A short spell of summer has arrived in London, so it makes sense to blast a voltage-induced sunny rock number while soaking in the sunshine. Much to one’s delight, a new tune by Kensei Ogata cropped up out of the blue. ‘Someone Will Love You’ marks a coming of age in two ways – it’s the first song Ogata released as a band line-up, and musically diverts into new stylistic territory. In contrast to much of the spellbinding synth-led songs in his album Her Paperback (released in 2012 under Dead Funny Records), Ogata unleashes powerful rays of post-rock energy with an infectious rhythmic and harmonic motor that throws back the days to the teenage rock generation.
After the first few minutes of listening to ‘Thursday’ by three-piece band The Wisely Brothers, you’d probably be forgiven to be swaying along to a gentle wave of indie rock tranquillity and dreamy vocals. However, the all-female trio unleash a sonic riot filled with clamorous drums, voltage-boosted guitars and anthemic vocals over an adrenaline-rushed pulse. Sumptuous yet sometimes manic, this is one song that you cannot let your ears drift away from.
Other Info
Listen to more of The Wisely Brothers in my blog post here.
TK from 凛として時雨 Ling Tosite Sigure is peerless when it comes to musical identity and innovation. ‘Wonder Palette’ is the latest track to emphasise his eminence as an emblem of Japanese prog-rock. A radiant undercurrent shimmers with bristling energy from the outset, while rhythmic piano riffs, voltage-laden guitars, clamorous drums and TK’s somersaulting vocals in the chorus urge the track to soar above the sonic stratosphere. If you allow me to express my thoughts on this track in the most superficial way, it simply takes the listener to another musical galaxy.
Other Info/Context
White noise was released on September 28th.
TK from Ling Tosite Sigure will begin his “Signal to Noise’ Tour on November 3rd.
It’s been a year since I started this blog, and since then it has become a platform for you and myself to discover new and unusual bands like幾何学模様 Kikagaku Moyo. As you close your eyes and widen your audible senses for their dream-inspired track ‘Silver Owl’, you will float gently through a cloud of psychedelic folk filled with pensive vocals, delicate guitars and dreamy harmonies. Their considerable reputation today makes me wonder why I didn’t discover them much earlier on in my life.
Sumptuous and stirring, ‘Signal’ by TK (Toru Kitajima) from prog-rock band凛として時雨 Ling Tosite Sigure is a compelling rock number enriched with orchestral power. Away from the punishing rock anthems of his band, ‘Signal’ is a resplendent number that could well crown TK as the prince of prog-rock in Japan today – full of opulent strings, colouristic textures, dynamic guitars and drums, and rich vocals that reach heavenly yet anthemic heights in the chorus. Find out more about Ling Tosite Sigure in my blog post here.
Featuring in their EP 霊感 Reikan, りんごの質感 ‘Ringo no Sitsukan’ is one of the handful of tracks that kick-started the acsent of Taiko Super Kicks. The psychedelic-indie quartet takes the listener through a nostalgic musical fantasy with yearning vocal melodies, dreamy guitar riffs and gently pulsing drums. A guitar solo rockets through the sonic ceiling, ceaseless in energy and fiery emotion before cascading down back to wistful vibes. Listen to another one of their songs in my blog post here.
Polly’s new song 沈めてくれたら ‘Shizumete Kuretara’ (‘If you let me sink…’) is a sonically chaotic (in a good way) yet equally enticing experience. Featuring in their new mini album 哀余る Aiamaru, the four-piece band strikes a sonic lightning from the outset with a bolt of clamorous guitar feedback and drum noise. After a raucous intro, polly immerses the listeners in a tranquil and rich indie rock/shoegaze vibe, before unleashing one more pocket of energy in a blissful yet haywire ending.
Other Info/Context
Polly’s new mini album Aiamaru was released on July 13th.
It is not just the likes of Sakanaction making waves in the new wave/electro-pop scene. MARQUEE BEACH CLUB caught my attention with their track ‘eye’ from their upcoming album Flavor. The track instantly coaxes an infectious dance vibe with pumping beats, radiant synth colours and seductive vocal melodies, and is sure to persuade listeners to get up on their feet and feel the sonic energy from start to finish.
