For 25 years, Tetsuko have presented a highly original and distinctive sound with seemingly no readily apparent influences. Art rock undercurrents along the lines of Talking Heads, Sparks, Roxy Music and Haruomi Hosono/Yellow Magic Orchestra may be detected, but their overall sound waves are undeniably pop. This makes sense as they started as a Beatles cover band in 1995. In fact, Reiko 渡邊玲子 has been playing with drummer Yasuyo 関安代 since junior high. The current lineup came together in 1999 at a Kyoto college with bassist Yoko 野瀬陽子 joining Reiko and Yasuyo.
The trio achieves the tricky balance of aligning a churning rhythm section with Reiko’s charging guitar and charming vocals. They demonstrate their dexterity with dashing twists and turns through sparkling pop that most reminds me of Palomar or Kabochack. The band continuously punches above their weight and whips up an enlarged sound that is both enduring and appealing due to care they place in harmonies and arrangements. The last two years have been filled with momentum as they were headlining stars of Mike Rogers’ 2023 Japan Indies Music Awards that took place at the world famous Shibuya Milky Way Showroom in Tokyo. Further, 2024 has brought the worldwide release of Curl, which could be considered their catchiest, thickest sounding and most cohesive release of their long career.
Ladies First
The album opens in a big way with the seemingly detached trio coming together quickly in musical confluence. “Holy Girl, Tetsuko'' sprints out with a verse that echoes “Summer Means Fun” by Bruce and Terry before bursting into a top-of-the-world melody that could be a theme to a Japanese TV show. “15000th Time” is a floor shifting new wave number topped off with a chorus that seems actually inspired by “Time After Time” by Cyndi Lauper. One of their most daring numbers “Permanent,” is pulled off by their finesse along with the telepathy they have established by playing together for 25 years. It's almost Zappa-esque in its amorphous shape shifting and interludes of wooziness fastened by keyboard lines evocative of "Pop Goes the World" by Men Without Hats. It rates up there with “End of Philosophy” from their 2013 candy guitar ep or Ambassador アンバサダー from 2021's Perfect in terms of the band successfully stretching out.
At times the atmosphere they create evokes the one found in Yoko Ono’sApproximately Infinite Universe, while their songs adhere to Yoko’s songs on Double Fantasy, which more than hinted Yoko was paying attention to Blondie and the B-52's-who Yoko initially inspired in the first place! Following the delightful and brilliant wackiness, is the straightforward Shonen Knife-ish “BABY, BABY, BABY,” one of their several songs with “Baby” in its title. (The others being “my BABY” from 2019’s I Love You and the epic “BABY” found on 2017’s Eros mini-album.)
Tetsuko are conceptual artists that deliver exceptional goods. Further, they have always displayed a sense of dynamics in their concise and economical guitar-driven pop songs that efficiently motor along like a Honda Civic. Their latest Curl features a thicker, but not slicker sound along with some extra layers of sonic embellishments. Thankfully, the trio continue on as immediate and radiant as ever, while remaining the one and only Tetsuko.
Just three brisk fall months after the group made a significant artistic breakthrough and reached a new summit with the release of their 8th self-titled full-length album of all original songs came the unexpected “retirement” announcement from their lead singer Megumi. As the fifth lead vocalist in the band’s 10 years of existence, Megumi helped usher in a new phase for the group and their overall sound. She had a stage and video presence that commanded attention and vocals that differentiated their most recent recordings from their previous reliable efforts that have already set the standard for female-fronted West Coast ‘60s-inspired sounds from Japan.
Their 8th album is considered their peak recording for several reasons. Megumi’s entrancing and distinctive vocals definitely played a major role as her slightly icy and distant voice established a different resonance from the start. The album is also a continuation of their refined pop sensibilities, while presenting an overall original sound that is more developed and textured. Megumi’s lead vocals fit well within the group's transitioning sound and this combination captured the attention of world-wide listeners.
