A lot has changed over the past decade, but sometimes you just have to dig a little deeper to find the constants. Teen Runnings have a new album out later this month, the project’s first in five years, and plenty has changed for Shota Kaneko’s project. Each full-length has found the group getting less fuzzy, and if “Baby G” (and previously released cut “Hair Wax 95“) isn’t some outlier, Teen Runnings has welcomed in laid-back electronics into their arsenal. “Baby G” lets a guitar riff push everything forward, but it isn’t coating everything in a layer of noise as much as it lends a nudge towards a melody also making plenty of room for beach-ready keyboard lines. Everything is a bit clearer here, but just focus on Kaneko’s words to be reminded of that ol’ melancholy always lurking in his music. “Now that I’m trying hard enough / But who’s gonna care about me / Who’s gonna care about me.” Now that’s the Teen Runnings we know (and hey, you always have Make Believe Melodies). Listen above.
New Kazumichi (Kazumichi Komatsu): “Deep Metal OST”
It’s slightly funny to think back to the early days of Madegg and remember that the Kyoto producer (real name Kazumichi Komatsu) used to release new tracks on a near daily basis, all straight to SoundCloud. Now, he is sharing a collection of songs corralled under the title Deep Metal OST partially because an unnamed label hasn’t released some of the songs featured here for reasons unclear. Whatever the reason for this set’s existence, it is a welcome arrival, showcasing Kazumichi’s approach to sonic texture. “Deep Metal”overwhelms with bass and electronic beats, creating one of the more claustrophobic numbers from this artist but with a few dashes of melodic escape buried within. “Wind Breaker” and “Houseplant” border on the ambient, the prior using sampled voices to create a lush backdrop while the latter weaves in sampled bird chirps for a sense of place. Even at its most haywire — closer “F*** *” — Kazumichi constructs flickering synthesizer lines that practically leap out at you. Get it here, or listen below.
Release Feast: DRUGONDRAGON’s “○ Tsuki X Hi”
Sometimes you really need a little extra time to make the emotional explosion count. DRUGONDRAGON’s latest song “○ Tsuki X Hi” offers up a great example of how much better catharsis — even seemingly nonsense catharsis — feels when the build up to it takes its sweet time. DRUGONDRAGON is a relatively new project releasing via Virgin Babylon Records, having put out a full-length last year. That set found a balance between noise and more melodic rock, while also offering up a song titled “MR. CHILDREN” that sounded like a coffee-shop acoustic ballad recorded in a supernova. Still, nothing on that one comes close to matching the build of this eight-minute-plus cut. Harsher riffs sneak in during the early moments, but only flare up for a bit before sinking back down and letting the muffled vocals grind up against feedback. DRUGONDRAGON takes their time getting to the release, adding in drum machine beats and piano melodies, plus a section where they just recite the names of various meals in Japanese. Then everything finally rips — nothing crazy, but noticeable enough — and that noise tips over, closing this one with just the right amount of a burst. Get it here, or listen below.
New Snail’s House: “Alien Pop III”
The Alien Pop series of releases from Snail’s House have been Keitaro Ujiie’s strongest creations to date, although it’s worth noting electro-pop numbers hit my personal taste zone way more than others. Across these releases — including this Spring’s delirious second installment — he’s hit this sweet spot between French touch, Vocaloid as imagined by Livetune, and Perfume’s take on pop. Alien Pop III underlines all the above, but really makes these influences clear. In particular — and, like, completely here to get me wooing — Ujiie lets the Yasutaka Nakata vibes come through clearly on songs like “Invader,” which is a swifter and more filtered “Night Flight” with all the nervous energy in tact. “MAGIK” brings in vocalist Sennzai to go through the digital wash, with a more relaxed but still-giddy number coming out (picture the non-rap parts of “575” if you need comparison). “FUSION” nods to Vocaloid influence, offering up the album’s swiftest melody and a constant stream of syllables. It’s another winning edition to this series, one tapping into a sound that has proven highly influential and reminding how much power it still has. Get it here, or listen below.
Bubblin’ Up: TEMPLIME’s “Sphere”
There’s these moments when younger Japanese electronic artists come through with a track or two bubbling over with energy and excitement, and they get you antsy to see what they can think up next. Duo TEMPLIME’s Sphere offers up two nervy dance numbers anchored by sliced-up vocal skitters and beats taking cues from various strains of British dance music. The title track taps into garage to create a constantly in-motion number eventually giving way to a playroom-ready sound when it lets itself go (this pair are also creating something “kawaii” without making it obvious, despite many of the touches being fitting for that realm of sugary sweetness). There’s a buzz to it that reminds me of early Pa’s Lam System or Lolica Tonica’s “Eyes On You,” a kind of joy overflowing that elevates this a bit. “Crazy ‘Bout U” covers up drum ‘n’ bass beats with sweet guitar melodies and aching vocal samples over top, making this the first time I’ve ever felt like In The Blue Shirt has directly inspired someone. Next step is finding out just how to make this sound all their own, but for now an exciting start. Get it here, or listen below.