Tag Archives: Ms. Machine

Ms. Machine: S.L.D.R.

ms machine - sldr

CD, self-released, 2018

If you didn’t get hold of the scuzzy demo CD/R that the band were selling at live performances a year or two back, S.L.D.R. is likely the first chance most people have to hear Tokyo-based noise-punk band Ms. Machine in recorded form. Occupying the more discordant end of the current wave of young, aloof, well-dressed Tokyo indie bands with icy, blank stares that don’t give a damn about your bullshit, they bring a shot of curiously taciturn aggression to a scene still dominated by the piss-end of City Pop and varyingly competent imitations of vaguely twee US and UK guitar pop.

With four tracks’ worth of snarling guitars, distortion, doom-laden chords and shrieking sloganeering coming in at around seven and a half minutes, this EP places the band in a lineage that encompasses both D.C. hardcore and New York no wave. Most of the songs on S.L.D.R. are built around a single, grinding guitar riff, over which the vocals repetitively intone their minimal message. Despite that minimalism, however, there’s a distinctly feminist slant to the lyrics, with the opening Break the Current System featuring just the phrase, “She gotta obey him to succeed in this world” one and a half times and Your Little Yardstick simply and repeatedly demanding, “Do not appraise me!” Meanwhile, whether intentional or not, instrumental closing track 3.11 is difficult to separate from the horror and unease of the earthquake that struck Japan on March 11th 2011, the track unfolding beneath a shrieking toy siren, with guitar and bass alternating between the same two-note riff and percussively hammering away on one chord before the guitar dissolves into a Mission of Burma-esque distorted outro.

There’s an unfinished quality to Ms. Machine’s songwriting that contributes to its no-bullshit appeal, the songs starting, locking into a groove, and then never really finishing so much as just ending. Despite (or maybe partly because of) this, as well as the short length and the minimalism of the music within, S.L.D.R. is an EP that rewards repeat listenings with a brutal simplicity of its own.

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Top 20 Releases of 2015: Afterword

With the end of this latest countdown of the past year’s top Japanese music, it’s worth drawing attention to what other writers did for their own rundowns. The other main English language sites that go deep enough to put these kinds of extensive lists together are Make Believe Melodies and Beehype. Neither list had anything in common with mine, and precious little in common with each other, which just goes to show how diverse the indie scene in Japan is. In any case, both lists are worth checking out in order to get a different perspective on what Japanese indie (and a bit of pop – Patrick at MBM remains inexplicably attached to E-Girls) music has to offer.

Make Believe Melodies: Best Japanese Albums of 2015
30-21
20-11
10-1

Beehype: Best of 2015 – Japan

As I said before embarking on this latest countdown, the fact that my own label’s releases were disqualified had a big influence on the makeup of this list. It’s always an issue, but it was a bigger one than usual this time round since we released so many albums and EPs featuring so many of our favourite bands in 2015.

Looking forward into the rest of 2016, I’ll be dealing with a similar situation next time round, with a lot of new Call And Response releases already in the pipeline. Looprider’s debut only came out six months ago, but they already have a second album recorded and ready to go this spring, and a third album written. Lo-shi have already recorded their third album and first CD release, with the album currently being mixed with a view to a summer release. Mechaniphone, whose first EP came in at No.4 in my best of 2015 countdown, have a new EP ready to go, which I’ll be helping them put out in a limited release very soon. Other bands in the wider Call And Response family have new material at varying stages of completion, including Han Han Art, Sharkk, Trinitron and Tropical Death.

More broadly, I’m (maybe hopefully) picking up vibes that indiepop may have peaked and that the cool kids are ready for something a bit more discordant. If there is even the faintest possibility of a postpunk/no wave revival, I’ll be doing everything I can to jolly it along and then report on it as if it’s some spontaneous thing I just discovered.

Basically, my theory is that the indie hipster cred Hysteric Picnic/Burgh have been building up over the past couple of years has now reached such a level that young, cool kids want to hang out with them and be in bands like them. There has always been a seam of arty, angular Japanese underground music scraping away metalically beneath the surface of the music scene, and the emergence of younger bands like Deviation and Ms. Machine, as well as the welcome return of the still ludicrously young and inspired Nakigao Twintail, suggests that at least in some limited sense Japanese skronk might be getting a shot of young blood.

Any look at stuff to look forward to should probably begin with Afrirampo’s spring reunion tour, followed by an appearance at the Taico Club festival in June. Whether any new recordings will emerge is still uncertain, and I’m not sure if that would even be a good idea at this stage. Pika already has a new album titled Sun Ra New, in collaboration with Yuji Katsui and Yoshihide Otomo, and quite what role Afrirampo could play in her ever-evolving musical explorations I don’t clearly see.

New releases I’ll be looking out for include Kyoto bubblegum hardcore/postpunk band O’Summer Vacation’s new 7 Minutes Order, which I’ve already heard and is awesome, and hopefully a full album by my favourite band in Tokyo right now, the wonderful Falsettos.

I’ll also be embarking soon on the second stage of my travels to every prefecture of Japan to research its indie music scene. Following my return to Tokyo, my long-promised book on the Japanese indie music scene is now back from the editor and pencilled in for a summer release, so keep your eyes open for more on that.

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