Chill Out with Anime Ambiance

December 15th, 2017

How you been?

In the past three weeks my computer died, my three-year visa was denied (leaving me with another shitty one-year visa) and my body decided to revolt against me (again), striking me with what I think might be a recurring bout of atypical pneumonia.

So what I’m saying is, I don’t want to hear any complaints about tonight’s musical selection. It’s my shitty month and I’ll listen to ambient soundtracks of anime if I want to.

Fumio Miyashita – Hino Tori Uchu-Hen
Like I said, it’s been a rough week, so I’m going to be real with you, I had no idea what Hino Tori Uchu-Hen was when I bought this album. I also had no idea who Fumio Miyashita was. I bought this album solely because of the back cover, which lists about a billion different digital synthesizers and computers as the instruments used.

That’s usually a guarantee for me that I’ll dig something on the album. And I certainly found a lot to dig here. Some of this is straight-up ambient background music you’d expect to find in a mid-80s anime, but it also diverges a bit into Tangerine Dream sequencer territory (aka my favorite territory) as well as some more traditional-sounding pieces that sound like they were performed on an organ but were no doubt performed on a synthesizer doing its best impersonation of an organ. It even has a pop song on it, the not-at-all-bad-but-entirely-forgettable “Showers of Gold.”

And it’s not about that kind of golden shower you pervs.

This is good chill out music for me. I just had this on loop for about two hours yesterday while I organized my iTunes library and tried not to think about the fact that I couldn’t breathe.

It turns out that the composer, Fumio Miyashita, was somewhat well-known for his chill out music. Even my boyfriend owns a couple of his CDs, which he listens to when he wants to, surprise, chill out. According to him, people used to go to his concerts to lay down and just relax (with no drugs I swear – it’s Japan).

I want to get more of his stuff, and that shouldn’t be too hard as it turns out that a lot of his anime soundtracks are pretty easy to come by here. I’m not interested too much in his “relaxation music” though. I like my new age in small doses for the most part.

What I do want to dig into more is his prog history though. In the seventies the dude was in two very influential Japanese prog acts; The Far East Family band and Far Out. Their stuff is slightly less easy to find, which is a bummer. But what I heard online I dig. It’s weird as hell. Turns out Kitaro was in that group. Did they invent new age prog? I don’t know if that would be a good thing or not.

I should also probably mention what this is the soundtrack to. Hino Tori Uchi-Hen is an animated movie from 1987, based on the mange by the same name. The manga was the work of Osamu Tezuka, who is best known as the creator of Astro Boy. Like I said, I never saw the movie, but if it’s half as chill as this, maybe I should check it out.

It’s kind of hard to get into anime when you live in Japan, as almost none of it has English subtitles. It’s like that episode of the Twilight Zone with the dude and the books, but with way more anime boobs.

Oh, one more thing happened this week. I met Hideki Matsutake, aka Logic System, aka the guy who played the sequencers on all the best YMO albums as well as a dozen other classic Japanese techno-pop records.

I’m on the left.

I was quite excited. Although if I knew I was going to get a picture with him, I would’ve rocked my pink tie.

Save Me Japanese Nu-Jazz Rock Rap Fusion

December 3rd, 2017

What the fuck do I say?

This is the year that just keeps on shitting. The President of the United States of America is a recluse who sits behind his phone, tweeting out racist propaganda to encourage ethnic cleansing, while the GOP work in the middle of the night to pass criminal “tax” codes that work to dismantle health care and destroy the global climate. The rest of the world needs to pass economic sanctions on the US for human rights violations.  The citizens of America to brush up on their carpentry skills and build some motherfucking guillotines. I feel like that’s the only way that things are going to get any better at all.

In the meantime here’s a 16-year-old song that perfectly defines how I feel right this minute.

Boom Boom Satellites (Featuring Chuck D)
Your Reality’s A Fantasy But Your Fantasy is Killing Me (Coldcut V.Steinski Going Under Mix)
Light My Fire (Live At Fuji Rock)
It’s been a bit over a year since we lost Michiyuki Kawashima to brain cancer and to be honest, I had to take a break from the group’s music for a bit. Some of it, especially Shine Like a Billion Suns and their final EP, just made me too emotional. I strongly associate Boom Boom Satellites with some of my greatest moments in my life, from the Moby concert I went to on my 20th birthday where they were the opening act, to my first visit to Japan where I gorged on their music while traveling the side streets of the city that would eventually become my home.

