh.
I was recently in Thailand (Bangkok and Chiang Mai) and Phnom Penh outshines these locations with its availability, variety, and sheer quality of musical offerings available on any given night. The band point out that it may not be as easy as it seems here and equipment costs and availability are an issue, although the haranguing of western musicians in Thailand for no reason beyond authoritarian stupidity, thankfully allows this scene to nurture. Let’s face it, the music scene here had become jaded and old. It needed this injection of new blood for a much-needed shot in the arm.
The camaraderie and support across this group of musicians is also admirable. From equipment loans, word-of-mouth promotion to simply showing up to each other’s events. There is an undeniable will to see the others do well and flourish. There is also considerable cross-pollination taking place. Ricky for example, plays in Spiked Gravy, Japan Guitar Shop, and Blender. Darwin stated: ‘in the long history of humankind, those who learned to collaborate and improvise most effectively have prevailed’. Not sure he ever made it to Oscar’s, mind, but the sentiment remains.
The future
On the immediate horizon for the band is a concert this weekend at Bosporus on Street 135, then to Siem Reap for recording sessions and a concert at the relocated Laundry Bar on July 1st., if you have any inclination to see an innovative group of musicians. The recording session, they will play by ear depending on how it develops but ultimately recording an album is the endgame.
Bevis and Butthead once said, ‘they roam the earth…..amongst all that is cool’ – who am I to disagree?
(photographs by Pan)