HESO Magazine

Photography, Music, Film, Hitchhiking, Craft Beer – Cultural Pugilist

Tag: Hip Hop

Tim & Puma Mimi and the apple

The Stone Collection Of Tim & Puma Mimi

Tim & Puma Mimi and the apple

Tim & Puma Mimi and the apple

As the sparse synthesizer and video games breaks beep to life on the first track of The Stone Collection Of Tim & Puma Mimi we hear a Puma Mimi ask a question, “Acchi, kocchi, acchi, kocchi, dochi ni ikou?” (Here, there, here, there, which way to go?). It is unclear if she’s asking us or herself. And with the range of musical genres represented on the album (hip hop, dance, electronic, J-pop, crossover jazz, fruit), this might be emblematic of the album itself. At its heart, it’s a fun and accessible (even if you don’t speak Japanese) musical metaphor for modern Tokyo living.

Much as the album defies straightforward definition, so too does how Tim and Puma Mimi met (“We met at the Santa Klaus party in the Netherlands in the end of 2003.”), and eventually came to live and make music in Tokyo.

In places it is a throwback album of beautiful voicework and analog instruments, yet its modern synthesizers, canned drumbeats and use of fruit as instrument (what?!) belie the way it was made–not in the studio, but in Puma Mimi’s small 1DK (One Dining Kitchen Apartment) flat in Shinagawa, Tokyo.

HESO: How do you make music? digitally, analoguely, with fresh produce or all of the above?

Tim: All of them, we don’t have rules, how to produce, it just has to bring the song to a cool shape. The cucumber is electronic, the flute acoustic, mostly I use the micro Korg, but sometimes Fender Rhodes or Mini Moog, or even plug-ins, but I don’t like midi.

More than just the multi-instrumentalist genre-mashing, the way the songs are made reflects on the private/personal relationship between life and music, recording and touring, loving and playing. Having met and seen a bright future, both musically and romantically, they soon had to part because of the technicalities of bureaucratic life–visas, work, nationality. But long distance relationshipping didn’t stop them from making music. The Skype concert series soon sprang to life, with Tim touring clubs Europe and skype-casting Mimi singing live from her kitchen in Tokyo. This, plus their growing number of singles, created a following and got them into electro-festivals across Europe. But it wasn’t enough.

HESO: You wrote and recorded your album in Mimi’s tiny Tokyo apartment, but where are you now?

Tim: Now we live in Zurich, bit bigger apartment, but still all instruments in bedroom. It’s in Kreis 4, the melting pot of underground Zurich (yes that exists too in Zurich, beside being a super-expensive and clean old town famed for the Bahnhofstrasse). Sometimes we rent a music-room, but it’s often underground and humid.

Tim & Puma Mimi Live at Womb in Tokyo

Tim & Puma Mimi Live at Womb in Tokyo

HESO: Tim, what is your impression of Japan? Puma Mimi, Switzerland?

Tim: Japan? First I was disappointed, I had a picture of crazy colorful people, but 90% of people in Tokyo wear black suits. But after two weeks you start to understand, why they don’t look into your eyes, that they have different lines to queue for next train. After two months you start to love it, but I’m not sure if I will ever feel at home there.

Mimi: I like Zürich very much because I can get both city and nature life at once. I grew up in the northern part of Japan where I enjoyed nature, but as a teenager, it was boring. No concert places, no exhibitions. Even the last cinema in the town went bankrupt, and turned to be a Karaoke house (yeah! of course we had Karaoke!). Then I went to Tokyo to study when I was 19. Tokyo was so exciting, creative fashion, fast information, music, arts and so on…. I enjoyed it a lot. But sometimes, I couldn’t breathe. I missed nature, fresh air, fresh water, quietness, the sky. Compared to Tokyo, Zürich is very small, but there are many things going on in this “little big city”. Lake water is very clean. And I can get to deep nature in 10 min by train. That’s perfect combination for me. Besides Zürich, I like mountain area in Ticino, old stone houses and sharp mountains. It’s so nice to walk there.

HESO: If your beats and words are inspired by the cramped and crowded Tokyo lifestyle, what happens when you have all of the Alps from which to take inspiration?

Tim: I would love to do calm, maybe even spiritual music, but always when I try it, I think that doesn’t work, audience would fall asleep, or just start talking. I would like to do live music for yoga or something similar.

