Tag Archives: Deracine

Top 25 Releases of 2019: No. 15-11

transkam - ep2

Casseette, Zot Redcords, 2018

15. Transkam – EP2
OK, so I’m cheating a bit with this one, as it’s a late-2018 release that I didn’t get my hands on until deep into 2019, but I didn’t want to let a new Transkam fall through the cracks. On this cassette EP, progressive/post-rock trio Transkam expand on the trancelike, metronomic sound of their 2016 album Blueshade of the Omegasound, starting out more or less where they left off with the track Gnosis, before pushing away with the swirling, shoegazey Ex, and then pulling back into something far sparser, subtler and more daring with the seven-minute Mathvoid. Between these three tracks, Transkam scope out fresh territory within their familiar instrumental setup, exploring not only richer sonic textures but also making more effective use of space.

As an additional note, not listed on the track listing, but somehow downloading together with the others as a fourth track in the version I bought was also the unexpected surprise of the band’s achingly romantic cover of the icy-sweet Ai no Kobune wa Uchikudakarenai by Japan’s greatest unknown band, Mir (full disclosure, an earlier mix of this song was released on a 2015 tribute album via my own Call And Response label). I’m not sure whether this additional download is exclusive to the cassette edition of the album, but in any case, hearing the song here in the context of Transkam’s more customary sound made for a disconcerting but charming swerve to the left at the end of the EP.


the neso - my world

CD, self-released, 2019

14. The Neso – My World
Despite almost completely changing their lineup since 2018’s New Me EP, The Neso are still rocking the same line in Au Pairs/Delta 5-style post-punk with no loss in quality. The xylophone that they had already introduced on a couple of songs now stands alongside all the other instruments on a more or less equal footing — never really feeling completely necessary, but at the same time adding a unique element to a sound that otherwise draws from a lot of familiar elements. Most importantly, The Neso’s core elements of blank, disaffected vocals combined with surprisingly catchy hooks, choruses and harmonies are here in force, and their streak of releasing top quality EPs on an annual basis is still going strong.


deracine - deracine

CD, Mistake Studio, 2019

13. Deracine – Deracine
The appearance of this third album from oddball hardcore punks Deracine (or “Delasine” as some places are now spelling their name) and their first in more than ten years last autumn was a welcome surprise and they don’t seem a day older than when they last left us. Eleven micro-bursts of camp, bass-led, sampling-assisted hardcore in nineteen minutes, containing a heady mixture of anti-consumerist, anti-establishment agit-prop and wilfully dumb shitposting nonsense, this album (which confusingly has the same eponymous title as the band’s first album) is the rush of joyous, dadaist, lo-fi, anarchist party energy we all need.


the omelettes - the omeelettes

CD, self-released, 2019

12. The Omelettes – The Omelettes
Originally from Oita in Kyushu, I initially had The Omelettes down as essentially an indiepop band, and the selections of songs they’ve chosen to represent themselves with online tends to lead the curious listener to that conclusion, but on this belated self-titled and self-released debut album they reveal themselves as something stranger than that. There is a rich seam of fairly straightforward 90s alt-rock in here, but it’s offset by something more experimental and rhythmically unpredictable — a dynamic that’s at work in the two competing sections of the song Mitsubachi, one part stop-start staccato guitars, the other a fuzz-laden indie rock chorus. In a music scene where pop-orientated acts tend to be very pop and experimental acts tend to be very experimental, it’s a rare delight to see a group like The Omelettes who treat the more offbeat aspects of their arrangements exactly the same way as they treat the moments of outright pop (even if they hesitate to share the former online). It’s interesting to note the role of Hajime Yoshida of Fukuoka-based avant-rock legends Panicsmile in recording the album, and the way his own band’s work often embodies a struggle between pop and experimental elements forms an interesting parallel with what The Omelettes are doing here (albeit from a far more experimental starting point), but on this album the precise recipe of their sound remains very much their own.


Noiseconcrete x 3chi5 - Trick Passport

CD, Dizcollage, 2019

11. Noiseconcrete x 3chi5 – Trick Passport
Squeaking over the line at the end of the year, Nagoya duo Noiseconcrete x 5chi5 released this fascinating remix album, in which a handful of beatmakers deliver their own takes on Nx3’s songs. This album could have been an exercise in unnecessary and untidy self-indulgence, but the results are uniformly intriguing, with 3chi5’s ghostly, witchy vocals working as a constant element around which a diverse range of rhythmical approaches — from skittering, minimal beats to industrial and EBM to drum’n’bass — work their necromancy. 


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CAR-97 – Hyacca: Sashitai

Sashitai

CD, Call And Response, 2007

This is part of a series of posts talking about music I’ve released through my own Call And Response label. I explain in a bit more detail here.