雨のパレード Ame no Parade – ‘Tokyo’
Four-piece J-rock band 雨のパレード Ame no Parade has only spent three years in the business, but is fast capturing the younger generations of Japan’s pop/rock enthusiasts with their catchy and cool post-rock personality. ‘Tokyo’, from their latest album New generation glistens with a tinge of melancholy in the wistful bridge section, but also strides with verve in the euphoric chorus laden with glittering guitars and glorious vocals.
As with every song by パスピエ Passepied, an infectious energy lies at the heart of their new track永すぎた春 ‘Nagasugita Haru’ (‘The Spring that lasted too long’). Colourful synths pervade the sonic field to evoke the golden days of synth-pop, while the perpetual pop pulse, ‘kawaii’ vocals and sing-along melodies make the track as catchy as any other cute J-pop hit of today. Their new single will be released later in July.
Analogfish – ‘Baby Soda Pop’
Dreamy, propulsive and anthemic, ‘Baby Soda Pop’ by Analogfish is a totally unique musical experience more listeners should encounter. The three-piece alt-rock band is no stranger in today’s music scene – they have been active for more than 15 years, and perhaps best known for providing the ending theme for the big anime Naruto with their song ‘Speed’. However, ‘Baby Soda Pop’ is a considerable shift in style – ethereal synths shimmer seamlessly to coax a magical ambience, while sumptuous vocal melodies, harmonies and pounding beats liven up an anthemic pop vibe.
Putting aside the recent chain of events and controversies surrounding 川谷絵音 Kawatani Enon, mastermind behind Indigo la End (and sister group Gesu no Kiwami Otome), 藍色好きさ ‘Aiiro Suki sa’ (‘I Like Indigo Blue’) showcases the alt-rock band’s creative potential to great magnitude. The four-piece skips away with intricate drum rhythms, shimmering guitar riffs, electric piano harmonies and pulsating bass lines. The whole rhythmic vibe is lightened up by Kawatani’s dainty yet rich vocals.
Shespider – ‘Imitation’
It seems as though rock music has taken much of the limelight on my blog, so it’s time to dive into the vibrant sonic colours of electro-pop with Tokyo-based trio Shespider and their track ‘Imitation’. While the punctuating beats keep the rhythmic energy alive, the reverb-laden sound world, glittering guitars and serpent-like vocals intensify the track’s mysterious flavour. The track will be featured on their upcoming mini album Imitation early next month.
ya-to-i – となえるよ ‘Tonaeruyo’
Hidden within the P-VINE archive is an unusual number by three-piece band ya-to-i. となえるよ ‘Tonaeruyo’ (‘Chant’) is born from the creative minds of 山本精一 Yamamoto Seiichi, 岡田徹 Okada Toru (from 70s band Moonriders) and 伊藤俊治 Itou Toshiharu. Making use of the stereo field in spellbinding fashion, the track is a rich mix of android vocals, bright guitar licks, and styles see-sawing from post-rock to dance and ambient vibes.
Gorgeous 70s/80s vibes ooze out from Hearsays’ music, including ‘Talking Across The Room’. Upbeat and tranquil in equal measure, the four-piece indie rock band based in Fukuoka fill an evocative sound world with reverb-laden guitars, dreamy riffs and harmonies, driving drum pulse and wistful male-female vocals, taking their listeners as well into the nostalgic musical journey.
ゆだち Yudachi – ‘(die staadt) Norm’
Music has the power to transport listeners to otherworldly experiences. ゆだち Yudachi coaxes a smooth, ethereal soundscape in their track ‘(die staadt) Norm’ from their first album 夜の舟は白に折りたたまれて The Night Boat is Folded in White. Filled with glassy synth harmonies, tranquil guitar lines, rippling crescendos and beautifully languid vocals, the track will hypnotise listeners in a blissful musical trance.
