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Category Archives: Music @ja

Skitter Step: Licaxxx’s “□ ▷▷”

Tokyo’s Licaxxx covers a lot of ground on the inconveniently titled “□ ▷▷.” She speeds up and slows down the beat over the course of this just-under-four-minutes-long song, occasionally weaving in little vocal details like a shout of “hey!” or a split-second moan. It’s a track that manages to evoke elements of British dubstep along with all the brainy productions that came after (helpfully called “post-dubstep”), “□ ▷▷” sounding like a weird Looper-esque rendezvous between the two. It all climaxes with a dizzying sprint to the end. Listen below.

Anime Feelings: Ujaku

The opening minute of producer Ujaku’s “Tonakai” sounds like a lost snippet of some Studio Ghibli film soundtrack. It’s nothing but some plaintive piano strokes with a few additional affects added in. It’s the emotional core of the song, which bursts open into a rollicking dance number soon after the minute mark, Ujaku dropping in a skittery beat that mutates over the course of “Tonakai.” Yet even as the drums eye the dancefloor, that mournful piano plays on, casting everything in a solemn light. And then, the kicker – every sound drops out and strings just begging to appear in a Miyazaki film (maybe they did???) rise up as the song dashes into one more bouncy…but heart-tugging…segment.

Anime…whether in the form of samples or just as an aesthetic…has become a common element of Japanese music both mainstream and indie. Plenty of artists can wring really affecting music out of these animated inspirations, evidenced by Shortcake Collage Tape’s wistful Spirited Summer or many of the head-swirling songs released by Maltine Records. Others, though, use anime like a cheap reference point to score points with a specific community. Ujaku isn’t necessarily directly utilizing anime sounds in his music, but rather evoking them through elegant movie-soundtrack-worthy sounds as on “Tonakai” or via a chirpy-and-warped voice on the wobbly “Bass Test.” “Kono Intro Maji” threads in bubbly cartoon noises alongside a voice that sounds suitable for the end credits of some cartoon, all while Ujaku plays around with the electronics with interesting results. Listen below, or here.

Sounds So Right: Hearsays Prep New Album, Preview With New Song “When I’m Wrong”

Fukuoka’s Hearsays first blipped-up on our radar courtesy of Dead Funny Record’s latest compilation album, and now that label will be releasing their new A Little Bird Told Me on March 10. To give us a tease of what to expect, imprint and band have shared a new recording of the song “When I’m Wrong,” which you can hear below. By now, WordPress should develop some sort of widget that automatically stops me from writing a sentences like the following: “When I’m Wrong” is another lovely example of Japan’s still-going-strong indie-pop boom, one that definitely adds nothing new to the conversation, but that isn’t a big deal because the conversation has not changed since the first Sarah Records 7-inch got sold in Japan. It even has twee-tastic lines like “I’m walking through heavy rain!” while the melody just skips along like it’s out for a walk on a warm Spring afternoon. So yes, move on if you need your wimpy guitar-pop to be innovative (or, actually take a listen to fellow Fukuoka-ites JAM The MOD!), but for the rest of us here’s something to savor.

Sounds From The Other Side: Buddy Girl And Mechanic’s Buddy Girl And Mechanic

It’s appropriate that Tokyo group Buddy Girl And Mechanic’s debut album came out in February 2013, a month that has been surprisingly bone chilling in more than weather ways. Buddy Girl And Mechanic unfolds at a slow pace, the band playing every track hear at a relaxed pace that allows the music itself to reveal new patterns and details as they swirl onward. Album-opener “Ultra Witch Crafty Fab” is a relatively quiet take on Krautrock, lasting seven-some minutes and never building up to any climax, but rather sustaining a consistent speed where new additions creep in from the side. It’s a slightly unsettling number, reminiscent of fellow Tokyoites Milla And The Geek’s New Age, except where that trio rattled with noise, Buddy Girl And Mechanic use space to create a similar affect. “Buddy My Cloud” strips down even further, consisting of nothing more than some guitar, kitchen-sink percussion and a drifting vocal. “Fenix” features more fully formed sounds – drum, bass, rinky-dink keyboard – but also features psych-tinged vocal affects, where the words ripple and fade out of the mix. Listen to three tracks here.

Four Your Enjoyment: Sugar’s Campaign And Dancingthruthenights (Tofubeast X Okadada)

When electronic music producers get together in Kansai, they get down. The best example of this, up until now, was Sugar’s Campaign, a project that brought bubbly beatmaker Avec Avec together with the usually trippy Seiho. Tell the two to create something new together, though, and you end up with party-starting pop indebted to the funky sounds of J-Pop from the 70’s and 80’s. The duo’s ability to take cues from the past while still injecting their bubbly pop with experimental touches helped woo us to last year’s peppy “Netokano,” our favorite Japanese song of the year. They are back with new song “Houkago Yuurei,” which finds the pair having even more fun than before. It’s a big bright slice of disco pop, peppered with female dialogue and featuring the most direct stab at singing I’ve ever heard from Sugar’s Campaign. It also sounds vaguely like an alternate-universe take on “Ghostbusters” – which makes sense, as the title translates to “Afterschool Ghost.” This is Sugar’s Campaign getting goofy, but remembering to provide catchy music alongside the punchline.

Even better, though, is the song by new collaboration Dancingthruthenights, which finds the hip-hop-loving Tofubeats joining forces with Okadada. Their group theme song is certainly out for a good time – those five-cocktails-down horns! The Toro-Y-Moi-evoking synth boogies! The part where one of them shouts “let’s spend the night with me!” – but it crucially doesn’t hide its heart either. This sounds like having a late-night club crush, an anthem made for those folks who routinely find themselves locking eyes with new faces on the dancefloor. Dancingthruthenights also make sure to make this sexy, highlighted by the slower portions of the song where the vocals (which are far and away the weakest aspect of this track…but also lend an air of “screw it, let’s do it” to the proceedings) get a bit sweeter. Both songs on this EP are catchy and, most importantly, fun. Get it here.