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Listen To New Mameyudofu And Psyqui Songs From The Latest Megarex Compilation

Another M3 has come and gone, and that means a steady trickle of electronic music is going to appear online over…well, the next couple of months? One of the immediate highlights in the wake of this gathering comes from Megarex, whose latest compilation features a lot of names that get us excited. They aren’t all online — but the ones that are hit hard. Let’s start with Mameyudofu, mostly because it also provides a chance to catch up with them. Two years ago, they were making shiny Vocaloid-accented music. But now, they’ve transitioned to…well a lot of different styles. We missed this month’s My Spring Break Doodles, which is closer to the electro-pop bounce of Mameyudofu’s earlier work, albeit with a little more bounce to it. Highly recommend that one, but also take a listen to “Eyes On The Stars,” a number that ratchets up everything significantly, at least after a build-up centered around robo voices. Then it bursts open. Listen above.

Psyqui contributes two songs to the comp, meanwhile. The first feels more like an intro to the collection as a whole, although it really goes into overdrive later in its runtime. Better still is “Raise Your Hands” featuring Such, a speedy number working in bleepy vocal stutters, violin and some great bass notes. A great rush of energy, listen below.

Time And Space: Haretokidoki’s “Kiss Me”

A whole bunch of trends collide together via Haretokidoki’s “Kiss Me,” and this post could be nothing but a connect-the-dots affair. You’ve got the unit itself, which finds producer Brinq working with a woman named Misatsun, in a style not far removed from recent examples like Applekid and Cheap Cream. Then factor in the duo’s decision to lean towards ’80s dance-pop (check the SoundCloud tags on this one), mixed in with some vaguely retro anime art that probably has whoever put together that “La La La Love Song” clip clapping. Everything is happening, at once!

But it’s easy not to get caught up on that because “Kiss Me” the song ends up being far more than thinkbait. While the synthesizer shimmers and bass rumble are pure Bubble Era, Haretokidoki don’t make it sound aged, rather letting everything come off loud and clear without any tricks to score easy nostalgia. Most immediate for me is just how busy it is, along with how Misatsun’s vocals have a faint digital feel to them, like they’ve been grazed by Vocaloid technology. Also, those sing-speak passages. The overall impact is something that feels out of time, wanting to capture the past but aware that, well, it’s in the now. And it’s so catchy! Who needs to dwell on trends when you have a song so alive? Listen above.

Modern Meditation: No Kissa’s No Kissa

Confusion comes naturally on No Kissa. “Vaporwave? Ambient? Screw?” riddles the description for this, the first new release from the project (they describe themselves as an “enigma unit”) of the same name in four years. But this playfulness is what makes No Kissa an absorbing listen, as No Kissa avoid falling into any specific genre trappings, allowing them to make something that echoes a bunch of familiar sounds without really sounding like it (though…it’s not screw music, that’s actually an easy call). It’s closest to what ΔKTR (who, hey, developed the cassette for this) does, which is to take dusted music and loop it into a way to really find the best part. Stretches of No Kissa offer downright meditative creations coated in a bit of tape fuzz, from the opening track to the classic-tinged “Attsui Onsen.” It can be downright melancholy — just check “Tenmado Checker,” pure post-midnight lonely streets soundtrack material.

Yet the bulk of No Kissa weaves in a beat and sliced-up samples, but often just haves more fun with it. “Dear Drivelight” revels in syllables that practically stutter, while later songs play around with the pitch of samples to create warped little love songs. And hey, plenty of smooth guitar playing sneaks in as well, though all of it still feels like a different perspective on the style (see the goofy synth boogie of “Handshake Boy”). This is a nice summary of No Kissa, and a lovely new take on something that felt so familiar this decade. Get it here, or listen below.

New LLLL Featuring Smany: “Nebula”

The voices and artists LLLL pulls into their songs tend to be perfect fits for the sounds surrounding them. Smany makes sense to join the Tokyo producer on new song “Nebula” — she’s spent the decade creating spacious electronic songs wherein her voice adds necessary human tension. “Nebula” moves at a swifter pace and features just more happening than in a usual Smany song, featuring synth ripples colliding with the beat and electronic melodies passing through. Yet she slides in well, her more stretched out delivery offering a nice contrast to the quicker tempo. And she ends up helping to add some light to at-times unnerving sounds, which gives “Nebula” a little bit of optimism flowing through it too. Listen above.

Make It Creep: Araki Takara’s Paranoia

It has been a pretty good stretch of time for Japanese artists making pop with a deeply unsettling side. Entering the fray now is the latest release from a netlabel I’d usually associate with the brighter side of sound, Tanukineiri Records, with Araki Takara’s Paranoia. Similar to yahyel, you don’t have to bend yourself out of shape to realize a lot of the unnerving details are intentional — I mean, Paranoia gives that one away — so that this is kind of like ASMR for people who love feeling anxious. “Speechless” is the stunner for me, a trip-hop stroll with plenty of space to create a Halloween-appropriate atmosphere. And fittingly, the pace picks up suddenly and Takara’s voice gets pitches around, turning this one into an unpredictable and creepy number. It’s a feeling that carries over to the lurch of “Loser,” and even works its way into the most buoyant cut here, “Selfish,” where Takara raps. But her voice still mutates, and off in the distance something stirs, always looming. Get it here, or listen below.