Japandroids – Over / Under – Pitchfork TV
Published on Jun 24, 2013
Japandroids talk sexting, geek out about Hellraiser, endorse universal health care.
Japandroids – Over / Under – Pitchfork TV
Published on Jun 24, 2013
Japandroids talk sexting, geek out about Hellraiser, endorse universal health care.
This band is awesome! Two people can produce wonderful music! Watch Brian: He’s got his guitar signal split into two different amplifiers so when he plays a chord, one amp is transmitting it clean and very bass heavy, resulting in the “bass line” you’re hearing when he hits the lower strings. The other amp is giving the usual distorted guitar sound you’re hearing play the higher chords. So he’s playing both at the same time. You can see at 2:20 hes using his middle finger to play different bass notes behind the “solo”.
Japandroids are in the middle of a seemingly never-ending tour right now. The Vancouver duo took a break to perform on “Letterman” last night, bowling through Celebration Rock’s (not “celebrity rock,” Dave) “Adrenaline Nightshift”. Watch below:
[HD] Japandroids – “Adrenaline Nightshift” 9/20/2013 David Letterman
Watch Japandroids perform “Fire’s Highway” at the 2012 Pitchfork Music Festival below:
Published on Jul 19, 2012
This is a video for the full song “The House that Heaven Built” by Japandroids from their album “Celebration Rock.”
The footage from the film is from the documentary “Senna”, based on the life and career of Formula One Brazilian driver Ayrton Senna, one of the greatest race car drivers in history. Ayrton won three Formula One world championships. He was killed in what was first believed to be an accident while leading the 1994 San Marino Grand Prix. It was later found, during the trial, that the steering column on Senna’s car was modified before the race and snapped as Ayrton Senna went into Tamburello. The Italian prosecutor asked for Frank Williams, Formula One team owner of Williams to be tried for alleged manslaughter over the death of Ayrton Senna. He also asked for the indictment of Williams team officials, technical director Patrick Head and two senior officials of the Imola race circuit. Senna remains the last driver fatality in Formula One. Ayrton Senna was a Brazilian hero in a time his country needed one, and a humble man with every reason not to be. As his profile rose, Senna expressed concern over the widespread poverty in Brazil. After his death it was discovered that he had quietly donated millions of his personal fortune (estimated at around $400 million) to help poor children. Shortly before his death, he created the framework for an organization dedicated to Brazilian children, which later became Instituto Ayrton Senna. If you haven’t seen the documentary, I highly recommend it and I’m not a racing fan. His final race, which ended in his tragic death, can be seen in the footage in the above video. R.I.P. Ayrton Senna (1960-1994)
The intensity of the video theme backed by the Droids’ song, trigger the adrenaline and anxiety that make you feel you’re right there in Imola watching how the accident happened and hoping that Ayrton can survive the crash. Unfortunately, he didn’t.
** Watch the Senna film at the end of this page. You have to watch it in Youtube.
For several years, Japanese photographer Norio Koike had been Ayrton’s private photographer. Koike followed him everywhere, always quiet and discreet, working tirelessly and almost unnoticed.
Right after the accident, he was deeply upset. After Ayrton’s death had been officially reported, Norio sought out Leonardo Senna, handed over his entire enormous collection of photographic equipment and vanished. No one has seen him since.
The cause of the accident? Following an examination of the pictures shot from Schumacher’s onboard camera, French TV came up with the first theories.
Using slow motion, experienced reporter Jean-Louis Moncet studied the view from the German’s Benetton, which had been running in 2nd place.
According to the French channel, a small piece could be seen dangling from underneath the Williams which flew off the track immediately after this.
Immediately after the wreckage of the Williams had been towed back to the pits, and before it was confiscated by the Italian authorities, mechanics from the team removed the “black box” data acquisition equipment with the consent of FIA Technical Delegate Charles Whiting.
This electronic tell-tale would evidently have to be surrendered eventually to the Italian courts, but while it was still in the hands of Williams and Renault, the team had access to vital information about what had happened in the moments before the car crashed into the wall.
The Italian magazine Autosprint raised the suspicion, one week after the accident, that the steering column had broken.
Although none of the doctors or nurses remember having removed the steering wheel, photographs of the car after the accident indicate that the wheel was not removed from the column by releasing the catch which allows the driver to get in and out of the cramped cockpit.
