Hiroki

The third instalment of the popular label compilation comprises of the best tracks that Jalapeno Records have to offer dealing in all things chill. Downtempo, trip hop, electronica and lounge beats are order of the day here with varying tempos and genres but always a focus on the more relaxed side of the world.

Sinopsis de 17 Años: Hiroki y su amigo Takeishi están siendo agredidos por unos gamberros cuando, Miyamoto, el cabecilla más temido de una banda, intercede y ahuyenta a los agresores. Esto da pie a que Hiroki y su amigo entren a formar parte de la banda. Pertenecer a ella los hace sentir superiores y no les da miedo enfrentarse a nadie porque saben que están respaldados por Miyamoto.

Director: Ryuichi Hiroki
In his 2000 entries in the Love Cinema series Tokyo Trash Baby (Tokyo Gomi Onna), Ryuichi Hiroki portrayed a young woman attempting to find a meaning in her life through adulation for her part-time musician neighbour. A child of the post-bubble generation who has seen everything fail that her parents worked so hard to achieve, she was a person adrift in a world that offered no alternatives to a failed socio-economic system.

Although two other films by the same director separate it from Tokyo Trash Baby, Vibrator continues Hiroki's exploration of the lost generation that symbolises a formerly rock solid country's shaky self-confidence and uncertain future. Boldly confronting one of the most fundamental social problems in post-industrial society (and not only that of Japan), he has delivered one of the bravest and most important films this year has seen…

A counterculture movement united by an expansive, experimental and deeply soulful sensibility, Japan’s rebel protest music challenged the status quo and changed the country’s music industry in the process.
The birth of Japan’s nascent acid folk scene was rooted in the messy and invigorating political climate of the late 1960s. It is a story of Dadaists, communists, pharmacists and cult leaders, led by a young generation of upstart students, artists and dreamers hellbent on turning their world upside down. Born on the campuses of Tokyo, Kyoto and Osaka, and centred around newly formed independent label and left-wing stronghold URC, this uniquely Japanese form of folk expression provided an outlet for musicians who were tired of aping Western sounds and instead found ways to sing in Japanese and integrate traditional forms in new ways. At the forefront of this movement was Yellow Magic Orchestra’s Haroumi Hosono, a polymath innovator whose band Happy End released the first Japanese language rock album, and whose influence would go on to be felt across Japanese music for decades. Alongside, and informed by the Kansai scene’s Takashi Nishioka and Happy End collaborator Ken Narita, they experimented with cadences and accents of the Japanese language to open the door for others to experiment with their own forms of psychedelic folk too.

A counterculture movement united by an expansive, experimental and deeply soulful sensibility, Japan’s rebel protest music challenged the status quo and changed the country’s music industry in the process.
The birth of Japan’s nascent acid folk scene was rooted in the messy and invigorating political climate of the late 1960s. It is a story of Dadaists, communists, pharmacists and cult leaders, led by a young generation of upstart students, artists and dreamers hellbent on turning their world upside down. Born on the campuses of Tokyo, Kyoto and Osaka, and centred around newly formed independent label and left-wing stronghold URC, this uniquely Japanese form of folk expression provided an outlet for musicians who were tired of aping Western sounds and instead found ways to sing in Japanese and integrate traditional forms in new ways. At the forefront of this movement was Yellow Magic Orchestra’s Haroumi Hosono, a polymath innovator whose band Happy End released the first Japanese language rock album, and whose influence would go on to be felt across Japanese music for decades.

In Japan, obsessive adult fans and collectors of manga and anime are known as otaku. Hiroki Azuma's 'Otaku' offers a critical, philosophical, and historical inquiry into the characteristics and consequences of this consumer subculture.

Un irresistibile racconto corale, dove le combinazioni o i cortocircuiti fra sesso, umorismo, speranza e destino disegnano cinque coppie sull’orlo di una crisi di nervi (e qualche single non meno borderline). Tutto si svolge nell’arco di un giorno e di una notte a Kabukicho, il quartiere a luci rosse di Tokyo, sotto lo sguardo stralunato e rassegnato del giovane Toru. È lui che dirige, con pigrissima rassegnazione, lo squallido Atlas, uno dei tanti alberghi dell’amore, ed è sempre lui che, suo malgrado, fa da sponda al via vai, alle tresche