The surest way to add some intrigue to a style of music is deliver it in a way that feels just off. The artist Loveless — who appears to have worked with the group Love The Candys — creates music dabbling in all sorts of styles, best summed up by an EP on Ano(t)raks last year touching on indie rock, jazz and reggae. The last one has dominated their attention in 2018, and now comes “Anata Ni Todoke Omoi” featuring Shiroro on vocals. Yet this isn’t a sunny seaside affair. Loveless’ music certainly moves at the right pace, but it is cloaked in an off-season pale that even makes the jaunty 8-bit flourishes feel a bit understated. Better yet is Shiroro’s vocals, delivered in near sing-speak and with a dollop of ennui on top. Some brightness slips through for sure — the chorus rumbles on nicely — but something feels nicely off. Listen above.
New Kazumichi Komatsu (Madegg): The Ambassador
The artist formerly known as Madegg has been all over the place this decade. The Kyoto producer came up in the first half of the 2010s, in orbit around the Kansai region’s INNIT parties and seemingly releasing new tracks built around Brainfeeder-adjacent beats every other day (impressing a member of Perfume along the way). As the years went on though, his output slowed, re-orienting around albums such as the still-strong NEW. He then started leaning into more experimental territory, beats vanishing in favor of soundscapes. At times interesting, listening to his music and seeing him live could feel frustrating. It felt more like a grad school project than something to get lost in.
The Ambassador strikes a balance between the head and the heart. Released under his real name, this full-length comes with a bit of required-reading baggage — Walter Benjamin and surrealists play a role in surrounding text. Yet the music doesn’t require as much to get into. Opener “♗” envelops the listener immediately, synth lines zigging around samples to create a slightly off balance but ultimately pretty blur. It’s a vibe revisited throughout, from the dim-lit dizziness of “Money” to the more metallic “RAF S,” a number that feels like it is flaking away at times. Beats pop up sporadically, interrupting the music and offering a chaotic injection (see also…the sound of a Windows help box popping up on “SAD&MOB”). It’s Komatsu moving away from Teebs-like beat play in favor of headier fare in the same zone as Oneohtrix Point Never, and doing a damn good job of it.
Often to its benefit but sometimes to its disadvantage, Komatsu wanders off into other grounds across the album too. Vocals pop up, often warped into uneasy otherworld come-hithers. “Never Seen The Devil Look So Damn Clean” morphs from pleasant interlude to sinister descent when everything gives way for some creepy laughing, an idea explored further on the title track via the kind of warped voices you would hear in Silent Hill. These have a purpose, which is something I don’t get from “Info,” with its dueling languages, or “A2’s” sample collage (which…maybe features Lil’ Pump in the mix?). To its credit, even these missteps flow nicely in the album, and it makes the stronger moments all the more engrossing. It’s a strong album, and a big step for Komatsu. Get it here, or listen below.
New Yunovation: “Aruteido Aru”
Contentedness comes in many forms — and Yunovation grapples with the feeling of keeping it simple wonderfully on “Aruteido Aru.” The irony being that this is a massive step forward for the Osaka artist. Yunovation has gotten attention over the last couple of years primarily for constructing songs built around melodica, from swift exercises to covers of pop stars and condiment theme songs. She’s guested on other artist’s tracks, and made a few original numbers featuring her voice alongside melodica notes, but nothing like “Aruteido Aru,” a full-fledged bouncer doubling as snapshot of millenial life in Japan.
Her melodica playing is far less central now, with the song coming to life via drum sample and then lighting up courtesy of a synth melody that’s the first thing a long while that has conjured up images of Avec Avec’s thick electronic jubilee. Musically, it’s pure funhouse, leading up to a catchy center sliding on down into an even more chipper second verse. But what really takes it to the next level is Yunovation’s singing, delivered in a quick style bordering on a rap. It’s an apt parter for the music itself, and gets even better when digging into the words themselves. “Stay, stay, stay with status quo,” goes the start of the hook, and the whole song wrestles with…well, life in the 21st century, especially as a young adult (though…maybe anybody, too). It’s about being happy with yourself and trying your best to avoid the pitfalls of “likes” and “life hacks,” a celebration of a minimal life that never sounds defeated by that, but empowered by personal confidence. And yeah, the twist being Yunovation isn’t settling with this, but rather leveling up ahead of a new EP on Maltine Records.
Oh, and the melodica definitely comes in, at first subtly and then getting a chance to shine via solo. Somethings do stay the same. Listen above.
New Metome: Vermont
Both of these tracks have been floating around online for a little bit now, but Osaka’s Metome has compiled them together for a release via Bandcamp. Not too much has changed — “Koala” uses a simple beat as a base for Metome to weave in fading synth lines and vocals, creating a number where a lot of changes happen in the back against an otherwise straightforward bounce. “Vermont” is even better, Metome creating a groove that mutates over six minutes, always keeping a solid groove in place. This is Metome exploring subtly. Get it here, or listen below.
Kissmenerdygirl Teams With Sleet Mage And Future Otaku For “Lotus”
Kissmenerdygirl has shown flashes of creativity when working with others, usually by bending their usual “future funk” dashes into something a singer can shine over. “Lotus” — or, technically, a bunch of characters my computer can’t display plus the word “Lotus” — is actually quite basic for Kissmenerdygirl. The producer crafts a relatively simple beat, one accented by some guitar notes and bleary-eyed electronics, but that all gives away for a pretty straightforward trap-inspired thump. But again, guests play the key role. Kissmenerdygirl’s beat works wonders with Sleet Mage’s diary vocals — “my heart aches with loneliness” goes one, filtered through Auto-tune that makes you think of what the lead singer of Sekai No Owari would be like if they only listened to Spooky Black — and matches well with the melodic flow of their voice. Mexico City’s Future Otaku (not sure on that name…) also features, though where they start and Kissmenerdygirl end, I don’t know. But however they do it, they’ve made something that works well with the featured guests voice. Listen above.