One of the most fascinating and hard-to-categorise bands to emerge over the past year or so has been Osaka’s Jesus Weekend. Once I’d got over my disappointment that they weren’t a gospel-themed Vampire Weekend tribute group, what I discovered was a lo-fi band playing a mixture of fragile, low-key guitar pop songs and mysterious synth instrumentals. I’ve heard them compared to Stereolab, Broadcast and Laika, although given that the band’s members would have been in pre-school when those bands were making waves, a direct influence seems tenuous. At first glance it seems half-formed and untidy, but you find yourself coming back anyway as the depth and richness in ideas can’t help but filter through.
The two sides of Jesus Weekend’s sound are best illustrated by the sparkling, guitar-driven, whisper-voiced indiepop of Puberty Bell and the eerie John Carpenter soundtrack soundalike of Animal Suicides, with the opening Virgin acting as the nexus, the central node that demonstrates both sensibilities and spins them off in their respective directions. Agleam is a mysterious album and Jesus Weekend are a mysterious band. After listening you may be none the wiser about what lies beneath, but successive visits to their world are no less compelling for that.