High New Music Albums from Japan: September 2022

Again after the summer season break, musicians actually hit the bottom operating in September. This 12 months has been dominated by newer artists, but final month reminded us that even completed musicians nonetheless acquired ‘it.’

We’ve crackling experimental digital spookiness by Ultrademon by means of to punk jazz from Hei Tanaka plus foot-tapping metropolis pop with YeYe and extra. September’s high albums are a mishmash of genres, each a standout in its personal approach.

No Buses — House Candy House

Recent from their look at Fuji Rock’s Purple Marquee stage, indie five-piece No Buses launched their third album House Candy House to a lot acclaim.

The opener “In Peace” immediately hits like an indie model of a Purple Scorching Chili Peppers observe with digital cowbell earlier than exploding into guitar fuzz. The second observe, “Sunbeetle” is considerably melancholy, bringing to thoughts the likes of Nick Cave, ending in an unlucky shout which appears a little bit contrived.

“Daydream Believer” options visitor vocals from producer and rapper, BIM, a welcome collaboration which buoys the observe and hints at a brand new, attention-grabbing flip for the band. It might even assist overcome the YouTube fame No Buses have spent ages making an attempt to flee all through their profession. The album closes out uneventfully, leaving us questioning what path the band will head with their subsequent report. Will they proceed with the originality as present in “Daydream Believer” and hinted at in “Sunbeetle”? Solely time will inform.

Kentataku Yutataku — Zero On

A part of Sado Island’s Kodo Drummers, duo Kentataku Yutataku contributed to the inaugural launch on the 0on label. At instances a cacophony of percussion and restrained thunder, Zero On is a lesson within the significance of a stability between minimalism and maximalism. Thundering taiko outdated with rainsticks and shakers, one second the album unleashes fury and the subsequent it’s mendacity awake listening to the rain.

Fastidiously composed and brilliantly executed, Zero On appears like witnessing a dramatic ritual.


Hey Tanaka — Archive 2

Hey Tanaka is a six-piece band fronted by Kaoru Tanaka, who is thought predominantly for his stage and theatrical processes. But maybe it’s Mitsukazu Tanaka’s mastering that lifts Archive 2 from good to nice. Every instrument is evident, exact and assertive in its place, vocals included.

Listening with headphones in a restaurant, I circled because the drums from the opening observe entered, checking to see if there was a band within the nook. Elsewhere, the maracas on “Blue Cheese” change into a flourishing chef’s kiss second. Tanaka’s professional mastering exemplifies elements that will have been missed in any other case.

The music itself is joyous and stuffed with abandon. It is a group of completed musicians having enjoyable and so they find yourself producing a report that blows others out of the water. Archive 2 is like occurring on an open jazz evening, wherein the band enjoying occurs to be superb and you are feeling such as you positively acquired your worth for cash that evening.

YeYe — Hamidete!

The right songs for sunny Sunday mornings or lazy days, this album is a hark again to Nineteen Seventies and Nineteen Eighties Japanese metropolis pop from the multi-instrumentalist. Along with her band members, Hamidete sees her joined by collaborators together with Ginger Root and BIM.

YeYe tends to modify between swayable and stripped-back, and Hamidete is gingerly the previous, with constant beats that encourage foot-taps and head-bobs. “Look Round” edges into synthesizer territory, with electro switchups introduced again into YeYe model by reducing out into tender crooning. A simple-listener to pop on when buddies come round for dinner.

Ultrademon — Aethi

Kyoto-based Ultrademon is a frequent performer in Tokyo, because of her unforgiving reside and DJ units. For anybody dwelling and partying within the capital and past, she is certainly one to know. With this quantity of exercise, it may well typically be simple to overlook that she releases albums conventionally, reminiscent of her newest, Aethi. Ultrademon’s units harness a fizzing power from audiences, Aethi shows an analogous quantity of managed constraint. A music artist with over a decade of expertise, Aethi is Ultrademon showcasing her prowess.

“Lostgrace” reveals components of thought-about sound design, intentionally distorted vocals and a bass undertone that belies a monster beneath. Certain sufficient, midway the vocals morph right into a growl, with almost-shattering synths to trace at a form coronary heart of the beast.

Most of the songs on Aethi appear as if a story. The album speeds by means of every observe of noise, distortion and darkish happenings, portray a customized image of an Ultrademon-imagined otherworld. Whether or not that is dystopia or utopia will not be clear however one factor we all know is that we’re eager to listen to extra.

KΣITO — Jakuzure Butoh

Out on Taiwanese artist, Tzusing’s Sea Cucumber label is the strikingly named Jakuzure Butoh, the latest album from Keito (stylized as KΣITO). A founding member of Tokyo GQOM, he has spent the previous few years immersed within the style, which is obvious in his masterful tackle its advanced rhythms.

The opener, “Butoh” is a haze of unrelenting rhythm and pounding bass. Onto “Namako” and the synth evocatively ponders its subsequent transfer, offering some (heavy) dancefloor aid earlier than thundering into the subsequent: “Lara.”

Every tune continues within the vein of destroying the dancefloor by means of Keito’s personal, closely synthesized tackle GQOM. Play it loud.

In case you’re a Japan-based musician and are concerned with that includes, please ship any forthcoming releases over to editor[at]tokyoweekender[dot]com and that iembrace the topic line: “FAO Music Editor.”