After
the release of Super Relax, the band, Cibo Matto (touring
members were then composed of Miho, Yuka Honda, Sean Lennon,
and Timo Ellis), went back to what they enjoyed doing most,
playing live gigs. During breaks from their performances,
Cibo Matto began work on their third Warner Brother album
that was originally scheduled for release in early 1999. Instead
of rushing the album, the band decided to further incubate
the material through live performance and pushed the release
schedule into the summer of 1999. Yuka has become an ever
increasing perfectionist, and has labored endlessly on bringing
together the final masters to completion. Cibo Matto has a
need to remain in artistic control of their presentation,
they don't leave the work to outside chance by outsourcing
to third parties. Instead they prefer to take the extra time
to personally oversee the application on the album's finishing
touches. This includes paying attention to cover artwork,
design, and ensuring the proper credits are included. Like
a fine wine, it improves with time. While their fans waited
for the new album, they had plenty of chances to see Cibo
Matto on tour in their native element.
Cibo
Matto had made a serious effort to create some well written
and produced material for their first two "Cibo Matto"
releases on Warner Brother Records. But their efforts became
somewhat shrouded by the same stigmas that had made them successful.
While the theme of food was important to induce the creative
inspirations to produce Viva! La Woman, the world was expecting
them to continue to write songs only about subjects like artichokes
and chickens. Miho and Yuka were continually being forced
to to shrug off comparisons to the other mainstay Japanese
girl band, Shonen Knife, and the avant garde material of the
Japanese duo know as Pizzicato 5. Furthermore, Yuka was feeling
a little oppressed by chauvinist views that women could not
become respected studio producers. While the band struggled
for individuality, the press continued to try to cast them
into conventional and oversimplified categories as musicians
and as people. Their third major release and second LP (Long
Playing Album) with Warner Brothers needed to be something
even more focused to break out of the stereotypes they were
being cast into.
Miho
and Yuka are not ones to hide from adversity, and their time
on the streets in New York City had taught them to react just
the opposite. If the world was going to cast Cibo Matto into
unwanted stereotypes, then they were going to lean back into
the face of the wind and turn the force back against itself.
Hence, the third major Cibo Matto was created with a new theme
and title, "Stereotype A". Taking a Zen approach
to the situation, the band stepped to the side of the blows
and let the force of the opponent propel the project forward.
The
title of album, "Stereotype A", represents the focus
of the band during its creation. Not only does the albums
title reflect the bands desire to both deflect and capitalize
on the stereotypes they were being cast into, it has a deeper
meaning by separating the word "Stereo" from the
suffix of "type". As Yuka explains, "Stereo
is also what tells you where you are located. Dolphins can
see what is happening with their sense of hearing. In a philosophical
way, if you listen, you can tell where you are, or more importantly,
where you are at. We have to learn to listen for ourselves
with both our left and right ears, not just believe everything
we are told." Listening is as important of an element
to the creation of Cibo Mattos music, as is the act
of creating the parts of the musical arrangements. The band
listens to each others ideas, they listen to the work
of other artists and musicians, and they continue to listen
to what they have created to see how all these ideas are blending
together. With the themes of "Stereotype A" floating
in the background, the band created a musical odyssey that
would take their music and listeners to new and previously
unexplored regions.
The
material from their first LP had been generated from their
early days of playing in tiny New York clubs, small art galleries,
and any place that would let them set up and jam. After the
success of their Warner Brothers release began to build
the size of their fan base, they played in larger concert
venues with new acoustic surroundings which required a different
form of interaction with their audience. Of even greater consequence
, Sean and Timo became a regular part of the Cibo Matto live
experience. Having more musicians involved in the mix was
both a necessary and desired component of performing in larger
venues. Together with a changing cast of guest performers,
the bands performances at larger live shows continued
to foster the need and the creative stimulus to work out new
musical material.
To
describe the music in Cibo Matto's "Stereotype A"
is a task that cannot be done by choosing one particular stereotypical
category. The album is a musical collage painted by the diverse
musical backgrounds and interests of all four members of Cibo
Matto, as well as the contributing artists. Within a given
song, the listener can be taken from Rhythm and Blues (R&B)
to Heavy Metal, or from Hip Hop Rap to a New Wave Country
Waltz. The songs are arranged to take the listener through
a series of musical landscapes that ease the transition from
one level to the next. Each of the songs stands alone as a
complex arrangement of diverse musical ideas that slowly build,
dissipate, and then reappear as the journey continues. While
presenting colorful musical layers that may challenge the
technology to use every possible track of the recording medium,
the listeners are provided frequent resting points in open
spaces of simple melodies and effects. "Stereotype A"
creates a unique musical sound to showcase Cibo Mattos
current "Soup Du Jour", and the album takes advantage
of the best of many different musical genders.
Continue
to Page Four?
Stereotype
A - Part 2 -
Click Here
Return
to Page One? - Click Here
Return
to Page Two? - Click Here
Photo Graphics on this page were created from larger format
prints taken by Michael Lavine that are Copyright protected
by Warner Brothers Records.
|