Japanese Gum

Some months ago we saw Japanese Gum releasing Without You I’m Napping EP, shot but intense, and for sure introductory to their official Hey Folks! Nevermind, We Are All Falling Down.The two-piece from Genova, Italy, through eleven tracks, look like injecting hectolitres of life blood to the body of a genre that, generally, looks like being short of breath in gaining personality. I like to believe that Hey Folks! Nevermind, We Are All Falling Down is first of all a pop devise that earns vigour listen after listen.It’s here where the song-form retrieves a deep breath, letting melodies outcrop through glimmers wider and wider, – making literally blowing up the crystalline sheets of synth with chatartic loads of guitar (Chlorine Blue).Emotional emergency at its purest form, i mean. Nothing superfluous.Comparisons with their fellow citizens Port-Royal are soon to be forgot, and thanks to this release, Japanese Gum finally find their own (living) space in the italian scene. Shoegazing and glitch aesthetics rarely reach this greatness. At least, at our home. - White Noise Records

Some months ago we saw Japanese Gum releasing Without You I’m Napping EP, shot but intense, and for sure introductory to their official Hey Folks! Nevermind, We Are All Falling Down.The two-piece from Genova, Italy, through eleven tracks, look like injecting hectolitres of life blood to the body of a genre that, generally, looks like being short of breath in gaining personality. I like to believe that Hey Folks! Nevermind, We Are All Falling Down is first of all a pop devise that earns vigour listen after listen.It’s here where the song-form retrieves a deep breath, letting melodies outcrop through glimmers wider and wider, – making literally blowing up the crystalline sheets of synth with chatartic loads of guitar (Chlorine Blue).Emotional emergency at its purest form, i mean. Nothing superfluous.Comparisons with their fellow citizens Port-Royal are soon to be forgot, and thanks to this release, Japanese Gum finally find their own (living) space in the italian scene. Shoegazing and glitch aesthetics rarely reach this greatness. At least, at our home. - White Noise Records

The '80s, having always been associated with the kitsch that characterized artistic expressions of the period, is probably the least appreciated decade when it comes to its contribution to the evolution of music. This is obvious when listening to a band such as Japanese Gum. Whether its post-punk, new wave, no wave, electro-pop à la New Order, or shoegaze, it's all here. These two Italian gentlemen must have grown up listening to every great band of the '80s, and, thankfully, while paying their respect to those that inspired them, they make something unique and wonderful.

In the more than one hour of Hey Folks! Nevermind, We Are All Falling Down the duo offers us a musical journey that, while not always fascinating, is certainly interesting throughout. With vocals that often feel as if they came from the depths of the ocean, Japanese Gum is a band that seems to have woken from a deep sleep to write space-age lullabies that, at times, bring to mind groups such as Slowdive or My Bloody Valentine at their most ambient and experimental, and, at others, sing with the passion and desperation of Morrissey and a cloud of distortion accompanied by electronic madness in the background. The band's approach reminds us that, while the music of the past can be the inspiration behind someone's creativity in the first place, a true artist knows that having his own voice is what distinguishes those whose work matters from the pretenders.

Japanese Gum would have been a perfect fit for a label such as Morr Music, as the band's dream-pop is closely related to that of The Notwist or Mum. However, the band that Japanese Gum most strongly recalls is Lali Puna, as both bands seem to share the same care-free attitude and melancholy. If there is one fault the album has, it is that, despite the vast array of sounds it employs, there are times when the music becomes repetitive. The thing about lullabies is that, no matter how "space-age" they are, they do tend to put you to sleep, which isn't always what a listener is looking for in an album.

