Tag: ether feels

The Best Japanese Shoegaze and Dream Pop Releases of 2019

The past few years have seen a steady flow of new and upcoming artists in the Japanese scene.  In 2019, however, the story was more about big name returns and the domestic scene really holding steady with really strong releases from some of its best-known artists.  Tokyo Shoegazer and Coaltar of the Deepers dominated the buzz, we saw a very consistent flow of releases, and the final year of the 2010s felt like a confirmation that few if any genres have been as consistently well-represented as shoegaze in Japanese indie music over the past decade.  It was a really strong year.

Before getting into the best of 2019 lists, there are a couple notes.  First off, once again, this was a really tough year to break down.  Since I crunched the format of these lists into a “best 5” style, it’s been a real challenge.  Sometimes that only applies to the EP portion, but this year all of them gave me trouble.  Also, Tokyo Shoegazer had a massive year, and while their Crystallize reissue deserves all the love it got all over the world, it doesn’t qualify for the list.  Nor does their stealthily released Moondiver album, which was sold on their China tour, but which will likely receive a proper release in 2020.

That about does it.  Here are my best releases of 2019.

 ☆ ★ BEST SINGLE ★ ☆

“Revive” by Tokyo Shoegazer

As I mentioned in the intro, the sudden and surprising return of Tokyo Shoegazer was pretty much the biggest story in Japanese shoegaze in 2019.  Though the Crystallize reissue and Moondiver releases generated more buzz, their “Revive” single featured the band’s first new music in years.  It was an emphatic announcement of their return to activity, highlighted by the epic seven-and-a-half-minute lead track, “Light”.

Indie legends Coaltar of the Deepers had a similar comeback in 2019, which marked the 25th anniversary of the band’s debut The Visitors from Deepspace album.  Having released two new singles in 2018, Deepers’ return wasn’t as big a surprise, but the band teased a new single over the course of their anniversary tour.  The track, titled “HALFLIFE” dropped on digital platforms in early December, and is very much a throwback to the band’s genre-bending shoegaze prime.

From two long-standing veterans of Japanese shoegaze to one of the finest of the latest crop of indie bands to pop up this decade, Luby Sparks followed up a fantastic 2018 with a brand new single in 2019.  “Somewhere” is a gorgeous 4AD-style dream pop tune that jangles along into a super catchy, emotional chorus.  It’s romantic, teenage nostalgia and it’s beautiful.  The single’s B-side is a remix by Cocteau Twins’ Robin Guthrie that really piles on the feels.

Lost in all the big comeback announcements was maybe my personal highlight of 2019, which was Osaka’s Ether Feels getting back together two years after splitting.  With a mostly fresh lineup around band leader Tomo Iwashita, Ether Feels put out its latest single titled “Kowloon Sunset” and got back to gigging.  The band picked up right where it left off with its heart-wrenching brand of melancholic shoegaze pop.

The Earth Earth has been pretty quiet since releasing a single in 2016, gigging sporadically around their home base in Aomori, so their latest single was another pleasant surprise this past year.  While nods to early My Bloody Valentine aren’t exactly rare among shoegaze bands around the world, The Earth Earth is one of the few Japanese bands to have consistently gone that route over the years and the results have been excellent.  “Story is Wrong” is nothing new, but it hits the spot.

I’m taking liberties here by adding one more entry to my singles list.  COLLAPSE‘s latest three-track release, “ENDOGENIC REBIRTHDAY”, was actually at the top of my EP list before I realized the band had labeled it a single.  Their sound continues to sit at the heavier end of the Japanese shoegaze spectrum, and on “RITUAL”, they show off a nice blend of contrasting styles in hardcore and shoegaze that isn’t all that common in Japan.

★ ☆ ★ BEST EP ★ ☆ ★

“EASTOKLAB” by EASTOKLAB

As usual there were a number of EPs vying for the top spot on my year end list, but the one that I listened to and enjoyed the most was the self-titled debut EP from Nagoya’s EASTOKLAB.  Their brand of dream pop is some of the most unique in a scene that has a lot of creative takes on the genre.  From dreamy atmospheres, tight grooves, and the ability to seamlessly transition to big blurry guitar walls, EASTOKLAB possesses a diverse sonic arsenal, and frontman Hayato Hioki’s vocal style is uniquely his.