Only a careful analysis of the materials could reveal if this break took place before the crash or during it.
According to the Italian press, the leaked report suggests that the fracture occurred, or was beginning to occur, in the few seconds before the Williams ran off the road.
From the data available Patrick Head is not inclined to suspect a flaw in the suspension, as with the weight of some 2,600kg (the aerodynamic load at that speed, plus the weight of the car) of which some 65% would have been on the right hand side on a left curve, the car would have crashed and dragged along the ground far more violently.
However, on the concrete before the wall, there is a long score made by a metal part dragged forcibly along. Could this have been a piece of the suspension?
The outcome of expert inspections and reports released by the Italian Courts to the world press confirmed the suspicions brought up by Italy’s Autosprint magazine: the Williams steering column broke.
According to the first clinical bulletin read by Dr. Maria Teresa Fiandri at 4.30 p.m. Ayrton Senna had brain damage with haemorrhaged shock and deep coma.
However, the medical staff did not note any chest or abdomen wound. The hammerhead was due to the rupture of the temporal artery.
The neurosurgeon who examined Ayrton Senna at the hospital mentioned that the circumstances did not call for surgery because the wound was generalised in the cranium.
At 6.05 p.m. Dr. Fiandri read another communiqué, her voice shaking, announcing that Senna was dead. At that stage he was still connected to the equipment that maintained his heartbeat.
The release by the Italian authorities of the results of Ayrton Senna’s autopsy, revealing that the driver had died instantaneously during the race at Imola, ignited still more controversy.
Now there were questions about the reactions of the race director and the medical authorities. Although spokespersons for the hospital had stated that Senna was still breathing on arrival in Bologna, the autopsy on Ratzenberger indicated that death had been instantaneous.
Under Italian law, a death within the confines of the circuit would have required the cancellation of the entire race meeting.
That in turn, would have prevented the death of a three-times champion.
The relevant Italian legislation stipulates that when a death takes place during a sporting event, it should be immediately halted and the area sealed off for examination.
In the case of Ratzenberger, this would have meant the cancellation of both Saturday’s qualifying session and the San Marino Grand Prix on Sunday.
Medical experts are unable to state whether or not Ayrton Senna died instantaneously. Nevertheless, they were well aware that his chances of survival were slight.
Had he remained alive, the brain damage would have left him severely handicapped. Accidents such as this are almost fatal, with survivors suffering irreversible brain damage.
This is due to the effects on the brain of sudden deceleration, which causes structural damage to the brain tissues. Estimates of the forces involved in Ayrton’s accident suggest a rate of deceleration equivalent to a 30 metre vertical drop, landing head-first.
Evidence offered at the autopsy revealed that the impact of this 208km/h crash caused multiple injuries at the base of the cranium, resulting in respiratory insufficiency.
There was crushing of the brain (which was forced against the wall of the cranium causing oedema and hammerhead, increasing intra-cranial pressure and causing brain death), together with the rupture of the temporal artery, hammerhead in the respiratory passages and the consequent heart failure.
There are two opposing theories on the issue of whether the drivers were still alive when they were put in the helicopters that carried them to hospital. Assuming both Ratzenberger and Senna had died instantaneously, the race organisers might have delayed any announcement in order to avoid being forced to cancel the meeting, thus protecting their financial interests.
Had the meeting been cancelled, Sagis – the organisation which administers the Imola circuit – stood to lose an estimated US$6.5 million.
The alternative theory suggests that the drivers were alive on leaving Imola, and that they died in hospital. Professor Sid Watkins has maintained that Ayrton was still alive when he was removed.
Following a momentary failure, technically his heart was still beating. “His chances of survival would have been very limited, due to serious brain damage”, was the opinion, necessarily guarded, of the FIA expert.
A supporter of this first theory, the Director of the Oporto (Portugal) Legal Medicine Institute, Professor Pinto da Costa, has stated the following:
“From the ethical viewpoint, the procedure used for Ayrton’s body was wrong. It involved dysthanasia, which means that a person has been kept alive improperly after biological death has taken place due to brain injuries so serious that the patient would never have been able to remain alive without mechanical means of support. There would have been no prospect of normal life and relationships.”
