Tokyo-based trio Loolowningen & The Far East Idiots have been creeping around and exploiting Japanese alt-rock’s unexplored corners and blind spots for the best part of the past decade, and on this sixth release of their career, they’re in particularly playful form. There’s a percussion-centred minimalism to their approach here, with the bass and guitars comfortable in taking frequent steps back to leave the eerie yet warm acoustics of Junpei Yamamoto’s sparse rhythmical utterances tapping out their coded messages in the foreground. As usual for the band, there’s a lot of vocal interplay and harmonies at work, which works in parallel with Loolowningen’s wilfully disconcerting rhythmical jitters to make a game out of deconstructing the habits that even alternative music tends to fall into, in a way that draws comparisons with bands like Hikashu, who are similarly playful with form but generally more organic, less sharp-edged than Loolowningen. Nevertheless, Loolowningen & The Far East Idiots’s music isn’t overwhelmed by their tightly wound structural gameplay, and when they open up space for vocalist Shigeru Akakura to simply sing a song, as on sixth track Coup, a melancholy warmth rises above the backdrop of the band’s complex rhythmical explorations. That combination of playfulness and melancholy, playing out over the often sparse musical set dressing that the band lay out is perhaps Anökumene’s defining emotional and atmospheric characteristic, and the results are compelling.