Since forming plant cell a few years back, Masaki Sato has shown an eagerness to infuse his music with some Chinese influence. Sato’s connection to China is one that is rooted in his own personal experiences in the country. In his new project, Misty Cure, his aim is to push that bond to the forefront.
Misty Cure formed toward the end of 2018 when Sato and concrete twin leader/plant cell support member Kazzuya Okada recruited Chinese frontwoman Riyo, on whom the band’s image has largely been centered. The trio immediately got to recording, quickly posting a couple tracks to Soundcloud. The songs are basically covers of Faye Wong covers, with the band doing Chinese-language renditions of The Cranberries’ “Dreams” and “Bluebeard” by Cocteau Twins. As Misty Cure begins working on its own original songs, the approach seems to be focused around making Chinese lyrics the feature that defines the band in the Japanese scene.
It’s hard to really get a good idea about a band when covers are all we have to work with, but based on Sato and Okada’s previous work and the quality of the vocals on the track, I’m looking forward to hearing what Misty Cure does next.
Tokyo-based shoegaze outfit concrete twin is back with its first release in two years, a two-track EP titled “Re:boots”. Originally the solo project of Kazuya Okada, concrete twin has remained a consistent but underrated member of the current Tokyo shoegaze scene over the last year or so. Okada, who also currently performs with better-known Chiba shoegaze band plant cell, has been making music for concrete twin – originally known as Guruwa Vail – since 2008. In 2017, he recruited members and the band started gigging in the Tokyo area, appearing multiple times at monthly Koenji HIGH shoegaze showcase Total Feedback. After losing a few members recently, Okada rebooted the lineup with bassist/keyboardist Fumio and drummer Zenn.
“Re:boots” is a bit more subdued in terms of pace than concrete twin’s previous EP release. “Accelerator” is a swirly, dreamy mess of guitars and sunken, blippy synths. “Door” is much larger and more chaotic, and I can’t help but think about how much bigger it would sound with real drums. The vocals on both tracks sit right at that perfect point of being unintelligible but present enough. While the latter track is a really solid concept, “Accelerator” is a legit gazey dreamscape that is also executed well on the recording. It’s hard to imagine concrete twin’s sound not being incredible in a live setting.
You can pick up concrete twin’s latest release at the band’s newly created Bandcamp page. Physical copies of their material are also available at their shows.