With its simple, bouncing, forward-driving rhythm, reverb-heavy guitar chimes and repetitive vocal melody, Nehann’s TEC comes on with some slick, vaguely post-punk-influenced early-2000s indie rock vibes — perhaps a hint of Interpol. And if that’s all there was to it, TEC would be a decent enough track, albeit with a touch of wannabe-ism to it. There’s something else going on too though. With the vocals riding the song’s repetitive groove and not really deviating into anything as elaborate as a chorus, the dynamics of the song are instead broken up by targeted wailing, twirling guitar solo assaults, like teenage boys living out their Luna Sea rawk fantasies. B-side Ending Song, meanwhile, takes a more downbeat turn but still walks a line between stylish indie rock respectability and something more outright melodramatic, on this track recalling the theatrics of Dog Man Star-era Suede or perhaps their Japanese mirror Buck Tick. In this way, Nehann share some similarities with Tokyo contemporaries Stram, who also in their own way combine dark, early 2000s NME-esque, vaguely post-punk tendencies with something a bit more hysterical and glam. In bringing an emotional flourish into music that can easily get wrapped up in an icy sense of its own cool, bands like Nehann may have found the key to unlocking a new audience for music that had in the past often preferred to hold itself aloof.