Tag Archives: DYGL

2021 Japan music roundup: INDIE ROCK

There’s inevitably going to be a fair amount of crossover between this section and things like punk, psychedelia and other leftfield rock, but this edition of the roundup is basically devoted to song-based guitar music based on more or less familiar pop or rock structures, albeit often with their own quirks or divergences. As usual, Bandcamp links are here where they exist; where not, you’ll either need to get a CD from the band themselves or find them on The Evil Streaming Websites.

Closh – Dokkyo Rojin
A few years ago, Closh had a fantastic band called Doodless (with a double-s) and more recently she’s a face around the scene as part of the indie-punk band Wetnap, but on this solo EP her frenzied, on-the-verge-of-collapse vocal hysteria in undiluted. It lands in the form of five short, subtly deranged early 1990s-style alt-rock tunes that keep teetering subtly away from the notes chords you’re expecting, recorded with the fuzzy lo-fi vibes of Westing (By Musket and Sextant)-period Pavement or pre-Matador Guided By Voices. It sounds like a mess, but it’s hypnotic.

DYGL – A Daze In A Haze
Over the past ten years, DYGL have become extremely rare breakthrough stars of the Tokyo indie scene. Over the years they’ve gone through jangly Cure-esque indiepop, Strokes-like indie-punk and a debut album (produced by Albert Hammond Jr.) that cast about among a variety of influences before arriving here with songs that initially hint at more of a soft American emo-alternative vibe. The autotuned vocals on the opening 7624 are a bit of a red herring for where the album is going, with Nobuki Akiyama’s subtly Anglo-inflected voice mostly coming through plain and intimate even as he cheerleads the audience through the band’s arms-in-the-air choruses. Meanwhile, DYGL’s UK rock influences still linger in hints of Noel Gallagher in Yosuke Shimonaka’s solos on Did We Forget How to Dream in the Daytime, while the intro to Banger (perhaps cheekily) calls back to My Bloody Valentine’s Soon. Coming as it did in the middle of a pandemic, it’s hard not to feel something of the era’s quiet unreality of semi-isolation in the title and the hazy, sun-dappled aura of the tunes and production, as well as the sense that occasionally filters through in the lyrics of someone alone in their room, writing songs about writing songs. How true this is and how much of the music pre-dates these times I don’t know, but it definitely connects with the moment in its own soft spoken way.

Goofy18 – Mistakes
There’s something reassuringly early-2000s about this Tokyo duo’s raw frenzy of drums and distorted bass, combined with assertively delivered J-pop melodies. Like a stripped down, rough-edged Tsushimamire or something you’d find lurking on the bill of a Sister/Benten event, it’s an often exhausting but fearsomely enthusiastic, energetically catchy, scuzzy punk bubblegum slumber party of an album.

Greg Snazz – Trashworld / Wrong Answers Only
In addition to playing live in Chiba folk-rock band Talent Show, Greg Snazz seems to have spent 2021 firing out micro-blasts of ultra-lo-fi (we’re talking early Royal Trux-grade fuzz) garage-punk on his own with these two releases, which arrived in September and December of the year. Not so much albums in the traditional sense, they feel more like musical sketchbooks, wandering from dirty-as-fuck noise in the mould of Jon Spencer at one extreme to rough-edged Neil Young-style country-folk balladry. Of the two, Trashworld feels happiest in joyously trashy 1970s surf-punk territory, while Wrong Answers Only pushes deeper into the extremes, with the deranged experimentalism of Sorry, Pigs bumping up against murkily sinister glam rock banger Little Killer and sonic fuck-uppery gleefully tormenting even the most upbeat country-rock jaunts. Especially on this latter of the two releases, there’s a joy here in using discord and lo-fi noise deliberately and creatively to make rock’n’roll with unsettling and interesting textures in a way that recalls Brainiac and Vampire on Titus-era Guided By Voices, as well as what acts like Gallon Drunk were doing with the legacy of The Cramps in the 1990s.

Hijosen – Hatsuro
People who remember the oddball charms of noise-pop duo Umez will find themselves on familiar ground with this album by ex-member Niiyan’s (also of Screaming Tea Party) new band. There are some very similar dynamics at play in the music, with walls of euphoric noise, soaring guitar solos and simple, looping melodies that are very fond of the chord progression from Pachelbel’s Canon in D — not to mention a couple of covers — and it’s a distinctive sound that brings elements of J-pop’s most foundational melodic tropes with guitar noise that flattens the peaks of the waveform and subdued moments of dreampop serenity.