Striking Just the Right Sound
For more than 10 years, the sprawling and ambitious group have more than proven adept at handling daunting arrangements and layered vocal harmonies. To start the ‘20s, the Pen Friend Club, with vocalist Yuka Fujimoto, went further into the harmonic heights and depths than ever before by covering such complex pop songs as “Along Comes Mary” by the Association. While there has always been an emphasis on harmonies and melodies, this album also reflects a widened world of influences. The album sets itself apart from their previous releases as it traverses a much larger stylistic range. The ‘60s and the A&M Records aesthetic continue to loom large in their world, but they have opened up their sound to incorporate influences and inflections from further into ‘70s and it works.
Expanding out into the Light & Dark
Besides their usual affinity for the yellow-orange swirl of summer, they incorporate some autumnal hues of forest greens, leafy browns and luminous golds as sections burst into the sunlight and then descend into dusk. The brushed acoustic strums on “Our Overture” signal the new directions they are headed towards as some sunset shadows begin to cast over their sound. By the time of “The Sun is Up,” they have already reached a rugged new musical terrain and a change of scenery. Their escalating musical confidence coupled with slightly burnished guitar tones and tints of raga could even entice listeners of Led Zeppelin III, Second Coming Stone Roses or “The Chain” by Fleetwood Mac. Next, the swift and tuneful “Ketzel” dashes out into the daylight like Zumpano’s “Broca’s Waves,” while their breezy vocals are swept along in the jet stream of Stereolab.
L to R: Yuichi (guitar), Takayuki (drums), Yumi (glocken), Soi (keys), Megumi (lead vocals), Ricca (acoustic guitar), Asako (sax) Rie (bass)
Their first-rate arrangements unfurl an array of sounds, sections and songs that are simultaneously foreign and familiar. Along with this self-titled album being their most original, it's also the most collaborative of all their albums. The group’s leader Yuichi Hirakawa, formally a famous manga artist, has thankfully turned his full attention to music, while handing over some of the musical reins to his bandmates. “Mind Connection” recalls the 5th Dimension and showcases the saxophone solo of Asako Otani. Jazz inflections provided by Otani surface throughout the album. The saxophone effectively works in the context of their music and plays a prominent role propelling the songs in places and embellishing in others. On the languorous and luxuriant “Floating to You” they tend towards the Honeys more than ever, while also evoking Brian Wilson’s “Melt Away," which they previously covered on The Garden of the Pen Friend Club. It makes one imagine their sound if Sean O'Hagan could produce or co-produce one of their future efforts.
Harmonies on the Forefront
“At Least For Me Tonight” is my favorite song on the album as it unfolds to reveal multiple aspects, overlapping harmonies, stellar banjo playing and soft pop influences ranging from Jan & Dean’s Save for a Rainy Day to the Four King Cousins. “At Least for Me Tonight” is also a shining example of bassist Rie Nishioka’s remarkable composition skills along with being the catchiest song on the album.
“My New Melodies” evokes that skip-along feeling somewhere between “Turn Down Day” by the Cyrkle and an early ‘70s TV theme song like “Love Is All Around (Theme Song from The Mary Tyler Moore Show) with a pop factor worthy of Gary Zekley. There’s even a brief “You’re My Best Friend” guitar quote by Queen that works in the overall context. “Jump Over Time” is coated with “Nowadays Clancy Can’t Even Sing” dust. The rustic influence of Buffalo Springfield takes an increased presence on this release. “People in the Distance” is Penkura (as they are sometimes called in Japan) at their folkiest and is somewhat reminiscent of later period We Five with its expansive chorus and horizon-rising harmonies. They are unabashed music fans with many ears towards a wide-variety of sounds and it shows off in this stretch of songs. Be sure to read Tommy Vivian’s comprehensive and insightful liner notes that guide listeners through the dimensions of their sound, along with mentioning the myriad of musical influences on this recording.
Westbound
The captivating “Beyond the Railroad” is a straight ahead folk pop number where all their strengths come into focus with echoes of “Say That You Love Me” by Fleetwood Mac sounding in the distance. “You Know You've Heard That Before?” reminds me of Carole King and the City with the baroque ornamentation of a swirling flute. Lastly, the jaunty and sparkling “A Better Day” features intertwined harmonies and one of the best banjo runs I have ever heard to make for the perfect ending. The banjo is employed and executed to near perfection. A holistic and unified experience is achieved with this uplifting and culminating song.
