Tag Archives: Klan Aileen

Top 25 Releases of 2018: No. 20 – 16

half kill - half kill

CD, Too Circle Records, 2018

No.20 – Half Kill – Half Kill
This Shizuoka-based punk band produced one of the best punk albums I heard this year with this ferociously lo-fi album. The yobbish/snotty male-female vocal interplay gives a lot of songs a call-and-response dynamic, with the spindly guitar lines and occasional intrusions of synth edging many of these one-and-a-half-minute songs into postpunk territory. It all sounds like it was recorded in a bathtub, but that’s part of the charm.

struggle for pride - we struggle fgor all our pride

CD, WDSOUNDS / AWDR/ LR2, 2018

No.19 – Struggle For Pride – We Struggle For All Our Pride
One of the most unusual albums of the year, We Struggle For All Our Pride ricochets between the band’s familiar blasts of heavy, noise-drenched hardcore and breezy hip-hop instrumentals courtesy of DJ Highschool and Bushmind, interspersed with vocal interludes and covers featuring (among others) Kahimi Karie, Yoshie Nakano of jazz-pop ensemble Ego-Wrappin’, and folk-punk act Ohayo Mountain Road. I have no idea what the guiding creative impulse of this album was or what the band hoped to achieve with it beyond hanging out with their eclectic array of mates, but the result is wild and deeply entertaining.

klan aileen - milk

CD, Hostess Entertainment, 2018

No.18 – Klan Aileen – Milk
Noise-rock is a kind of music that Japanese bands have traditionally been great at but which has rarely made much of an impact on audiences. However, one of the interesting things in recent years has been the emergence of a small knot of young bands who have managed to make noise-rock a bit more fashionable. Of this new generation of noise-rockers, Klan Aileen are probably the post popular and on their new album, Milk, they stake their position with eight dark, sparse tracks that bring together motorik rhythms and reverb-drenched guitars, charting a course between mantric psychedelia and the oblique mysteries of Chairs Missing-era Wire.Klan Aileen – Datsugoku

minami deutsch - with dim light

CD/vinyl, Guruguru Brain, 2018

No.17 – Minami Deutsch – With Dim Light
In the past, Minami Deutsch have often come across as little more than a Neu! 2 tribute act, albeit a devastatingly effective one with a keen sense of structural dynamics that connects krautrock to its successors in postpunk and techno. That aspect of their music is still on display in parts of With Dim Light, but it’s a far more expansive album than that, with the band exploring dreamy psych-pop in Tangled Yarn and diverting their krautrophilia towards the likes of Ash Ra Tempel on the folk-tinged Bitter Moon. The looping rhythms and mantric repetition are still defining features of their music, and their influences are still firmly rooted in the 1970s, but now the band’s sound is far more rounded and the songwriting on display is becoming ever more sophisticated.

ann murasato - wan

CD, self-released, 2018

No.16 – Ann Murasato – Wan!
Hailing from a small town in the rural expanses between Fukuoka and Kumamoto, Ann Murasato has been active in the Kyushu underground scene since she was in her early-mid teens, having played with spazzcore trio Hakuchi, White Stripes-esque garage duo Kawaitesoro and her own chaotic avant-pop trio Tokotokotonntoko’s, among others. This debut album under her own name opens with a blast of cutesy bubblegum synthpop like a rawer, more lo-fi Chai, but this is defiantly Murasato’s sound, that she has been plugging away at here and there for years by drawing together dizzy fragments of punk, disco, retro children’s songs and pieces of the Japanese underground scene around her like collages in a teenager’s scrapbook.Ann Murasato – Go Turn!

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Top 20 Releases of 2016: No.20 – V/A – Provoke

va - Provoke

CD, Provoke Association, 2016

One of the most interesting developments in the younger, hipper end of the Japanese indie scene over the past year has been the way its recent trend towards dreamy “city pop” synths seems to have provoked a reaction towards louder, more discordant music at the other extreme. In Tokyo, the influence of Harajuku record store Big Love Records has undoubtedly been driving a sudden interest in noise among kids who would never normally have even known about such scenes in their usual haunts, while the popularity of bands like Burgh and Qujaku (both bands in former times known by the eerily similar names of Hysteric Picnic and The Piqnic) has succeeded in making postpunk and noise rock fashionable.

This compilation was put together by a consortium of these young, distortion-minded indie musicians, centred around the band Deviation in Tokyo and WBSBFK in Nagoya, and draws two songs each from seven bands — with the exception of Qujaku, who offer just the closing Metabolic. They and the remaining bands — Kobe-based Douglas, Tokyo’s Burgh and Klan Aileen, and Nagoya’s Sekaitekinaband — offer a scuzzy, doom-laden take on early-80s post-Joy Division rock.

One of the challenges of putting together a compilation album is how the curator balances the need to express each band’s individual sonic characteristics with the need for the album itself to project a consistent personality of its own. Provoke is clearly weighted towards consistency. Not only are nearly all the musicians young, skinny guys in black clothes (Qujaku’s bassist Hiromi is the only woman on the entire album) the bands themselves all share so many of the same influences that the album could easily be taken as the work of a single artist. That’s not top say it’s devoid of texture though. Klan Aileen’s Wire-soundalike Kunanan delivers some intense, one-note dugga-dugga-dugga for nearly eight minutes, while Sekaitekinaband’s Test is a three-minute burst of catchy bubblegum Krautrock. The grinding, minimalist basslines of Douglas contrast with the reverb-drenched psych-punk of WBSBFK and Burgh. The result is an undeniably rough-edged yet focused document of a not-quite-scene that, if the organisers have the commitment, may yet be willed into becoming one.

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