25. kasuppa – the half you left and right
Kasuppa have been around for a while in the local indie scene in their hometown of Kobe and nearby Osaka, but not yet made much of an impact more broadly. This ambitious two-parter would have been a great opportunity for them to spread their wings had fate not intervened, and it remains a strong indie rock stsatement, its sparse, rough-edged appeal given a warm intimacy, with some thanks for that perhaps due to engineer Ryohei Tomomatsu and mixing/mastering engineer Ryo Watanabe (of alt-rock/post-punk veterans Convex Level). The way it was released on two CDs despite fitting easily on one gives it the feel of an old vinyl double-album and emphasises the independent (if related) identities of the “left” and “right” discs. Quite what each disc signifies is open to interpretation, with the “left” side seeming to focus on the blankness left behind by a failed relationship, while the “right” side seems to circle around the feeling of being trapped, not entirely unwillingly, in a relationship that won’t end. A garden of forking paths look at two possible results of a troubled affair? Two sides of the same breakup? In any case, these divergent takes on alienation and disaffection provide subtly different emotional climates for each. While the second disc deploys more fuzz and distortion, it would perhaps have been interesting had the band pushed this duality further by pushing more distinctive sonic approaches to the two discs as well, but their brand of cosy indie rock with art-punk edges is nonetheless an appealing partner on the whole journey.
24. My Society Pissed – Locked Room
There’s a looseness to My Society Pissed that sets them apart from a lot of their Japanese punk contemporaries, pulling them away from hardcore into something more primal and less dogmatic. This 12-inch opens with a distinctive and drawn out, distorted groove before it gives the listener any easy punk thrills, while on tracks like Arms of Solid, there’s a garage-rock bounce to the heartbeat that helps give Locked Room the freshness and freedom from the genre’s own locked rooms that reminds me of those 1970s punk records from before even the punks themselves really knew what punk was.
More about this release here.
23. Loolowningen & The Far East Idiots – Anökumene
Tokyo-based trio Loolowningen & The Far East Idiots trade in rhythmically quirky but melodically accessible music, both experimental and playful, shot through with humour and a philosophical whimsy that occasionally shades into melancholy. Also notable as cheerleaders for other like-minded artists around Japan (via their own Mitoho Sessions events and last year from the related Mitohos compilation), they make something that could be difficult approachable and welcoming.
22. Ryo Okada – outerzone
As the guitarist from psychedelic post-punk trio Extruders, Ryo Okada is responsible for a lot of the sparse, meandering misdirections of the band’s sound, so it’s perhaps natural to expect that, stripped of the formal structures and rhythms of songs, his solo work revels in the space. What he does with that space is craft eerie moonscapes just beyond the reach of daily existence — the disorientating ambient outerzones to the Burroughsian interzones he carves out with the Extruders’ oblique take on rock. Compared with its companion, the (also excellent) Snow Mountain EP that Okada released earlier in the year, Outerzone is sonically deeper and more abstract, less a transmission from behind the veil than a transformative energy that wraps you in its alien psychosphere.
21. Sloppy Joe – Waiting For The Night Begins
It’s impossible to talk about Sloppy Joe without mentioning all the bands they sound like, but they’d never get away with it if the songwriting fundamentals that underscore the jangle and Mozzy hoots weren’t exquisite. They will always be something of a guilty pleasure for me, but the arrival of this unexpected comeback album in the summer of 2020 meant that pleasure landed with extra unrestrained force. Every chime is an immaculate delight.