Crowning Achievement
So where does that leave the Pen Friend Club at the end of their biggest year? This accomplished album presents them currently at the heights of their collective powers as it’s the most collaborative, original and sonically varied of all their releases. They demonstrate they are not afraid to venture into some unexpected places and explore unfamiliar territory. The Pen Friend Club lives up to its adventurous promise, while still remaining true to the West Coast sounds with the Beach Boys and A&M Records as their bedrock.
Fortitude and Flexibility
Their 8th full-length album is now a finite chapter in the history of the band rather than a preface on the potential sonic directions this particular iteration of the band would take. The fact of Megumi’s amicable parting does not diminish the quality in the album and may even enhance its allure as from this vantage point is is finite experience marking a particular point in time. An entirely different set of questions are now in effect for the group as obviously lead vocals are not plug and play. However, the band has been in this spot of filling the role of the lead vocalist several times before Megumi. They have repeatedly risen to the challenge of staying true to the best elements of the past and astutely navigating the always changing circumstances that are inherent in the overall cycles of life. The Pen Friend Club will continue to persevere and prevail.
The Pen Friend Club have been soaring over the expanses of West Coast Pop making musical waves across the Pacific Ocean for the past 10 years. Their bass player 西岡利恵 Rie Nishioka has been with the group since its beginning. Music runs throughout Rie's life whether on bass for the Pen Friend Club or leading her ‘60s garage combo named Schultz, playing keyboards for the '80s inspired act DEAR MY FRIENDS or her latest pursuit of playing solo. Stacked on top of all the music, she is also a fine writer and her words on her musical inspirations can be found on WebVANDA.
Further, it’s not everyday we come across a multi-instrumentalist as talented and versatile as Rie. In a way, she is like one of Wrecking Crew session musicians (e.g., Carol Kaye) in her support roles and also similar to one of the Brill Building singer-songwriters (e.g., Ellie Greenwich, Carole King) when she steps forward into the spotlight. Overall, she exemplifies the inspiring Japanese way of combining the aspects and elements of a vanished past with attention to detail and quality to create vibrant and eternal sounds we can hear now. Deeply involved and immersed are understatements when it comes to describing Rie and her music.
Special mention must be made to Patrick of Tokyo's Coolest Sound blog and drummer in Childish Tones feat. Beni Usakura as he made this interview possible through his encouragement, extensive translation and technical efforts to connect the world with Japan.
This interview is presented in alternating and corresponding Japanese & English.
You have been with the Pen Friend Club since its beginning. You play the roles of Carol Kaye/Brian Wilson/Al Jardine with some quite complex bass lines that lay the foundation for the group’s soft pop brilliance and ambitious arrangements.
Tell us about how you got involved with the long-running group who just celebrated their tenth anniversary?
Rie: Ten years ago, when leader Hirakawa invited me to form a band, I had no idea that it would be this kind of music or that we would end up continuing this long. As we repeatedly went to the rehearsal studio in the early days, the type of music he wanted to create quickly concretized. He's the one who does the bass line arrangements in the Pen Friend Club. I had always liked some music from the '60s and '70s, but it was a bit different from the Pen Friend Club's musical direction. By being in the band I got to know more music, and playing it was fun. As we did shows and recordings all along, it seemed that 10 years went by quickly, but despite that in the making of our new album I got to participate in creative areas for the first time, and that felt very new and different.
The Pen Friend Clubのメンバーになる前に、西海岸のハーモニーが充実したサンシャインポップサウンドを聴いていましたか？
Rie: The Beach Boysなども少し聴いていましたが、以前はイギリスの音楽を聴くことの方が多かったです。
Were you familiar with West Coast harmony/sunshine pop sounds before becoming a member of the Pen Friend Club?
Rie: I listened to The Beach Boys and others a little, but before that I listened to more British music.