Lillies and Remains – Greatest View / Falling
It’s been a long time since we last heard from Lillies and Remains around these parts, with their last album coming out in the impossibly distant past of 2014, so it was a surprise when these two singles dropped last spring/summer. And it was really like no time had passed at all, with the band’s reverb-heavy new wave guitar jangle still very much in effect on Greatest View, and Falling throwing smooth synths high up into the mix for added echoes of The Fixx.

Merry Ghosts – Pink Bloom
This Osaka/Kobe duo have already been walking the line between post-punk and indie rock in the Kansai area for a long time under the name Trespass, but this first full album under their new name turns out to be one of the year’s most pleasant surprises. The band’s angular side is still there in the sharp guitars and judiciously employed synth elements, but they all serve to give the music the edge it needs to keep it just on the wrong side of normal without undermining what are essentially just really nicely made, crunchy alt-rock tunes. There’s nothing groundbreaking in here: just a pair of musicians who’ve been playing together for a long time, doing what they love in just the right amounts. The album is only available as a physical CD, but they have a music video on that YouTube they have now.

Nehann – New Metropolis
Coming out swinging hard in this debut album, Tokyo’s Nehann open with a bold statement of intent in Nylon, an epic, gothic-tinted 1980s rocker with a vocalist who sounds exactly like Andrew Eldritch. Having struck that tone, they don’t back down, with second track Hollowed Hearts continuing in a similar vein and swinging for the fences with some soaring lyrical exploits including the glorious nugget of wisdom, “Your eyes / Remind me of a plastic toy I once swallowed / I remember it was a terrible mistake”. If it sounds like I’m making fun of them, well, maybe I am a bit, cynical old dweeb that I am, but (like their contemporaries Stram) the band’s sincere and unrelenting pursuit of the biggest sounds, the biggest emotions, the boldest delivery is also refreshing in a scene that so easily gets wrapped up in its own smallness. Pretentious is just another word for ambitious, and Nehann are very ambitious.

The Routes – Mesmerised
Based in Oita, western Japan, The Routes are these days mainly the recording project of songwriter Chris Jack, and by this point ten albums into his career crafting Nuggetsy garage rock tunes, he knows what he’s doing. And it’s that songwriting craftsmanship that sets The Routes apart from most of the Japanese garage rock scene, with top class recording and production, and melodies that surpass (at least in consistency) a lot of their influences and probably put them closer to second-wave punk-era garage rockers like The Three O’Clock than the original, covers-heavy 60s generation.

SiMoN – Steuben
Over the past couple of decades, Simon has popped up here and there around Japan, from Tokyo to Osaka to Sapporo and now Hiroshima, playing a variety of roles in one band or another, one venue or another, but his own solo line in delicate acoustic songsmithery has been a constant. It’s presented on Steuben with minimal decoration bar some reverb and echo here and there, his vocals up close to the mic to the point where his breathy near-whisper feels like it’s right up against your ear, in a way that will either induce ASMR heaven or wincing discomfort depending on your mileage.

So oouchi – Kikyu no Uta
This EP is a curious and typically oblique intervention from a musician initially known for the dark, noise-drenched post-punk of his old band Hysteric Picnic (later renamed Burgh). Oouchi has been quiet for the past five or six years, but a couple of recent archive releases from his post-punk days provoked a minor flurry of nostalgia among scene heads, so naturally he followed them up with five songs worth of delicate acoustic finger picking folk music. There’s a Nick Drake-like simplicity to it that belies the ways the songs skirt clear of Japanese singer-songwriter clichés, not only in the melodies but also in Oouchi’s fragile baritone vocals.

Tete+Shon – Silently Waiting
This is a project comprising half of the Tokyo alt-rock quartet Tropical Death (who have released a couple of cassette EPs via my Call And Response label) in which guitarist Takashi “Tete” Motegi and drummer Sean “Shon” McGee run free with their shared love of Ben Gibbard in a collection of nine tales of loneliness and lovelorn ennui. It kicks off with a wall of rock guitars in the instrumental M Eats J, but elsewhere plays with more Postal Service-like electronic textures on Trip, and enters almost ambient regions in the instrumental Quiet Neighbor. The heart of it, though, is subdued indie rock, touched by quiet sadness, that isn’t quite emo but definitely owns a lot of emo records.

