Tokyo-based shoegaze producer Otom is back with his first track of 2019, titled “You Lost Me”. The new song is a bit more upbeat than the billowy electronic shoegaze he wowed us with last year, though if it’s too poppy for your taste Otom included an edited version that’s more or less a glitchy remix showcasing the track’s textural backdrop. Otom sits atop a fairly long list of recording-only Japanese music projects that I wish would get a band together and take it to the stage. His style of music seems like it would translate better than a lot of the lo-fi bedroom pop that also populates my list, but for whatever reason it doesn’t seem like that will be happening. In the meantime, we’re likely to get quite a few more singles this year, so at least we have that to look forward to.
While it’s true that the Nagoya scene has been a bit lacking over the years with regard to shoegaze bands with a reputation outside the city, there’s been a steady flow of alternative bands largely based around Tsurumai live house Daytrip and its sister venue Daytrive. That section of the Nagoya indie scene is extremely underrated, but it boasts real quality and considerable diversity. Gloomy post rock outfit, The Rainy, has been one of the bands at the center of the current wave of Nagoya shoegaze-adjacent artists, and they followed up an impressive 2018 with the release of their debut EP, “Film”, at the start of this year.
The Rainy is one of a number of Nagoya bands that identify to some degree as shoegaze, but the way in which they draw on the genre is extremely subtle. The band’s approach to songwriting is based largely on gradual crescendos from light, often acoustic, intros to deeper emotional finishes. “Film” is basically a showcase of that style of song development, highlighted by the heart-wrenching fan-favorite that is the EP’s title track. Though a lot of what The Rainy does is repetitive as a general process, they change it up by feinting and teasing the flows of songs, picking their shots and setting them up effectively. The placement of “Yulunohi” smack in the middle of the EP creates a nice change of pace with its the piqnic-esque moody intensity. It might be somewhat difficult to truly appreciate The Rainy without seeing their spectacular live performances, but “Film” is a nice introduction to what the band does.
You can listen to The Rainy’s “Film” EP on most streaming services and purchase it via iTunes. Physical copies are also available for purchase via File-Under Records.
The pool of new Japanese shoegaze talent was apparently so deep in 2018 that some managed to slip through the cracks. That’s the case with Kanazawa’s Noah, who released a 3-track demo, titled “1st demo”, on Bandcamp in October. As it’s extremely obviously a demo, it’s not the most polished release, but it’s still clean enough to get a good scouting report on Noah. “Hakuchuumu” is a big slow billowy shoegaze track that reminds me a lot of softsurf. “Kaitei Kara” has a similar vibe to it with a kicked up tempo, and the balance of the male-female twin vocals is perfect. “Twilight” feels a bit more like a Japanese shoegaze song with the very up-front lead fluttering over a poppier, more subdued backdrop, but Noah nails the vocal harmonies again here. For a demo, this is really impressive stuff, and this band should be on any Japanese shoegaze fan’s radar.
You can grab Noah’s demo for whatever you’d like to pay over at Bandcamp.
For years now, Tokyo’s Spool has been readying itself for a breakout. The all-female four-piece, which has become affectionately referred to as “Japan’s Warpaint”, has been a massive draw in its local scene, garnered attention from music fans overseas, and put out a handful of quality releases both in Japan and internationally. The announcement late last year of its self-titled debut full-length felt like a statement that Spool was ready to establish itself among the elite of the Japanese indie scene.
The Warpaint comparison almost feels lazy, but it makes sense. The shoegaze tag fits as well as the various comps to bands like The Smashing Pumpkins, Sonic Youth, and My Bloody Valentine, but each only to a certain extent. On the album Spool pulls a bit from the edgier side of 90s US alternative music as well as the dreamy UK melancholy and fuzzy guitar walls that have the band seated comfortably in the Japanese shoegaze scene. It’s a total throwback to everything that rules about 90s music. Spool has really keyed in on that general concept and written exceptional songs around it.
