In this interview feature, we get to know the most radicalist up and coming stars on the planet.

This time we had a chat with whimsical songwriter and multi-instrumentalist Grimm Grimm.

Originally from Tokyo, Japan, Grimm Grimm (aka Koichi Yamanoha) has been making music in London under this moniker for almost a decade. His promising brand of textural psych-folk earned praise from My Bloody Valentine's Kevin Shields early doors, who offered to release Yamanoha's 2015 debut album Hazy Eyes Maybe via his own Pickpocket record label in collaboration with ATP recordings. 3 years later Cliffhanger arrived. The second full length from Grimm Grimm delved deeper into the surreal bedroom-pop that was alluded to on Hazy Eyes Maybe. Conjuring comparisons to Broadcast, Syd Barrett, the Flaming Lips and even The Beach Boys, Yamanoha's haunting compositions received positive reviews by critics for their uniquely melancholic sense of nostalgia. Counting Cate Le Bon (who he toured with last year), and radio royalty Mark Riley as fans, Grimm Grimm preceded his phenomenal third album Ginormous with 3 stunning singles that made us swoon here at TMR. (See List Picks for Something In Your Way, We've Never Been This Far Before and Ginormous here) We figured it was time to learn more about one of our favourite artists of the year so far.

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TMR: We know you've been playing as Grimm Grimm for a long time now and you played Screaming Tea Party before that. Do you prefer writing music solo now?

Yes I kind of do, it’s easier in many ways. The beauty of being a band is the chemistry between people and I do miss it sometimes, I guess the two things are actually a very different dynamic.

TMR: Your music as Grimm Grimm has a wonderfully ethereal feel to it but is often doused in melancholy. What inspires you musically and/or lyrically?

I think the people around me inspire me most, like what they say or do to me.. I usually want to make people happy, so I try and I play music to make myself happy too. There is something subconscious thing underneath going on probably, influence from my family, especially my mom I think.

Some songs are inspired by books and images actually. 'The Ghost of Madame Legros' (which features Stereolab's Laetitia Sadier) was inspired by this...a forgotten story of the ordinal french house wife called Madame Legros, who continuously fought against the state power Louis XVI to free people who were imprisoned in the Bastille for 30 years apparently. This was like in late 17th century and it eventually became the key trigger of French Revolution. (The book was called Woman of the Revolution and it was written by this French guy, Jules Michelet).

TMR: Your 2018 version of The Misfits 'Hybrid Moments' is arguably one of the best covers we've ever heard. Do you enjoy working on covers and what made you choose this song?

This was the first song ever I learnt on guitar when I was 15... I just love the mood. It’s funny when you play songs with acoustic guitar, it stripes of it everything and always melody comes out nakedly.



TMR: Last year's Klein remix of' Kazega Fuitara Sayonara' gave the track a really interesting new direction. If you could get anyone to remix one of your tracks who would it be any why?

Hmm not sure if I would ask to remix, but I really like what Mica Levi does.



TMR: It's been mentioned that you teamed up with Marta Salogni to co-produce the new album. Have you previously produced the Grimm Grimm albums yourself and if so, what encouraged you to seek an outside ear?

The first album was produced by myself I guess. Working with Marta was great, she is not only technically exceptional but very musical. We shared a stage at Servant Jazz Quarters in London a few years ago. She has a music project called Sister Static and played this repeating hammer sounds via a real to reel tape machine. I think that’s how we met first.

TMR: Can you tell us more about the creation of 'Ginormous' in general?

The most of the songs in the album were written between 2018 to 2019, firstly I recorded all idea on to my laptop with guitar and synths before I went to Marta’s studio. Some percussion was recorded at Total Refresh Centre in North East London. For years I had an idea to write album that sounds like a funeral and wedding at the same time - like a compilation album for ceremonial occasion with bunch of melody you listened to when you were child but no one really know who’s written.

TMR: We loved the magicalness of your recent video for 'Ginormous'. Where did the idea come from?

The video was directed by my friend Seth Pimlott using both 16mm and a digital hybrid with his new technique. He once made a music video for this Argentinian band, Los Cripis. I loved it and since then I always wanted to make one with him. For this 'Ginormous' video, I only gave him some abstract words as inspiration, they were something like, “waving”, “un-negotiable feeling” or “mountain on Fire”. Some are the lines from my lyrics and rest of the creation was done by him and his partner Pearl Doughty-White, they have real genuine spirit of experimentation.

TMR: If you could create the perfect environment to listen to the new album in what would it be?

Personally it would be in a car, train or air plain.. like when you are moving towards somewhere...

TMR: All the tracks we've heard so far have featured beautiful vocals from Paz Maddio, who also plays in Value Void. Can you tell us how this came about?

So the first time I heard Paz’s voice was at this ATP festival back in 2015. My friend Adam played me a song of her band, it was called Wives. I remember her voice reminded me of this singer Ann Steel. A few years later I bumped into her and her friend in a cemetery near my house. She told me that she moved to London from Argentina recently and was looking for a room to live. I told her that there is an empty room in my flat, then she moved in soon after. I wrote some songs for the Ginormous album around that time and asked her if she might be up for singing a song. Then ended up recording a few songs. She is one of the most talented musicians and genuine person I know.



TMR: Do you see yourself collaborating with other artists on future Grimm Grimm songs?

Yes I have a few ideas.. asking my friend Eugene to play this Chinese violin called a Nico on a few tracks, such a beautiful instrument.

TMR: Having only ever seen you perform solo, we spotted on social media that you were practising with a band (featuring Paz and members of Bo Ningen) for your recent tour dates. Is this something you'd like to continue with?

I would love to, yes. I formed this band specifically for a BBC live session which we did in February. I really enjoyed playing with them, again the chemistry - musicians with the characters of sounds, mistakes and even stutters.

TMR: You also spent a while in Japan and played a few shows (before all this Coronavirus madness). Do you think your music is received differently in the UK and Japan?

Hmm...It feels same actually, especially at shows. Also when I sing, I can't ever enunciate well neither in Japanese or English so probably people don’t really understand what I am on about.

TMR: As a blog specialising in new music, could you recommend any emerging artists that you've been enjoying recently?

I’m listening to Ed Dowie’s last album last few days, it’s great. I met him though Cate (Le Bon) at this festival in Utrecht. Also... once I played with this girl duo called In.versione Clotinsky in north Italy and I loved their show. They have both same name, Valentina. such genuine music. I was listening to their album a lot on tour.

TMR: Finally, once Ginormous arrives, what are you plans for the rest of the year?

Writing some new songs, releasing new EPs. But also I wanted to try something I’ve never done before, like write film scores for a movie.



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Ginormous is out now via TipTop Recorings / Magniph.

-Holly Mullineaux