Takeshi Yamamoto is a seemingly omnipresent figure in the Fukuoka music scene, playing in bands like Macmanaman, Kelp, Sea Level and many more. He released his first solo album, Somewhere, last year, which was one of this site’s gorgeous ambient highlights of 2019, and at the start of 2020 he came back with a new collection of spacious soundscapes in collaboration with fellow Fukuoka-based musician Wolf of Acid Mothers Temple. Where Somewhere would occasionally use short tracks to focus in on small sonic details, Upsilon is more concerned with the big picture, divided into three movements — long tracks that give the album a wider, looser, more expansive feel. This perhaps reflects Upsilon’s origin as a live improvisation session, albeit one extensively worked on in the studio subsequently, and it retains the exploratory atmosphere of two musicians working around each other in the moment. Fundamentally an ambient record, Upsilon isn’t afraid of pushing into broad crescendos that seem to fill the sonic spectrum or disorientate with disjointed analogue samples and occasionally harsh psychedelic episodes, just as it is content and confident enough to settle back into its own luscious, gentle mindscapes for long periods. And it’s here perhaps that Upsilon really deviates from pure ambient music: despite its gentle pace, it has progressive rock’s constant need to push forward on a journey, drawing the listener through different sonic territory that toys with their sense of comfort — Upsilon is filled with beauty in which you could easily lose yourself, but it is nonetheless an album that wants your attention.
Tag Archives: Kelp
In addition to the albums and EPs covered by my, admittedly selective and only vaguely ranked, top 25 list, there were of course plenty of other releases I listened to and enjoyed. Fukuoka insult-punks Born Shit Stirrers put out another extremely fun album, Depressed Fathers Club, which featured a song namechecking me, titled Ian Martin Thinks You’re Shit. Synthpop/technopop duo Motocompo re-released their fantastic 2008 Chiptop Lips album towards the end of the year, while their all-boy “ska-electro” successor band (M)otocompo released their daffy new Yokoshima Borderline EP at the same time. Fukuoka-based operatic jazz-prog trio Kelp put out the fascinating Intake album, while there were some interesting cassette compilations in the alt-rock-themed Life Is Music and Tokyo indie event Rhyming Slang’s collaboration compilation with Korean indie collective Freshalwayson. There was plenty more that I either didn’t get a chance to listen to or that I’ve somehow forgotten in the swirl of events and noise that usually makes up my year.
My own Call And Response label also put out a couple of new releases, which for obvious reasons I didn’t feel right including in my personal ranking of best releases. However, since this site seems to be the only place on the Internet that covers this sort of Japanese art-punk, underground and experimental rock music with any real affection, I’m going to make a point of recommending them here because (like all Call And Response releases, natch) they’re both excellent albums.
Sea Level – Dictionary (Handwritten) – BUY HERE
In a review by Ele-king magazine, Sea Level were described as “centreless music”, which is to say music that doesn’t have an obvious, easy-to-define core identity but rather defines itself through the fluid, free-floating and dreamlike way it dances from idea to idea, pulled outwards in various directions by the diverse creative talents in the band, but nonetheless linked in a stream of consciousness. Musically, it’s in the zone that we can comfortably call post-rock in that it combines electronic music with progressive rock, with diversions into various other genres where appropriate, but that doesn’t do justice to the beauty of this record — less a linear journey than a hallucinatory, melancholy landscape that you’re left to explore freely by yourself.
Velvet Ants – Entomological Souvenirs I – BUY HERE
I’ve mentioned a couple of times in these year-end countdown posts that 2018 was a great year for the loose category of sonically or rhythmically distorted experimental rock and (post)punk music I like to classify as noise-rock, and Velvet Ants by all rights should be considered an important part of that wave of great music. Recorded and mixed by Shinji Masuko of DMBQ (whose monumental Keenly also featured in my top albums list), Entomological Souvenirs I combines jittery rhythms, heavy riffs and ferocious Sonic Youthian freakouts, delivered with a disarmingly loose sort of confidence.Velvet Ants – Cicada (single edit)