Fruits Basket is a very cult-type series, and if you mention it to people, they either don’t know about it or it’s ruined their life – there’s no in-between. Heather: My entry point was also all the Cheez TV stuff, but the first thing I consciously got into… It was actually a manga – I got super into Fruits Basket, and then from there it was all downhill. I watched a lot of classic, ‘90s-era anime through that. I started off with Cheez TV, and then at one point when I was a kid we had a version of Austar, and I remember staying up late for Adult Swim, which was the anime bracket on Cartoon Network after 11pm. Heather: It’s so good because the characters change outfits in every episode, so you’re like, “Ooh!” They put a lot of thought into the designs. It’s about a magical girl who fights monsters, but it’s also about fashion… Actually, saying that out loud is making me realise, I think I just like a lot of anime about fashion. Dragon Ball Z was obviously gigantic when I was a kid, but I was also into a lot of things like Cardcaptor Sakura. Jono: I think for me, it’s just been pervasive, all throughout my entire life. What was your entry point into the world of anime? Riley and Tooke are both unashamedly massive weebs – and so, naturally, a Zoom call where anime was the sole topic on the docket spun off from a few quick questions into a deep-dive down the (surprisingly convoluted) rabbithole of the art form’s A to Z, exploring lores, separating the fun from the fucked up, and examining how Western audiences en masse became so dedicated with such an innately foreign form of entertainment. Connecting further over their fandom for Evangelion – which was celebrating its 15th anniversary in Japan, meaning advertisements and tie-in products and branded pachinko machines dotted every other street corner – a lifelong bond was formed.Ĭhat with either member of Cry Club for more than a couple minutes and the topic of anime is sure to come up, either deliberately or by virtue of some sly, over-the-shoulder reference. In fact, their mutual love for anime is somewhat to thank for Cry Club’s existence altogether: singer Heather Riley and guitarist Jonathan “Jono” Tooke met on a uni-organised plane ride en route to Japan, where they bonded over the series finale of Cartoon Network’s (phenomenally underrated) Over The Garden Wall. The duo are unapologetically bold in their eccentricity, drawing as much influence from drag shows and batshit crazy anime (the really obscure stuff, not your standard Yu-Gi-Ohs or Pokémons) as they do from bands like LCD Soundsystem and The Cure. Is that hardcore hero a secret baking pro? Does old mate death-metal froth a good walk through the botanical gardens on his Wednesday mornings? Or miss popstar supreme and her secret knack for bare-hand hunting – is it true? Let’s find out!įrom the gauzy pseudo-disco prongs of ‘DFTM’ to the punchy math-pop poignancy of ‘Robert Smith’, God I’m Such A Mess – the debut album from Melbourne-via-Wollongong ‘bubblegum punk’ duo Cry Club, fresh on shelves via Best & Fairest – is a blindingly bright, topsy-turvy rollercoaster ride through a kaleidoscope of dance beats, punk riffs, and vocal quips that feel as homely on the band’s bangers as they would in a campy off-Broadway musical.Īt the record’s core – as its cover art makes immediately clear – is its emphatic theatricality. The idea is simple: we’re keen to learn more about what our faves get up to when they put the mic down. Music Work: ARTIST MANAGEMENT OFFICE INC.Welcome to BLUNT’s experimental new column Beyond The Beat, where we catch up with some of our favourite bands and artists to chat about anything and everything except their music.Photographic Direction: Keiko Ishizuka(SANZIGEN).Colour Design: Yoshinori Horikawa(MADBOX). An ad in Young Jump, revealed that the TV anime will start in autumn season of 2014. The production of the OVA series and TV anime was announced in the middle of February 2014.
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