ちなみに、ニューアルバムでは西岡さんが「The Sun Is Up」「At Least For Me Tonight」「People In The Distance」「A Better Day」の作曲を担当しました。「Floating To You」は平川雄一さんとの共作です。
I read that a new Pen Friends Club album has been recorded.
Would you be able to offer any details or descriptions on its direction?
Rie: Our 8th album will be released on Sept. 7, 2022 on the Sazanami Label. The biggest difference with the previous ones is that all songs are originals. Ricca–who plays acoustic guitars and sings backing vocals–and I participated in songwriting. Until now all of the original songs were written by Hirakawa, but this time other members also took part. I believe that the musicality of each one overlaps or brings differences, and I’d be happy if that can bring a new accent.
For the record, Rie composed the music of these songs on the new album: "The Sun Is Up," "At Least For Me Tonight," "People In The Distance" and "A Better Day". She also co-wrote "Floating To You" with Yuichi Hirakawa.
The Pen Friend Club / The Sun Is Up (Official Music Video)
The Pen Friend Club / Beyond The Railroad (Official Music Video)
Schultzというバンド名はどのように思いついたのですか？
Rie: Schultzは綴りは違いますがスヌーピーの作者名からとっています。
How did you come up with the band name of Schultz?
Rie: The name is taken from the creator of Snoopy, although the spelling is different.
Rie: When Schultz was formed it was a band of five female members. As some members had no experience of playing a musical instrument, it was interesting to go to the rehearsal studio and make sound with a sort of garage approach. But then as a member moved to Spain, for a while we stopped making music together. It’s after quite a while that vocalist Haruka Mukai joined The Pen Friend Club, and it’s at that moment that Schultz resumed.
Schultzは「Long Distance Call」「City Looks Still the Same」「I’ve Gone Away」「I Always Say What’s on my Mind」など、オリジナル曲がかなりあるようです。
これらの録音をする予定はありますか？
Rie: 具体的な予定はありませんが、いずれ録音は考えるかもしれません。
Schultz has amassed quite a few originals such as “Long Distance Call,” “City Looks Still the Same,” “I’ve Gone Away” and “I Always Say What’s on my Mind.”
Are there any plans to offer these recordings?
Rie: There are no concrete plans so far, but I might think about recording sometime.
2022年4月24日に開催された「Add Some Music To Your Day」配信イベントでは、西岡さんがキーボードを担当する80年代風バンドDEAR MY FRIENDSがデビューしました。このバンドについてもう少し詳しく聞かせてください。
DEAR MY FRIENDSはレコーディングセッションを行ったり、リリースの予定があったりしますか？
Rie: DEAR MY FRIENDSに関しても、現時点ではレコーディングの予定はなく、ライブを目的として活動しています。
I’m excited to learn more about and hear DEAR MY FRIENDS, which is the “80s styled” band that you play keyboards for and debuted at an installment of the “Add Some Music To Your Day” live streaming event that took place on April 24, 2022.
Has there been any DEAR MY FRIENDS recording sessions and/or recordings slated to be released?
Rie: Regarding DEAR MY FRIENDS, so far there are no plans of recording, as the goal is to perform live.
DEAR MY FRIENDSというバンド名はどのように思いついたのですか？
Rie: 名付けたのは私ではありませんが、曲名からきているそうです。
How did you come up with the band name of DEAR MY FRIENDS?
Rie: It wasn't me who chose the name, but it seems that it was taken from a song title.
DEAR MY FRIENDSにはSchultzのメンバーも参加されていますか？
Rie: Schultzでサポートをお願いしている2人のメンバーはDEAR MY FRIENDSでもあります。
DEAR MY FRIENDSの方は私が中心人物ではなく、3人が結成していたところに加入しました。
I’m also curious if Schultz shares any members with DEAR MY FRIENDS?
Rie: Two of the support members of Schultz are also in DEAR MY FRIENDS.
I am not the main person in DEAR MY FRIENDS, three others had already formed it and I joined.
