タイムマシーンに乗って2009年の秋に戻りましょう。私は日本に来てまだ数ヶ月。大阪の郊外に住み、たまに好奇心から、誰が演奏してるのかもわからずライブを観に行っています…退屈なバンドも色々観てきましたが、そんな経験からCubismo Grafico FiveやLove And Hates(後にHNCとMiila And The Geeksを知るきっかけになりました!)等、素晴らしいアーティストを体験する事ができました。そんな中でもWednesdayはかなり早い段階で観る機会に恵まれたのですが、そのギター中心な楽曲と、時折レトロなロックに完全に夢中に。次の年にリリースされたアルバムは凄く堪能していたのですが…それからWednesdayは何処へ?
Let’s step into the way-back machine and travel back to the autumn of 2009. I’ve been living in Japan for only a few months, out in the countryside outside of Osaka. Sometimes, for kicks, I’d just go to shows in the city randomly without knowing anything about the group’s playing. Although this resulted in seeing a fair share of bad outfits, it also resulted in me stumbling across the like of Cubismo Grafico Five, Love And Hates (which led to HNC and Miila And The Geeks) and many more. Wednesday were at one of the first shows I ever saw in person in Osaka, and I was won over by their guitar-centric, sometimes retro-leaning brand of rock. They released an album the next year and I really enjoyed it…and then they sort of just went away.
Turns out they released a new EP at the very end of last year, and the above song is the single from it. “Mr. Free” finds the band exploring the same jaunty territory they were traversing back in 2009, although this one starts slow and then barrels ahead as things progress. Structurally, it’s far more patient than most of their older stuff, which found a catchy idea and ran with it. What’s surprising about Wednesday in 2013 is how they sound like a group who could, conceivably, be lumped into Japan’s indie-pop boom – only their relatively crisp sound quality really makes me think twice. Regardless, nice to see these guys still kicking around. Listen above.
All the trademark sounds are right there on De De Mouse’s latest song “Milkyway Planet.” The keyboards sparkle, and his thinly sliced vocals are as fast as they’ve ever been in his career. Yet “Milkyway Planet” never explodes into technicolor, never turns into a drum ‘n’ bass workout or zippy pop number. It is De…
Azusa Suga, who already released one of the year’s best albums with his solo project Shortcake Collage Tape’s Spirited Summer, returns in time for the spring with a new EP titled Satellite Lovers from his indie-pop band For Tracy Hyde. In advance, he’s posted a new video for the song “Another Sunny Daze,” which appears…
Just like the song list, I intend to share 25 albums almost surely overlooked by the West that I really enjoyed in the past year. Of course, I missed just as many great albums and a year from now I’ll probably regret/want to expand this. Yet these 25 albums definitely deserve your attention. 25. Hideki…
Physical copies of Wednesday’s debut full-length Start The Start come packaged with a pair of classic 3-D glasses. Meant to enhance the anaglyph video for single “? Love,” the red-blue shades also offer an easy critical lead-in to discussing the music. I can see the first draft now – talk a little about how 3-D…
EDITOR’S NOTE: Hey, look nobody is perfect. Below is some text that originally appeared on the Make Believe Tumblr yesterday, as that’s where I first heard an mp3 version of this song. The video, though, came out today and, coupled with the fact there is not much else to cover, I’m going to repost what…
大阪のSarahry Recordsが9月22日に境のパンゲア・カフェでイベントをやるみたいです。80年代にイギリスにあったインディ・ポップレーベル、Sarah Recordsに捧げるイベントで、大阪で注目を集めるギター・ポップバンドが数々出演します。コンピレーション・アルバムも発売される予定で、出演バンドの曲や、Sarah Recordから生まれた名曲などがカバーされ、収録される予定です。ネットにアップされているのも同じ観点から制作されていて、Wallflowerによるブライターの”Does Love Last Forever?”のカバーや、 Lilacによるヘブンリーの”Cool Guitar Boy”のカバーからは、ギター・ポップに対する愛や誠意が伝わってきます。でも、フィールド・マイスの”Emma’s House”はFandazeによってちょっと調節されすぎていて、テンポがゆっくりになってたりします。(私が一番好きなインディ・ポップの曲なのもあって)やっぱりオリジナルのほうがいいな、って思います。 ページへはこちらから。視聴は以下から。Backyard Party in Popability! by Sarahry Records 他のニュースといえば、Traffic Lightが、長年続けられてるアン・アーバーのプロジェクト、サタデイ・ルックス・グッド・トゥー・ミーとスプリット・EPを出した事です。渋谷のViolet And Claireストアか、ネットでもこちらのサイトから購入可能です。現在視聴はできないのですが、ベテランと組んでのリリースはTraffic Lightにとって大きなステップなのではないでしょうか。