The Waterfalls’ 2016 self-titled release garnered a lot of attention in the Japanese indie scene, and this past year they put out a double EP release consisting of “In the Blue Lagoon” and “Youthlight”.  There are some subtle differences in style between the two EPs, but overall over the eight tracks that they released they showed more of the outstanding songwriting that we saw on the debut.

My troubled relationship with idol music has been well-documented to this point, but I really enjoyed “Blue”, the debut EP from RAY.  Shortly after ・・・・・・・・・ disbanded, RAY emerged as the new face of shoegaze idol music (under the same management as their predecessors) and promised a highly-anticipated collaboration with Ringo Deathstarr.  They delivered just that on the new EP, the lead single of which, titled “Meteor”, was composed by the Austin shoegaze trio’s Elliot Frazier.  With two more tracks composed by Azusa Suga of For Tracy Hyde and Yusuke Hata of cruyff in the bedroom, RAY’s focus on quality songwriting over gimmicks is a positive sign.

Formerly known simply as kano, Tokyo-based bedroom producer azsakano put out another EP full of whimsical dreamy pop tunes in 2019.  Just like her previous works, “Romantics” features some really nice layering of textures and sweet vocal melodies soaked in reverb and sunken deep within the mix.  Azsakano is an expert at crafting lo-fi dream pop that is simple on the surface but gives the listener a lot to dive into.

On their latest EP, “square”, Nagoya’s mishca do a lot more texturally than they have in the past, while staying true to their very mellow, straightforward approach to songwriting.  If there was one knock on the band in the past it’s that they didn’t develop songs enough to really carry the slow, methodical backbone of their music.  Musically, “square” offers considerably more dynamic range, and the male-female vocals complement each other really well.

 

★ ☆ ★ BEST ALBUM ★ ☆ ★

“New Young City” by For Tracy Hyde

This can’t be much of a shock.  For Tracy Hyde had a lot of competition this year, but their third full length album, New Young City, sits atop this list.  Once again, For Tracy Hyde drew on western shoegaze and dream pop and Japanese pop influences and pieced together an album that is loaded with energy and emotion.  As a body of work, its structure is similar to that of their successful sophomore effort, but New Young City shows the band going even bigger with its sound.  It’s loaded with song of the year contenders.

SPOOL‘s self-titled full length debut seemed like a lock for the album of the year throughout most of 2019, and it wouldn’t be a stretch to say it actually was.  It’s a powerful, well-produced album that demonstrates some really versatile songwriting.  SPOOL goes from deep and dreamy to dark and edge, infusing their shoegaze sound with elements of 90s US alternative rock and playful dream pop.  This was the breakout we were waiting for from the four-piece.

Monocism‘s Fukou album was the band’s first proper release since the end of the previous decade, and one of the most pleasant surprises of the year.  Over the past few years, frontman Tomoya Shiono has been working on some wonderful solo material under the moniker 宗凛 (Sourin), and monocism’s new album plays like an extension of that with its stuttering, mathy beats blanketed in thick, dreamy layers of noise and fluttering guitar leads.

Taffy once again had a quietly solid year, highlighted by their fifth studio album, Deep Dark Creep Love.  As is often the case with a Taffy release, there’s nothing groundbreaking about the album, but producing good shoegaze in 2019 is largely based on taking elements of the genre that have been done in the past and working them into something interesting.  That is what Taffy do so well and it’s why their new record is an excellent listen.  Their rendition of Bowie’s “Never Let Me Down” is gorgeous, too.

The final spot on this list was the hardest to decide on.  Cattle, Smokebees, NOAH, and a lot of other bands put out really good albums, and Kiiro Records’ FOREVER SHOEGAZE double release was probably the label’s best compilation to date.  But I’m going with Polly‘s latest release, Flowers.  Produced by The Novembers’ Yusuke Kobayashi, Polly’s third album is gorgeously dark and dreamy with tremendous depth thanks to a combination of airy guitars and synths.

A Fond Farewell to Ether Feels

A lot of bands come and go.  The Japanese shoegaze scene has seen so many really good bands just disappear out of nowhere or break up without notice that I’ve become desensitized to it.  Late last night, however, Kansai shoegaze legends Ether Feels announced that its October gig in Taiwan was its last.  The band’s members would be splitting up, and Ether Feels would be going on an indefinite hiatus.  The news really hit home (enough to get me to come back and post after a few months away).  