For me, Boom Boom Satellites are an encapsulation of every kind of music I’ve ever liked. Part hard rock, dub, big beat, synthpop, hip-hop and even progressive rock. They did it all and they did it all well.

I like all their albums, but the one I’ve probably re-visited the least is their 2001 sophomore effort Umbra. It definitely qualifies as a “difficult second album” with diversions into downbeat electronica and even some jazz that are honestly hard to digest at times.

The album does have a standout shoulda-been classic though, “Your Reality’s A Fantasy But Your Fantasy is Killing Me.” Rad live drums and programmed beats accompany guitar noise and dissonant sax. It’s cyberpunk jazz serving as a backdrop for a viscous rap by none other than Chuck motherfucking D. Segueing from nearly nonsensical word association to blistering verses attacking white liberals who want to pretend everything is okay alongside black leaders who aren’t trying hard enough, it’s even more fucking relevant and brutal now than it was when it first came out.

Umbra is not available in the states, but the song is. You can get it on the 19972016-19972007 Remastered greatest hits collection, which is available on most digital storefronts. I recommend that entire album, it’s a fantastic, epic-length introduction to a band everyone needs to recognize.

Another album that isn’t on iTunes is the group’s Remixed compilation, which features a fantastic remix of the track by Coldcut, which is the version I’m sharing here tonight.

From what I can tell, there are no live recordings of the track, but it was often incorporated into the group’s live performances of another track called “Light My Fire,” where they would take the beats and heavy guitars of that song and play Chuck’s rap over them. The combination worked wonderfully, and the fierce nature of the group’s always intense live shows made the rhymes by Chuck sound even more brutal.

Annoyingly, no live version of “Light My Fire” ever made it to a proper BBS live album. However, it made it to plenty of their live DVDs, all of which I’ve ripped and converted to MP3s. The live version I’m sharing tonight is from the group’s 2005 Fuji Rock performance. It’s rad as shit.

In the interests of my own mental health, my next post might be nothing but Japanese new age/ambient music and I apologize in advance.

Flaming Japanese Astronaut Funk

November 27th, 2017

Like most people, when I first started buying records I would occasionally buy some just because they were cheap and the covers were crazy or outrageous. That’s why I own this. And this. But that’s a habit that you have to grow out of quickly, or you’ll find your record shelves full of bad 80s hair metal and obscure 70s cheese. I think the last time I bought a record solely because of the cover was probably close to a decade ago.

Then I found this.

Space Circus – Fantastic Arrival

Something about this cover just got to me, and since it was only four or so bucks I figured “why the hell not?” And while the album certainly hasn’t set my world ablaze like an unfortunate astronaut, I’ve been enjoying it.

Disclaimer: this is kind of a jazz fusion record. I have been on the record (many times over) as not being a fan of jazz fusion. That’s still a rule I try to live by. I feel that this is an exception. Not exceptional, the record isn’t that good, but it’s different enough from most of the jazz fusion I’ve heard that it stands out at least a little bit.

Firstly, the dudes playing on this record are clearly virtuoso musicians who know what the hell they are doing. There’s a lot of wankery and showmanship on this record, and it makes for an impressive listen. The bass really sticks out to me. It has a groove that makes the album almost a funk record at times. Sure, no one is going to mistake a track like “Demon Blast” for George Clinton or Prince, but it moves, and slides from one solo to another so naturally, never losing the backing beat or theme, thanks largely to that radical bass.

Secondly, for most of this album, things are kept at a fairly breakneck pace, and when they do slow down, its in favor of the keyboards and/or synthesizers. That might not be a direction that most people enjoy, but anyone whose visited my blog more than once know that’s something that’s always going to earn the attention of my ear. “Acryl Dream” sounds someone laid a funk beat over a Vangelis score. I dig it.

Finally, it’s just really stupid and fun. And I was in the hospital this week, give me a break.

I did a smidge of digging as to who Space Circus are/were. They’re long gone as a group, having only released two albums in the late seventies before calling it quits. However, a few of them continued to release music after parting ways. While both the percussionist and guitar player only seem to have this group to their name, the bass player, Hajime Okano, has a hella long discography. He’s even made his way to a few albums I own, occasionally working with artists like Jun Togawa and Koshi Miharu, two of my favorite Japanese singers, who I really suggest you check out.

