I wanna be a glam rock vending machine

Here’s an interview with Young Parisian front-strutter Tsuneglam Sam from Bollock Magazine…

The one and only Young Parisian is putting out its first analog release. Hailed as modern glam rock for the new millennium, it was recorded at vintage-equipped Grand Frog Studio. Here’s an interview by engineer and producer Mr. Pan (The Neatbeats) with Parisian frontman Tsuneglam Sam.

a non-glam rock vending machine

a non-glam rock vending machine

Mr. Pan: First of all, how does it feel to put out Young Parisian’s first vinyl release?

Tsune: Well, we thought we’d put it out by ourselves but we’re not a punk band, so we’re not into DIY (laughs). We got an actual offer.

Mr.P: Right. In the era before 70s punk there wasn’t an established indie scene.

Tsune: That’s right. It was the era when rock was more showbiz. So you (Mr. Pan) approached us with the offer. I think it’s kind of funny that a glam rock band like Young Parisian would put out a vinyl record on Majestic Sound Records. Of course, I prefer records to CDs.

Mr.P: I founded the label to focus on Merseybeat. Young Parisian is glam rock, but I think both genres are kindred spirits. They’re both inventions of the British and they’ve both had their ups and downs.

Tsune: When I started the band, I wanted to avoid being like the New York Dolls. There are already bands like that and I wanted to go more into the British direction, something like Gary Glitter.

Mr.P: For me, being involved as the producer, what really struck me first of all was the feeling the tempos gave the songs.

Tsune: I really want to shake off the punk thing. Of course, it’s cool to have songs that are fast and brutal. But the Sex Pistols’ songs are slow, you know? In Glenn Matlock’s autobiography, he says if you make the songs slower they have more of an impact.

Mr.P: Glenn said that when he came to Japan recently. He said with the tempo slow, Johnny Rotten’s presence could really be felt more.

Tsune: Actually, the Ramones tempos are slower than you think. Actually, Eddie and the Hot Rods’ tempos are faster.

Mr.P: Pub rock feels faster andmore reckless. That’s the kind of tempo Japanese people like. So when you think about it, glam rock’s slow tempos are pretty unusual in Japan. And that’s all the more reason we need Young Parisian. You’re an endangered species!… Anyway, the recording went smoothly.

Tsune: The recording was kind of like a session between the band and engineer, so we finished it really fast. Like, we got to the studio at 1pm and we went home at 5. The mix was fast too. The members of Young Parisian love the Neatbeats, so we couldn’t fuck up. That added some helpful nervousness to make us play well. We weren’t spending time throwing around a bunch of ideas to spice it up like adding a double bass drum or anything like that. Yeah, it was really fun working at Grand Frog.

Mr.P: It reminds me of 70s bands recording with gear from the 50s and 60s and kind of creating an updated rock and roll sound.

Tsune: Our guitarist brought along the same type of Vampower and HH amps Marc Bolan used and I don’t think there are very many records today that use those. Especially Vampower, which I think Marc Bolan used on one or two albums. Polecats guitarist Boz used one when he was recording with Morrissey. Vampower is an important amp and we wanted to have it on the record. In terms of gear it was kind of a historic recording.

Mr.P: It’s a recording that’s true to its rock and roll roots.

Tsune: I’m thinking lately that I want to become a glam rock machine. You just push a button on me and glam rock starts coming out.

Mr.P: Kind of like a glam rock vending machine?

Tsune: Yeah, I want to mass produce. I don’t need a will of my own or any principles. The same thing comes out automatically. The other day I went to an Andy Walker exhibit. He said, “I want to become a machine.” I was like, I totally understand that. Like how the Neatbeats are a Merseybeat machine.

Mr.P: In a factory, like where you’re using patterns?

Tsune: Right, there are just a bunch of patterns. Before I wanted to be a converter. Like, like you feed something into the matrix and it comes out as some kind of glam rock. But now I think I want to be a machine that produces glam rock from scratch.

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