Yahho no Potori
EDDIE MARCON
Yahho no Potori
Boomkat Product Review:
A Colourful Storm unearth this killer 2009 album from beloved Japanese acid folk band Eddie Marcon, bringing it to vinyl for the first time. It's softly-spoken, delicate and frayed at the edges - completely essential listening if ur into Ai Aso, Tenniscoats or Maher Shalal Hash Baz.
We first came across Eddie Marcon way back in '05, when the band welded together two of their earliest CDRs into the (pre Longform Editions) Preservation-released 'Shining on Graveposts'. It took us completely by surprise - a playful fusion of tape-baked '70s folk, dizzy psych-rock and ghostly ambience. A few years later, they recorded 'Yahho no Potori'; the core duo of Eddie Corman and Jules Marcon still handle most of the heavy lifting, but this album is a different proposition, filled out by luscious, languid instrumentation from Tenniscoats' Saya Ueno (who also handles production), Boredeoms' Yojiro Tatekawa, Ran Mizutani and Yasuhisa Mizutani. If 'Shining on Graveposts' had buried its songs in feedback and smudgy distortion, 'Yahho no Potori' digs them up from the burned-out embers, letting Corman's sublime vocals soar over the restrained guitar and piano phrases and brushy drums.
Saya's production touches are immediately noticeable - anyone who's followed her work with Maher Shalal Hash Baz and Spirit Fest will no doubt recognize the feathery warmth that blankets each song. Just flick over to the gossamer 'Toratolion'; Corman's previous life with psych band LSD March is a faded memory here as she sings slowly and sweetly over muted woodwind and flute curls and sparklingly clean acoustic guitar plucks. There's space here that gives each element more than enough room to breathe - you can almost hear the fingers on the keys and the strings, and although there's no fuzz, there's the odd foley clack or rustle that reminds us that Eddie Marcon are sitting together, playing together. It's unashamedly good-natured, hushed material, and even when the songs shuffle into sadness, like on the accordion-led 'Dead Plant', there's always a hopeful beam of sunlight blazing through the clouds. Lovely stuff.
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Boomkat Product Review:
A Colourful Storm unearth this killer 2009 album from beloved Japanese acid folk band Eddie Marcon, bringing it to vinyl for the first time. It's softly-spoken, delicate and frayed at the edges - completely essential listening if ur into Ai Aso, Tenniscoats or Maher Shalal Hash Baz.
We first came across Eddie Marcon way back in '05, when the band welded together two of their earliest CDRs into the (pre Longform Editions) Preservation-released 'Shining on Graveposts'. It took us completely by surprise - a playful fusion of tape-baked '70s folk, dizzy psych-rock and ghostly ambience. A few years later, they recorded 'Yahho no Potori'; the core duo of Eddie Corman and Jules Marcon still handle most of the heavy lifting, but this album is a different proposition, filled out by luscious, languid instrumentation from Tenniscoats' Saya Ueno (who also handles production), Boredeoms' Yojiro Tatekawa, Ran Mizutani and Yasuhisa Mizutani. If 'Shining on Graveposts' had buried its songs in feedback and smudgy distortion, 'Yahho no Potori' digs them up from the burned-out embers, letting Corman's sublime vocals soar over the restrained guitar and piano phrases and brushy drums.
Saya's production touches are immediately noticeable - anyone who's followed her work with Maher Shalal Hash Baz and Spirit Fest will no doubt recognize the feathery warmth that blankets each song. Just flick over to the gossamer 'Toratolion'; Corman's previous life with psych band LSD March is a faded memory here as she sings slowly and sweetly over muted woodwind and flute curls and sparklingly clean acoustic guitar plucks. There's space here that gives each element more than enough room to breathe - you can almost hear the fingers on the keys and the strings, and although there's no fuzz, there's the odd foley clack or rustle that reminds us that Eddie Marcon are sitting together, playing together. It's unashamedly good-natured, hushed material, and even when the songs shuffle into sadness, like on the accordion-led 'Dead Plant', there's always a hopeful beam of sunlight blazing through the clouds. Lovely stuff.
Boomkat Product Review:
A Colourful Storm unearth this killer 2009 album from beloved Japanese acid folk band Eddie Marcon, bringing it to vinyl for the first time. It's softly-spoken, delicate and frayed at the edges - completely essential listening if ur into Ai Aso, Tenniscoats or Maher Shalal Hash Baz.
We first came across Eddie Marcon way back in '05, when the band welded together two of their earliest CDRs into the (pre Longform Editions) Preservation-released 'Shining on Graveposts'. It took us completely by surprise - a playful fusion of tape-baked '70s folk, dizzy psych-rock and ghostly ambience. A few years later, they recorded 'Yahho no Potori'; the core duo of Eddie Corman and Jules Marcon still handle most of the heavy lifting, but this album is a different proposition, filled out by luscious, languid instrumentation from Tenniscoats' Saya Ueno (who also handles production), Boredeoms' Yojiro Tatekawa, Ran Mizutani and Yasuhisa Mizutani. If 'Shining on Graveposts' had buried its songs in feedback and smudgy distortion, 'Yahho no Potori' digs them up from the burned-out embers, letting Corman's sublime vocals soar over the restrained guitar and piano phrases and brushy drums.
