Tag Archives: Takeshi Yamamoto

Wolf x Takeshi Yamamoto – Upsilon

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.

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Top 25 Releases of 2019: No. 5-1

Puffyshoes - Flower

Cassette, self-released, 2019

5. Puffyshoes – Flower
Released together with a home made zine, this cassette collection of seven rough-edged 60s girl group-via-Ramones pop tunes (clocking in at a bit over nine minutes, with only the opening Let’s Fall in Love scraping past one and a half minutes in length) is maximum DIY in both its execution and its wider, thematic meta-nostalgia for the already nostalgic sounds of past generations of indie/twee-pop tape-dwellers. Puffyshoes inhabit their fantasy world so completely that it never feels less than completely real, and the devastatingly simple, infectiously catchy, tremblingly fragile pop tunes that make up this EP drive that point home more effectively than I ever could.

Groundcover. - ██████

CD, Less Than TV, 2019

4. Groundcover. – ██████
(Text taken from my personal blog)
Throughout their multiple shifting, contracting and expanding lineups, Groundcover have been one of Tokyo’s most consistently interesting noise-rock bands, combining roots in hardcore and post-Boredoms junk with a drift into expansive sonic territory. ██████ is the culmination of that evolution, retaining the raw riffs and explosive energy that characterised their hardcore days but wedding it to via the rhythmically tight, increasingly dub-influenced sound system band leader Ataraw Mochizuki has built up around him over the years. The result is an album that builds up immense, triumphant, richly layered walls of sound, deployed with impressive control.

OOIOO - Nijimusi

CD/vinyl, Shochy/Thrill Jockey, 2019

3. OOIOO – Nijimusi
Despite having been at it for the best part of the past 25 years, OOIOO remain as inventive and inspired as ever, lurching dementedly from one idea to another, linking the experimental extremes of post-punk and progressive rock with the sort of drunken fluidity that can only really come from total mastery of their oddball craft, with echoes of both Gong and the Raincoats in equal measures colouring this endlessly delightful album. It’s wild, fun, fundamentally dedicated to the unexpected, and overall a powerful and accessible exploration of completely unrestrained musical imagination.

 

Takeshi Yamamoto - Somewhere

Download, self-released, 2019

2. Takeshi Yamamoto – Somewhere
Sometimes it feels like Takeshi Yamamoto is singlehandedly holding the Fukuoka music scene together, playing in what seems to be at least half the bands in the city (Macmanaman, Sea Level, Kelp, Sacoyans and more), not to mention DJing, doing design work for fellow Kyushu scenesters and generally turning out an endless stream of new releases and collaborations. Despite all this, Somewhere is Yamamoto’s first solo release, and it’s gorgeous. Composed mostly of ambient and drone-based soundscapes, it carries a lot of similarities with some of Yamamoto’s work with post rock collective Sea Level, but where Sea Level endlessly circle eclectically around an implied but never quite described centre, Somewhere is far more comfortable in its sonic identity. Between tones and drones that shimmer like silk in the breeze, Yamamoto picks out gentle guitar melodies here, introduces rippling sequencer patterns there, builds rich or even dirty layers competing sounds, or pares them away to sparse near-nothing, water trickling quietly at the edge of hearing.

 

Former Airline - Rewritten Memories by the Future

Cassette, Moss Archive, 2019

1. Former Airline – Rewritten Memories by the Future
(Text taken from my personal blog)
Released as a limited edition cassette in February, Japanese artist Former Airline’s Rewritten Memories by Future is an album born out of a cauldron of 1980s experimental and underground influences but doesn’t remain bound by them. Crash and Learn recalls the claustrophobic rhythms of Liaisons Dangereuses, drawing out and developing the origins of acid house from its chatter of electronic bleeps. Meanwhile, the artist’s love of krautrock and shoegaze – ever present on the album – is expressed most strikingly on the gorgeous closing The Angel Between Two Walls. Through the album, analogue glitches, drones and intrusions of noise act as the cement holding this sonic structure together.

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