The release of 1-2-3-Go! Tokyo D.I.Y. Music 2005 took a lot out of me and led me to question whether it was worth continuing. It certainly left me in no mood to think about what the label would do next. However, I was still looking for new bands, busily exploring the live scene and starting to make headway in my music journalism, so I never quite switched off.

One of the things about the compilation was that it really had all been Tokyo bands, and of course there was a massive world of music outside the capital. Deracine, who had featured on the album, were originally from Fukuoka, and some of the other key bands playing in the Tokyo underground scene at that time, most notably Panicsmile, hailed from the same place. Hell, Number Girl were from Fukuoka, and even three years after splitting up they were still pretty much the most important band in Japanese rock. I made my first connection with the Fukuoka music scene through this bizarre sample-based hip hop musician called Moth and a lo-fi alt-rock blues band called Folk Enough. I met them on tour in Tokyo in the runup to 1-2-3-Go!‘s release, and saw Folk Enough again the following spring. They said I should come down to Fukuoka at some point and I filed that thought away for future reference.

Then in the summer of 2006, I was going through a period of extreme distress and upheaval in my personal life and I decided that fuck it, yeah, I’m going to just scoot on down there for a couple of days and check it out. I hopped on the shinkansen to Hakata and randomly checked into a hotel near Tenjin, and then met up with Inoue from Folk Enough for a drink. He quickly got busy on his phone contacting a bunch of his friends in the local music scene, and a steady stream of people began showing up. The next day I woke up in my hotel with a blazing headache and pockets full of CDs from people I didn’t remember meeting.

One of those CDs was a white CD/R with two kanji written on the front that I couldn’t read. I put it into my laptop and gave it a listen, and my life changed.

1-2-3-Go! had been great for me because it had helped break down the British indie mode of listening that I’d had ingrained in me during my teenage Britpop years, but at the same time, I was still dizzy with the exoticism of it all. What this CD/R from Fukuoka did was make music that sounded like it could have come from anywhere: that was great not in a Japanese way or a British way, but in a way that was simply distinctive, thrilling and catchy without either sounding wacky or imitating anything else too hard. I frantically mailed Inoue to ask what it might be and he said it was probably a band called Hyacca.

It turned out that it was a copy of a mini-album called Sashitai that they were self-releasing through a few indie CD stores. The title, like the band name was a fairly dubious pun. Hyacca comes from the kanji 百/hyaku meaning “hundred” and 蚊/ka meaning “mosquito”. However, write it as 百科 and the word suddenly means “encyclopaedia” or change it to 百花 and you get “many flowers” (although the pronunciation of this one depends on how you choose to read the Kanji). The meaning “one hundred mosquitoes” is not the first one most people get when they hear the name. The title Sashitai literally means “I want to stab” and is obviously a pretty violent image, although in the context of a mosquito’s behaviour, it’s probably the main thing mosquitoes think about. Or female mosquitoes at least. In the album’s title track, vocalist Hiromi Kajiwara whispers the word almost seductively before a blizzard of sonic violence is unleashed by her and the rest of the band, and it’s worth noting that “sashitai” sould also be read as “I want to penetrate”. With Hyacca it’s never worth reading too much into their intentions though. Where the explanation “a dodgy joke” is possible, Occam’s razor suggests that’s probably it.Hyacca: Angel Fish

The other thing I really loved about them was the way Kajiwara, Goshima and sometimes Harajiri would trade vocals back and forth between them. The name Call And Response for my label came partly out of liking the acronym “CAR” from Clear And Refreshing, but also from this thing I have for bands that make use of a mixture of male and female vocals. There’s just something it does for a song’s texture and dynamic that really appeals to me.

So anyway, time went by, I was able to catch Hyacca a couple of times on trips to Tokyo and started booking them myself. They were absolutely insane live in those days. There was a legendary show they played at Shibuya O-Nest that was put on by the Koenji record store Enban, where Kajiwara made it through one song before hurling herself into the drum kit, ripping all the strings out of her guitar, abandoning the music almost entirely, and spending most of the rest of the gig crawling around on the stage, moaning into the mic, occasionally getting up to commit random acts of violence on guitarist Goshima, who responded at the end of the gig by running at her and doing a flying kick into her. Twice. For a long time, the opening bars of the song Sashitai were a prelude to horror, violence and chaos.Hyacca: Sashitai

I eased my way back into the label with a short Valentine’s Day CD/R (the first of several such small-scale, silly projects) I did with a few friends and released as a limited edition thing through Enban, and then started work on putting together a remaster and getting a proper distribution deal for the Hyacca mini-album.