Takashi Toyoda is credited as a guest musician on this release, and contributes keyboards and violin. Turns out he makes appearances on a few other records in my collection, including some synthesizer anime albums and a great record by another 80s Japanese singer who goes by Rajie. Yukihiro Takashi from YMO and touring YMO members Kenji Omura and Akiko Yano also appear on that record, it’s worth picking up if you ever somehow stumble across it.

So yeah. It’s silly, and to be honest kind of forgettable. But it’s fun. And you might find a few good grooves to enjoy. Hope you enjoy.

Back from the hospital and laying down dope beats

November 23rd, 2017

So this weekend I found out that if you’re six and a half feet tall and…not thin, and rush to the Japanese hospital complaining of shortness of breathe and chest pains, they see your giant ass immediately, because no one in the country will be able to pick you up off the floor.

I was fine, by the way, ended up just being some weird bronchial infection. But that’s why I was MIA for a bit. But I’m back! I’m not dead, I feel happy.

Well, that’s not true, look at the news, but I’m back to normal at least and ready to post obscure music no one cares about so let’s get to it.

Arrested Development
United Front (Noises In My Attic Remix)
United Front (Acapella)
Fun fact, Speech from Arrested Development is big in Japan. Seriously, he plays solo shows here in respected (if not large) venues that usually sell out. He’s the Mr. Big of hip-hop.

I have no idea why this is. In fact, I always wonder how/why any hip-hop artist makes it big in Japan in any capacity. Rap is such a lyrical medium, and if you don’t understand the lyrics, there’s no way you can get as much out of it. Lyrics are obviously important in other forms of music too, but let’s be honest, you don’t need to understand the meaning of a song like, let’s say “Pour Some Sugar On Me,” to really appreciate it.

I think that explains, at least in part, why some acts make it big in Japan though. In my time here, I’ve noticed that really technically-proficient acts, like Mr. Big, Steely Dan, and Asia have large followings here, while more famous Western artists known primarily for their lyrics and songwriting, such as Tom Petty or Bruce Springsteen, are barely ever mentioned here. The language barrier makes appreciating their music much harder. Of course, Bob Dylan is really popular here so what the fuck do I know?

Rob Base & D.J. E-Z Rock
Joy And Pain (World To World Remix)
Joy And Pain (No-Rap-Attack-Dub-Track)
Joy And Pain (Rob-A-Pella)
I don’t think that Rob Base & D.J. E-Z Rock are exceptionally more popular here than they are back in the states, but I could be wrong.

Acid House Dollfuckers

November 11th, 2017

Any of your heroes, idols, or creative inspirations get accused of gross sexual misconduct yet? Don’t worry, we still got a month and a half or so left in this year. Anything goes.

This is the upside to only caring about hyper-obscure bullshit that no one else in their right mind would care about. I’m not saying my musical idols and/or favorite filmmakers are saints; I’m saying that they’re all so irrelevant that no one is going to bother doing an expose on their alleged disturbing behavior. With how horrible the past two years have been, sometimes I willingly embrace ignorance for even the slightest bit of bliss.

Anyways, apropos of nothing, some songs about fucking a doll.

Lords of Acid
Rubber Doll (Latex Love Bazaar Mix)
Rubber Doll (My, But You’re A Fine One Mix)
Rubber Doll (I Love It When you Squeak Mix)
Rubber Doll (Do You Mind If We Dance With Yo’ Dates Mix)
Rubber Doll (Back Off The Bitch Is Mine Mix)
I actually found this single in Japan and bought it in a heartbeat. As I’ve lamented before, it’s really hard for me to find the kind of 12″ singles I like to buy – unnecessary remixes by now-irrelevant B-grade pop acts – in this country, so I was pretty stoked by this find.

Did “Rubber Doll” need five remixes? No. No it did not. But I’m certain that it no doubt that there are various 2×12″ promo singles and various CDs out there that feature even more remixes of the track. Because 90s.

Also, holy hell those are some bad remix titles.

German Electronic Avant-Garde Jazz Funk Fusion Top 40 Hits

November 7th, 2017

Blue Box – Captured Dance Floor
I’ve been sitting on this one for a while now, simply because it’s so weird that I didn’t know what exactly to do with it. As some have mentioned (with varying degrees of tact and politeness) my musical tastes have branched out a bit lately. But this one is out there even for me. It’s mental.