Talent Show – Live at Anga
In addition to releasing two albums of raw, lo-fi experimental rock’n’roll, Greg Snazz also fronts this set of 1970s folk-rock tunes, sitting somewhere between… what, a more together Big Star and a more ragged Eagles? The songwriting is impeccable and while it’s a live album (with between-song banter and audience sounds occasionally filtering through), it’s a remarkably slick recording that fir the most part stands up with a lot of indie studio efforts. Bonus points for having a song about infamous and mysterious airline hijacker D. B. Cooper.

1 Comment

Filed under Features

Best of 2017 – More great sounds (1)

Every year when I write my top 20 Japanese music releases, there’s always a lot of good stuff that I leave out either because I didn’t hear it in time or because I just decided not to in the particular moment of compiling everything. And as always, I didn’t include any of my own Call And Response label’s releases, even though they were all excellent.

As well as my own releases and the other favourites that slipped through the net, there are a handful of other dedicated people out there cataloguing the best indie music Japan has to offer from their own particular perspectives Obviously their perspectives are all to varying degrees wrong (except where they agree with me, obviously), but if you’re wrong in the same way as them, you might find their 2017 rundowns of value.

In this first of three posts, I’ll be running quickly through some of the releases that missed out on my own top 20 but which might easily on another day have found their way in:

Born Shit Stirrers – I Hate Your Fucking Band

Based in Fukuoka and apparently on a sort of Wowbaggerian mission to slag off, one by one, everyone in the city, Born Shit Stirrers put out two albums in 2017, with Richard and Judy following in the summer. I’m singling out I Hate Your Fucking Band here mainly because of the title, but both albums are packed with fast, profane, utterly squalid, Anti-Nowhere League-esque punk rock smacks to the gob, featuring nothing in the way of subtlety, refinement or artistry.

V/A – Rhyming Slang Covers

The second Rhyming Slang compilation after 2016’s Rhyming Slang Tour Van compilation, this covers compilation sees some of the same bands, like DYGL, Yüksen Buyers House and Half Mile Beach Club, plus a host of new ones like the increasingly popular Luby Sparks and up-and-comers Tawings. With the exception of Nengu’s math rock take on Edward Elgar’s Pomp and Circumstance, most of the tracks are pretty straightforward covers of vaguely hip classics from bands like The Jesus & Mary Chain, New Order, Lou Reed and so on, but there’s a particular sort of value that can be gained from the peek they offer into the influences underscoring the younger end of the Tokyo indie scene.

Kuunatic – Kuurandia

Dropping right at the end of the year, this EP by Tokyo-based psychedelic trio Kuunatic is the ethnic transcendental music of a minimalist alien space tribe who worship Charles Hayward as a god.

The Routes – In This Perfect Hell

This site doesn’t cover a lot of garage rock because it’s a genre so rooted in the past and in its own retro revivalist scene that the usual tools I use to assess new music (what’s fresh about it? how does it stand out from its contemporaries?) would miss the point. It’s music that lives by its ability to sound the same as something else, to ape the past, to avoid challenging its contemporaries. So how can a garage rock band in 2017 Japan stand out? Basically by doing what The Routes did: writing a tonne of really good songs and playing them really well.

DYGL – Say Goodbye to Memory Den

The real superstars of the Tokyo indiepop scene, DYGL had a fantastic 2017, making it to one of the big stages at Fuji Rock, selling out a show at the Liquid Room, and releasing this fun, energetic full-length debut. The band are clearly deeply indebted to bands like The Libertines and The Strokes (Albert Hammond Jr. produced this album) but in the context of the Japanese music scene, the raucous, punkish energy that comes with those influences sets them apart from the soft-focus dreaminess of many of their peers.

In The Sun – El Energy

Coming out just at the end of 2016, this ferociously intense noise-rock album missed out on last year’s list simply because I didn’t get my hands on a copy until way too late. Like early Nisennenmondai performing from behind a battery of modular synths and effectors, In The Sun have all the krautrock and This Heat you could want, with all the sparseness replaced by a relentless barrage of joyous, angry noise.

