There was of course a lot of Japanese music in 2019 that I didn’t listen to or that otherwise got left out of my top 25 rundown. There were a couple of releases in particular that I liked a lot and on another day might have been included, so first up, here’s a look at a couple of my additional favourites.
Bulbs of Passion – Low Life
Tokyo indie rock band Bulbs of Passion have been plugging away in the background of the local scene for the best part of the past decade, with a solid catalogue of songs, although as far as I know the only available recording of them before this new EP was 2016’s The Very Best of Bulbs of Passion. For a band named after a Dinosaur Jr. song, Bulbs of Passion’s music has an unexpectedly light touch, the title track soaring out of the traps, kept aloft by billowing reverb, while Slap bounces along poppily on its off-beat. The closing Hurt, meanwhile nods to The Jesus & Mary Chain’s Just Like Honey before once again being launched skyward, powered by the band’s seemingly endless reserves of giddy enthusiasm.
Yokoscum – Last Month’s Music
An incessant hiss of distortion that may have originated in a guitar, an eerie throbbing electronic pulse, some devotional wailing, metallic hints of a pop melody, occasional gasps of confused desperation. DJ, event organiser and experimental musician Yokoscum’s Last Month’s Music cassette EP is an intriguing little creation, combining lo-fi noise and industrial with vaguely religious sounding mantras and letting the repetitive, insistent nature of both feed each other. The five untitled tracks on this EP are more explorations of an idea than songs exactly, but the results are still interesting and not without a sense of playfulness and fun.
For my own Call And Response label, 2019 was a relatively low-key year, with three new releases (and a fourth that didn’t officially come out until January 2020). As usual, I don’t include releases I helped put out in my own best-of-the-year rundowns because it’s difficult to judge and rank something I was involved in pressing and promoting against other people’s music. Naturally, though, I think all these releases are great, so here’s a quick look at 2019 from Call And Response’s perspective.
First up, there was synth-punk trio Jebiotto’s split 7-inch single with the excellent UK-based post-punk band Treeboy & Arc, which we released in collaboration with British label Come Play With Me. In addition to the record, we also made an extremely silly short sci-fi film featuring the band battling robot doubles created by an evil live venue owner.
In May, we released another international split, this time a CD EP featuring Filipina riot grrrl band The Male Gaze and Tokyo noise-punks P-iPLE (who incidentally share a vocalist with Jebiotto). To promote this EP, we brought The Male Gaze over for an eventful and extremely fun one-week tour.
Then in October, Looprider came out with their fourth album and first full-length release, Ouroboros. From the start, Looprider have been combining shoegaze and noise-rock-influenced effects-pedal textures with metal and doom riffs, employing a wide variety of approaches from one release to the next. This album is perhaps the purest expression of this essence though, barging back and forth between lush, layered towers of textured rock and grinding garage-metal riffery.
2020 has already started off with some good new releases, and some very interesting stuff on the horizon from Panicsmile, Half Sports, Kasuppa, Loolowningen & The Far East Idiots among others. From Call And Response, we’ve just put out another split 7-inch featuring Tokyo post-hardcore band illMilliliter and Hokkaido’s TG.Atlas, with further releases planned. Whether it’s another year before I update this site again or if I somehow manage to keep on top of new releases a bit better remains to be seen. Hopefully, I’ll manage to be better.