Mimi:I try to write about something around me. So Alps could be a good inspiration too. But the problem is that the nature is very powerful. So, when I go to mountains, I become wordless. It takes more time to write about the nature than about concrete jungle… at least, for me.

Tim & Puma Mimi on the Phone by David Thayer 2011

Tim & Puma Mimi on the Phone by David Thayer 2011

On the lenitive “Tamago” the album takes a turn from the fun and playfully amateurish upbeat Electro-J-pop to a more serious and contemplative nature. It is not a coincidence that this comes halfway through the Stone Collection. From this point on, especially on “Green Blood Circulation”, even when the music returns to previous form, the songs retain a depth and a progressive movement toward some far-off point that we can’t quite see, but know is out there.

HESO: How do you come up with ideas for songs? Albums? Videos? Live performances? Who does what?

Tim: I produce the songs. Mimi writes texts and melody lines. Musically it’s just trial and error, sometimes it works, sometimes doesn’t. I give the recordings over to Mimi. In a bigger view I would say: The ideas grow in our heads and sometimes we can pick up the fruits. Inspirations are: fleamarkets, walking in cities and mountains, watching concerts, movies, reading books.

Mimi: About lyrics: I try to express my inner feeling by describing daily objects around me. For example, I came up with lines for “Giacometti” when I saw the poster of Giacometti hanging in the room where we were recording. And the text begins with “To talk to Giacometti, I don’t need words….”. Something like that. Melody line: it’s all depends on Tim’s music. When Tim gives me an idea of song, then I listen to it many times and try to jam (hum) with lyrics I already have.

HESO: The album has dropped. What happens next?

Tim: In a week we visit China for 3 weeks, travelling with a bunch of musicians and do live music to silent movies. Later this Year I want to build a do-it yourself-kit of my Fruitilyzer, that people can build their own Fruitilyzer and electrify new fruits and vegetables.

HESO: Can you write a very short song-poem about your favorite food?

Mimi: I wrote this quite long ago, and try to make a song out of it, but Tim never liked my melody lines with these lyrics. So it is still un-published. Tim doesn’t like Tomato Sauce either, by the way.

トマトソース / Tomato sauce
飛び散る飛び散る/ It splashes all over
白いTシャツ / on my white T-shirts
赤いシミ/ and leaves red stains
食べるのやめるか/ Should I stop eating
トマトソース/ Tomato sauce?

いやいやそんな/ Noway, it’s
トマトソース / Tomato sauce!
だってだいすき / I love
トマトソース / Tomato sauce
ファッションは /Fashion has no chance against
食欲に敵わない / appetite

HESO: I love Tomato Sauce. Thanks guys. Check out their site for more fun with fruits and beats.

Interview with Tim & Puma Mimi is part of HESO Magazine’s ongoing (late) Summer Interview Series, where we interview photographers, musicians and artists about their work and what they think about the world of 2012. We may ask them similar questions, but the answers have been anything but the same old canned responses. Check out the entire series here.

Beardyman - The Interview - HESO Magazine

BeardyMan – The Interview

Beardyman in Bern by Beard Radio on Mixcloud

Beardyman - The Interview - HESO Magazine

Beardyman Beatboxing live

The two-time UK Beatbox Champion takes time out of his packed schedule to tell Heso Magazine about the inspirational genius of Bach and recording his solo album naked while surrounded by monks…

BeardyMan – The Interview

HESO Magazine: Your hometown is Brighton. For the benefit of readers outside England, enlighten us about the little town by the sea that gave us Beardyman…

Beardyman: Brighton is a beautiful little place. Some people call it London-on-sea, but they’re just jealous and overly nostalgic. It’s an awesome place to try and make it in music. True, it’s almost as expensive as London to live there, but the character of the place is still as hippy-like and alternative as ever. It’s got so much character. And it’s just the right size that you’ve got loads of students and young people who love music and like being entertained, but still small enough to make a name for yourself with a couple of years worth of good gigs. For people putting on their own nights there are places to start out—less than there were, but still places. It’s much less harsh than London in terms of attitude. If living in London makes you crazy, Brighton is the antidote. It’s chill. I love it.

HM: How did you get into beatboxing?

