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Category Archives: Music

Movin: DJ Aflow’s Smog

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DJ Aflow’s been part of the Japanese juke scene for quite some time, having put out albums on vital label Booty Tune all the way back in 2012 and consistently put out material since, whether on their own or with Foodman and California’s SELA. Smog offers up a speedy set celebrating DJ Aflow’s approach to the style, kicking off with a track transforming a commercial starring Nate Dogg and Snoop Dogg into a rubbery cut. Things get spikier and more unnerving on “SMOGTRAXX2,” though the last two numbers focus more on speed, even if the lyrics creeping through aren’t always upbeat (see closer “Possibly Go Wrong”). Get it here, or listen below.

Reserve Energy: Kotonohouse’s But You Don’t

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Holding just enough back can go a long way. Producer Kotonohouse certainly brings plenty of energy across their new EP But You Don’t, using slivers of vocal samples and quick changes in tempo to create a mood that practically forces you to move just to keep up. But what makes the four song set stick around longer is how Kotonohouse tries to keep a little in the tank, giving these creations a little extra space to breathe. Opener “Wake Up” matches its fine-sliced syllables up with piano notes, before seemingly building the song up for a big plunge down into chaos — but what emerges is actually more space for the beat to speed up, playing out like a more caffeinated Cashmere Cat. The title track warps voices to the extreme, but places them over placid sounds that cover the song even as the beat revs up, and even the drop opts for space over suffocation (though the metallic “fuck it” and gun cocking sounds make for plenty of tension). Even the biggest rave out, “Phantasma,” sounds like comforting zero-g party than something truly wild. But the extra space goes a long, long way. Get it here, or listen below.

Stupid Good Energy: Kokushimusou’s Sekigahara / Dorj

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The moment that “Pretty Fly (For A White Guy)” samples kicked in…knew this was gonna be a blast. The team of Guchon and Hujiko Pro constitute Kokushimusou, and their latest release on Sabacan Records kicks off with a glorious mash-up of sounds, making for a high-energy rush that’s part stupid, part stupid good. So yeah, The Offspring appear, as does The Simpson’s family, Lil John, Daft Punk and more. Part of the thrill is the simple recognition of each bumper-carring into one another, but the team also manage to turn a jumble of pop culture into a real rumbler of a number. “Dorj” opts for energy over recognizable samples, and is more of a demonstration of their floor-focused skills. Get it here, or listen below.

New I Saw You Yesterday: “Topia”

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Maybe winter has just felt particularly tough on the thermostat this year, but “Topia” sounds extra warm and inviting right about now. It’s right in indie-pop band I Saw You Yesterday’s wheelhouse, seeing as the bulk of their releases up to this point have been designed for warmer climes, or at least geared towards those constantly dreaming of them. Maybe I Saw You Yesterday are just making that desire all the more clear, with lines like “take me so far away” breaking through the layer of gauze to give “Topia” an especially longing feel. Listen above.

New Boogie Idol: Jyoushiki No Arumachi

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Listen, part of me just want to link once again to this piece and leave it to that. And that is a great explainer as to why the latest from Boogie Idol once again delivers a sparkling rush of excitement and melancholy for something that is long gone…and which I’ve never lived through. Still, there are twists to Jyoushiki No Arumachi, compared to last year’s Ongaku Yori Tooku. That 2017 release found Boogie Idol dabbling in a wide range of styles pushed to history’s recycle bin (at least for now), Jyoushiki No Arumachi comes off a bit more focused on the neon-lit jams. Some of the songs zip ahead, from the laser-light show of the title track to the intricate workout of “Doushite Mo Wakaranai.” Boogie Idol reminds of their sillier side with the easy-going “Osoi Asa,” a rumbling number accented by voices and dog barks. And, most ambitious of all, the seven-minute-plus climax of “Oboeteiru Mono,” showing that Boogie Idol cam maintain a groove and mood for a long-burning amount of time. It’s familiar, like your favorite supermarket or recycle shop, and a place I just keep finding myself wanting to come back to. Get it here, or listen below.