Leave a comment

Filed under Albums, Features, Reviews

Top 20 Releases of 2015: No.2 – DYGL – EP #1

I’ve already written a lot about DYGL and their position as the most vibrant act in Japan’s small but increasingly hip indiepop scene, but this rundown of last year’s best nevertheless provides a good opportunity to underline just what an important band they are.

Opening track Let’s Get Into Your Car has been knocking around for a few years now, but this version perfectly captures its jangly energy – like Head on the Door-period Cure, all chiming melody (with echoes of Angelo Badalamente’s Twin Peaks theme) delivered with an edge of yobbish charm. I’m Waiting For You builds slowly but surely to its fist-pumping climax of melancholy euphoria, while Just Say It Tonight returns impressively to uptempo jangle pop territory, buoyed by Yosuke Shimonaka’s gorgeous, wandering guitar line.

The closing All The Time is the track that perhaps points most clearly towards the band’s future, and could in the long run prove significant beyond DYGL’s own musical development. The most recent track on this EP, it draws less on ‘80s-influenced guitar pop and more from new wave-influenced early 2000s indie rock, most notably The Strokes. Newer material the band are playing out live recently suggests the band see their direction lying more in a spikier sound, reminiscent of bands like The Libertines. The same amount of time has now passed since The Strokes’ Is This It as lies between Is This It and The Smiths’ The Queen is Dead, so perhaps the time has now come round for young bands to start resurrecting and reinterpreting the music of that first millennial generation.

Where it leaves the rest of Tokyo’s indiepop scene if their most accomplished flag bearers are starting to leave the jangly riffs and sweet, emotional sentiment behind and start cutting and bouncing their way through gritty tales of urban life, I don’t know. I don’t even know where it leaves DYGL, but as a high water mark of this generation of melodic Japanese indie, this EP is vital.

Leave a comment

Filed under Albums, Reviews

DYGL: EP #1

DYGL are the best indiepop band in Japan, a feat made all the more impressive by the fine line they walk between the obvious influence of British and American indie rockers like The Strokes or The Cribs and the expression of their own inherent charm and energy.

It could so easily tip over into embarrassing pastiche, and you can hear wobbles on the tightrope in the affected estuarine glottal stops vocalist Nobuki Akiyama doesn’t quite nail in Just Say it Tonight. Akiyama and DYGL remain aloft though, largely through the way they barrel through the songs with such effortless good humour and sincerity.

I’ve written before about DYGL’s rare knack for delivering UK/US-influenced indiepop with the sort of passion and punch that many of their more delicately constituted peers can barely dream of, but it’s only recently that their recording has begun to catch up with the impact of their live performance. On EP #1 the lead guitar chimes clearly over the crunching rhythm guitar, while the drums clatter away beneath, giving the sound a thickness at its base to balance out the prettiness of the trebly high end. At the same time, with every passing year, Akiyama’s voice grows more and more into the cracked, angelic, lovelorn bad boy persona he seems to be writing the songs around.

The increasingly high profile of DYGL’s sister band Ykiki Beat, whose When the World is Wide album was absolutely everywhere this summer has set alarm bells quietly ringing among some of DYGL’s fans (myself included) but this EP is arguably the superior release and for now we can just hope that some of Ykiki Beat’s success bleeds through and ensures DYGL have the continued impetus to keep going and realise more of their apparently still enormous potential.

2 Comments

Filed under Albums

Batman Winks: All Babies Sleeping

All Babies Sleeping

CD, self-released, 2015

If you spend a lot of time in the Tokyo indie scene, you’ll maybe have noticed that the limited range of stuff I cover here falls loosely into two categories. On the one hand, you have “Chuo Line bands”, who loosely trend more punk, more experimental, a more male audience, more likely to play in places like Koenji and Shinjuku, and more in a tradition that goes back to the 70s psychedelic and rock underground. On the other, we have “Setagaya bands”, who generally lean more indie, more pop, more international, a more female audience, more likely to play in places like Shimo-Kitazawa and Shibuya, and more in a tradition that includes 90s Shibuya-kei and neo-acoustic. These two worlds often overlap musically, but the fans and associated culture less so.

