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Best of 2017 – More great sounds (2) – Call And Response Records year in review

Among the top releases of 2017, I always avoid writing about anything on my own Call And Response label for obvious reasons. For equally obvious reasons, the music Call And Response puts out is also always among my favourite new music of the year (otherwise why would I go to the trouble of putting it out?) so I’m giving the label a page of its own to run through what was a very busy year in new releases:

Lo-shi – Ninjin

Lo-shi are an instrumental post-rock/electronic duo and Ninjin was the first of two albums they released in 2017 (the second was an equally excellent self-released CD/download called Moro-Q). Lo-shi’s music is characterised by eerie soundscapes and beats that range from skittering electronica to insistent, almost krautrock rhythms, while the melodies and tones combine washes of synth with theremin, Jew’s harp and Durutti Column-esque guitar.
(Buy the CD here)

Looprider – Umi

The second post-rock album Call And Response released in 2017 was this single 25-minute-long rock monster of a track by Looprider. Following on from the hardcore and noise-influenced Ascension and their pop/metal/shoegaze debut My Electric Fantasy, an instrumental prog rock epic may have seemed like another hard swerve in another direction, but it’s really a refinement of the same combination of sweet and heavy that the band have been exploring from the start.
(Buy the CD here)

P-iPLE – Do Do Do A Silly Travel By Bicycle Bicycle

This clumsily titled mini-album is a short-sharp-shock of scuzzy hardcore and no wave delivered with a playful and nonsensical sense of humour. The guitar sounds are tortured and glorious, the rhythms are breakneck, and vocalist Madca Kitabeppu (also of synth-punk trio Jebiotto) is a natural born rock star.
(Buy the CD here)

V/A – Throw Away Your CDs Go Out To A Show

I don’t include Call And Response releases in my year-end rundowns, partly because no one would trust the lists if I did, and partly because I find it hard to assess music I’m this personally invested in against music I simply enjoy as a fan. This compilation, however, would definitely have been No.1 if I’d been including everything. It’s everything I love — skronky art-punk and noise-rock that channels the ragged creativity of the postpunk era while rarely resorting to direct pastiche. It also includes fantastic songs by most of my favourite bands in Japan, like Panicsmile, Melt-Banana, Hyacca, otori and more, so I’m not going to be ashamed in any way of saying that this is a fucking awesome album.
(Buy the CD here)

Sharkk – Be That Way

Sharkk is another way of saying Sean McGee, drummer from Looprider and Tropical Death. It’s also a convenient shorthand round these parts for a kind of sweetly sentimental, emo-tinged indie rock with gnarly, 90s alt-rock guitars. One of the few unashamedly melodic bands on the label at the moment, McGee deploys his tunesmithery in the service of a faintly self-effacing, rather ambivalent nostalgia for teen angst.
(Buy the cassette here)

Tropical Death – Modern Maze

Like Sharkk, there’s a sense of harking back to ‘90s indie rock in Tropical Death, although they take a more angular approach to their arrangements and a far more cynical approach to their lyrics. From the melodic title track to the post-hardcore rhythm workout Tribal, Tropical Death load their songs with hooks and little moments of invention that ensure every track takes you somewhere unexpected.
(Buy the cassette here)

Looprider – Ascension (cassette re-release)

Originally released as a limited edition CD in 2016, Ascension is Looprider’s take on hardcore and noise, a twenty-minute nuclear explosion of a record that starts and ends in squalls of pure noise but on the way takes you on a whirlwind tour of scratchy hardcore and the scuzzier fringes of Looprider’s more familiar metal-adjacent territory.
(Buy the cassette here)

illMilliliter – New Standard

The debut album by a Tokyo post-hardcore band featuring ex-members of Tacobonds and Imamon, dealing in frenetic, twisted guitars and tight, focussed, aggressive rhythms. illMilliliter are clearly influenced by bands like Shellac (Bob Weston worked on the album as mastering engineer), Slint and Fugazi, as well as Japanese acts like Panicsmile and possibly Number Girl/Zazen Boys, but there’s also an appreciation for sparseness and the spaces between sounds, which lifts New Standard above most Japanese punk and post-hardcore and makes them something worth playing special attention to.
(Buy the CD here)

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Compact Club: Subete wa Template

Compact Club: Subete wa Template (live)