Okay, so what the hell am I talking about? Captured Dance Floor by Blue Box, originally released in 1989 in the group’s native country of Germany. In what little I can find on it online, it’s often categorized as jazz fusion, but I feel that categorization is wildly inaccurate. You say jazz fusion, and I think Steely Dan, Gong or Brand X. I think jazzy rock with an abundance of horns. I don’t think sparse mechanical beats overlaid with maniacal saxophone melodies, because that’s what this album is.

I get a bit of a Was (Not Was) vibe from this, but even far less commercial than that group’s most avant-garde mindfucks. But if there was an instrumental b-side to “Hello Operator…” it would’ve been a track from this record.

It’s hard to find much information on these guys in English, but I was able to dig up a bit. The group is a trio, featuring Alois Kott, Peter Esold, and Rainer Winterschladen. The first two were previously in a group called Contact Trio, who discogs describes as “on the more avant-garde end of jazz-rock.”

In the snippets of their first two records that I’ve found, Blue Box started out not all that different from Contact Trio, a bit more upbeat with some electronic drums thrown in, but definitely more jazz than anything else. This album is much different. I suspect that between their 1985 release and this one, someone in Blue Box discovered Art of Noise. The minimal jazz textures, trumpet and bass, are mixed in with seemingly random sound effects and vocal distortions.

It is just out there, man. And I’ll be 100% honest; I really have to be in the right headspace to hear this stuff. When I’m stressed out or a little under the weather, this actually makes me a little sick to my stomach. The ways it defies convention and traditional song structure are actually unnerving to me.  But when I’m willing to roll with it and let it overtake me, I find a lot to enjoy. I appreciate the combination of electronic loops with acoustic rhythms. I like how it sounds so alien that I, at times, can’t tell what’s a sample and what’s live. I really dig how it even sounds almost industrial at times, quiet a feat considering how sparse most of it is. A dissonant sax and a few random crashing samples go a long way I suppose.

Is this for everyone? Definitely not. Is it for most people? No. But is it worth at least one listen? Without question. Give it a try, and let me know what you think of it in the comments.

Oh and that cover holy shit.

Rain with Beck

November 1st, 2017

I wasn’t washed away in the typhoon last week, so I guess I got that going for me. Funnily enough, I actually got to work early, with every single train running perfectly on time somehow. Of course, once I got there, my sole student for the day canceled and I just had to head back home.

Doubly of course, that’s when all the trains decided to shit the bed and leave me stranded halfway between my work and my home for half an hour.

Who could’ve predicted that? Oh yeah, that’s right – me. I predicted that.

I’d like to say that “making your employee trudge to work in a motherfucking typhoon for a customer who surely won’t come” is a specifically Japanese business trait, but we all know that fucking over the working man is an international tradition.

Mixed Bizness (Cornelius remix)
Mixed Bizness (Nu Wave Dreamix by Les Rythmes Digitales)
Mixed Bizness (DJ Me DJ You)
Mixed Bizness (Dirty Bixin Mixness Remix by Bix Pender)
Dirty Dirty
Saxx Laws (Night Flight to Ojai)

I posted a lot of these tracks before, eons ago and on a substandard vinyl ripping setup. These versions are taken from a CD-single I bought last week. So if you happen to have to old versions I shared back in 2011 and 2012, respectively, you’re gonna wanna download these regardless.

Beck is coming to Tokyo next month, but I will be skipping that show. I’m sure his new album is fine, I think it’s gotten good reviews, but I just don’t care. Until he announces a Midnite Vultures anniversary show where he plays that album from start to finish, count me out.

I’ve said it before and I’ll say it again (and again and again), Midnite Vultures is Beck’s best work ever. Neo-funk classic. Sea Change? Fuck that shit. That’s mopey sad bastard bullshit for mopey sad bastards.

The Klaxons
Golden Skans (Sebastian Remix)
Golden Skans (Surkin Remix)
Golden Skans (Erol Ekstra Special Remix)
One day I am going to buy another album by this group I mean it. Judging on how quickly I’ve moved on these impulses in the past, I suspect “one day” will come by approximately 2028. Give or take.

