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Category Archives: Music

Terminally Chill: Wai Wai Music Resort’s WWMR1

Japanese indie creators ongoing interest with throwback styles and genres associated with the Bubble era might have reached a logical end with Wai Wai Music Resort’s first collection of songs. Released via Local Visions, WWMR1 embraces the most chilled-out elements of retro music culture, creating something breezy but with an emotional aching still present (to be a little more contemporary, this one should be slotted next to On Vacation, albeit it relies a bit more on vocals). Travel plays a big part in establishing Wai Wai Music Resort’s vibe — an airplane announcement starts the album before it pivots into slow-motion umbrella-drink pop, while highlight “For Lonely Drivers” taps into one of the best city pop gimmicks ever (creating a fake radio station to thematically broadcast your songs) to create a warm number aimed at late-night trips by someone alone in their car. Verses and choruses pop up, but they never rise above a breeze, settling in nicely alongside the relaxed Club Med-worthy sounds (save for the funky “For Lonely Drivers (Sunset Drive Mix),” which feels like a lively bonus cut more than anything else). But in all that relaxation, a lot of time is spent hitting on feelings that sometimes don’t come up in busier music. Get it here, or listen below.

New Puni Puni Denki: “Life Is Super Dope”

Every few months, an internet-centric electronic artist in Japan releases a song that makes me stop and go “….wait, is this like a return to Shibuya-kei mindsets?” It’s a feeling YUC’e conjures up frequently, and Puni Puni Denki’s new song “Life Is Super Dope” goes even further by pivoting into bossa nova that would make record diggers from 1993 proud. This risks turning into dentist-office soundtrackery, but Puni Puni Denki’s ability to add in elements that offer a little bite — samples lurking in the back — and letting the singing pop a bit more push it up. Plus you have the semi-jarring use of “super dope” in an otherwise hammock-ready number. Listen above.

New Guchon: Dogs Of The Future

Long-running netlabel presence Guchon returns with Dogs Of The Future, a new one released via Maltine Records. All things considered, Guchon keeps it simple over these five tracks. Opener “Anywhere Door” exists as kind of a distant cousin to Powder’s “New Tribe,” slowly building tension through constant repetition and subtle changes going off just out of view, while “Welcome To My Dugneon” is just total house pogoing accented by what sounds like dog yelps. Simple, but damn effective, especially on the last two songs, starting with “Dream Island Seaside Line’s” beat meshing up against sweet 8-bit melodies late to create as active a melancholy as you could ask for, while closer “Dogs of Paradice” brings out pure bliss via its shuffling beat and soft synth sounds. Get it here.

New Cemetery: “Fatima”

Tokyo artist Cemetery’s music has always been on the ominous side. Noises drift overhead and vocal samples bubble up off in the distance, making even their most angelic stretches hide some tension. “Fatima” shows Cememtery’s livelier, albeit still unnerving, side. This one, debuted a few days ago on Nest HQ, uses an array of chanting samples (among other vocal samples) and beats to create a punchy number that nevertheless carries a familiar atmopshere from the creator. Listen above.

Words And Music: Paya’s Yuutai Gurai De Chooudo Ii

The recent focus on pop music going “international” via K-pop and Latin pop has resulted in an interesting tension in how these songs get interpreted. How important are lyrics to this? They obviously are central, and no doubt that’s part of the appeal to listeners who actually are fluent in these languages. But a big celebratory point for listeners and media has been the ability for all of these songs to transcend language barriers. A bop is a bop in any tongue, right? But is that ignoring too much context from the original?

It’s a slight dilemma central to Kyoto artist Paya’s new album, a collection touted by a lot of folks online for its great lyricism. This isn’t a new issue for this blog — Japanese isn’t my first language, and I often need to spend dedicated time deciphering lyrics, just because it doesn’t always hit immediately. Taking some time with Paya’s set does reveal some pretty clever observations on life in the city, an issue central to the Japanese experience in 2019. It’s melancholy without slipping into the usual “ahhhh my childhood home, that was nice” so much weepy J-pop tends towards, and Paya peppers the songs with great details about weekly tabloids and desolate train stations.

But I think what makes this album click is actually how those words work in conjunction with the music, which ranges from easy-breezy playroom plonks on the opening number to the fidgety electronic drizzle of “Zuuto Haiiru,” a move that elevates otherwise downtrodden lyrics about everything being grey into something a little more lively. The whole album is like a stroll through the city, thoughts pouring out while one passes by the busy world around them. Spending time with the lyrics certainly elevates here…but Paya makes you want to make that investment because the music grabs you. Get it here, or listen below.