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New AOTQ: E-muzak

The influence of vaporwave is starting to become clear. The internet-based niche genre of electronic music that turned into a visual aesthetic has recently started being visually adopted by legit mainstream artists in the West, while musically more producers are taking cues from it — or at least being inspired by it. Japan, more so than most places, has been finding intriguing new twists to the style since it started, probably because vaporwave borrowed (and sampled) so heavily from Japanese pop culture and music. Producer AOTQ cites vaporwave and the worldview it creates as a major inspiration in the music they’ve made since 2016, but with E-muzak, they write that they are trying to capture things that niche style just couldn’t. And the end result is a welcome mutation, playing around with the idea of “Muzak” but creating something far more interesting from a sparse selection of sounds.

A preview of sorts of what to expect came last month, via AOTQ’s contribution to the Local Vision’s kick-off compilation. Now, bring the tempo down. E-muzak luxuriates in fat West Coast synthesizer and machine beats, creating these slow-motion numbers that are lava-lamp like…to the point one song here is called “Lava Lamp.” Cuts like “Free Software” and “Air Conditioner” certainly have a all-our-operators-are-busy-please-stand-by vibe to it, but AOTQ creates them using sounds not associated with late-stage capitalism or whatever people say. This isn’t a lame nostalgia honeypot, but a very modern merger of bedroom electronic, funk and certain corners of the web (and, in its focus on sound textures, imagining Cornelius’ Point made for a mall) and featuring moments where the tranquility bends. See the wobbly pace of “Home Escalator” or the little ripples in “Anime Girl” disrupting the fluttery feeling. And the decision to use a different sonic palette gives us something like “Plastic Island,” full of slow-burning warmth that makes the most of its runtime. E-muzak takes ideas inspired by vaporwave but pushes them into something different, with some past touches but firmly pointed forward. Get it here, or listen below.

New Broken Haze: “RX-7”

I’m not one for air punching, but when “RX-7” opens up and the beat just starts pulverizing away…well, my arms just get going, and I just hope I’m far enough from my computer screen. This is what Broken Haze does so well in his music, and “RX-7” (from a forthcoming release, premiered today at Insert) continues to highlight the producer’s sleek but piston-like approach to dance music. What has always separated Broken Haze from other contemporary electronic artists dabbling in heavier styles is how well he uses space. “RX-7,” even at its busiest, focuses on individual sounds, and let’s every detail get full attention even while they are crashing into one another. And the little gaps between, say, a spray of fuzzed-out bass notes or a particularly swift beat passage make the impact all the more memorable. Listen above.

New Palecore: “Weak End”

High on my “must-do list 2018” is catch duo Palecore live sometime soon, as they’ve been one of the more intriguing new groups to emerge in Japan over the last year…and it would be great to see what they are up to after seeing them last November. “Weak End” serves as a solid reminder of why that is so. It’s a swift number loaded up with woozy electronic notes and, eventually, delicate piano melodies that counteract the rush guiding it forward. It’s an exercise in energy. Listen above.

New Oyubi: Just Like Dat EP

One of the early highlights of 2018 in Japanese music has been Oyubi’s My Fingers album, released by Omoide Label near the start of March. The producer now offers what I’m sounds like a palette cleanser of sorts after the at-times abrasive My Fingers, offering another side to the artist. Oyubi still sticks to juke sounds, kicking the whole thing off with the swift title track which feels like a reminder of their foundation. Things get slightly more sandpaper-like with “Smokin,” but after an early rush it is mostly an exercise in vocal samples (same goes for the sample ping-pong of “Join! Die!,” almost like a movie trailer for a really knocking film). It’s not quite up to the energy and intrigue of My Fingers, but shows a different side to Oyubi. Get it here, or listen below.

New ELLEH: Anthems Part III

Tokyo duo ELLEH recently jumped up to a English label — Rare Cut Records — and offered up the third part in their Anthems series last Friday. It starts off with the strongest moment, the previously shared “Everything You Ever Needed,” which still wows with its dizzying climax. While that lead off teases catharsis, the songs that follow double down on ELLEH’s unnerving side. “Make Your Love Worth Living For” struts forward on deep bass notes, a slightly menacing compliment to the lead vocals, which sometimes slip into quick spoken word. “In The Maze” swirls before shuffling ahead, while closer “Your Worst Desires” burbles and flares up around the edges. It highlights a tension lurking in ELLEH’s music, one that makes the temporary release of something like “Everything You Ever Needed” all the more powerful. Listen above.