One of the advantages net labels have is that because money isn’t the same issue that it was, they can afford to take a more relaxed and eclectic approach to the artists they select, with less of the ruthless honing and focusing in on specific types of artist and cultivating specific audiences in real, physical live spaces. The Web allows them to float more freely and catch their audience more passively. Still, the online environment naturally acts as a kind of filter in itself, and where punk labels thrive in the alcohol-fuelled, claustrophobic intensity of small live spaces, the audience for a net label is more likely to be found surfing the web, semi-conscious at 2AM, so it’s natural that the sort of music a label like Ano(t)racks gravitates towards is suited to that listening environment.
Ano(t)racks are a self proclaimed twee pop label, and there’s nothing much on this compilation to dispute that, with the exception of Buddy Girl and Mechanic’s vampish, defiantly lo-fi Fanaticalia. Built around a riff that Patrick over at Make Believe Melodies rightly identifies as having been stolen wholesale from The Kinks’ You Really Got Me (to be honest, something that iconic barely counts as stealing now; like the chord sequence from Hang on Sloopy, it’s surely public domain by now) it makes occasional diversions into Rolling Stones territory but fundamentally, like much of Buddy Girl and Mechanic’s self-titled debut album, released earlier this year and sure to be one of Japan’s albums of the year come December, its closest cousin in terms of construction is Can, with the way the music slips and slides over the disorientating rhythm and the emphasis on trancelike repetition.
Eschewing the lo-fi approach and emerging as genuinely lovely indie rock songs as well as highlights of the album are The Fin.’s Floating in the Air and Come to my Party’s Paraffin Lover. I can sense a distant echo of Frozen Years by British pub rock legends The Rumour in the former somewhere, but more than that, it’s simply a pure rush of sentimental, timeless guitar pop comfort food. The latter also provides some tunespotting opportunities for new wave geeks, with the main melody reminiscent of Echo and The Bunnymen’s Bring on the Dancing Horses, although sonically it has a lot in common with Japanese turn-of-the-millennium alternative rock, in particular Supercar (and particularly the song Aoharu Youth), with its mixture of shoegaze, synths and electronic beats. Ghostlight’s Koi no You na Uso also harks back to the turn of the millennium like a more laid back, lo-fi take on Quruli’s C’mon C’mon.
There are more low-key, acoustic numbers such as the gorgeous Coastline by Genki Sakuradani and the quirky, banjo-based 1940s cabaret jazz of Annie the Clumsy’s Gold Crescent Moon, as well as the beach pop of Superfriends’ How True My Love Was and the decidedly Lennonesque blues of Slow Beach’s closing Surfin’ Day and there’s really not a duff tune among the eight tracks on offer.