In the end there wasn’t much difference between the original and the remaster, just a bit of cleaning up of the sound and slightly wider stereo. It was such a good lo-fi album that I feared polishing it anymore would have ruined it. Getting it in shops like Tower Records was important though, for the band and for Call And Response. Foreigners in the indie scene are often treated with a bit of suspicion, not out of racism exactly, but more a sense that they’re more likely to be transitory elements: tourists apt to jet off at a moment’s notice. Getting a brilliant album like Sashitai out probably more than anything else forced people in the indie scene to take me more seriously.Hyacca: Sick Girl

And it really was brilliant. The violence of their stage shows was encapsulated perfectly in the music, but here it was controlled. The opening of Angel Fish draws on ambient, shoegaze-ish influences, before suddenly reversing direction and turning into staccato, rhythmical postpunk that leads into the combination of rollercoaster punk rock and bubblegum new wave melody with sudden intrusions of death metal growling that is Riot. Songs like Sick Girl and Telephone Number are similarly riotous new wave/postpunk raves, while Sashitai ricochets wildly between languid melody and outright warfare, with a wandering piano that always reminds me of Bowie’s Aladdin Sane. Then there’s the heartfelt balladry of Single Coil, a love song by Goshima to his guitar pickup, and it all closes by returning to melodic, shoegaze territory with the sweeping, romantic Skyline. Like Wire and Sonic Youth, Hyacca showed a capacity for bold pop statements and outright punk noise fury, as well as giving every sense that they saw no difference and certainly no contradiction between the two.

More than just being a great album though, Sashitai helped to establish the identity of Call And Response Records in its early days, and at a time when Kansai bands from Osaka and Kyoto like Afrirampo, Watusi Zombie, Limited Express (Has Gone?), Midori, and Oshiri Penpenz were all the rage in Tokyo, working with Hyacca built a bridge between Tokyo and Kyushu that has remained at the core of the label’s operation ever since.

Sashitai is available now from Call And Response’s online shop.

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CAR-99 – V/A: 1-2-3-Go! Tokyo D.I.Y. Music 2005

1-2-3-Go! Tokyo D.I.Y. Music 2005

CD, Call And Response, 2005

This is the first part in a series of posts talking about music I’ve released through my own Call And Response label. I explain in a bit more detail here.

Finding my way into the Japanese music scene was a slow process of trial and error. There was next to no information in English on what was going on, and precious little even in Japanese. Promotion was largely done through flyers either handed out personally at gigs or distributed by venues in packs at the door (which quickly made their ways, unread, into the bin), and bands were at a pretty primitive stage when it came to the Web, contacting fans via email, and spamming each others’ BBS pages. The advent of Myspace in 2003 provided the opportunity to check out bands’ music before listening, but it was mostly treated as just another BBS.

Anyway, the result of this was that I felt my way blindly through the live music scene, discovering bands by following other bands to their gigs and checking out who they played with. It was a habit I got into out of necessity but it’s still the main way I find stuff — the thought of spending hours scouring Soundcloud for music seems like such a joyless way of discovering music, not to mention the way Soundcloud’s format is inherently biased towards certain types of beedroom indietronica at the expense of bands with genuine stage presence and energy.

Anyway, 1-2-3-Go! Tokyo D.I.Y. Music 2005 was the result of my first two or three years crawling through the live music scene. Listening back over it now, a very naive compilation, and I can feel my younger self’s dizzy and slightly confused enthusiasm in the way the track list barrels back and forth between all sorts of mad sounds. Something similar still exists in chaotically thrown-together free or CD/R projects like that Black Sabbath cover album I did recently, but anything I’d press professionally nowadays would probably be more poised and less giddy, or in a more critical way, more self-conscious.

You can also see some of my early conceptual idealism in there. The catalogue number is CAR-99 and right from the start, I had this idea, nicked from Sarah Records, that regardless of what happened, the label would end after 100 releases. After eight years, I’m only a quarter of the way towards that even with free downloads and stuff, but it’s a rule and I’m sticking to it. There’s also the way it’s divided into “phases”, which was copied (I think) from Julian Cope’s album Jehovahkill, and which was a nod to the distinction vinyl used to make between the two sides (for some reason something I associate very closely with Gordon Giltrap’s album Visionary). The decision to stick “2005” in the title was a deliberate piece of self-destructive inbuilt obsolescence. It was always intended to be a snapshot of a time and place, and I wanted that limitation embedded in the title even if it put people off buying it. I know it wasn’t smart, but sometimes it’s more important to be right than to be smart.