A lot of bands come and go.  The Japanese shoegaze scene has seen so many really good bands just disappear out of nowhere or break up without notice that I’ve become desensitized to it.  Late last night, however, Kansai shoegaze legends Ether Feels announced that its October gig in Taiwan was its last.  The band’s members would be splitting up, and Ether Feels would be going on an indefinite hiatus.  The news really hit home (enough to get me to come back and post after a few months away).  

On a personal level, Ether Feels was an extremely important band.  I had been to various gigs since moving to Japan in the spring of 2012, but my first ever venture into the heart of the Japanese shoegaze scene was in January of 2013 at the Osaka leg of the Japan Shoegazer Festival.  The bill was headlined by the likes of like Lemon’s Chair and Cruyff in the Bedroom, but the band that blew me away was the lesser-known Ether Feels – then a three-piece.  The performance was mesmerizing.  It says a lot that Ether Feels was the highlight of the night, when Lemon’s Chair also played.  Since that night, the band’s founder Tomo, has been one of the coolest, most supportive people I’ve known.  He’s one of the really good guys in a scene in which the veterans aren’t always the most pleasant or sincere.  

Ether Feels at the 2013 Japan Shoegazer Festival Osaka
Ether Feels at the 2013 Japan Shoegazer Festival Osaka

Shoegaze in Japan in the early to mid 00s – unofficially referred to as the “golden age” of Japanese shoegaze – was strong but derivative.  Shoegaze in the current Japanese scene is often criticized for being too poppy and melodic, and not strong enough.  Ether Feels’ sound combines the best of each of these periods.  They borrow the requisite “wall of sound” guitar waves from the forefathers of the genre, using that element as a backdrop for their signature melancholy.  It’s powerful and sad and the vocal melodies will rip your heart to pieces.  Ether Feels’ sound is unique in a genre where pastiche is praised, and that’s helped to establish them as one of the best shoegaze bands on the planet.  

I will say that a fair criticism I’ve heard about the band is that their songs can be a bit repetitive.  It’s totally true, but I’ve never found it to be a bad thing in Ether Feels’ case.  The repetition almost hypnotic (think The Fleeting Joys’ “Kiss a Girl in Black”)  The song that stuck with me from the first time I heard it was “Annabelle”.  It’s basically just two and a half parts played over and over, but the song hit me hard and showcases the dreamy sadness that made me fall in love with them in the first place.  

I’m biased and a bit emotional in light of the news, but the love I have for this band is genuine.  It’s been a bit disappointing seeing Ether Feels somewhat underappreciated within the Japanese scene.  There’s the perception that the scene here runs through Tokyo, and in particular Koenji HIGH, but Ether Feels managed to forego that step of the process en route to playing all over the country as well as in Taiwan and Hong Kong, while also being included on a massive international shoegaze compilation.  All the while, Ether Feels has also helped usher in a new wave of shoegaze bands in Japan, while encouraging the scene to continue to grow in the Kansai region.  

If there’s one bit of good news in all of this, it’s that Ether Feels technically isn’t over.  Some would argue that the most recent lineup was the band’s best ever, but the fact remains that Tomo is the brains of the operation and he still seems dedicated to continuing what he referred to as his “life work”.  It would appear that there is still hope for the future, but for now it’s a good opportunity to sit back and reflect on the career of one of the best Japanese bands in recent memory.

If you’re reading this blog, you’re probably already familiar with Ether Feels’ catalog, but if by some chance you’re not, I recommend diving right in on their Bandcamp page and enjoying everything they’ve done.  Sadly, the Raindrop Sparkle CD – my personal favorite – isn’t up here, but the rest of their stuff is great as well.

 

 

 

The Best Japanese Shoegaze and Dream Pop Releases of 2016

There was a lot of new shoegaze and dream pop coming out of Japan in 2016, and , even more so than in previous years, album releases were way outnumbered by EPs, singles, and mini albums.  As a result I was faced with a couple of problems when putting together my annual “best of the year” list.  The first is that there weren’t ten full-length releases that qualified.

There was a lot of new shoegaze and dream pop coming out of Japan in 2016, and , even more so than in previous years, album releases were way outnumbered by EPs, singles, and mini albums.  As a result I was faced with a couple of problems when putting together my annual “best of the year” list.  The first is that there weren’t ten full-length releases that qualified.  Rather than making a numbered list this time around, I’ve decided to just name my favorite single, EP/mini-album, and album of the year, and then name a few honorable mentions for each category.

