If the towering wall of angry, scratchy, trebly sound Burgh assault you with on All About Techno Narcisse (or “Techno Narcisse no Subete” as it is alternatively referred sometimes) sounds familiar, then it might be because you’re one of the select group of people who knew the band under their old name of Hysteric Picnic.
Now first let me declare an interest here and point out that the second of the three EPs Hysteric Picnic released prior to this debut album came out via my Call And Response label in late 2013 (it’s called Cult Pops, it’s brilliant and you can buy it here), although the band have evolved in some significant ways since that point.
Firstly, where the band began as a duo playing along with backing tracks stored on a series of heavily overdubbed cassettes, they are now a full band and all their songs are about twice as fast. Shigeki Yamashita’s ringing, reverb-heavy guitar and Sou Oouchi’s barking Mark E Smith-meets-Jello Biafra non-singing are a constant though, and contribute towards a sound that, while retaining clear points of similarity with a number of ’80s postpunk bands (notably The Birthday Party), is now instantly recognisable as theirs — at least in the context of the Japanese indie scene.
Assisting them in this are producer Hajime Yoshida of avant-garde anti-rock band Panicsmile and engineer Ryo Hisatsune of disco-kraut band Transkam, who worked with Burgh over a hectic schedule to record the whole album in two days, and the sound of the album reflects this frantic atmosphere. There are also similarities with Yoshida’s work on z/nz (No.19 in this countdown) in the lo-fi approach, although the presence of a bassist in Burgh’s lineup adds more of a contrasting dynamic with the scuzzy ambience at the high end. This shows up most strongly on Womb, with its throbbing bass and chiming guitar battling for your attention in the musical foreground while the vocals deliver a weary lament from somewhere in the distance.
Despite the rough-edged, noisy approach to performing their music, Burgh are still recognisably a rock’n’roll band in the old fashioned sense, with melodic rather than rhythmical dynamics driving the songs, with big, bold, catchy riffs at the heart of songs like Cult Pop, Meitei and Tonight. An important part of Burgh’s appeal, however, is the mischief and contrarianism that lurks behind their immaculate indie fringes.
Aside from the decision to change their name to something incomprehensible just a few months after a potentially breakthrough performance at Japan’s biggest rock festival and then name their album after a musical genre that has nothing to do with the actual music they play, they also gift All About Techno Narcisse with the occasional sonic curveball. The avant-garde exercise in discord that is 950 welcomes you into the album’s more challenging second side, while Case Study does an excellent job of recreating DAF-style Teutonic EBM with the bass guitar doing a terrific impersonation of an early-‘80s sequencer. As with the way the synth-based Obecca Dance closed off the Cult Pops EP, this brief nod to electronic music may only be a subtle deviation from their core sound, but still gently taunts fans to make sure they’re paying attention in the right way.
All About Techno Narcisse is very much a debut album in that it’s all about nailing down the band’s sound rather than taking it anywhere in particular, but that’s also its strength, underlining Burgh’s position as a band who, even if they can’t keep their own name straight, have a musical identity that’s strong and distinctive.