宇宙コンビニ Uchuu Konbini – ‘Pyramid’
The intricate rhythms and propulsions of math rock and prog rock collide in ‘Pyramid’, a track by Kyoto-based three-piece “progressive pop” band宇宙コンビニ Uchuu Konbini. Above the precision-engineered rhythmic drum patterns, time signature changes, lush harmonies and colourful guitar timbres lies Ohki Emi’s feathery and wistful vocals rippling away with elegance and emotion. ‘Pyramid’ embodies the true qualities of post-rock awesomeness.
Alongside bands such as Toe, Fox Capture Plan and Mouse On The Keys, Kyoto-based four-piece band Jizue has all the fundamental qualities to work their way into the hearts of contemporary jazz, post-rock and math-rock enthusiasts.
Kyoto is the city of beauty in many ways – its historical culture, landscape and the people. One cannot help but imagine traces of Jizue’s close connection to the city being manifested in their wonderful blend of smooth melodic and harmonic ideas, minimalistic soundscapes and sumptuous jazz backdrop. This is true none more so than in ‘Sakura’ from their self-titled EP in 2009. This particular track uses Japanese pentatonic flavours in its opening piano solo, gradually building up in rhythmic energy and texture towards a final burst of sonic bliss full of bright guitar effects, piano harmonies and dazzling drum lines.
Similarly, ‘pray’ from their 2012 album Novel dreams up a delicate atmosphere with twinkling piano melodies high in the stratosphere, ambient-coloured guitars and a gentle pulse that slowly brews like cloud drifting through the sky. The track gradually plunges into a final coda driven by a dazzling electric guitar solo line, inciting the piano and drums to swell sonically and emotionally before dying down with a final few notes.
‘shiori’ relies on an even more minimalist core, rushing through an adrenaline-rushed propulsion mainly driven by perpetual piano figurations. The track streams through its harmonic progressions and textural variations like a seamless river, and the band navigates their way through a central section full of intricate rhythms, colourful timbres and rhapsodic passagework before preparing for a final rush and a militaristic drum line charging towards the tranquil conclusion.
Jizue’s enticing and forward-thinking musical ideas lend itself to multiple listens. Their strong passion for post-rock, contemporary jazz, and their desire to experiment will surely grab the attention of listeners craving for something different.
Compromising a sound world between post-rock, downtempo and electronic styles, Tokyo three-piece band Spangle call Lilli line’s simple rock façade belies their unique personality in the burgeoning indie rock landscape of Japan.
The band from the Shimokitazawa neighbourhood planted their seed in the music scene with tracks like ‘IRIE’, from their self-titled debut album in 2001. Although they started off with a timeless indie rock personality, there are pockets of musical embellishments that speak for their distinct creative craft. The track’s central episode embraces some outlandish harmonic decorations from the subtle synth and an unforeseen jump into a jazz vibe prompted by the deep acoustic bass line. Along with the calm vocals of 大坪加奈 Otsubo Kana, one can look forward to tread through a vivid post-rock ambience infused with a positive pop rock undercurrent.
‘veek’ from their 2002 album Nanae is a musical narrative of two halves. The track ripples away in a delicate flow with an opening instrumental introduction that sounds as though it preceded the cute sound world of Lullatone. The floating feeling continues with Otsubo’s feathery vocals, serene harmonies flowing peacefully and beautifully subdued drumbeats. Then all of a sudden, the band picks up the momentum in a burst of sonic energy and adrenaline-rushed rhythms and riffs before unwinding back to the meditative affair.
15 years on from the dawn of their existence in the music scene, Spangle call Lilli line have expanded their palette with entrancing numbers like ‘tesla’. Trickling away with colourful sounds ranging from Mogwai-esque ambient post-rock overtones to melancholic jazz trumpet and sax melodies in the distance, ‘tesla’ is a spellbinding track that opens with a Brian Eno-like minimalist piano backdrop and wanders through a slow-brewing atmosphere with gentle, feathery vocals against an intricate beat line laced with hip-hop/dub and electronica flavours.
Spangle call Lilli line are an intriguing band whose music exudes a preciousness that makes then an intriguing and worthwhile listening experience.
J-pop Through My Looking Glass 
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