“Whether or not Ayrton was removed from the car while his heart was beating” adds Pinto da Costa, “or whether his supply of blood had halted or was still flowing, is irrelevant to the determination of when he died.”
“The autopsy showed that the crash caused multiple fractures at the base of the cranium, crushing the forehead and rupturing the temporal artery with hammerhead in the respiratory passages. It is possible to resuscitate a dead person immediately after the heart stops through cardio-respiratory processes.”
“The procedure is known as putting the patient on the machine. From the medical-legal viewpoint, in Ayrton’s case, there is a subtle point: resuscitation measures were implemented. From the ethical point of view this might well be condemned because the measures were not intended to be of strictly medical benefit to the patient but rather because they suited the commercial interest of the organisation. Resuscitation did in fact take place, with the tracheotomy performed, while the activity of the heart was restored with the assistance of cardio-respiratory devices.”
“The attitude in question was certainly controversial. Any physician would know there was no possibility whatsoever of successfully restoring life in the condition in which Senna had been found.”
Professor Jose Pratas Vital, Director of the Egas Moniz hospital in Lisbon, a neurosurgeon and Head of the Medical Staff at the Portuguese GP, offers a different opinion:
“The people who conducted the autopsy stated that, on the evidence of his injuries, Senna was dead. They could not say that. He had injuries which lead to his death, but at that point the heart may still have been functioning.”
Pratas Vital also mentions that the medical personnel attending an injured person, and who perceives that the heart is still beating, have only two courses of action:
“One is to ensure that the patient’s respiratory passages remain free, which means that he can breathe. They had to carry out an emergency tracheotomy. With oxygen, and the heart beating, there is another concern, which is loss of blood. These are the steps to be followed in any case involving serious injury, whether on the street or on a racetrack.”
“The rescue team can think of nothing else at that moment except to assist the patient, particularly by immobilising the cervical area. Then the injured person must be taken immediately to the intensive care unit of the nearest hospital”, Pratas Vital concludes.
Ayrton Senna (The movie) 4 videos. You have to watch the videos in YouTube.
Ayrton Senna – The Right To Win – Full
Uploaded on Apr 16, 2011
Senna’s extreme will to win, his phenomenal concentration, his rivalry with Prost, his tremendous mental and physical condition and his final race at Imola in 1994
Sources: YouTube, The Senna Files, Wikipedia, Google
Japandroid’s singer/guitarist Brian King is taking a rare and much deserved break from the road. The topic of exhaustion has come up a few times in the course of our conversation – in songwriting, in touring, in the limitations of being a guitar-drum duo trying to get maximum sound from minimum instrumentation. King and his partner, drummer David Prowse, have been grinding it out non-stop over the course of the last year in support of their critically-lauded sophomore LP Celebration Rock – the pair had just gotten home from back-to-back 50 date tours that took them across North America and Europe when we spoke – and 2013 will be no different. But don’t worry – the Japandroids aren’t done, they’re just getting started.
“What exact change needs to occur to make sure that the next record continues on that lineage of getting better – because we’d like to think that we keep getting better, make better records – it’s a hard question to answer,” says King. “You’re on the second half of the record cycle, and it’s only now that you’re beginning to start to think about new ideas and new songs and stuff for the next record.”
“That’s what we’ve been thinking about – how do we make this one better than the last one. I think it’s probably going to be time to introduce something or change something to make a different kind of record.”
You can hear in King’s voice that he’s savoring this moment at the crossroads, that the imminent change is not worrisome or threatening, that the need for a new attack plan is not a sign that he’s drained the well of ideas, but rather that he’s a acutely aware of his outfit’s limitations and relishes the challenge of pushing the band beyond itself. It’s been nearly four years since Japandroids were anointed with buzz-band status by the kingmakers at Pitchfork, four years since their cascading, propulsive punk rock anthems began taking festivals and clubs by storm, igniting pogo-pits and stage-diving conflagrations in cities and towns world-wide. It’s been four years that have seen their peers in the buzz-bin explode, implode, or simply just melt down in response to a music industry that is chewing up bands and spitting them out at an unprecedented speed.