BM: I’ve always done it, since I can remember, but I didn’t know there was a name for it, let alone that you could make a living from it. Soon as I saw Rahzel though, I knew I had to give it a shot. That was in 2003 I think…I saw him rock a crowd for a whole hour, and just thought, wicked, I wanna do that! So I teamed up with Klumzy-tung, a ridiculous freestyle MC, and we just started seeing how silly we could be. We developed our own style of “silliness” mixed with hip-hop and drum n bass, and that showed me how silly you could be and get away with it. Since then I haven’t been afraid to be stupid on stage.

HM: When did you decide to commit to being a full-time beatboxer?

BM: It was a decision I took about two years ago. I hit a crossroads, where I could either try and be a musical artist or not sacrifice my degree and possibly my career in product design. It was the best decision I’ve ever made. I thought I’d starve, but actually I’m doing OK. For now…haha!

HM: Who are your biggest influences?

BM: So many people inspire me: Jimi Hendrix, for his improvisational and technical genius; Bach for being able to play a six part fugue with two hands and one brain and improvise the whole thing, which is a bit like playing six games of chess blindfolded. Bobby McFerrin for his incredible vocal accuracy and ability to control an audience to such an extent that he can play them like a keyboard with his feet. There’s this clip of him at the Montreaux Jazz Festival doing it. It’s required viewing for any live musician. Rahzel and all beatboxers worldwide – I’m fascinated by stagecraft, and every beatboxer has their own style of theatre that they bring to a performance. James Brown, Tool, Tim Exile. Tim Exile’s amazing! He regularly clears rooms because his sets are so scary. I love him.

HM: Your live performances are packed full of musical and mimical creativity. Where does your inspiration come from?

BM: Anything really. Whatever makes me laugh, or whatever I’m having a joke about with my mates. You’ve got to check out the Lyrebird of Southern Australia. It’s the best mimic in all creation. It could take any beatboxer down, I’m not even joking. Check it out on YouTube – it’ll fuck your head up. It makes parrots look like amateurs. There’s a quote for you…”Parrots are fucking amateurs!”

Beardyman - The Interview - HESO Magazine

Beardyman getting the crowd going

HM: When you’re up on stage how much is improvisation? How do you prepare before a show?

BM: It’s a mixture depending on the show. I practice routines but I always end up changing them on the day because every crowd is different and you gotta roll with whatever vibe is flowing. It’s pretty cool being able to just adapt a set to do whatever you feel like doing. That’s the advantage of making all the music at the same time with your mouth.

HM: You have a lot of collaborations in the pipeline at the moment. What should we be looking out for this year?

BM: I’m going to be cutting down on gigs in a big way this next 6 months. I need to get this album recorded. I’m doing a freestyle album with musicians and MCs, a podcast with recorded gig material, a studio album and various other collaborations: one with A-skills, another with the Quemists, and many others this year, some of which are too exciting to talk about… but if they happen, then awesomeness will rain down from on high and bless all da people dem!

Also though, and most excitingly, the club-night run by myself and JFB, the UK DMC champion, is going from strength to strength. We have a club night in Brighton and in London, both in excellent venues and at both of them we have complete artistic license. JFB scratches with sounds he’s recorded and we make the entire set out of that. It’s really quite unique—come see it before it gets too big and we’re packing out stadiums!

HM: What can we expect from a Beardyman solo album?

BM: I’m going to record the whole album naked, surrounded by monks of all different faiths. Then I will throw it away and make a new album entirely out of samples of fish being gutted. I’ll release that on a major label under the pseudonym “Robbie Williams” and go on tour with the Royal Philharmonic Orchestra…But really…I’m going to be releasing a couple of different strands of musical recordings: the live improvised stuff, which will be more fun and dance driven, and then there’ll be some slightly deeper, more polished stuff which will be broader in scope and audience. I play instruments too so I’ll be using them. No need to hem in your creativity just to fit into the beatbox mould.

HM: Can we expect to see you out in Japan anytime soon?

BM: Definitely. If someone wants to book me, I’d love to see Japan. I hear the sushi is very good…

Beardyman’s debut EP Mr. Maybe is available from iTunes

Check out Beardyman online:
www.beardyman.co.ukwww.myspace.com/beardyman

Powered by WordPress & Theme by Anders Norén