Tag Archives: Gezan

Top 30 Releases of 2020: No. 20-16

20. Coet Cocoeh – Anthology
Coet Cocoeh (the Coet usually seems to be silent) is the name under which Masami Takashima of avant-pop trio Miu Mau released her solo work prior to 2016’s Fake Night, and while she put out a string of luxuriously smooth singles under her own name over the course of 2020, this collection of her earlier lo-fi work was a particularly striking release. Most of the releases these tracks are drawn from are only available on difficult-to-find CDs or CD-Rs, so this collection, while by no means complete, is a gorgeous collection of sweetly transparent hypnagogic pop.



19. Various Artists – We Need Some DISCIPLINE Here.
This compilation blurs and screams through several genres, but is unified by its curators’ dedication to manic, elegantly scruffy darkness, all of which adds up to a mood that’s harsh, chaotic, sometimes experimental, sometimes brutally on the nose. Taking its name from a Throbbing Gristle reference, it channels metal, grindcore, noise, drone, EBM, no wave and scuzzed-out electronic influences into the raw (although at the same time assiduously style-conscious) disaffected hedonism of an abandoned factory rave in a 1980s B-movie dystopia.


More about this release here.


18. NOISECONCRETE x 3CHI5 – Chiisana Moment
This Nagoya/Aichi duo comprising noise/hardcore sonic terrorist Noiseconcrete and witchy vocalist 3chi5 (also of the excellent Ghilom) established themselves on their first two albums with an atmospheric sound that mixed industrial beats with the spectral vibes of trip-hop. 2020 seems to have seen the sound branch off in different directions, firstly with a ferocious COVID-themed Noiseconcrete solo album, followed by a very interesting Bandcamp release of some of the duo’s more experimental side. This album, released in December in collaboration with the new OOV label, takes the band’s beat-led sonic sorcery down a route that sees their earlier echoes of the Bristol sound flower into a sort of sparse drum’n’bass combined the shimmering synth tones reminiscent of European 1980s minimal wave (hints of Bene Gesserit on the track Bokura Kurage perhaps). A 15-minute live extract closes the album out, but rather than simply appearing as a bonus to flesh out the album length, also serves to link the album back to the duo’s earlier material and flesh out the spaces between the skipping beats, minimal wave synths and sequencers, and lingering industrial throb.


17. Riki Hidaka + Tatsuhisa Yamamoto – decalcomania
Until now rarely the name above the title in the Tokyo experimental music scene, Tatsuhisa Yamamoto chose the locked-down environment of 2020 as his time to take the limelight, releasing eleven or so albums (or album-length releases at least) this year under his own name. With that in mind, it feels a little like missing the bigger story to focus on this collaborative release with guitarist Riki Hidaka here. Nevertheless, the two artists are well matched on Decalcomania, with Hidaka’s sometimes harsh guitar tones subdued in Yamamoto’s mix, brought out to provide raw texture to the submersing synthesiser waves.


16. Gezan – Klue
I’ve always had mixed feelings about Gezan. Starting out bringing a fun, raucous sort of Kansai Zero Sedai sort of theatrical junk with occasional nudity, they gradually became one of the great hopes of Japanese underground music, achieving borderline mainstream popularity with some decidedly pop-leaning efforts, while continuing to use their newfound influence to promote the underground scene around them in a way that so few other bands manage. I was settling into seeing them as something like an underground Asian Kung Fu Generation — audience-friendly but middle-of-the-road (and often frankly inane) pop-rock tunes combined with a genuinely admirable attitude towards the independent music scene — but Klue surprised me by turning out to be a genuinely exciting record on pretty much any level you look at it.