What distinguishes the ‘Droids from their flash-in-the-“Best New Music”-pan compatriots, what’s kept them in demand even after their name has drifted off the homepage, is a workman-like devotion to their craft and a consistent desire to improve as players, songwriters and entertainers. Their focus is not on keeping up with the indie-Joneses or staying in lockstep with the latest micro-trends in twee-tronica – there is no acknowledgment of the ephemeral accoutrements of the indie-stry, of market demands and cultural shifts. Japandroids’ sole mission is giving the audience – not their own egos – more of what they came for: more anthems, more energy, more explosive emotional catharsis. It is a rare level of focus for a young band lavished with so much attention, a rare approach in an era when indie bands use the smallest amount of success as an excuse to stock up on shiny lights and stop writing good songs.
“I think it’s really common that a lot of bands now start with their first record and it’s a pretty lo-fi record – cheaply recorded and lo-fi, which is how a lot of bands are introduced to the world these days, just like we were,” says King. “Then when they find some notoriety, when they find some success, some kind of popularity – get signed to a bigger label and people start to know who they are – then when it comes to the next record it’s – boom – into the nice studio with the producer, going from recording your album in a week to recording your album in a couple of months.
“And the change is too drastic, it’s too great. Sometimes it works, don’t get me wrong – Nirvana went from recording Bleach to recording Nevermind and that seemed to work out pretty well for them [laughs]. It can work, and it’s becoming more a more common thing these days. So there has to be some sort of middle ground in there, and that’s kind of what we’re looking for. Whatever that middle ground is.”
That middle ground, between staying true to one’s artistic vision and indulging the indie-media’s vampiric desires for novelty, isn’t going to be found on any map – there’s no fifty-paces-and-X-marks-the-spot. That middle ground is a mystical place, more a fable and a philosophical ideal than a divinable location, a pebble in the rapidly rushing river of the indie-celebrity complex, difficult to spot and even harder to hang on to. And it’s not a recent phenomenon either – the cut-out bins of the world are lousy with overstocked indie darlings that reached for the stars and came up with a fist of over-produced, underdeveloped dirt.
“I don’t think there’s ever been as much pressure on bands to try to penetrate that world and make that jump so quickly as there has been now,” says King. “There are so many bands – the internet has just exploded – and a band’s time in the limelight can be so short-lived. People aren’t selling records so it’s about getting what you can when you can. I watched so many bands that have come up at the same time as us follow that same path – sometimes it’s worked, but a lot of times it hasn’t. We’ve always been very, very fearful and wary of doing that ourselves.”
That devil nipping at their heals – the constant specter of irrelevance, the carcasses of indie bands piling up in the corner – makes Japandroids’ records so intensely immediate. Every guitar riff and drum fill on Celebration Rock feels like it’s going to explode, each note and bar of “The Nights Of Wine And Roses,” “Adrenaline Nightshift” and “The House That Heaven Built” are crammed with so much information and emotion you expect the band to combust at any moment. It’s as if each song could be their last, as if each coda could be their death rattle and they need to let the whole world know, as loud and enthusiastically as possible. In a scene where people change styles and sounds more frequently than they change undergarments, it’s the rare band that sticks to its guns while the vultures try to blow smoke up their collective ass.
“That’s how we’ve kept it in check. You know that’s why we said, after the success of our first record, we don’t need to go spend all this money going to a fancy studio spending six months doing what we can do in ten days,” say King. “And we don’t need to hire a producer to come in and tell us what we should be doing and what we shouldn’t be doing, how we should be doing it or how we shouldn’t be doing it.
“We don’t need to have the most expensive guitar and drum set that you can get and we don’t have to add keyboards because we didn’t have any on the first album or something like that. You know, it’s kinda like,‘We don’t need any of the stuff that’s popped up on our radar.’ We’re just going to keep everything the same which will showcase how our songwriting and our playing have improved.”
This sameness – the same players, the instrumentation, the same studio, the same set up from their earliest self-released singles to their latest album – has been a beneficial structure for the band, affording them an opportunity for exploration that doesn’t set them adrift in a sea of ideas that would dampen their energy. While the form laid out in early tracks like “Coma Complacency” and “ Press Corps” from the All Lies EP – soaring, anthemic punk chant-alongs – remains intact, each new recording builds upon the next, achieving new levels of technical proficiency and songwriting precision.