It’s a completely different feel from what I’ve put together the last couple years, but it serves the same purpose.  Enjoy, discuss, buy some music.

Note: I’d like to preface this whole list by saying that I’m aware of the new releases from Kinoko Teikoku, My Dead Ishikawa, Qujaku, and others, and I really liked a bunch of them.  Defining genres is tricky, but I decided not to mess with an already blurry line and include the releases that I felt qualified.  The aforementioned did not.

 ★ ☆ ★ Best Single ★ ☆ ★

“Planet Heaven/Perfect Lies” by Juvenile Juvenile

It’s no secret that Juvenile Juvenile is one of my favorite bands in Japan.  Their “Our Great Escape” album topped my 2014 list, and the band came back strong with its first recorded material in 2 years.  The single was produced by The Bilinda Butcher’ Michal Palmer, and further solidified their status as the finest dream pop band in Japan.  It’s also worth noting that Juvenile Juvenile also submitted a really good cover of “I Wish I Was Skinny” for The Blog That Celebrates Itself’s Boo Radleys tribute comp this year.

This was a pretty clear cut winner, but there was some quality in the next group of singles released, headed by Nagoya shoegaze newcomers Softsurf.  Their “Blue Swirl/Beautiful Day” single was a really solid debut.  If I was doing a “liver performances of the year” list, they’d be right at the top along with Juvenile Juvenile for their performances at Daydream Nagoya.  

Saitama’s Collapse was another newcomer to the Japanese shoegaze scene, and they put out a couple of releases in 2016, including their super-gazey “Curse/Drop” single.  More on them later.

Tokyo’s Youthmemory put out perhaps their catchiest track yet on the spring 2016 “April Kisses” release.  One of the more underrated bands in Japan walking the line between shoegaze and jangly indie pop.

Yukino Chaos – a band that’s established itself as a mainstay of the Japanese shoegaze scene, and one of the best young alternative rock acts in Japan – had a busy 2016 that kicked off with the release of its “Hope for the Future” single.  Despite a really positive 2016, the band has unfortunately announced it will be on an indefinite hiatus.

★ ☆ ★ Best EP ★ ☆ ★

“Night Falls” by Magic Love

At this moment, there may not be a better shoegaze band in Japan than Magic Love.  The Tokyo band left us wanting more with its 2014 “Dawn” E.P., and after a couple years they delivered.  On Night Falls, the band showed that they can deliver big walls of sound and more chilled out dream pop, switching back and forth between male and female vocals flawlessly.  “Midnight Baby” has gotten all the love, but “Ghost Novice” was one of the best tracks of the year.  

This one wasn’t as easy to pick, due in large part to the fact that there was so much quality released in EP format this year.  One of the pleasant surprises was that some of the best EP releases of the year were put out by brand new bands.  Collapse made the best singles of the year list, and they also appear on the EP list for their self-titled EP, which was released in February.  The Saitama band, not unlike a number of newcomers to the Japanese shoegaze scene, doesn’t shy away from big wall-ish guitars, citing metal among its genre influences.

Scale is another new band that has made the best EP list, but it’s important to note that since the release of its debut EP “Hidden Blue”, the band has changed its name to Waterblink.  A throwback to the early 2000s shoegaze scene, Scale goes in hard – its founding member also plays in post punk hardcore band Deviation – but also balances things out with some catchy melodies.

Shiga’s Yuragi turned a lot of heads with the release of their debut EP “Bedside” earlier in the year.  Their “Nightlife” EP, which made it in right at the end of 2016, was a massive next step.  The band’s second EP had some of the same pop appeal of the first, but also ventured off in a bit more of a darker, more exploratory direction.  

One band that’s remained a mystery to me over the last couple years is Sapporo, Hokkaido shoegaze outfit Edy Two Arc (formerly known simply as Edy).  Confined primarily to their hometown and Koenji’s HIGH venue, it’s been difficult to access the band from here in Nagoya, but that changed on Christmas Day 2016 with the release of their debut EP “Hide Intention”.  Released via Only Feedback Records, the EP boasts a perfect balance of blaring, fuzzed out guitars and beautiful, subtle vocals.  