The deep turn into dub and psychedelia brings a richer, multilayered sound from which some truly explosive moments emerge, as well as being (a couple of grating exceptions aside) a far more comfortable background territory for Mahito The People’s anarcho-chipmunk vocals. It’s also a sound that suits on a quite fundamental level the mood and atmosphere of the album’s main muse: the city of Tokyo. And despite their origins in Osaka, it’s the band’s current home of the capital that really feeds this album, running through the veins of its grinding, pulsing rhythms and layers of noise and effects. It’s the primary lyrical focus as well, pulling political concerns from the world scale all the way down to everyday existence in the shadow of the machinery of the status quo, which also by the same nature represents a focus and crucible for the possibility of revolutionary change. Klue is an ambitious and timely album, as well as a striking expression of musical maturity from one of Japan’s most important current bands.

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Filed under Albums, Features, Reviews

Top 20 Releases of 2012: Afterword

As I said in the intro, this list was framed by my own fluctuating tastes and just what I happened to   have listened to this year. Jesse Ruins are a superb band who released their Dream Analysis EP via Captured tracks last February.I didn’t get a chance to hear it during the course of the year so it couldn’t make the list, but it’s probably a good record.

None-more-Kansai garage-noise extroverts Gezan also released an album that I didn’t get the chance to hear in 2012, but it was apparently good enough for Time Out Tokyo to rate it as one of the year’s best. Goth-Trad is another artist I didn’t get a proper chance to listen to, but many picked up. It features in the Time Out Tokyo list as well as Make Believe Melodies’ 2012 album roundup (along with other buzzed-about artists I still haven’t heard, like Taquwami)

And then there are albums that missed out on my Top 20 but which might have made it on another day. Sekaitekina Band’s debut album was good but I went for Underrated instead because I felt the musical development that had gone on between the two records instantly outdated the earlier release. Also there was a new album by capsule, Stereo Worxx, which had some very good stuff on it, but which by the end of the year I’d found I wasn’t really listening to.

I’m not going to do a “Top Tracks of 2012” series since most of my favourite tracks, especially in the indie and alternative spheres, are contained within the albums I’ve just written about, but there are a few excellent mainstream-ish pop tunes I’d like to flag up (all by girl groups, natch). As well as the Kyary Pamyu Pamyu album and the aforementioned capsule, Perfume’s Spending All My Time was really good.

Idol group Dempa Gumi inc.’s awesome, hyperactive cover of The Beastie Boys’ Sabotage is also worth revisiting, especially after having seen them perform it live last weekend.

Also, Korean girl group 2NE1’s I Love You was a great example of pop at the more sophisticated extreme.

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Strange Boutique (July 2012)

My Japan Times column this month is on the Fuji Rock Rookie A Go-Go stage, where indie bands (not necessarily “rookies” since many of them have been around for ages) get a chance to play and since last year to compete for a place on one of next year’s main stages. A bit of weird phrasing aside (I was super-late filing it and I’m still not entirely sure what “up-and-coming dadrockers” means), I say pretty much everything I wanted to in the article so not much to add here except to drop a few links to bands I recommended in the article.

First up there’s Gezan, from Osaka, whose violent onstage antics really lose something on record, so for heaven’s sake check them out live if you get a chance:

Also on Friday there’s The Keys, who are a fine example of the sort of jangly guitar pop that Japanese indie retronauts have been keeping on life support since the late 80s. I slag off old British guitar bands in the article (because they’re shit and they deserve it) but I have no particular problem with melodic guitar music when it’s done with charm and intimacy like this:

Another good Friday night band is Kanazawa’s Ningen OK, who seem to be rocketing up through the hipster-credometer with their fiddly brand of avant-garde postpunk/prog:

I mention Kettles, although I’m not quite sure about them yet. They just seem a bit too down-the-line J-indie, although they can definitely write a song when they put their mind to it, and they’re probably my pick from the more mainstream Saturday night lineup:

Sunday is mostly rock’n’roll stuff, but the best band by far is Fukuoka psychedelic postrock instrumental band MacManaman, who have rocked a few of my own events now, both in Tokyo and Kyushu, and who really stand out on Rookie A Go-Go’s third night:

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Filed under Live, Live previews, Strange Boutique