After the past couple of months where this blog has been preoccupied with touring, a bit of a backlog of stuff has emerged, with a huge pile of CDs and tracks to talk about, some of which I picked up on the road and some of which emerged in Tokyo during my absence. First up is this debut CD by oddball new wave band Compact Club. While the membership seems to be rather fluid and the people who appear in the videos are not always the same ones who appear onstage, the group features a few familiar features, including vocalist Canan Togawa, previously of Elekidz, Yasuhiro Onishi of illMilliliter and previously Imamon, and Yurako Iwama of Be Aggressive.Compact Club: Liber Stewart

What you have on Subete wa Template is three perky, punky new wave songs in a Devo/B-52’s mould, edged with a sort of joyous guitar-mangling noise that shows itself in particular on XTC-like closing track Roommate, which descends into Eno-esque sonic wibble as it approaches its climax. And it’s where the pop is set off against something harsher and more discordant that Compact Club are really at their best, because shorn of the immediacy of a live performance, the outright pop of the title track seems to be crying out for a little extra kick. Sitting between these two extremes lies Liber Stewart, with its unusual arrangement that foregrounds the bass and uses the guitar and synth to provide disconcerting textures and bleeps. There’s a lot of fun to be had with Compact Club and this CD is a solid introduction to the group — given the talented collective at work in the group, I have high hopes of them being able to build on it in the future.Compact Club: Roommate

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Call And Response Records — Appendix

As an appendix to the series of posts on the release history of my Call And Response Records label which started here, I’m just going to add a few more comments and thoughts.

First up, you’ll notice that the catalogue numbers often skip a few (and actually it doesn’t show here but in some cases are out of sequence). The reason for this is that some releases are free downloads or private CD/Rs and things that I chose to pass over in favour of the CDs I pressed and released professionally. They also sometimes fall out of sequence because I’m disorganised and sometimes things get delayed and something else slips into the gap. Anyway, this isn’t a big deal, but just in case anyone was wondering why the N’toko album was CAR-77 but the Black Sabbath Paranoid covers compilation was CAR-75, it’s because CAR-76 hasn’t been released yet die to production delays (next month, maybe?)Jebiotto (live at Kichijoji Planet K)

Looking forward, there’s a Jebiotto album (the much-delayed CAR-76) in the works, and a new issue of Quit Your Band! gradually taking shape, with Slow-Marico on the accompanying CD. There are friends of the label also working on new albums that even if they’re not on Call And Response, I’ll certainly be loudly cheering on, with Iguz Souseki’s psychedelic post-Zibanchinka band Futtachi foremost among these. September 27th 2014 will also mark the ten-year anniversary of the first Clear And Refreshing live event, so there’s going to be a big party to celebrate that.

Finally, in a purely hypothetical exercise (the last one was too recent for it to really be worth doing another one right now), I’m going to talk a bit about what a new Call And Response compilation in the Dancing After 1AM/1-2-3-Go! mould might look like if I were to make one now.

Firstly and obviously since it was only a year and a half ago, a lot of bands would be the same. Futtachi, Hysteric Picnic, Hyacca, Mir, Slow-Marico and Jebiotto would be right at the top of my list of people I’d be mailing. However, there are some bands who were on DA1AM who are probably a bit too famous or at least operate in a slightly more professional milieu now — bands who wouldn’t really benefit from being on the album and who I’m not really doing stuff at live events with these days. She Talks Silence, Extruders and The Mornings for example are bands I still very highly regard, but who are kind of above my level now, and while I’m not opposed to getting in popular bands who work musically with what Call And Response does, there is a balance between that and finding out new stuff that I feel should tilt more towards the latter than the former.Umez: Lingering Dream

Bands that have come onto my radar over the past year and a bit and who I’d definitely be trying to get something from for this hypothetical CD include indiepop jangleteers DYGL, noise-pop duo Umez, industrial/EBM duo group A, Fukuoka electronic glitchgaze duo Deltas, jittery Saga punk trio Hakuchi, Krautrock-kayoukyoku three-piece Fancy Numnum, new wave/artpunkers Compact Club, and Tokyo postpunk band illmilliliter. The marvellous Buddy Girl and Mechanic, who I missed out on with DA1AM, would be well up there among my priorities too, while it would please me greatly to get original 1-2-3-go! band Usagi Spiral A back to do something as well.Hakuchi: Suttokodokkoi

As I say, I’m in no hurry to make another compilation, but I’m not short of stuff I’m still excited enough by to do something with. Anyway, back to regular posting after this. Your attention has been greatly appreciated.

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