Where the Japandroids of Lullaby Death Jams – available alongside All Lies on the No Singles comp – are a scrappy outfit pushing their own boundaries and birthing a beautiful complexity almost by accident, the Japandroids of Celebration Rock zero in on the point-of-no return and blast their way through it with a technical prowess reserved for only the most decorated of veterans. By the time King sings “Remember when we had them on the run?” – as Powse’s “woo-ohs” rise up from this amidst a hail of snare-fire, when every upstroke of the guitar feels like it’s tripped a land mine and tom-toms rain down like mortar shells – the battle for rock and roll’s heart and soul has been won.
And as the fireworks explode and the final notes of “Continuous Thunder” – a cloudburst of absolution, baptism of low-note percussion and sweeping, staccatto string-work – close out the album the question arises: Where to next? Do they circle back and entrench the territory they’ve already secured, hiding out in a bunker of familiarity, insulating themselves from the threat of failure? Or do they soldier on and mark out for the unknown and the risk of utter destruction?
There’s no shame in sticking with what works and the process has worked pretty well for the Japandroids, but if there’s anything that’s clear from speaking with King it’s that the risk is the reason. That pushing themselves to the point of exhaustion and then pushing beyond is the very reason Japandroids exist – they do it because it needs to be done. Rock and roll still needs indefatigable heroes, artists willing to use everything in their arsenal to get the job done even if it means breaking with the strategy that got them to this point.
“I think this new record that we did takes that about as far as we’re capable of taking it. I don’t know how it could be better, so we’re at this weird turning point – we did these three records with the same lineage and not changed a thing,” says King. “And now it’s finally time to think about changing something so we can continue that lineage so we feel like we’re moving forward.”
The Vancouver rock duo, Japandroids, really just keep going and going. They had a great year last year with their critically acclaimed Celebration Rock and sold out shows across the globe. It seems that they want to keep that going for this year and, much to our excitement, have released a whole lot of tour dates to take us into the summer!
The tour kicks off at this year’s BUKU Festival in New Orleans, and goes around the states performing all the other major festivals including Coachella, Sasquatch, Bonnaroo and Governors Ball. In between that, they make their way over to Europe for a few shows. Check out the full list of confirmed dates below and be sure to keep an eye out for additional dates in the future!
Japandroids tour dates:
08 – New Orleans, LA – BUKU Music & Art Project
09 – Winter Park, CO – Snowball Festival
15 – Mexico City, Mexico – Vive Latino Festival
21 – Bristol, England – Bristol Academy*
22 – Bristol, England – Bristol Academy*
23 – Leeds, England – Leeds Academy*
24 – Glasgow, Scotland – Glasgow Academy*
25 – Glasgow, Scotland – Glasgow Academy*
27 – Manchester, England – Manchester Academy*
28 – Manchester, England – Manchester Academy*
29 – London, England – Troxy*
30 – London, England – Troxy*
01 – Dusseldorf, Germany – Mitsibishi Hall*
03 – Copenhagen, Denmark – Store Vega*
04 – Oslo, Norway – Rockefeller*
05 – Stockholm, Sweden – Berns*
06 – Gothenburg, Sweden – Tragarn*
12 – Indio, CA – Coachella
15 – Santa Barbara, CA – Velvet Jones^
16 – Oakland, CA – New Parish^
17 – Oakland, CA – New Parish^
19 – Indio, CA – Coachella
22 – Pomona, CA – Glasshouse^
24 – George, WA – Sasquatch Festival
08 – New York, NY – Governors Ball
13 – Manchester, TN – Bonnaroo
22 – Dover, DE – Firefly Festival
* with The Gaslight Anthem
^ with Cloud Nothings
Japandroids returned to the boob tube last night with an appearance on Conan, where they mercilessly beat into the Celebration Rock cut, “The Nights of Wine and Roses”. Perhaps they’re still reeling off the excitement of being nominated for top Alternative Album at this year’s Juno Awards… or maybe they just have a good diet. Draw your own conclusions below.
If that’s not enough, catch them on tour — or at every North American festival. If you’re lucky, maybe you’ll see them alongside The Gaslight Anthem or Cloud Nothings.