I’ll Go To Work By Dolphin

October 21st, 2017

I get to go to work tomorrow in a typhoon. How’s your weekend?

Gary Numan
We Need It
These tracks were on CD at some point, they were included on the re-issue of Numan’s 1985 album The Fury. But that re-issue has been out-of-print for over 15 years at this point, and the tracks aren’t online in any capacity where you can actually buy them, so fuck it.

I don’t own The Fury, the common narrative regarding Numan is that you should best avoid anything he put out from 1983 to 1993, but I do enjoy these tunes. Very darkwave minimal stuff with Numan’s trademark moan working well to tie it all together. And the vinyl I ripped them from is bright neon orange! See?


St. Vincent
Power Corrupts (政権腐敗)
This one might get me a cease and desist but fuck it. Can anyone outside of Japan buy it? No.

This is the Japanese bonus track to St. Vincent’s newest album, the excellent MASSEDUCTION. It’s a re-working of the the title track, that features new vocals by Toko Yasuda, whose been in a few bands over the years. It’s a pretty radical reworking, with Yasuda’s vocals at the forefront. The only vocals by St. Vincent that remain are in the chorus.

Like I said, MASSEDUCTION is a great album and further proof that St. Vincent is a dope as fuck. Pick it up if you can, and even if you hate this track, give other songs from the a chance, this one really isn’t representative of the album as a whole.

Les Daylight
Tango For Cats
I almost posted this full album, don’t fucking tempt me.

I have no idea what this is, by the way. But I did pay $20 for the vinyl. So I got that going for me, which is nice.

Megagay Megatone Megamixes

October 12th, 2017

Back to my regularly scheduled programming of unloading all the stuff I ripped to my computer before I moved to Japan. Now for some gay shit.

DJ Frank Schmidt
Megatone Records Greatest Hits Mix Side 1
Megatone Records Greatest Hits Mix Side 2

Tracks from Megatone work well in the megamix format, as nearly all of them kind of sound the same in the best way possible. I wish that the Megatone style of Hi-NRG disco had caught on more in the mainstream. I know it had an influence, you can hear elements of Cowley’s production work in tracks by artists like Erasure and Pet Shop Boys, but I feel that neither of them really captured the essence of the vintage Megatone sound. The Pet Shop Boys are often too subdued and/or depressed to be really Hi-NRG, while Erasure…I don’t know, they sound hella gay and camp, but not hella gay and camp enough. I guess no one can top Sylvester in that department.

Sylvester is on both of these mixes, alongside several other Megatone mainstays, the full tracklist for both mixes are as follows:

Side A

  1. Patrick Cowley – Mind Warp
  2. Sarah Dash – Lucky Tonight
  3. Sylvester – Do Ya Wanna Funk
  4. Modern Rocketry – (I’m Not Your) Steppin’ Stone
  5. Patrick Cowley – Megatron Man
  6. Magda Layna – When Will I See You Again

Side B

  1. Sylvester – Don’t Stop
  2. Earlene Bentley – Boys Come To Town
  3. Le Jete – La Cage Aux Folles
  4. Scherrie Payne – One Night Only
  5. Queen Samantha – Close Your Eyes
  6. Sylvester – Hard Up

Modern Rocketry’s version of “Stepping Stone” is really great, and both the Sylvester and Cowley tracks are, of course, out of the park fantastic. There really isn’t a weak track on either side of this one. All killer no filler for sure. If you download these mixes and enjoy them, I highly recommend checking out the Megatone Records collections that are currently on sale at iTunes. They have the 12″ mixes to all kinds of amazing tracks, including “Do You Wanna Funk,” “Right On Target,” Low Down Dirty Rhythm” and many others. Essential listening for dancing in the meat-packing district of NYC circa 1981, or, y’know, a really good workout mix.

Music From The 21st Century That Never Happened

October 9th, 2017

Sorry for the break in posts for the past two weeks. I got sidetracked with a horrendous disease! Actually, it was just tonsillitis, but it sure a fuck stuck for a while and really put a damper on my plans. Additional strife was caused by the antibiotics I was prescribed, which side effects included anxiety attacks and insomnia, making for a fun Monday night, I tell you that.

I did use the day off work to do at least one productive thing, however; I finished the sixth part of my YMO guide! This part covers the various acts in the YMO family, like Jun Togawa, Kenji Omura, and a lot of other awesome artists I’ve mentioned here in the past. Check it.

