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Interview by A. David Cooper Cibo Matto's producer embarks on a solo career, ready to once again redefine the boundaries of pop music. When the Japanese underground pop group known as Cibo Matto hit the United States in 1996 with their debut "Viva! La Woman", America was exposed to Japan's first legitimately cool band of the 90's. Composed of Miho Hitori and Yuka Honda, Cibo Matto quickly went on to establish themselves as alternative music powerhouses and soon formed alliances with the likes of The Beastie Boys, Yoko Ono, Sean Lennon and a long list of collaborators from the world of edge music. Cibo Matto's last release, "Stereotype A" was easily one of 1999's best pop records, mixing rock, bossanova, hip-hop and electronica in way that will forever distinguish Cibo Matto's sound as "future now." Cibo Matto's producer and driving force Yuka Honda hasn't missed a step as she now embarks on her own solo career. Free of the reigns of artistic definition or fan expectation, Honda has just released "Memories Are My Only Witness", a work that defies convention and continues our trip into the future. MacDirectory: I have to get this question out of the way first for all the fans: what's up with Cibo Matto? Is it over, or are you guys just coming together whenever you kind of feel the vibe? Yuka Honda: It's over. It's all over. Nobody is left in the band. Cibo Matto broke up, because it was time. We felt the need to move to the next step. It was a healthy decision, though it was sad at the same time. Things just need to grow out of things some time.
MD: I've been waiting to see what your solo work would sound like for a while, what took so long for you to make the decision? Honda: I never really made that decision... John Zorn (owner of Honda's label Tazdik Records) had asked me to make a solo album around the time that Cibo Matto was starting up. I just never got around to do it, and John was nice enough to wait for me. Much has been made of Honda's relationship with Sean Lennon, son of Yoko Ono and Beatles legend John Lennon. It turns out that their relationship gave birth to something far more important than romantic gossip, it resulted in an ambitious artistic union. |
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MD: As a producer, who are your role models, and what was producing Sean Lennon's "Into The Sun" like? Honda: I don't really have a role model. There are many people I love, like Brian Eno, Brian Wilson, Phil Spector, Mitchel Froome, Quincy Jones, etc...I think every album has a "right producer" and that's different every time. Producing "Into The Sun" was overwhelming. MD: Where is "the thumb sucking crib" studio (where the new album was created) located and specifically what equipment you use? Honda: "The crib" is at my crib [in New York City]. Literally by my bed. I have a Pro-tools Mix Plus, Korg Triton, Akai S 3200, Roland DJ-70, Roland vp9000, Syncussion, Roland MC505, Rave-o-lution, Korg Kaos pad, Farfisa organ, Prophet 5, Juno-60, lots of mini Casio keyboards, and Effectron, Neve EQs, Roland space echo, Boss pedals, Fender Rhodes...lots of toys. It's fun. I love the DJ-70. MD: Japan and New York are like artist hubs of the world. What is it like commuting between the two places and how do you make the cultural adjustments as you go back and forth? Honda: They're my two favorite places for music. Japan is great; I grew up there and the mind for the music is so much more free from the concept of the Western music. Music doesn't have any social background. Black, white, ghetto, gang, rasta, redneck, etc., feelings of the music dissipates when the music travels across the ocean. For Japanese people, it's a pure expression of the tone with the rhythm. I basically built my foundation there. I love the avant-jazz scene and every other music being combined with everything. I don't really feel the need to adjust when I go back and forth. They are both big a part of me. MD: Looking toward the future, what are your feelings regarding technology (robotics, digital music distribution, futurism in general, etc.)? Honda: I think technology is wonderful, as long as we use it for the convenience, and we don't lose the basic feelings for what is important in our lives. I use a lot of digital technology in my music. It's clear that now that Honda is allowed to pursue her electronic music dreams on a more solo path, the music world is due for some truly strange and exciting audio compositions. Next up for the musician? Honda is fully engaged in her goal to collaborate with more musicians than anyone in her generation, and shešs eagerly planning to find a way to get her cinematic songs placed within the fabric of an equally unique film. One listen to "Memories Are My Only Witness" will tell you that we don't have long to wait for her next ethereal appearance. Hear samples of "Memories Are My Only Witness"
at www.damoon.net/yuka/memories.htm |
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