★ ☆ ★ Best Album ★ ☆ ★

“Blood Music” by The Florist

Just like Juvenile Juvenile and Magic Love, 2016 saw The Florist release its first material in two years.  The band’s 2014 debut featured a couple of killer singles, but Blood Music is start to finish a more complete album.  In tracks like “Marigold” and “Ghosts” – my personal favorite off the record – Blood Music boasts its own signature tracks, and those weren’t even the album’s singles.  A very emotional eleven-track ride with some excellent guitar work and gorgeous tones.  

Picking the best album of the year was tough, as there were three that I felt strongly qualified.  The debut full length effort from Tokyo-based indie/dream pop outfit For Tracy Hyde was right there at the top.  Film Bleu is the culmination of the band’s hard work and development since it’s inception in 2012.  Featuring a number of tracks previously released on EPs and as demos, Film Bleu showcases some seriously good songwriting in the band’s signature sweet pop style.  “After” is a song of the year candidate.

Veterans of the Japanese shoegaze scene, and one of the best around, Osaka’s Ether Feels released a Greatest Hits album in 2016.  The nine-track record consists of two previously released EPs and three newly recorded songs, including a new version of fan-favorite “Annabelle”.  The melancholy shoegazers continue to pump out heart breaking, nostalgic tunes, with “She’s Wanderlust” highlighting the newest batch of music.  Toward the end of the year, Ether Feels also collaborated on a split EP with Yukino Chaos.

Last year, Plant Cell released a lot of quality tracks, but did so one track at a time and thus didn’t really have any material to qualify for a list of best EPs or albums.  This year, however, the band released a couple of demo EPs as well as a full album titled Flowergaze?, so their inclusion this time around is a no-brainer.  Some of the more beautiful shoegaze you’ll find, Plant Cell’s strength is the ability to weave subtle melodies through dreamy layers of synths and guitars.  “Snow and Luculia” is the recommended track off this one.

A Guide to Daydream pt. 3 – Tokyo

The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer.  I will be previewing each of the events as they come.  Day three of the event will be held at Shinjuku Nine Spices in Tokyo this Saturday, December 10th. 

Over the last few years, Kyoto Shoegazer has emerged as the biggest showcase of the local shoegaze scene in Japan.  This year the Kyoto Shoegazer team has put together Daydream, a four day festival spanning three cities that will kick off in December.  The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer.  I will be previewing each of the events as they come.  Day three of the event will be held at Shinjuku Nine Spices in Tokyo this Saturday, December 10th.  

ここ数年京都シューゲイザーは日本のシューゲイザーを特集する一番大きなイベントになってきている。今年、１２月から4日程３都市でイベントDAYDREAMを行う。このイベントに日本の高品質のシューゲイザー、ドリームポップ、オルタナのバンドが出演する（あと、香港からのゲストも出る予定！）。Muso Japanは各イベントをプレビューする。次は１２月10日東京新宿Nine Spicesにて行われるDAYDREAM TOKYOである！チケット予約は以下のリンクから。

Home Page/イベントホームページ

Ticket Reservation/チケット予約

colm

Colm is sort of a Kyoto Shoegazer supergroup, consisting of members of Ether Feels, Kailios, shelives, and AOQ.  The band is relatively new, and Daydream Kyoto will be their third gig since forming up earlier this year.  The band’s sound combines elements of shoegaze and pop.  Colm recently finished recording its first EP, and the 4-track CD was released at the Kyoto event.

Ether Feels, Kailios, shelives, 青くのメンバーから成るバンドColmは、京都シューゲイザーシーンのスーパーグループ。今年結成して、Daydream Kyotoが３回目のライブ。シューゲイザーとポップをミックスしつつ、大音量でキャッチーなメロディのあるサウンドが特徴。4四曲入りデビューEPを完成して、Daydream Kyotoよりリリースされた。

yukino chaos

One of Japan’s brightest young acts, Yukino Chaos has come on strong over the last couple years with dynamic live performances and some really impressive recordings.  2016 saw the release of a new demo single “Hope For The Future” and a supporting slot at Tokyo’s Niman Den-Atsu alongside Melt Banana, Looprider, and Qujaku.  The band was also invited to Shanghai along with Broken Little Sister earlier this year.  They’ll be releasing a split EP with fellow Daydream performers Ether Feels in December.

