Miimo, a self-described post dub trio, release their second studio album, combining steelpan, electronics and upright bass, to fashion music beyond the boundaries of the origins of their passions. Yoshio Machida steelpan wielding speaks of the Caribbean origins of steelpan orchestras and reggae appropriation as does the extension of the producer’s art of dub which left the studio long ago. However quite rightly any discussion of musical language in terms of origins is becoming abhorrent in my mind, which is perhaps why the unbounded appreciation of Miimo is not to be found in this frame. Miimo is akin to the sound of an enquiring musical mind, finding and holding precisely the ability to speak a polyfusion of musical tongues while maintaining a full deep sound and clarity of purpose..
The tight and seemingly effortless construction belies the compositional ability of Machida Tatsu, as much as the effects driven electronics of laptop/drummer Norihide Saji (aka Plot) or the Ska/Reggae infused upright Bass playing of Tatsu, essential acoustic warmth. All three are well seasoned journeyman musicians in the Tokyo scene playing in multitudes of bands as well as solo projects. In addition J-pop vocalist Yuiko measures up on Small Venus against a vocoder, a particularly bright moment which attests to Miimo’s wide sonic appreciation. Yuiko returns with a kooky cute dub Happy Birthday and there is a Portugese rap track, Taxadermia, that steps between a jazz vibe to dubbed out rap attack in the Mediterranean. The sprouting of vocals in a dub electronic heavy environment reflects Yoshio Machida’s interest in poetry as attested to in other releases on his imprint Amorfon.
Innerversitysound
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