Watch Japandroids performing @ Conan HERE
Japandroids 2013 Tour Dates:
03/08 – New Orleans, LA @ BUKU Music + Art Project
03/09 – Winter Park, CO @ Snowball Festival
03/15 – Mexico City, MX @ Vive Latino Festival
03/21 – Bristol, UK @ Bristol Academy *
03/22 – Bristol, UK @ Bristol Academy *
03/23 – Leeds, UK @ Leeds Academy *
03/24 – Glasgow, UK @ Glasgow Academy *
03/25 – Glasgow, UK @ Glasgow Academy *
03/27 – Manchester, UK @ Manchester Academy *
03/28 – Manchester, UK @ Manchester Academy *
03/29 – London, UK @ Troxy *
03/30 – London, UK @ Troxy *
04/01 – Dusseldorf, DE @ Mitsibishi Hall *
04/03 – Copenhagen, DK @ Store Vega *
04/04 – Oslo, NO @ Rockefeller *
04/05 – Stockholm, SE @ Berns *
04/06 – Gothenburg, SE @ Tragarn *
04/12 – Indio, CA @ Coachella Music Festival
04/15 – Santa Barbara, CA @ Velvet Jones ^
04/16 – Oakland, CA @ New Parish ^
04/17 – Oakland, CA @ New Parish ^
04/19 – Indio, CA @ Coachella Music Festival
04/22 – Pomono, CA @ Glasshouse ^
05/24 – George, WA @ Sasquatch! Music Festival
06/08 – New York, NY @ Governors Ball Music Festival
06/09 – Detroit, MI @ Orion Music + More
06/13 – Manchester, TN @ Bonnaroo Music Festival
06/22 – Dover, DE @ Firefly Festival
* = w/ The Gaslight Anthem
^ = w/ Cloud Nothings
Canada’s province of British Columbia has chosen Japandroids over Nickelback as the temporary entrance music for the NHL’s Vancouver Canucks. Great news!
As The Vancouver Sun reports, the garage duo’s song “The House That Heaven Built” will serve as the team’s entrance music for two home games in the near future after winning a fan vote by a “long shot” (note the hockey pun). Japandroids not only beat out Chad Kroeger & Co., but Guns N’ Roses, Volbeat, and the old standby of U2′s “Where The Streets Have No Name”, the latter of which the team previously used as its entrance music.
In light of the announcement, the team has put together a video simulating “The House That Heaven Built” used as the entrance music, which you can watch below.
Now, Canada, if you can get Nickelback into an actual hockey fight, we promise to never make another “aboot” joke ever again.
Japandroids is a Canadian rock duo from Vancouver, British Columbia. The group consists of Brian King (guitar, vocals) and David Prowse (drums, vocals). Formed in 2006, Japandroids rose to prominence in 2009 following the release of their debut album Post-Nothing. The group toured extensively throughout 2009–2010, earning praise for their energetic live performances.
Their sophomore album, Celebration Rock, was released on May 29, 2012 in Canada and June 5, 2012 internationally.
Published on Feb 19, 2013
We’re loooking at trying out some new intro songs for when the Vancouver Canucks hit the ice. The Japandroids are a BC band … Here’s what their tune “The House That Heaven Built” would look and sounds like!
Upcoming festivals featuring Japandroids:
Buku Music + Art Project 2013
New Orleans, Louisiana
Mar 08, 2013
Snowball Festival 2013
Winter Park, Colorado
Mar 08, 2013
Coachella Valley Music and Arts Festival 2013 Indio, California (Empire Polo Grounds)
Apr 12, 2013
Sasquatch! Music Festival 2013
George, Washington (Gorge Ampitheatre)
May 24, 2013
Free Press Summer Fest 2013
Houston, Texas (Eleanor Tinsley Park)
June 01, 2013
Governors Ball Music Festival 2013
New York, New York (Randall’s Island Park)
June 07, 2013
Orion Music + More 2013
Detroit, Michigan (Belle Isle)
June 08, 2013
Bonnaroo Music and Arts Festival 2013
Manchester, Tennessee (Great Stage Park)
June 13, 2013
Firefly Music Festival 2013
Dover, Delaware (Dover International Speedway)
June 21, 2013
Optimus Alive! Festival 2013
LISBON, PORTUGAL (PASSEIO MARÍTIMO DE ALGÉS)
July 12, 2013