日本の輝かしき若い才能のひとつYukino Chaosは、精力的なライブ演奏と印象的なレコーディングで近年目を離せない存在となっている。彼らの2016年は、デモシングル“Hope For The Future”のリリース、東京の二万電圧でのMelt Banana, Looprider そして Qujakuとの共演、Broken Little Sisterと共に上海へ招かれた年でもあった。12月には共にDAYDOREAMに出演するEther Feelsと制作したスプリットEPがリリース。

ether feels

There are few active shoegaze bands in Japan that have put out as much consistently good material as Ether Feels.  Their melancholy blend of pop and shoegaze has resulted in a sound that is all their own, and their quality has earned them a good amount of attention outside of their home country.  Their Daydream performances will wrap up a busy year that’s included gigs around Asia, the release of a greatest hits album titled hen The First Time We Met and an upcoming split EP with Yukino Chaos.  

日本でEther Feelsほど、コンスタントに良い楽曲をシーンに提供してきたバンドはそういないだろう。彼ら独自のポップとシューゲイズのメランコリーな配合は、日本国外でも注目を集めてきた。DAYDREAMでのパフォーマンスは、アジア各地でのライブ、ベストオブアルバムhen The First Time We Metのリリース、Yukino ChaosとスプリットEPの共同リリース、と忙しい年の有終の美を飾るだろう。

magic love

While a lot of bands infuse their sound with indie pop or post rock, Tokyo’s Magic Love incorporates the howling guitar noise associated with a more “classic” shoegaze/dream pop sound.  On all of their releases to date, the band has consistently been able to balance a lulling, dreamy style with bouts of sheer loudness.  This year they put out their first release since 2014, an EP titled “Night Falls”.

シューゲイザーシーンにはインディポップ、ポストロックから影響を受けているバンドが多いが、Magic Loveのサウンドは、いわゆるクラシックなシューゲイザーバンド的なうなるギターノイズと持続するビートを操るのが特徴。今までリリースした作品では、Magic Loveのドリーミーで時折爆音を響かせる手法が表現されつつ、落ち着いたボーカルも遠くから響き、彼らのサウンドとうまく調和している。”Night Falls EP”を、今年2年振りにリリースしました。

citrus nowhere

Citrus Nowhere is a new and exciting young band from Tokyo that made a name for itself earlier this year with its debut self-titled EP.  They’ve since released more material via Soundcloud and have appeared on both Muso Japan compilations.  The band’s tendency to drown whimsical melodies in a mass of roaring noise makes them one of the more unique bands in the Japanese shoegaze scene.  For fans of massive noise.

東京を拠点とするCitrus Nowhereは有望な若手バンド。今年デビューEPをリリースし、サウンドクラウド、Muso Japanのコンピにも様々な音源をリリースした。キュートなメロディを激しく鳴り響くノイズに溺れるサウンドで、日本のシューゲイザーシーンの中でも個性的ななバンド。爆音ノイズファンにオススメ。

soranisomaruoto

Soranisomaruoto is a newly formed rock band founded by former sorutomanitooto member Minako.  The Tokyo four-piece’s sound draws on a number of genres, from shoegaze to post rock to j-pop to prog rock.  The band’s appearance at Daydream Tokyo will be their first ever live performance.  

ソラニソマルオトはminako(ex.sorutomanitooto)を中心に結成されたロックバンド。shoegaze/post rock/j-pop/progressive rockなどに影響を受けたミクスチャーサウンドを鳴らしている。12月10日が、デビューライブとなる。

Longstanding Japanese shoegaze representative Lemon’s Chair has been a fixture in the scene for years.  The trio is known for evolving beautifully layered melodic songs into a deafening, hazy “wall of sound”.  In addition to their musical accomplishments, members of Lemon’s Chair have been extremely involved in the national shoegaze scene, organizing the Japan Shoegazer Festival, indie label High Fader Records, and the popular Yellow Loveless My Bloody Valentine tribute album.  This is one of the most important bands in Japanese shoegaze over the last 10 years.

Lemon’s Chairは、日本のシューゲイザーシーンのベテラン代表者バンド。インスト３ピースで美しいメロディを大音量の轟音にうまく昇華することで知られている。バンド活動に加えて日本のシューゲイザーイベント“Japan Shoegazer Festival”や、インディレーベル“High Fader Records”の運営、日本国内バンドが参加したマイブラトリビュートアルバム“Yellow Loveless”にも参加。日本シューゲイザーバンドの、最重要バンドのひとつ。

A Guide to Daydream pt. 2 – Kyoto Day 2

This time I’ll be looking at Daydream Kyoto Day 2, which will take place at Nijo Nano.  Follow the links below for event info and ticket reservations.