By the above definition, Batman Winks are roughly in the category of Setagaya bands. While strictly speaking the project of one guy, the live band draws on members who play or have played in melodic indiepop bands like DYGL and Groves, they collaborate with indietronic mellow disco princess Aya from Gloomy, and tend to play in a circle of bands, venues and events that marks them as decidedly Setagaya-type.

This may seem like pointless fussing over labels, but it matters. If Batman Winks were a Chuo Line band, the most striking point about them would be how pop they are, with an easy way with a melody and a pop hook running through the album in a way that would mark them out as a strange and rare fish in that more experimental and abrasive context. And the tunes on All Babies Sleeping are consistently top-drawer, from the frantic, bouncy, high pitched Smurfsong of Littlefag, through the murky, drowned melody of Celebration and Blind But the Brightest Light, to the soaring “ra-ra-ra-ra”s of the magnificent closing Strange Love.Blind But the Brightest Light

But in the context of their own background, the most striking thing about Batman Winks, and what marks them out from their particular crowd is how wild and experimental they are. The album opens with Intro, all chirping electronic wibbles and chirps, and droning, fuzz-soaked krautrock, like a condensed version of Yo La Tengo’s Spec Bebop, and the band constantly undermines and taunts its carefully constructed pop melodies with willfully out-of-tune vocals, sarcastic, Zappa-esque backing vocals, buzzsaw guitars that dive in from leftfield, and indecipherable distortion.

All of this is delivered with a mixture of shambling, lo-fi amateurishness and raw, swaggering confidence. On Strange Love, Batman Winks share with DYGL (Batman Winks’ song Nobody To Get Into My Car may very well be a self-pitying riposte to DYGL’s Let’s Get Into My Car) a yobbishly exuberant vocal delivery that stands in stark contrast to both the sissy mumbling that still characterises most Japanese indiepop and the tormented atonal yelling that prevails in the punk/alternative (Chuo Line) scene. In fact, what it reminds me of more than anything is the insistent, insurgent insouciance of The Stranglers’ 1979 hit Duchess in its combination of classic pop craftsmanship and punkish couldn’t-give-a-fuckery.

One of the most common touchstones for people describing Batman Winks is typically Ariel Pink, and there’s definitely something there. There’s also something of the anti-pop of 13/Think Tank-era Blur, but most importantly there’s absolutely nothing like it happening in Japan right now, and whatever you say, there is no doubt that Batman Winks are happening.

1 Comment

Filed under Albums, Reviews

DYGL: All The Time

If there’s a better way to start a new year in Japanese music than with a new song from Tokyo’s best indiepop band, it’s probably not completely legal. For those of us who remain upstanding, law-abiding citizens and members of the public, DYGL have just put out All The Time. It’s another step in the band’s evolution from jangly twee pop pretty boys into a garage rocking, denim- and leather-clad Japanese Strokes, like they’re trying to do a condensed tribute to Lawrence Hayward’s career at ten-times speed.

It’s also cheering evidence of the developing quality of DYGL’s recordings, really capturing the electric energy of their live performances while remaining just on the right side of Pollardian lo-fi. It’s the sort of music that if it hits you when you’re still in your teens, it’ll stay with you for life: the soundtrack to nights jumping around in a circle with your mates as all the confusion of the world seems to burn away in the heat of the strangled but euphoric moment. In fact, even if you catch it late, it’ll remind you of all the songs from your youth that had that exact effect on you anyway so the result will be more or less the same. In any case, All The Time is a welcome reinforcement of DYGL’s status as one of the purest, most jubilant pleasures in the Tokyo music scene.

1 Comment

Filed under Reviews, Track

Ykiki Beat: Forever

If Ykiki Beat appear familiar, it may be because the band shares a number of members with one of this site’s favourite young bands, the guitar pop quartet DYGL (who seem to have reverted to that name after briefly being known as Leather). There are certainly similarities between the two bands, but while both bands draw from 80s-influenced sounds, Ykiki Beat have tended to be more eclectic, pursuing and discarding multiple musical styles (their Soundcloud page regularly undergoes purges that would have made Stalin blush), perhaps indicating a greater need to find where they fit in the ever-changing contemporary indie rock scene.