Anyway, “Phase 1” was mostly punk and underground stuff. Deracine were this amazing and still very original hardcore band from Fukuoka who had settled in Tokyo and made this hyperkinetic punk-noise racket with drums, bass and a table full of effects pedals, samplers and children’s toys, with these wonderfully camp, affected vocals. Uhnellys are one of only a few of the bands on 1-2-3-Go! who are still around (Call And Response compilations can be a kiss of death) and they’ve gone from strength to strenghth to the point where they’re really quite famous now. It’s a claim to fame of mine that Call And Response were the first label to release anything of theirs, although they’d self-released one or two CDs or CD/Rs before. Anyway, they’re a wonderful but hard to describe duo, based around a series of loops made on a delay pedal. They’re far more sophisticated than this nowadays, but there’s a rawness in the track they did here that I feel is still very appealing. Saladabar were a fake-Hawaiian punk-influenced jazz-prog band led by former Natsumen drummer Yuuki Yashiro, and Usagi Spiral A are still going, now augmented by guitarist Matsuoka, formerly of the brilliant no wave band Elevation. Usagi are basically this relentless, brutal wall of Krautrock/postpunk noise that just pummels you until they get tired, break all their equipment or get the plug pulled on them by the venue and thrown out. Meanwhile Drive to the Forest in a Japanese Car were a more straightforward and song-based postpunk band in a sort of Gang of Four style (although the name is a PiL reference).Deracine: Clap Your hands — Doesn’t feature on this compilation but gives a good sense of the kind of band they were. Also, if you look closely, you can see Ponta from The Mornings and probably a bunch of other Tokyo underground scene faces in the audience.

“Phase 2” was more new wave and technopop-influenced. Audipop were one of the bands on the cult classic compilation Tokyo New Wave of New Wave ’98 that alunched the career of Polysics, although they were always at heart more of a Weezer-ish college rock band, and you can see both influences on the track here. Mosquito were one of the most important bands for me in my early discovery of the Japanese live scene, and their unclassifiable jumble of influences did more than anything else to demolish my Anglo-American indie rock frame of reference when trying to understand Japanese bands. Lie Lie is a classic piece of oddball avant-pop, bringing together catchy and noisy elements in a way that’s joyous and celebratory in a way few bands I’ve discovered since have managed. The bass player used to bring a box onstage that he’d step up onto when he did the little funk bass solo in this song. The other song on here, Momoiro, is Mosquito at their epic best, sounding like three completely different songs jammed together. Frottage (named after the art style, not the sexual perversion) shared some members with Mosquito, but were more firmly musically rooted in Shibuya-kei, while Shoot My Disco’s track is a another genuine oddity, combining shoegaze and rap in a way I’d never heard before and never have since. That sort of willful eclecticism and battering together of genres is something people still do, but it’s something I mostly associate with the early 2000s: bands influenced by the mix-and-match approach of Shibuya-kei, but needing to rock out at the same time. The last track is by Miami, who were just one of the most original groups I’ve ever encountered in Japan. A sort of technopop/rap duo with violin, but that doesn’t really describe quite what a distinctive, bouncy proposition they were. They could have been huge but their first proper mini-album came too late and didn’t quite hang together the way their earlier self-released recordings had, so the momentum ebbed away and they split up. You can hear the version of their song Shiratama Disco I released above, but I was surprised to discover this idol group cover version of it from just a couple of months ago. It’s nowhere near as good as the original, but it shows how far idol music has come if they’re covering Call And Response releases!

I should also add about one band who appeared on both “phases”: Skyfisher. They were another Tokyo New Wave of New Wave ’98 band, and the two tracks on 1-2-3-Go! catch them on each side of a transition. The first, Musubetsu Bop, is them at the pinnacle of their Japanese new wave revivalist period, while the second, Nigotta Kanshoku, sees them moving more towards dance-punk. Leader Takashi Nakayama later formed a more improvisational collective called LABSiCK Man-Machine ReMiX, styled as a sort of !!!-style outfit, with music that was often wildly different from show to show.

Anyway, as I said, most of the bands split up in the eyars after this compilation, although a few remain going. Uhnellys became pretty famous, Usagi Spiral A are still going, Watanabe from Frottage is keeping the project going and seems to be doing lots of Vocaloid stuff at the moment. Nakayama from Skyfisher is still making music, and rumour has it that Korehiko Kazama of Deracine is making music again after quitting to become a philosopher for a few years. Audipop are still nominally a going concern, although with family concerns ensuring that their gigs are few and far between. For me, this album was a very steep learning curve and I did lots wrong with it, but it helped teach me which wrong things I should keep doing and which ones were just silly. It definitely helped streamline and simplify the process for subsequent releases, although it took a heavy toll on my personal life that I was lucky to recover from. As I said, it’s weird listening to it now, and quite bittersweet for me, but I think mostly sweet.

1-2-3-Go! Tokyo D.I.Y. Music 2005 is available now from Call And Response’s online shop.

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