Over the last few years, Kyoto Shoegazer has emerged as the biggest showcase of the local shoegaze scene in Japan.  This year the Kyoto Shoegazer team has put together Daydream, a four day festival spanning three cities that will kick off in December.  The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer.  I will be previewing each of the events as they come.  This time I’ll be looking at Daydream Kyoto Day 2, which will take place at Nijo Nano.  Follow the links below for event info and ticket reservations.

ここ数年京都シューゲイザーは日本のシューゲイザーを特集する一番大きなイベントになってきている。今年、１２月から4日程３都市でイベントDAYDREAMを行う。このイベントに日本の高品質のシューゲイザー、ドリームポップ、オルタナのバンドが出演する。Muso Japanは各イベントをプレビューする。今回は１２月４日二条NANOにて行われるDAYDREAM KYOTOのDay2！チケット予約は以下のリンクから！

Home Page/イベントホームページ

Ticket Reservation/チケット予約

Honeydew

Honeydew is a Tokyo-based alt rock power trio.  Originally formed in New York, the band’s sound is influenced by a number of 90s American alternative bands, and versatile enough to appeal to a wide range of fans.  Their live performances are ultra-tight, and their high-energy performances are absolutely must see.

Honeydewは、東京を拠点に活動するオルタナティブロックトリオ。元々ニューヨークで結成された彼らのサウンドは、90年代に活躍したアメリカのオルタナティブバンドより影響を受け、その多様性から幅広くファンを獲得している。タイトでエネルギッシュなパフォーマンスは必見だ。

me in grasshopper

With members based between the Kansai and Tokai regions of Japan, it’s only fitting that me in grasshopper will be performing at Daydream events in both Kyoto and Nagoya.  Over the past few years the band has become one of the flag bearers for the Nagoya shoegaze scene on the strength of their sweet melodies and subtle yet persistent guitar noise.  Their 2015 “NEW SATURDAY e.p.” was one of the best of the year.  In 2016 the band supported YUCK on their Japan tour, and they will be supporting Brooklyn’s Lazyeyes in Nagoya in January.

メンバーが関西・東海地方出身のme in grasshopperは、DAYDREAM KYOTO・NAGOYAの両日に出演する。美しいメロディーと緻密且つ鳴り響くギターノイズにより、この数年で名古屋シューゲイズシーンを代表する存在となった。2015年にリリースされた“NEW SATURDAY e.p.”は、その年の最高傑作の一つ。2016年、YUCKの日本ツアーをサポートし、来年1月にはブルックリン出身Lazyeyesの名古屋公演をサポートする予定。

Yuragi

Hailing from Shiga prefecture, Yuragi is yet another young, exciting band to emerge from the Kansai-region over the last couple years.  Their sweet but strong sound incorporates whispy vocals and big wall of sound guitars driven by uptempo pop beats.  2016 has been a big year for the band with the release of their “bedside” single and the announcement of their upcoming “nightlife e.p.”, which will be out on 12/27.  They’ve also announced they will be supporting Lazyeyes on the New Yorkers’ Japan tour.  

滋賀出身の「揺らぎ」は、ここ数年関西地方から現れた、とても若いエキサイティングなバンド。ウィスパーボイスとアップテンポでポップなビートに乗せられたギターサウンドとが合わさる、美しく力強いウォール・オブ・サウンド。シングル“bedside”のリリース、“nightlife e.p.”(12/27リリース予定)の発表と、2016年は重要な年となった。またニューヨーク出身のLazyeyesの日本ツアーでサポートすることも決定している。

Acidclank

Acidclank is another one of those exciting young Kansai bands.  The Osaka indie rock outfit put out a really impressive album titled nner in 2015, on which they demonstrated their ability to create a range of sounds from shoegaze to psych at a consistently high level.  Once a home recording project, Acidclank is now a fully functioning live band that has been gigging a ton over the last year or so.  These guys have a bright future ahead of them.  