Nevertheless, this is a band with a very clear idea of what it wants to do and how it can do it. Japanese Gum makes art that is sensitive, honest, and beautiful. Listening to Hey Folks! Nevermind, We Are All Falling Down is a more than pleasant experience. Now forgive me, but I feel I need some sleep; with a soundtrack like this, my dreams will more than likely be sweet. - The Silent Ballet

The '80s, having always been associated with the kitsch that characterized artistic expressions of the period, is probably the least appreciated decade when it comes to its contribution to the evolution of music. This is obvious when listening to a band such as Japanese Gum. Whether its post-punk, new wave, no wave, electro-pop à la New Order, or shoegaze, it's all here. These two Italian gentlemen must have grown up listening to every great band of the '80s, and, thankfully, while paying their respect to those that inspired them, they make something unique and wonderful.

In the more than one hour of Hey Folks! Nevermind, We Are All Falling Down the duo offers us a musical journey that, while not always fascinating, is certainly interesting throughout. With vocals that often feel as if they came from the depths of the ocean, Japanese Gum is a band that seems to have woken from a deep sleep to write space-age lullabies that, at times, bring to mind groups such as Slowdive or My Bloody Valentine at their most ambient and experimental, and, at others, sing with the passion and desperation of Morrissey and a cloud of distortion accompanied by electronic madness in the background. The band's approach reminds us that, while the music of the past can be the inspiration behind someone's creativity in the first place, a true artist knows that having his own voice is what distinguishes those whose work matters from the pretenders.

Japanese Gum would have been a perfect fit for a label such as Morr Music, as the band's dream-pop is closely related to that of The Notwist or Mum. However, the band that Japanese Gum most strongly recalls is Lali Puna, as both bands seem to share the same care-free attitude and melancholy. If there is one fault the album has, it is that, despite the vast array of sounds it employs, there are times when the music becomes repetitive. The thing about lullabies is that, no matter how "space-age" they are, they do tend to put you to sleep, which isn't always what a listener is looking for in an album.

Nevertheless, this is a band with a very clear idea of what it wants to do and how it can do it. Japanese Gum makes art that is sensitive, honest, and beautiful. Listening to Hey Folks! Nevermind, We Are All Falling Down is a more than pleasant experience. Now forgive me, but I feel I need some sleep; with a soundtrack like this, my dreams will more than likely be sweet. - The Silent Ballet

Some months ago we saw Japanese Gum releasing Without You I’m Napping EP, shot but intense, and for sure introductory to their official Hey Folks! Nevermind, We Are All Falling Down.
The two-piece from Genova, Italy, through eleven tracks, look like injecting hectolitres of life blood to the body of a genre that, generally, looks like being short of breath in gaining personality.
I like to believe that Hey Folks! Nevermind, We Are All Falling Down is first of all a pop devise that earns vigour listen after listen.
It's here where the song-form retrieves a deep breath, letting melodies outcrop through glimmers wider and wider, - making literally blowing up the crystalline sheets of synth with chatartic loads of guitar (Chlorine Blue).
Emotional emergency at its purest form, i mean. Nothing superfluous.
Comparisons with their fellow citizens Port-Royal are soon to be forgot, and thanks to this release, Japanese Gum finally find their own (living) space in the italian scene. Shoegazing and glitch aesthetics rarely reach this greatness. At least, at our home. - Komakino

Some months ago we saw Japanese Gum releasing Without You I’m Napping EP, shot but intense, and for sure introductory to their official Hey Folks! Nevermind, We Are All Falling Down.
The two-piece from Genova, Italy, through eleven tracks, look like injecting hectolitres of life blood to the body of a genre that, generally, looks like being short of breath in gaining personality.
I like to believe that Hey Folks! Nevermind, We Are All Falling Down is first of all a pop devise that earns vigour listen after listen.
It's here where the song-form retrieves a deep breath, letting melodies outcrop through glimmers wider and wider, - making literally blowing up the crystalline sheets of synth with chatartic loads of guitar (Chlorine Blue).
Emotional emergency at its purest form, i mean. Nothing superfluous.
Comparisons with their fellow citizens Port-Royal are soon to be forgot, and thanks to this release, Japanese Gum finally find their own (living) space in the italian scene. Shoegazing and glitch aesthetics rarely reach this greatness. At least, at our home. - Komakino

Japanese Gum are the Italian duo of Paolo Tortora and Davide Cedolin. Their aim is to create soundscapes that are both challenging and experimental while retaining a commercial edge and to a certain extent they manage to do what it says on the tin. The music itself sound like The Jesus and Mary Chain jamming with Ennio Morricone, but the reverb laden vocals are reduced to nothing more than an annoying mumble at the back of the mix as if put there as an after thought.

If commercial success is the game plan for the guys, well it ain't gonna happen, although they do have crossover appeal for both the dance and indie markets. I do actually really like this album. I like the lo-fi production and experimental nature of it. I also like the fact that there are actually songs on here. It is easy for an act to hide behind the technology and dazzle us with a series of electronic bleeps and breaks that make no concession to actually making it an enjoyable experience for the listener. On this album Japanese Gum manage to balance the music and the technology, vocals apart, pretty much perfectly.

It would not be fair to review this on an individual track basis as it is clearly not intended to be listened to that way. Instead listen to this album as a whole and immerse yourself in the chilled soundtrack. As avant guarde as it is, it is actually an enjoyable experience.


- The Music Critic

Japanese Gum are the Italian duo of Paolo Tortora and Davide Cedolin. Their aim is to create soundscapes that are both challenging and experimental while retaining a commercial edge and to a certain extent they manage to do what it says on the tin. The music itself sound like The Jesus and Mary Chain jamming with Ennio Morricone, but the reverb laden vocals are reduced to nothing more than an annoying mumble at the back of the mix as if put there as an after thought.

If commercial success is the game plan for the guys, well it ain't gonna happen, although they do have crossover appeal for both the dance and indie markets. I do actually really like this album. I like the lo-fi production and experimental nature of it. I also like the fact that there are actually songs on here. It is easy for an act to hide behind the technology and dazzle us with a series of electronic bleeps and breaks that make no concession to actually making it an enjoyable experience for the listener. On this album Japanese Gum manage to balance the music and the technology, vocals apart, pretty much perfectly.

It would not be fair to review this on an individual track basis as it is clearly not intended to be listened to that way. Instead listen to this album as a whole and immerse yourself in the chilled soundtrack. As avant guarde as it is, it is actually an enjoyable experience.


- The Music Critic

When I opened the package I thought someone had sent a pukka Japanese import. There was the ubiquitous useless strip of card, you know the thing, that sits over the spine of the jewel case but falls away once the cellophane is removed. There was also one of those mini-inlay cards inside the main artwork, with Japanese lyrics. Plus the name, of course, Japanese Gum. I’d never heard of it. I’ll bet you’ve never heard of it?

You should hear it. Oh man, you should definitely hear it.

Actually JG hail from Genoa, Italy. All the ‘Japanese’ stuff must be a little private gag. Ha bloody ha. I’ve already forgiven/forgotten about it though because…. Genoa. GENOA. That’s where port-royal come from. port-royal, the leading exponents of indietronica and YES this ‘Hey Folks….’ is a similar melting pot of glitch electronics and delayed guitars.

How is it? Awesome. JapGum front-load their album with their best numbers. Always a good tactic. But then they back it up with repeatedly high standards throughout. Tracks 1 to 3 go ‘good’, ‘great, ‘God-like genius’. (‘%’) Then instrumental ‘Sunless summer’ just hangs gorgeously in the air. No let up. Hey Folks… stays impossibly good for 8 of its 11 official tracks. ‘Cluster of bees’ is another highlight almost hitting the same stratospheric heights as ‘%’, swiftly followed by the female guest-vocaled ‘mistake/ghost’ which is particularly effective because the lyrics are more discernible:

“there was vacancy in her gaze
a feeling of absence
while we were there
growing so fast
dazzling and greeting us
with cheering smile
she said
How are you going to explain away that mistake”

If there is one mistake on the album it might possibly be ‘Converge’, the one and only miss-step in evidence. Guitars twinkle like something by Cocteau Twins and Harold Budd (Lovely Thunder, The Moon and the Melodies) but the pained vocal starts to reach agonising proportions. I suspect they were trying to juxtapose ‘abrasive’ with ‘beautiful’ since such clashes often work but this doesn’t quite pay off. In fact vocals here in general might not be for the purist. Most are heavily processed gasps or whispers. They sit at the back of the mix but not buried.

