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.
Seiho has let people rap over his music before…but it would be best if we didn’t talk about the last time that happened (don’t call on cheeseball rappers). This, a song from the Osaka producer’s forthcoming album Abstraktsex, which takes an old Seiho instrumental (“Evening,” which is peak Seiho in all its nervous twitches and…
It’s a simple trick, but one that young music-maker Gloomy pulls off well on “Roller Girl.” It’s the old “upbeat meets crushing” formula, of mashing something sunny against something not so bright. On “Roller Girl,” the sunshine comes courtesy of Gloomy’s vocals which practically skip, even when she starts to adopt a cadence bringing to…
As mainstream Japanese music continues to revolve around only a handful of pop-leaning acts – the biggest sales all come courtesy of groups with a “48” in their name or a boy group from Johnny’s – underground artists who will never have a shot at breaking through into the Oricon world have turned to the…
This didn’t need to be fucked around with. Producer Oven Toast Jam could have played this song straight, just crafted a beat orbiting around that acid-smeared throb and those ghostly vocals in the back, also letting those occasional piano notes float to the top. It would have been a more than serviceable beat. Thankfully, Oven…
Part of the thrill of listening to Japanese juke producer Picnic Women’s music is the moment you realize, “holy shit, it’s that song!” Yet this isn’t like when you listened to Girl Talk as a freshman in your dorm, freaking out because Neutral Milk Hotel and Juelz Santana finally came together on a song. Nope,…
Maltine Records has released a lot of music during their existence – a few gems were bound to slip by. One really fantastic song I failed to write about, from earlier this year, was Pa’s Lam System’s “b00mb0x,” an absolutely thumping number that’s one of Japan’s best pure floor-fillers in 2013. Now here comes the…