Acidclankは、関西の注目すべき若いバンドのひとつ。大阪のインディーロックバンドであるる彼らは、2015年にアルバムInnerを引っ提げ、シューゲイズからサイケまで幅広いサウンドを、ハイレベルな領域で制作できることを証明した。ホームレコーディングプロジェクトに始まったAcidclankは、今や数々のギグ経験を積んだライブバンド。彼らの輝く未来が楽しみだ。

ether feels

There are few active shoegaze bands in Japan that have put out as much consistently good material as Ether Feels.  Their melancholy blend of pop and shoegaze has resulted in a sound that is all their own, and their quality has earned them a good amount of attention outside of their home country.  Their Daydream performances will wrap up a busy year that’s included gigs around Asia, the release of a greatest hits album titled hen The First Time We Met and an upcoming split EP with Yukino Chaos.  

日本でEther Feelsほど、コンスタントに良い楽曲をシーンに提供してきたバンドはそういないだろう。彼ら独自のポップとシューゲイズのメランコリーな配合は、日本国外でも注目を集めてきた。DAYDREAMでのパフォーマンスは、アジア各地でのライブ、ベストオブアルバムhen The First Time We Metのリリース、Yukino ChaosとスプリットEPの共同リリース、と忙しい年の有終の美を飾るだろう。

twelve fluffy chair

Local band Twelve Fluffy Chair offers a sparkly brand of shoegaze pop.  The Kyoto foursome recently released their second EP B A R, which features some cute guitar-driven pop tracks.  Their strength lies in their ability to write ultra catchy choruses and melodic hooks, as well as adding a little edge to otherwise light, playful songs.  

京都の地元バンドTwelve Fluffy Chairの特徴は、キラッキラのシューゲイズポップ感。ギターが効いているポップなセカンドEP B A Rを、最近リリースした4人組バンド。とてもキャッチーなコーラスとメロディアスなフック、そして軽快で遊び心のある曲にエッジを与える才能が彼らの強み。

boyfriend’s dead

Boyfriend’s Dead is a Kansai-area shoegaze veteran and a band that adds an element of fun to any gig they play.  Their sound is an upbeat, danceable blend of shoegaze and pop, and their energy and stage presence makes for a great live show.  The band’s most recent release came in the form of a self-titled EP released on local Osaka-based netlabel Thru The Flowers.  

Boyfriend’s Deadは、関西のシューゲイザーのベテランで、彼らが出演するギグはいつも楽しさ与えてくれる。アップビートで踊りたくなるようなシューゲイザーポップ、そして強いエナジーとステージでの存在感が素晴らしいライブ演奏を作り出す。最新作は、大阪のネットレーベルThru The FlowersからリリースされたセルフタイトルEP。

Revolution – The Shoegaze Revival Compilation

Talk of a shoegaze “revival” tends to rub some folks the wrong way.  “Shoegaze never really went away” is what purists will say, while others cite the long-awaited release of My Bloody Valentine’s M B V in 2013 as the moment that the shoegaze ball got rolling at a steady pace again.  It’s a topic of debate, but whatever the case may be, one undeniable fact is that shoegaze is a thing and a lot of people are doing it really well all over the world.  To showcase that very fact, on February 11th North Wales-based indie label Ear to Ear Records in collaboration with Indonesia’s Gerpfast Kolektif will release Revolution – The Shoegaze Revival, a global compilation album including tracks from a whopping 30 shoegaze bands from 16 different countries.

Talk of a shoegaze “revival” tends to rub some folks the wrong way.  “Shoegaze never really went away” is what purists will say, while others cite the long-awaited release of My Bloody Valentine’s M B V in 2013 as the moment that the shoegaze ball got rolling at a steady pace again.  It’s a topic of debate, but whatever the case may be, one undeniable fact is that shoegaze is a thing and a lot of people are doing it really well all over the world.  To showcase that very fact, on February 11th North Wales-based indie label Ear to Ear Records in collaboration with Indonesia’s Gerpfast Kolektif will release Revolution – The Shoegaze Revival, a global compilation album including tracks from a whopping 30 shoegaze bands from 16 different countries.

The mammoth comp features some of the best bands the shoegaze world has to offer – including Japan’s very own Spool, Ether Feels, and Magao – and will be available for FREE DOWNLOAD via Ear to Ear’s Bandcamp page.  To whet your appetite until the actual release day, 15 tracks are currently available for a listen at said page.  Two hours of brilliant tunes in the form of one release await you in February and if you are a fan of the genre, new or old, you should probably start getting excited.

Here is a full list of the bands that will be taking part:

shoegazecomp2

Also there’s this neat teaser video put together by DKFM’s Greg Wilson: