Samm Bennett

Tokyo, JP
Artist / Band / Musician
Idol / Black Metal / Chinese traditional
Got a label? Make me an offer!
:::::::::::::::::::::::::::::::::::::::: UPCOMING SHOWS ::::::::::::::::::::::::::::::::::::::::

Folks, for my upcoming shows, please check me at FACEBOOK. OK? Thanks!


Surprisingly, the CD I released in January of last year, ROOMFUL OF GHOSTS, has not yet fully sold out! Yes! Copies are still available! Information, song lyrics, photos, reviews and more on this release (did I mention that it's still available?) can be found at the official Roomful of Ghosts site. I'd LOVE to provide a direct link here to that site, but MySpace has inexplicably deemed all BLOGSPOT pages as evil, and you can't link to them from MySpace. Wow. But the site WILL NOT put a spell on you, or a curse on your grandmother's hard drive, or anything like that. So, just Google "roomful of ghosts", and you'll find it. You can also click the CD Baby button below, where, among other things, you'll find a direct link (CD Baby does not think it's evil) to the Roomful of Ghosts Blogspot website:


SOME BACKGROUND INFO: I write and sing songs. I started doing that around 1991, when I released my first record Life of Crime, featuring a group I used to lead back in NYC called CHUNK. After that followed a release called The Big Off (1993) which featured about 17 musicians from the New York scene of the time, and after that Samm Bennett's History of the Last 5 minutes with guitarist Hahn Rowe. During those years I did shows in NYC as well as some tours in the US, Europe and Japan. Upon moving to Japan, though, in the year 1995, I pretty much stopped writing and performing songs for about 10 years or so. But during the last couple of years I've gone back to it in a big way, writing a LOT, as well as going out to sing all this new stuff at gigs around Tokyo, with some frequency.

I play drums and percussion, mouthbow, jawharps and the strumstick, which is very similar to a mountain (Appalachian) dulcimer. I often use drones that I create using one synth or another (my beloved old JUNO 60 comes in handy for this purpose). The percussion in my tracks very often has a melodic function as well, whether it's in how a drum is tuned, the note from a tiny bell, whatever. I enjoy playing the drum kit, though I'm more likely to use a variety of other percussion rather than the standard trap set when recording my songs: I think it's often more interesting and leads to different types of rhythmic expression to go that way. Some of my favorite drums to work with when putting tracks together are talking drum, frame drums, udu, darbuka, bombo and that amazing electronic marvel, the Korg WaveDrum. Otherwise, all manner of shakers, scrapers, bells and miscellaneous soundmakers find their way into my music. Sanzas, ukuleles, tin cans. I like to mix it up a lot. And by the way, the acoustic guitar you hear in "Lexington Avenue Line" on my player is by my buddy Ken Kawashima. Otherwise, all tracks on the other four songs you hear on this page are performed by yours truly.

My latest collection of songs, ROOMFUL OF GHOSTS, is out now.

Now, if you want a really exhaustive biography (it'll take you about 3 or 4 days to read it) you can check here.

I did an interview last year for online magazine based here in Japan called GYAKU. If you'd like to read it, it's here.

I've posted some songs and whatnot at Metafilter Music (under my Metafilter username "flapjax at midnite") which you can find here.

I'm also a frequent contributor to MetaFilter with music-related posts (again, as "flapjax at midnite"), covering a wide range of musicians and genres that interest me. You can see a collection of my music-related MetaFilter posts here.


Concerning TOP FRIENDS: The whole "Top Friends" thing, as I'm sure many of you might agree, is a little weird. But I think about it like this: it's just a way for me to call attention to music and musicians that I find interesting or exciting. They may be musicians I know personally, or they may be folks I've never met. They may be living, they may be dead. Whoever they are, they're there so that anyone who happens to wind up on my page can get some idea of what I dig musically, and, more importantly, perhaps click on the links and go check out some folks they may not already know. So the whole ranking aspect, the whole "top" bit, that's not why the "Top Friends" are there. They're just there cause I like their music. And I like to change them around from time to time, too, so if you happen to be a "Top" friend, then later find that you've dropped off the page, please be aware that it was only to make way for some other interesting musician. It'll be a rotation. Doesn't mean I don't love you anymore! I still love you!


Concerning COMMENTS:

I'm of the opinion that comments here should (ideally) say something to me personally. For myself, whenever I make comments on other folk's pages it's always to say something to them about their music, or to respond to a comment of theirs, as part of a discourse or exchange. Honestly, all this "thanks for the add" business, doesn't it get a little bit tiresome? I don't really need folks to just say "thanks for the add" or "thanks for the request", if that's really all you have to say. Not that I don't think a "thank you" is a good thing, but, really, it's not necessary, as far as I'm concerned. If you want to say something about my music, tell me about that time the doorknob broke, or quote your favorite line from Miller's Crossing, that's great. You know, something interesting! But there's absolutely no need to send me a pre-fab graphic thank-you note or suchlike. In fact, if you don't even bother to address it to me, to personalize it in some little way, I'll probably just delete it. Cause it can wind up just looking like advertising for your band or whatever. Sure, maybe it's not, exactly, but it can feel that way. So if there's an add, I'll assume that you are thankful for the add, and I'll assume you'll know that I appreciate the add when the situation is reversed! And you can save your comment for such a time as you have something to say about how outta tune I'm singing, or how you think I'm the next Barry Manilow, stuff like that.

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