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Category Archives: Music

Half Beat: SNJO’s SF

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SNJO is the solo project of the producer half of Kyoto’s Toxxies, a quick-moving electro unit that’s been on a good roll. SF, however, isn’t a simple exercise in instrumental tracks. The four songs often feature vocals, usually in the form of SNJO’s manipulated voice, or via guest Yuna Nakabayashi on the jittery “One,” a song that features a vocal melody that keeps reminding me of Beck. The rest of the EP often goes a bit harder, such as on the sample-rich opener “Gaze” or the robo-vacuum “X.96.” It can be a aggressive affair, but SNJO’s secret — and a key part of what makes Toxxies one to watch — is the catchiness lurking within. Get it here, or listen below.

New Snail’s House: Alien Pop

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This year has found Snail’s House pushing his sound in all sorts of directions, for better or for worse. The ever-prolific creator joined other electronic producers in Japan (or those abroad playing with Japanese imagery) in shying away from what has been described as a “kawaii” sound, best summed up as a busy overload of synthesizers, bells and piano melodies. This September’s WonderWorld veered darker, but faltered due to an overabundance of cheesy movie-ready chanting and cliche continental sounds that made it sound like the inside of a Kamakura gift shop. The following Flowers, meanwhile, shifted back to a more colorful sound, but felt restricted by a desire to be more refined. Snail’s House got too cute, but not in the way you’d expect.

Alien Pop is a welcome readjustment. “This album is about alien girl who have crush on human. she tries to speak human language but doesn’t work. so songs in this EP are basically sang by her trying to sing in human language and there are no lyrics,” he tweeted, and the inclusion of nonsense vocals —- sounding like Vocaloid — adds a vital catchiness to the music. Have all the Technicolor wooshes you want, you still need something to tether it together, ideally something catchy. “Cosmic Love” pops and fizzes, busy but made sweet by the singing, even if meaning technically isn’t present. Same goes for the chirpy “Charm Point” and a new version of “Koisuru SpaceGirl,” the best song Snail’s House has penned to date and seemingly the inspiration for this release as a whole. In many ways, Alien Pop hints that Snail’s House excels at a certain sound worth exploring, but there are also intriguing moments such as “Invitation (Intro),” which show the producer entering new terrain without feeling forced. Get it here, or listen below.

Legends On Deck: DJ Kentaro & Holly’s Jaran EP

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Trekkie Trax mostly hosts young artists emerging from the Japanese (and beyond) electronic scene, but they can pull in some veterans too. This release pairs long-running Japanese artist DJ Kentaro (a turntable champion) with younger Portuguese producer Holly for two songs, acting as a nice little connection between generations. “Jaran” finds them playing with restraint, the sharper drum machine hits muffled and surrounded by space, the pair never letting the song turn disorderly (and hey check out that turntable scratching). “City Lights” gives in a bit more to its rowdy side, but still boasts sparse passages that make the chest-thumping parts land tougher. Get it here, or listen below.

New The Oto Factory: Recruit

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Funky synth-pop outfit have called on…errrr, recruited?…some friends to help them out on their new release via Ano(t)raks. And turns out guest singers and contributors help boos their music up a level. While not the first time they’ve called on others to jump on their loose-limbed neon grooves, this is the first time every single number revolves around a guest. It shines best on “Summer Vacation ’91,” a bouncy, wistful dance-pop number anchored by Punipuni Denki‘s voice. She glides over the group’s synth arrangements and talk-box vocals (this effect tends to work best alongside another voice, not on its own), resulting in one of the smoothest songs The Oto Factory have put together. The other two songs feature raps, which work well bouncing off of The Oto Factory’s sound. The laid-back “Night In Tokyo” works best, finding outfit Jabba Da Hutt Football Club (not sure I’ve written about them here on the blog before so, let’s note…INCREDIBLE name) tag-teaming over the verses, leaving the band itself to do what they do best…write a great hook. Get it here, or listen above.

Tokyo Noise: Lo-shi’s Moro-Q

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The environment duo Lo-shi conjure up on their new album Moro-Q isn’t quite desolate, but the French-born pair’s music certainly captures a place that is empty and somewhat unnerving. That’s established right away, on foggy opener “Daniel Auteuil,” featuring warped voices shrouded by an electronic hiss, new elements emerging out gradually and adding to the tracks pull. This creeping emptiness carries over to songs such as “Tokyo 2020” and the piercing “Nande Nihon Ni Kimashita Ka,” and these sparser moments make more aggressive instances such as “Hitomishiri Underground” and “Group A’s Last Nightmare” all the more effective. And it makes the brightness of the penultimate title track radiate all the more. Get it here, or listen below.