Forever sounds like the sort of music that would play over the final scene of an episode of Veronica Mars, which is to say that it’s not at all the sort of thing I’d usually approve of. That said, it’s a kind of music Japanese rock just isn’t traditionally very good at and Ykiki Beat do it so, so well. The delivery is shamelessly euphoric, not just in Nobuki Akiyama’s vocals but also in the way the whole package is conceived. The insistent drums, the bass and rhythm guitar hammering away on roots, and the way it eagerly reaches for the most soaring, inspirational chord progressions, give Forever an intensity and immediacy that J-pop very rarely has and that stands in stark cobntrast to the dreary, washed-out delivery of most Japanese indie rock. While it may leave the too-clean sensation of someone extolling the joys of the Alpha Course or trying to sell you Apple products, Ykiki Beat also demonstrate talent and confidence to match their ambition.

Leave a comment

Filed under Reviews, Track

Leather: Demo Tape #1

As one of the brightest upcoming stars in the Tokyo indie scene, this melodic guitar quartet have gone through several band names — De Nada, DYGL, and most recently Leather — in search of something simple but distinctive enough to satisfy them in their growing ambitions. Throughout all this, however, their music has remained outstanding, and this four song demo collection is the closest they have yet come to documenting it on tape.

That’s not to say there isn’t still a long way to go though, and the recording quality on Demo Tape #1 is very uneven, with the vocals mixed way too high on I’m Waiting for You and way too low on River, while the audio quality on Waves is all over the place. That said, it’s a demo, and lo-fi as it is, the quality in the songwriting comes across. Mixing aside, I’m Waiting for You is as stomping and anthemic a song as Japanese indie has ever produced, and Next Day is a spine tingling Strokes-soundalike (although knowing the band, Finnish indie rockers French Films are perhaps a more likely source of influence), while River is plaintive and really quite beautiful.

We can just hope that sooner rather than later the band will get themselves into a studio and make some proper recordings soon (or ideally that a label with lots of money will pay for them to do it) because they have a solid body of really great songs that deserve to emerge clean, clear and blinking in the sunlight. Still, the four tracks on Demo Tape #1 are a step in the right direction.

2 Comments

Filed under Albums, Reviews

Diary of a Japan tour part 4: March 16th secret gig at at Koenji Art Bar Ten

The day after Nagoya, we were back in Tokyo for a secret gig. The event was Tententen, a show I organise together with my friends Eric and Julian, a.k.a. Gotal and Ralouf from the band Lo-shi on the third Sunday of every month at a tiny little music bar in my home neighbourhood of Koenji called Art Bar Ten. I do two monthly parties in Koenji, the other being the DJ party Fashion Crisis at the nearby Koenji One. Since Ten has a proper drum kit, we focus more on live acts, but we also incorporate video, art and DJs into the show, while at One it’s more about chilling out and listening to the DJs, although we do sometimes have live electronic or semi-acoustic performances. One and Ten are not connected in any way other than being down the street from each other; the naming is just coincidence.

Koenji Kitty

Koenji Kitty

Anyway, there are a couple of advantages to having these regular events going on. One is that it anchors my activities in the Koenji neighbourhood, which helps establish an identity for what I do. The Internet does great propaganda about breaking down boundaries, and to an extent it does do something along those lines, but region and locality are still very important, even within Tokyo itself. Just look at the way anime over the past 10-15 years has increasingly focussed on real locations, almost fetishising the sheer locality of the place. Koenji itself has played stage to a few anime series, the tedious looking (I haven’t watched it) Accel World and notably parts of the bizarre Penguindrum. Hello Kitty has a special mascot for practically everywhere in Japan (Koenji again has its own version, dressed in Awa Dance costume) and everywhere has its own “special” ramen and manju or biscuit souvenir. Locality still carries weight, and local music scenes have a lot of appeal, perhaps more so the more the Internet appears to make them irrelevant.

The other advantage of these monthly events is that they gradually build their own audience. Fashion Crisis has been going for five years now, and while Tententen only started last September, it carries over a lot of the same audience. It helps foster a core audience for Call And Response events and provides a slightly looser environment for me to try new or different things that wouldn’t fit easily into any of my bigger and more strictly genre-focussed events.

With the N’toko tour I didn’t want to skip Tententen, but at the same time I didn’t want to be promoting another N’toko gig in Koenji just a couple of weeks before his big Tokyo release party at the nearby 20000V/Ni-man Den-atsu on the final day of the tour. Ten costs me nothing to do, but do something at a proper live venue and you have to guarantee about ¥100,000 in takings, so I didn’t want people looking at the tour schedule and thinking, “Let’s see, the release party is on the 29th, but oh, I can see N’toko for a quarter of the price two weeks earlier. I’ll just go to that instead!”