DEAR MY FRIENDS (L to R) Bookie, Monko, JinJin, Rie
DEAR MY FRIENDS
■Monko ：Guitar, Vocals
■Bookie ：Bass, Backing Vocals
■JinJin ：Drums, Backing Vocals
■Rie ：Keyboards, Backing Vocals
Schultz and DEAR MY FRIENDS have the same bassist (Hiroyuki Anabuki), and Schultz's guitarist (Atsushi Jinno) is the drummer in DEAR MY FRIENDS.
Could you share more insight on your solo repertoire?
Are you planning to record as a solo artist? Also, do you have any plans to continue live as a solo performer?
Rie: Regarding my solo performance, it was for the other day’s event (Add Some Music to Your Day-April 24, 22). All of the songs were covers, and I chose songs different from the band’s, ones of music that I listen to usually. I played Buffalo Springfield, Grateful Dead, Jim Croce, Cowboy, and Brewer & Shipley. So far I haven’t planned to play solo regularly or do recordings, but I’d like to play again when there’s an opportunity similar to last time’s “Add Some Music To Your Day.”
Buck Owens and His Buckaroosの曲をレパートリーに含めることを検討しましたか？
Rie: Buck Owens And His Buckaroosはソロのレパートリーには入れませんでしたが、以前にSchultzで「Above & Beyond」をカバーしたことがあります。カントリーはSchultzの音楽性には異色でしたが私はこの曲がとても好きです。
Have you considered incorporating any Buck Owens and His Buckaroos songs into your set repertoire?
Rie: I haven’t put Buck Owens and His Buckaroos in my solo repertory, but previously in Schultz we played a cover of “Above & Beyond.” Country didn’t match with the musical style of Schultz, but I like this song very much.
現在の曲のレパートリーは、西岡さんがWebVANDAに定期的に寄稿している記事と連動することが多いようです。例えば、The Rising StormとThe Enfieldsについて書かれていましたが、「I’m For Things You Do」（The Enfields）と「Bright Lit Blue Skies」（The Rising Storm）がSchultzのセットリストに登場しました。
Your current repertoire of music frequently coincides with your writing projects which regularly appear on WebVANDA. For example, you wrote overview pieces on the Rising Storm and the Enfields. Songs by these groups, the Enfields’ “I’m For Things You Do” and “Bright Lit Blue Skies" by the Rising Storm have appeared in your setlists for Schultz.
Following this same pattern, will there be Seals & Crofts songs in your solo set?
Rie: On WebVANDA, I write about things that I like or have interest in, so this naturally goes along with the songs that I cover. I didn’t play Seals & Crofts last time.
What type of music did you listen to as a youngster?
Rie: I don’t come from a family of musicians, and personally I only started rather late to listen to music. In my early teens I listened to hard rock, and in my late teens I often listened to blues.
What made you want to become a musician?
Rie: As I went on pursuing the things I wanted to do, music has taken a bigger part of my daily life, but it isn’t my profession.
I saw that you have an affinity for the children’s television show Sesame Street?
While I knew Sesame Street had versions all over the world, I didn’t previously know of its long run and strong influence in Japan or the NHK version of セサミストリート Sesamisutorīto.
Rie: I started watching Sesame Street to learn English, but I liked that musicians do sessions with the characters. It was the reason I began listening to Elvis Costello.
Rie: In terms of Japanese bands, I have known many good bands by being part of the same event. Childish Tones’ lively and fun ambiance is lovely, and their distinct sound with low sustain has an atmosphere similar to Thee Milkshakes. I also love The Secret Meanies’ songs and sounds that have a dry and nostalgic feel.
I have recently been listening to a lot of Eiichi Ohtaki 大滝詠一 (“The father of City Pop”). Thanks to YouTube, his music has just started to become better known in the United States in the past 5 years.
How do you feel about the Pen Friend Club being one of the contemporary bands included in the exciting City Pop Movement?
Rie:Personally I don’t know much about City Pop, but sometimes The Pen Friend Club gets described as City Pop. It’s interesting how a different facet of the band may stand out depending on the listener’s musical taste.