There are some familiar songs on the record, with “Springpool” and fan favorite “Sway, fadeaway” joining the stunningly shoegazey lead single “Be My Valentine” in getting beefed up new versions courtesy of producer and magic love drummer Kazuaki Kondo. Lead track “nightescape” is a dark, dreamy number turned absolute belter that, along with my personal favorite song on the album, “Let Me Down” really showcases frontwoman Ayumi Kobayashi’s range. The deep, breathy vocals in the verses on the latter, in particular, are teeming with attitude and there’s something quietly powerful about them as they trade off with the sad, raw chorus line.
Overall, the shoegaze influence on the album is perhaps stronger than expected, highlighted by gloomy, thickly textured tracks like “Winter” and “Morphine”. “Blooming in the Morning” adds a little dream pop into the mix as well, softening a bit of the album’s edge with some bouncy sweetness. The closer, “No, thank you”, which is a more cleanly mixed version than the one that appeared on last year’s Total Feedback 2018, wraps up the album with a blistering guitar attack and distorted vocals.
Expectations were high coming into the full length debut, and the band delivered. Though Spool’s influences are by no means unique in the current Japanese scene, the way in which they are able to put them together and really balance their sound over the course of the record is. The ability for a band to wear its influences on its sleeve without bottle-necking itself and at the same time maintaining some cohesiveness over the course of an album is something to appreciate. Spool has done it here.
Less than six months after releasing its debut full length, “Addiction”, Osaka’s Acidclank is back with a suddenly released follow up titled Apache Sound. The album, which was released via indie label Ano(t)raks, is the first recorded material since frontman Yota Mori announced that Acidclank will return to being a solo project after a couple years of operating as a full band.
While the majority of Acidclank’s catalog has been a nod to 90s UK indie music, the new record takes a pretty sudden turn into chilled-out electro pop. True to Mori’s M.O. as a songwriter, Apache Sound is not a straightforward dive into a specific sound, but an exploration of it providing a lot of different looks. The title track has a mellow city pop vibe to it, with auto-tuned vocals that make the occasional appearance throughout the album. There’s some hip-hop and R&B infused pop on “Ghost Record” and “Shy”, respectively, while “Funeral” and “Downtime Acid Jam” are more textural electronic pop instrumentals. “Dubs” is a warm synth track with a super catchy chorus that feels like it could fit comfortably anywhere in Acidclank’s catalog.
From the blippy, ambient lead track “Riot”, though, Apache Sound is an obvious departure from Acidclank’s previous releases. That is until you get to the album’s closer, “Addict of Daydreaming”. Perhaps the track’s title is telling of some personal need to go back to hazy, dreamy shoegaze, but when I got to the song I thought I had accidentally queued up an entirely different album. To be honest, this song’s inclusion is pretty disrupting to the flow of the overall album. That being said, though, it also might be the best shoegaze song that Mori has written yet.
You can pick up the new album for free via the link to Ano(t)raks’ Bandcamp page below.
Kobe’s Doyoubi to Jinchou to Kohi (which very awkwardly roughly translates to “Saturday and Penguin and Coffee”) has been a low key fixture of the Kansai shoegaze scene for the past decade. The three-piece, which has seen a few different member changes around frontman and founding member Yuki Yoshimura, has released a bunch of material and appeared at some of the Kansai area’s largest shoegaze events. Their latest, a single titled “Parameer 02” – the follow-up to last year’s “Parameer 01” – features more of the dark post rock sound that the band has stuck to over the years. The lead track, “Meltdown”, slowly evolves from cleanly picked guitars to an explosion of guitar noise, while Yoshimura’s falsettos eventually escalated to emotional moans. The recording doesn’t quite belt at the level of the band’s live performances, but this is a signature song from the band. “Ymir” on the other hand doesn’t waste any time building up, kicking off with a blgtz-esque uptempo hook and some very Shota Tamura-esque screams in the chorus. It feels quite clear where the inspiration for this track came from. I like the change of pace here.
