You can read the full review of this album that I wrote in October 2012 here, so please do that to get my main thoughts on this fantastic album.
Beyond what my original review states, I should add that the fact that Worst Taste maintain a very distinctive musical identity without sacrificing musical development and experimentation in their songwriting is one of the most praiseworthy aspects of the band. With bassist Naoto Kojima having departed for America last summer, just after the release of Tōhikō wa Owaranai, the band have continued to perform as Worst Taste & Special Magic, with the effects wizardry of DJ Memai filling out their sound and drawing them in a different direction, but still there, credit must go to guitar/vocalist Kaita Tanaka and drummer Mao Kato that even losing the sparse, crisp three piece arrangements that have characterised their music so far, they are still recognisably themselves.
Listening back over the album, it deserves stating again what an ace track Datsuraku no Asahi is, with its drawn-out, deliberate pace, edgy, suppressed atmosphere, and inventive arrangement displaying the group’s confidence with song styles that expand their sound into new areas. At the same time, opening track Hyper Up aptly demonstrates that when they’re in their comfort zone, Worst Taste are hard to beat in their comfort zone of hard rocking, slightly off-kilter garage-punk.
CD, BounDEE, 2012
This new album by Tokyo punk trio Worst Taste picks up where their previous Dance de Kimete left off with a barrage of taut, fierce and often minimal garage rock guitar riffs over a hyperactive machinegun rattle of drums and pummelling bass, topped with Kaita Tanaka’s furious, barking vocals. The way the songs ricochet back and forth between unreconstructed Nuggets-style 60s garage-punk, arty, rhythmical postpunk and kick-you-in-the-face hardcore is familiar and over the course of a fifty-minute album can be exhausting in places, but the band have made some significant and interesting moves to expand their range of sound with the ponderous, psychedelic synth-textured opening of Akumu no Yokoku o Yokan Shite recalling the experimental 1970s rock of This Heat and the near ten-minute Datsuraku no Asahi also exploring more expansive territory, occasionally recalling the atmospheric minimalism of Pere Ubu. There are also signs that Tanaka has developed and grown in confidence as a guitarist, here restricting himself less to sharp, angular chords and allowing himself to wig out in a shamelessly rock’n’roll style solo on Step wo Funde, while elsewhere on the album picking out curious melodies reminiscent of Eastern European folk music. As batty as it sometimes sounds, this is a tightly-wound, intense but never less than accessible flurry of vibrant, energetic, offbeat punk rock and well worth your attention.Soulmate Crisis
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