Saya's production touches are immediately noticeable - anyone who's followed her work with Maher Shalal Hash Baz and Spirit Fest will no doubt recognize the feathery warmth that blankets each song. Just flick over to the gossamer 'Toratolion'; Corman's previous life with psych band LSD March is a faded memory here as she sings slowly and sweetly over muted woodwind and flute curls and sparklingly clean acoustic guitar plucks. There's space here that gives each element more than enough room to breathe - you can almost hear the fingers on the keys and the strings, and although there's no fuzz, there's the odd foley clack or rustle that reminds us that Eddie Marcon are sitting together, playing together. It's unashamedly good-natured, hushed material, and even when the songs shuffle into sadness, like on the accordion-led 'Dead Plant', there's always a hopeful beam of sunlight blazing through the clouds. Lovely stuff.
Boomkat Product Review:
A Colourful Storm unearth this killer 2009 album from beloved Japanese acid folk band Eddie Marcon, bringing it to vinyl for the first time. It's softly-spoken, delicate and frayed at the edges - completely essential listening if ur into Ai Aso, Tenniscoats or Maher Shalal Hash Baz.
We first came across Eddie Marcon way back in '05, when the band welded together two of their earliest CDRs into the (pre Longform Editions) Preservation-released 'Shining on Graveposts'. It took us completely by surprise - a playful fusion of tape-baked '70s folk, dizzy psych-rock and ghostly ambience. A few years later, they recorded 'Yahho no Potori'; the core duo of Eddie Corman and Jules Marcon still handle most of the heavy lifting, but this album is a different proposition, filled out by luscious, languid instrumentation from Tenniscoats' Saya Ueno (who also handles production), Boredeoms' Yojiro Tatekawa, Ran Mizutani and Yasuhisa Mizutani. If 'Shining on Graveposts' had buried its songs in feedback and smudgy distortion, 'Yahho no Potori' digs them up from the burned-out embers, letting Corman's sublime vocals soar over the restrained guitar and piano phrases and brushy drums.
Saya's production touches are immediately noticeable - anyone who's followed her work with Maher Shalal Hash Baz and Spirit Fest will no doubt recognize the feathery warmth that blankets each song. Just flick over to the gossamer 'Toratolion'; Corman's previous life with psych band LSD March is a faded memory here as she sings slowly and sweetly over muted woodwind and flute curls and sparklingly clean acoustic guitar plucks. There's space here that gives each element more than enough room to breathe - you can almost hear the fingers on the keys and the strings, and although there's no fuzz, there's the odd foley clack or rustle that reminds us that Eddie Marcon are sitting together, playing together. It's unashamedly good-natured, hushed material, and even when the songs shuffle into sadness, like on the accordion-led 'Dead Plant', there's always a hopeful beam of sunlight blazing through the clouds. Lovely stuff.
Full-colour sleeve with Japanese lyric sheet insert and postcard.
Out of Stock
Boomkat Product Review:
A Colourful Storm unearth this killer 2009 album from beloved Japanese acid folk band Eddie Marcon, bringing it to vinyl for the first time. It's softly-spoken, delicate and frayed at the edges - completely essential listening if ur into Ai Aso, Tenniscoats or Maher Shalal Hash Baz.
We first came across Eddie Marcon way back in '05, when the band welded together two of their earliest CDRs into the (pre Longform Editions) Preservation-released 'Shining on Graveposts'. It took us completely by surprise - a playful fusion of tape-baked '70s folk, dizzy psych-rock and ghostly ambience. A few years later, they recorded 'Yahho no Potori'; the core duo of Eddie Corman and Jules Marcon still handle most of the heavy lifting, but this album is a different proposition, filled out by luscious, languid instrumentation from Tenniscoats' Saya Ueno (who also handles production), Boredeoms' Yojiro Tatekawa, Ran Mizutani and Yasuhisa Mizutani. If 'Shining on Graveposts' had buried its songs in feedback and smudgy distortion, 'Yahho no Potori' digs them up from the burned-out embers, letting Corman's sublime vocals soar over the restrained guitar and piano phrases and brushy drums.
Saya's production touches are immediately noticeable - anyone who's followed her work with Maher Shalal Hash Baz and Spirit Fest will no doubt recognize the feathery warmth that blankets each song. Just flick over to the gossamer 'Toratolion'; Corman's previous life with psych band LSD March is a faded memory here as she sings slowly and sweetly over muted woodwind and flute curls and sparklingly clean acoustic guitar plucks. There's space here that gives each element more than enough room to breathe - you can almost hear the fingers on the keys and the strings, and although there's no fuzz, there's the odd foley clack or rustle that reminds us that Eddie Marcon are sitting together, playing together. It's unashamedly good-natured, hushed material, and even when the songs shuffle into sadness, like on the accordion-led 'Dead Plant', there's always a hopeful beam of sunlight blazing through the clouds. Lovely stuff.
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