Tokyo shoegaze trio Nuit kicked off the new year with their latest track titled “Solitude”. The song, which was posted minutes after 2019 officially rang in, features frontman Yasuyuki Ota’s trademark dramatic vocals shrouded in billowing waves of hissing guitar. The stripped down verse is just there to set up for the explosion into the heartbreaking sway of the chorus. It’s a very Nuit-sounding song, feeling like something out of the early to mid 2000s. “Solitude” is the second single, not counting the band’s plant cell cover, that Nuit has released since their 2018 self-titled EP. Makes you wonder if we’ll see a follow up effort at some point in 2019.
Having just released a self-titled debut full-length last month, Tokyo’s Once Grace Forever wasted no time in putting out its follow-up single “♭1”. The single’s A-side, “Ao” is the more impressive track of the two, transitioning back and forth well between clean lulls and big, wailing choruses. “Flat” is a fuzzy guitar pop tune that doesn’t change much dynamically, relying instead on the vocal melody and melancholic chord progressions. The single is pretty solid, but might have come out a little too soon after the record, which is a tough act to follow. If you haven’t heard any of Once Grace Forever’s music, I recommend starting here and then moving on to the album.
While all the talk recently has been about the emergence of younger bands in the Japanese scene, 2018 has also been a pretty solid year for comeback releases as well. Sugar Plant returned with an impressive album before Coaltar of the Deepers put out a long-awaited EP. But LUCY’S DRIVE – better known as the solo project of ZEPPET STORE bassist Yuichi Nakamura – made perhaps the most dramatic return of the year with TWO new albums this month. Pair of Sounds marks the bands first proper release since it’s 2007 full-length debut, DEEP SEEKER. As the name implies, the release was split into a pair of 7-track CDs, unofficially titled “red” and “blue”.
While bits and pieces of Pair of Sounds have been released via limited edition singles over the past couple years, the final product sees all of the material effectively split to create two pretty different vibes. The red version offers a mellow dream pop feel with a more ethereal backdrop throughout. The second half is especially dreamy thanks to electronics-driven tracks like “Sometime I Think” and “Ebb Tide”. The album’s finale “Daybreake” is a really strong gazey pop number.
On the blue version of Pair of Sounds, Nakamura draws on a wide range of 90s UK shoegaze and britpop, from the Loveless-y lead track “Perfect” to the super danceable “Heavy Rain”. While the red version relies more on softer textures to create its atmosphere, the blue version is much more driven by guitar noise. “Shining Blue”, the latter’s closer, combines the two styles and could be the best song of the bunch. LUCY’S DRIVE may not get the love of its late-aughts shoegaze contemporaries, but the quality was there on DEEP SEEKER and eleven years later it might be even higher on Pair of Sounds.
Both versions of Pair of Sounds are available via distro/label Testcard records. Domestic purchase is available at their site, while international orders can be placed through their Bandcamp page. LUCY’S DRIVE also contributed a song to the recently released Total Feedback 2018 compilation, which you can also purchase through Testcard.
Below you can listen to the trailers for both red and blue versions of Pair of Sounds.
Nagoya’s Hitori Pale flew under even the local radar this summer when the young three-piece released its debut track “SPiRAL” on Soundcloud. An introductory track, “SPiRAL” is a bit rough around the edges in terms of sound quality, but the song has really grown on me since I first gave it a listen. Musically, this is another track that feels like it would have held up well in the early 2010s, reminding me a bit of former Osaka shoegaze mainstays EUPHRATES with the dramatic, soaring chorus. The vocals are the most unique bit, and while I am not the biggest fan of vocals being so present in the mix, there’s something really dramatic about the vibrating melancholic wailing in this track that combines well with the warm, fuzzy textures and gloomy chord progressions to really hit the spot.