So N’toko was a secret guest at Tententen, although a lot of our regular crowd (the people who tend to show up to my events anyway) already knew he’d be there either because I’d told them or just through the simple art of deduction. We needed an event that would work on its own regardless though, so Eric suggested Communication Breakdown, a sample-based instrumental hip hop unit formed by two of the guys from avant-garde rock band Bathbeer and indie-dance band Nacano. I was wary of booking another hip hop act with N’toko, but their sound was reassuringly old-skool and since they were from an indie background, it helped smooth the transition to the next act, Gloomy. Gloomy is basically Aya Yanase, an indiepop singer with a synthesiser in the mould of someone like Grimes. She is sometimes joined on drum pads by Kohei Kamoto of indie bands DYGL and Ykiki Beat, leading to some charming stage interactions that remind me of nothing so much as a couple in a car arguing over a map but trying to keep their voices down unless they disturb the kids. Aya has also worked with N’toko before, albeit remotely, providing guest vocals to mine and his band Trinitron’s Valentine’s Day cover of Paranoid by Black Sabbath.

Anyway, the room was packed more tightly than any Tententen so far, which is to say there were about 35-40 people over the course of the night in a room that can really hold comfortably about 25 max. If there’d been a fire, people would have died, but the only fire was in the hearts of the musicians and audience. We were all burned, but it was a nice burning, like eating a spicy curry, or drinking strong liquor. Gloomy would have finished the show perfectly in their own right, but N’toko put in one of his best shows of the tour, and the Tententen crowd proved themselves one of the best audiences he could have asked for.

It was an interesting comparison with Bar Ripple in Nagoya the previous night, with both shows in similar small bars with no stage, both shows bringing in a mix of Japanese and foreigners in the audience, and both shows having a decidedly non-“scene” vibe without compromising the essentially nerdy musical atmosphere. You could have transplanted ONOBLK and Rock Hakaba from Nagoya to Koenji and done the same show and it would have felt very similar even with totally different audiences.

By this point in the tour, it was starting to feel like the motors were beginning to run. Most of the shows had been in unusual places and were far from typical gigs in proper live venues with the exception of the first night at Shibuya Home, which had been on a weekday night, but there was plenty of that to come. The next few dates would all be very far from home so we had many hours of planes and trains to look forward to. The next block of gigs, which would form the core of the tour would be in Kyushu, where Call And Response at least has fairly credible past form, so there was a lot to look forward to. I’d never done so many dates there all at once though, so we were trying a few new things too. In Hollywood terms, this was the end of Act 1.

2 Comments

Filed under Features, Live, Live reviews

DYGL: Next Day

One of the bands I’ve been most vocal in recommending over the past year or so is DYGL, a young indiepop band from Tokyo and one of the most promising up-and-comers in a scene that seems to be going through a mini boom at the moment, driven perhaps by a growing international online network of indiepop aficionados and perhaps also helped by the network of local scene curators that has grown up from Fukuoka to Kansai to Nagoya to Tokyo. It’s a scene that has a reputation for being a bit effete, and that stereotype is one that more often than not, Japanese indiepop bands are more than willing to confirm with their cute tote bags and accessories and general herbivorous tweeness, but DYGL have thankfully bucked that trend, incorporating progressively more driving punk and powerpop elements into their music thanks to the addition of a bass player to the lineup and vocalist Nobuki Akiyama’s increasingly raw vocal inflections.

With Next Day, the band seem to be channeling The Strokes at their The Modern Age best, especially through Akiyama’s crackly baritone Julian Casablancas vocal performance, but also through the repetitive, Velvetsy, proto-Krautrock drums and monotonous guitar line. It also shares that repressed energy that ran through The Strokes’ early material, but where Casablancas & co. crashed against the flood defences of mild disappointment the moment they tried to really let loose their repressed energy, DYGL already have material like I’m Waiting for You and Nashville that rips through the embankments and floods your heart with passion and joy, so in that context, Next Day has a valuable role in establishing and reinforcing a dynamic between repression and expression in the band’s repertoire.

Leave a comment

Filed under Reviews, Track