Five year’s ago, Japanese electronic artist Flady released an album called Class Disruption on netlabel Bunkai-Kei Records. Then…Flady receded into the shadows and appears to have not done much (unless he transformed into an erotic manga, which also comes up when you Google “Flady”). But now Flady is back with Leave, a wobbly set of…
Less of a sequel and rather more of the same thing shot at a different angle and on more blockbuster-friendly film, Moscow Club’s “Daisy Miller Pt. 2” emerges from the ether of “Pt. 1” no longer in a dream state but ready to get stuff done. The tempo quickens, the guitars get the haze scraped…
Ahhhhh, the sweet sweet arrival of a new FOGPAK. The tenth edition of what has become Japan’s best entryway into independent electronic music is a strong collection, made somewhat better because the tracklist has been trimmed down slightly – before, these things could get close to 50, but here it is a far more reasonable…
tofubeats’ has a knack for building songs up, though it isn’t always the musical mode pushed to the forefront. Most of his major-label singles opt for pure pop pleasure with little wait. Yet he’s also skilled at the slow burn, hinted at by numbers such as “What You Got” and “Don’t Stop The Music.” But…
Few artists can point to a co-sign from Hikaru Utada ahead of their major-label solo debut, but Nariaki Obukuro has got it. And if more artists like this are going to creep closer to the spotlight, the widening of the J-pop industry is only proving fruitful. Obukuro co-founded Tokyo Recordings and has worked under the…
Goto Nao has shown their skill with the UTAU Kakoi Nizimine before, and on “Yumne Ni Ochiru” they only further show how singing-synthesizer technology can create something otherworldy. Their latest moves between dreamy passages that make the most of the digital vapor trail coming off of Kakoi’s voice, building up to a more rumbling release…