In keeping with the rising temperatures, Japanese artists turned up the warmth in July with a spread of hyper-fast, remixed and electrified releases. In our newest evaluation of the very best albums of the month, we function Starkids’ member Benxni, Sen Morimoto and Illiomote in addition to a chilled album from Tomotsugu Nakamura. There’s additionally a bonus point out for Fragrance.
Benxni — Concrete
Often known as the principle producer of hyperpop band Starkids, Benxni launched his first album in July containing 10 songs, totaling a mere 24 minutes of playtime.
If expletives have been censored, we might most likely be unable to hearken to round 80 p.c of the second monitor “Bass Hit.” It is loaded with as many X-rated phrases as it’s with shattering synth. The chords stripped again to trance-esque ranges create a frenetic kind of power, punctured by booty bass hits as an instance some extent.
“Solely One” sees Benxni proving some extent, proclaiming “we have solely obtained one life,” between euro-dance kind percussion and sport console clicks. “What’s Subsequent” sees the acquire turned up and the pace slowed down. Then there’s the muffled bass accompanying Benxni’s self-affirming lyrics: “was the principle now we are the opener.”
Benxni is joined by fellow Starkids member Lil Roar on “Maha,” the speaker-shaking, large room monitor with an addictive reverb impact. “No No” is arguably the calmest tune on the album, with Benxni showcasing versatility along with his voice and lyrics. It is the closest you may discover to a rap monitor on the report. “Zoo Shit” sees Benxni alongside bandmates and others from the Tokyo hyperpop scene. “Lifeless” is an unabashedly pop-ready monitor, with chords surprisingly paying homage to a pop punk monitor.
In comparison with Benxni’s prior releases, Concrete reveals a willingness to let go and shout from the rooftops. Play it loud from a automotive, with the roof down.
Sen Morimoto — Sean Motorola
Sen Morimoto’s 2020 self-titled sophomore album will get the remix therapy on Sean Motorola. The album hosts a slew of Japan-based artists giving the extremely lauded originals a brand new spin.
Hyogo-based Kan Sano steps up first, with a vaporwave slant on the unique downtempo “Woof.”
Maika Loubté turns Morimoto’s jazzy “Symbols, Tokens” into a decent, bubbly quantity, including a considerably darker edge to the unique monitor. “Nothing Is not Very Cool” is an acapella jazz affair, simple to see being carried out at Tokyo’s Bluenote jazz membership. Till Foodman glitches it into area, sending Morimoto’s vocals into disarray as a novel melody line.
The unique hip-hop on “Deep Down,” that includes Aaamyyy (whose new tune positioned in final month’s round-up), will get a spin in what’s presumably my favourite remix on the entire album by Tamanaramen. Aaamyyy’s vocals are distorted, layered after which looped some extra.
The sleazy sax within the background of “Love, Cash Pt. 2’” is basically untouched for the primary a part of ermhoi’s remix. The second half sees the unique flip mainly disappear into an ermhoi monitor in what’s the solely questionable remix on the album. It is an attention-grabbing tackle the remix idea.
General, the album gives the optimum steadiness between previous and new, highlighting in any other case unnotified parts of the unique launch.
Illiomote — Side_effects+
Illiomote, a duo who’ve been producing for over 5 years, have moved away from the indie-sound of their earlier releases into extra digital territory. Their inexperience within the discipline is betrayed by an incongruous pairing of beats and lyrics however there are a few stand outs.
“Nothin’” reveals a promising R&B lilt to Yoco’s husky vocals, over a distinctively poppy beat. “Folksong’99” is a heartfelt, stripped-back acoustic affair. “Take an opportunity” is a surprisingly catchy rock tune, albeit with an over-programmed drum machine. “Onemoretime” seems like an ode to Hilary Duff’s tracks of the early 2000s, which isn’t any dangerous factor. Quite the opposite, the music scene of late seems like a rewind and reprogramming of that period.
Illiomote undeniably want some work to hone their abilities however as soon as they’ve determined upon their desired sound, the sky is the restrict.
Tomotsugu Nakamura — Nothing Left Behind
After a month of hyperpop and digital releases, it is time to take it again to fundamentals with this minimal acoustic album from Tokyo-based sound artist Tomotsugu Nakamura.
Expertly mastered by Taylor Deupree, Nothing Left Behind gives a lesson in sitting again and taking inventory of the world round. “Poolside” options mild plucking over a characteristically analog synth drone, delicately traversed with a smooth feminine vocal pattern. “Fluffs” is a looped, pensive affair, highlighting Nakamura’s refined sound collage.
The naming of “Glass” is obvious throughout the first few seconds as glassy clinks punctuate the opening bars. With “Transmitter,” Nakamura’s love of strings is obvious. Guitar strums and plucks glide via the monitor.
Every tune is a fastidiously composed journey, opening regularly and constructing to the tip notes. Nakamura performs it protected and we really feel calm. It is an awesome album for closing your eyes and letting go.
*Bonus*
Fragrance — Plasma
I’ve just lately rediscovered Fragrance, the pioneering Japanese music J-Pop trio. A latest dialog with a well-respected producer led me to hunt out and provides them one other probability. In flip, I’ve recast my opinion on the band, who’ve been a continuous fixed on the mainstream Japanese music scene for practically 20 years.
Composed with precision and mastered with aptitude, the tracks are typical J-pop songs, taken as they’re. Fragrance’s newest launch, Plasma is filled with big-beat, catchy productions and sing-along lyrics. A terrific pay attention on hangover days.
If you happen to’re a Japan-based musician, please ship any forthcoming releases over to: editor[at]tokyoweekender[dot]com. Embrace the topic line: “FAO Music Editor.”