Tag Archives: M.A.Z.E.

Connect And Receive – Summer 2021 Japan underground picks

I’ve put this blog on hold while I’m trying to finish writing the terrible book I’ve been putting off working on for the past five years, but as a compromise, I made this mix of tracks from Japanese underground and weirdo punk releases that have come out during the first half or thereabouts of this year. You can listen to it here:

TRACK LIST:

OOPS – Riso no Morning / 理想のモーニング
An up-and-coming punk band from Osaka, taken from their Out of Pictures 7-inch single.

LLRR – Anonymous
Released on streaming sites last year, this Kyoto art-punk band’s debut < = > EP got a limited cassette release this spring (full disclosure: from my Call And Response label).

THE QUESTONS – I am I
This garage-punk trio from Okinawa have put out a couple of releases this year, with this track coming from their Koi no Yokan EP in February.

M.A.Z.E. – Spread the Germicide
Punk with oblique no wavey flourishes, from this reliably in-your-face band’s short, sharp, sub-15-minute 9-song collection II.

Ignition Block M – Houses of Fire
There’s a lot of buzz around this Tokyo punk band, with this song the title track of their recent Houses of Fire EP.

KLONNS – Gehenna
One of the core bands of the Discipline event, usually held at the great Koiwa Bushbash live venue, which combines punk, metal, psychedelic noise and intense techno, Klonns hold up the ferocious, gothic grindcore end of the spectrum on this single. The label Black Hole has also carved out a noteworthy space as a key hub for young, stylish, noisy artists in Tokyo. Aisha from Ignition Block M appears as a guest vocalist on this track.

Ms. Machine – 2020
Another young band with connections to the Discipline and Black Hole crews, Ms. Machine’s debut album was one of the few underground releases to really attract a buzz in Tokyo this year, combining simple hooks in swirling, gothic no wave squalls of noise.

Barbican Estate – White Jazz
Another hotly tipped Tokyo indie band, this 4AD-esque psychedelic swirl came out as part of the Rhyming Slang label’s Japan/China compilation cassette early this year.

yokujitsu – Just Vibes
This Tokyo psychedelic band released a live EP earlier in the year, followed up with this cassette single in the spring.

concrete twin – Nigella
Lo-fi shoegaze that builds up towering walls of distorted sound around its fragile melody in this track from their “Re​:​encounter” sound source #04 EP. The band claim a trip-hop influence, which is hinted at in the shuffling drums, although I get more of a Madchester vibe from it.

BD1982 – THEW3ST
One half of the team behind Tokyo’s fantastic Diskotopia label, this track hails off BD1982’s excellent Ryuichi Sakamoto-meets-Throbbing Gristle solo album Distance Vision.

Jesus Weekend – Forever Breeze
A welcome return from what was once a curiously meandering Osaka lo-fi band and is now a more ambient-focused Tokyo solo act, with this Eno-esque piece taken from the lovely Rudra no Namida cassette EP.

rima kato – today was so bad
This is an old track, from the Four Songs EP, originally released by the aotoao label in 2010 and just re-released this year. Rima Kato’s simple, melancholy melodies and gentle, warm delivery are always worth checking out.

Mitsuru Tabata – Nichijo Part 1 / 日常パート1
Another old song, re-released this year as part of eclectic underground legend Mitsuru Tabata’s (ex-Boredoms, Zeni Geva, Acid Mothers Temple and a billion other bands) large archive of tracks released for compilation albums over the years, Compilation Breakdown.

Closh – I don’t care bcz I’m just ????
A curious and always interesting presence in the Tokyo indie scene, Closh released a couple of mini-albums with the band Doodless before joining alt-rock band Wetnap. As far as I know, this is her first solo release but her exasperated vocal howls and catchy, lo-fi indie-punk guitars are instantly recognisable.

Merry Ghosts – Scotch Egg Struggle
Previously known as Trespass, Merry Ghosts are a post-punk-edged Osaka-based (I think originally from Kobe) alt-rock duo, with this track a deceptively catchy, scuzzy highlight of their very good new album Pink Bloom. It’s not available on Bandcamp, but there’s a CD out there if you can track it down.

Worst Taste – New creation
A mainstay of the Tokyo alt rock scene over the past 15 years or so, this piece of sparse yet intense art-punk comes from their recent Ultra Power EP, which seems to be available only as a cassette directly from the band at the moment.