I think Japanese Gum have an obtuse sense of humour. For instance they named their tenth track ‘09’. The album title is also wilfully ridiculous. To be honest when music is as good as this, the artist can do whatever the f$#% they want and ‘09’ is a searing return to form after the ‘fingernails down the blackboard’ ordeal of ‘Converge’. ‘09’ is like Bitcrush or early m83.and if your music is being mentioned alongside those two, you must be doing something right. There’s a hidden bit within the final track and there are three bonus tracks. These add nothing but only by virtue of the fact that there literally is nothing more to add to this album. The bonuses would have made a fine EP. Japanese Gum are spoiling us.

Next vacation, Italy.

- Sic Magazine

When I opened the package I thought someone had sent a pukka Japanese import. There was the ubiquitous useless strip of card, you know the thing, that sits over the spine of the jewel case but falls away once the cellophane is removed. There was also one of those mini-inlay cards inside the main artwork, with Japanese lyrics. Plus the name, of course, Japanese Gum. I’d never heard of it. I’ll bet you’ve never heard of it?

You should hear it. Oh man, you should definitely hear it.

Actually JG hail from Genoa, Italy. All the ‘Japanese’ stuff must be a little private gag. Ha bloody ha. I’ve already forgiven/forgotten about it though because…. Genoa. GENOA. That’s where port-royal come from. port-royal, the leading exponents of indietronica and YES this ‘Hey Folks….’ is a similar melting pot of glitch electronics and delayed guitars.

How is it? Awesome. JapGum front-load their album with their best numbers. Always a good tactic. But then they back it up with repeatedly high standards throughout. Tracks 1 to 3 go ‘good’, ‘great, ‘God-like genius’. (‘%’) Then instrumental ‘Sunless summer’ just hangs gorgeously in the air. No let up. Hey Folks… stays impossibly good for 8 of its 11 official tracks. ‘Cluster of bees’ is another highlight almost hitting the same stratospheric heights as ‘%’, swiftly followed by the female guest-vocaled ‘mistake/ghost’ which is particularly effective because the lyrics are more discernible:

“there was vacancy in her gaze
a feeling of absence
while we were there
growing so fast
dazzling and greeting us
with cheering smile
she said
How are you going to explain away that mistake”

If there is one mistake on the album it might possibly be ‘Converge’, the one and only miss-step in evidence. Guitars twinkle like something by Cocteau Twins and Harold Budd (Lovely Thunder, The Moon and the Melodies) but the pained vocal starts to reach agonising proportions. I suspect they were trying to juxtapose ‘abrasive’ with ‘beautiful’ since such clashes often work but this doesn’t quite pay off. In fact vocals here in general might not be for the purist. Most are heavily processed gasps or whispers. They sit at the back of the mix but not buried.

I think Japanese Gum have an obtuse sense of humour. For instance they named their tenth track ‘09’. The album title is also wilfully ridiculous. To be honest when music is as good as this, the artist can do whatever the f$#% they want and ‘09’ is a searing return to form after the ‘fingernails down the blackboard’ ordeal of ‘Converge’. ‘09’ is like Bitcrush or early m83.and if your music is being mentioned alongside those two, you must be doing something right. There’s a hidden bit within the final track and there are three bonus tracks. These add nothing but only by virtue of the fact that there literally is nothing more to add to this album. The bonuses would have made a fine EP. Japanese Gum are spoiling us.

Next vacation, Italy.

- Sic Magazine