Then check out this crazy spacey music from the fuuuuuture*

*actually 1982

Music From The 21st Century

Remember when “the year 2000” had such a mystical ring to it and we all imagined that we’d be in flying cars, eat food out of capsules and wear skintight clothing is superfluous circles on them? Ah, nostalgia for a future that never came to be. Even though I was only a wee lad in the first half of the 80s, I remember that the idea of “futuristic music” back then meant “a shitload of keyboards.” That, and probably silver jumpsuits.

Music From the 21st Century is a compilation of space-aged electronic music, stuff that sounded very futuristic at the time, although I wonder if anyone aside from four-year-old me really thought that the music of the coming millennium was really going to sound all that different.

While I do think that the actual music of the 21st century has turned out alright, I’m sad that a future where this stuff was the mainstream never became a reality. Imagine a world where 20 minute ambient soundscapes were top 20 hit singles instead of Katy Perry?

Note: I’m not sharing side one of this, which is basically just one Tangerine Dream track that’s in-print and easy to get.

Alex Cima
“Primera” is from Cosmic Connection, Alex Cima’s 1979 debut record. I’ve never seen this one in the wild, but from what I’ve heard on YouTube, it seems like my thing; part experimental electronica, part disco, part synthpop. My jam all the way. “Primera” is an okay tune, a bit too jazzy for my tastes, but “Lithium” is really top notch stuff. Rolling sequences, random space noises, a fast-paced beat, it sounds like Tangerine Dream on speed. Throw in some alien voices made via a vocoder, and it really sounds like music from the “the future.” Totally rad all the way.

Cima’s released three other albums, ranging from easy listening jazz to more experimental fair, but I think this stuff may be his best. Too bad it’s so hard to find.

Steve Roach
Steve Roach likes Tangerine Dream, and it shows with his contribution to the record. If you told me this was a Tangerine Dream track, I’d believe you. Thankfully for Steve, it sounds like a good Tangerine Dream track. It could’ve been a B-side to the Thief soundtrack or something.

Steve Roach is actually a very talented and well-respected name in the ambient music scene, with a career that continues to this day with over 100 proper albums, so I don’t mean to sound flippant. He obviously carved a very successful niche for himself that went far beyond “dude who likes Tangerine Dream.”

Don Preston
On The Throne Of Saturn
Don Preston was a founding member of Frank Zappa’s Mothers of Invention. So it should come as no surprise that the motherfucker is weird. But this is a weird track, and entirely unlike everything else on this record. It’s very atonal and experimental, definitely straddling the line of what many people would call music. I also can’t figure out exactly how the hell he composed it. There aren’t any keyboards here, I think most of it is analog manipulation of analog sounds (i.e. tape music). I can see why he worked with Yoko Ono. Not exactly easy listening, but kudos for originality.

Neil Norman
Dance Of The Hyenas
Neil Norman organized this collection, and the only other artist whose name I recognized. Norman released those “Greatest Science Fiction Hits” albums in the 80s. This dude loves sci-fi. I bet he had a booth in at least one mid-80s Star Trek convention.

This is good, deliberately “sci-fi” sounding space music that deserves to be played as the background music in an episode of that new Star Trek series that probably isn’t very good.

Michael Garrison
Another Tangerine Dream-inspired keyboardist, Garrison released a lot of music in his life, and from what I can gather some of it is held in very high regard by ambient music fans. This is certainly a pretty good rejiggering of the Tangerine Dream sound (sensing a theme?), with a good mix of sequencer rhythms and a super-catchy melody. Feels like just part of a larger piece though.

Bruce Courtois
Inside The Black Hole
I can’t find much about out about Bruce. This is his only credited release on Discogs, and the only song of his I can find anything about on the internet (apparently its streaming on Spotify, who knew?)

I think, however, that he was in an early-70s glam band called Zolar X. They were a weird LA band with a sci-fi bent. Each of them when by pseudonyms, but the real name given for “Zany Zatovian” is “Bruce Allen Courtois,” so I assume that’s him.

It’s too bad he never pursued an electronic career proper, as “Inside The Black Hole” serves as a great album closer. Good upbeat spacey sound, good melody as well. I imagine this playing during a segment on 3-2-1 Contact about computers or something. It’s really evocative of the era it came from.