PANICSMILE – Have You Seen The Bridge
Another album not available on Bandcamp, but the self-titled CD album it comes from is available pretty widely from label Like a Fool Records (and you can find it on the evil Spotify if you don’t want the band to get any money). Put together last year through a sort of pass-the-parcel remote recording process between Tokyo, Nagoya and Fukuoka, this album revels in its fragmentation and unexpected turns, but comes together with an urgency that it’s amazing a band with such a long career can still summon.

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Top 25 Releases of 2019: No. 20-16

V:A - Nicfit:MAZE

Vinyl, Episode Sounds, 2019

20. V/A – Nicfit/M.A.Z.E.
This split EP features two of Japan’s leading purveyors of energetic, darkly leftfield punk rock and both bands shine. With Nagoya quartet Nicfit’s contributions, the guitars yowl and scrape at your eardrums as the songs barrel breakneck towards their conclusion, bass pounding out an atmosphere of doom. Meanwhile, Tokyo’s M.A.Z.E. come in all scuzzy, slashing guitars and post-punk jitters, then just as quickly as they arrive, they’re gone. A breathless, electrifying seven and a half minutes.


Towel - 「」

CD, self-released, 2019

19. Towel – 「」
Hamamatsu-based avant-indie band Towel’s new EP crams six songs into ten minutes, blasting you alternately with bouncy melodicism, jagged post-punk guitars with atonal yowling, and off-kilter, Sebadoh-esque songsmithery. On some level, you can make out parallels with a band like Siamese Cats in the songwriting sensibility, but Towel have way more ragged edges that they seem to have no interest in sanding away. And rightly so, because on this EP the edges are what give it its charm.


Otoboke Beaver - Itekoma Hits

Vinyl/CD, Damnably, 2019

18. Otoboke Beaver – Itekoma Hits
Kyoto garage-trash quartet Otoboke Beaver are currently the Japanese band that people overseas have heard of, and their growing status outside Japan is all the more remarkable for the fact that they’ve managed to do it all within the restrictive limitations of touring while apparently holding down jobs with typical Japanese holiday allowances. Itekoma Hits is half a compilation, gathering tracks from recent Japanese releases together with a handful of new and re-recordings, and if you’re already familiar with their particular style of breakneck garage-punk with hairpin rhythmical turns, you’ll be well prepared for this. But when they jettison the chatterbox vocal stream with shouted choruses and take a turn for the melodic, they reveal the songwriting heart of a J-pop group amid the crafted chaos, in a way reminiscent of Kansai-area forbears Midori. With 14 tracks in about 27 minutes, Itekoma Hits is dense with ferocious yet deftly structured oddball punk rock and packed with unexpected twists.


The Routes - Tune Out Switch Off Drop In

Vinyl, Groovie Records, 2019

17. The Routes – Tune Out Switch Off Drop In
Calling The Routes part of Japan’s garage rock scene isn’t quite accurate, as the band seem quite content sequestered away in Oita, rarely playing live and having very little to do with the core Back from the Grave/Garage Rockin’ Craze scene in Tokyo. And they stand out from most of that scene too, by having much stronger and more sophisticated songwriting. The opening The Ricochet might veer a little too close to Oasis for some tastes (let’s be charitable and say it has echoes of Ladies And Gentlemen…-era Spiritualized instead) but overall, the feeling recalls the sounds of the 1980s Nuggets revival, more along the lines of Chris Stamey, Dream Syndicate or the Fleshtones (maybe even a hint of Ian McNabb and The Icicle Works in there too in songs like Just How it Feels) gifting the music a lively, sharply-cut, hook-heavy energy.


Otori - Digitalized Human Nature

CD, Gyuune Cassette, 2019

16. Otori – Digitalized Human Nature
Where Otori’s 2014 debut album I Wanna Be Your Noise was loosely themed around ideas of communication, many of the songs on their 2019 follow-up Digitalized Human Nature — from the opening Encode Jungle to the closing Neuromancer — are concerned in one way or another with being human in a digital world. The arrival of new bass player Tsuda (of psychedelic rock band Owarikara) has also seen a shift in sound from the propulsive post-punk of their early years to something more rhythmically hyperactive, with vocalist Sae working more quirky, squeaky melodies into the songs and the introduction of more synth sounds (at least in some cases seemingly being worked Robert Fripp-style through Hino’s guitar). Digitalized Human Nature is an extremely busy album that retains and expands on Otori’s post-punk roots but is also intent on causing discomfort, overloading you with contradictory sensory input to the point where you don’t know where the man ends and the machine begins.

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