Coaltar of the Deepers – “SUMMER GAZER ’92”

Legendary Japanese shoegaze/alternative/metal outfit Coaltar of the Deepers came out of nowhere yesterday at around 7pm with a massive announcement that their first new music in about seven years would be released at midnight.  The news came roughly six months after the band’s core member NARASAKI cryptically Tweeted that he was working on Deepers music again.  The track, titled “SUMMER GAZER ’92”, is the first single off the upcoming “Rabbit E.P.”, which will be out in November.  Both announcements were initially made via NARASAKI’s newly formed label U-desper Records.

The announcement of a new Deepers single a mere five hours prior to its release was pretty jolting considering there was no real reason to believe we’d get any new material from one of Japan’s most well-known and influential cult acts.  NARASAKI has been incredibly active over the years writing and producing for a bunch of different artists while also creating music for various anime.  However, the new  was unsurprisingly well-received, with “SUMMER GAZER ’92” at one point reaching as high as number 2 on the iTunes song charts on the day of its release.

The song itself was initially described by U-desper Records as a (loosely translated) “hot summer tune for summer lovers”,  and with its warm, groovy sound that feels pretty accurate.  “SUMMER GAZER ’92” has something of a mellow, jazzy samba vibe, relying on a dreamy swirl of instrumental and vocal textures and a more subtly developing intensity than the in-your-face chaotic sound that Deepers is perhaps better known for.  Though it might not be what people expect, it’s a really solid return to action for a very important band and a preview of what is easily now the most anticipated Japanese shoegaze release of 2018.

“SUMMER GAZER ’92” is currently available for purchase on iTunes worldwide.  Follow U-desper Records on Twitter for updates regarding the “Rabbit E.P.” release.

Cigarette in your Bed – “Nothing E.P.”

When I came to Japan and started a blog about Japanese shoegaze music, I almost immediately found the Kansai scene to be the most accessible.  I have fond memories of a bunch of bands who were not only really welcoming but also supportive of the blog and zine, especially bands like Lemon’s Chair and Ether Feels.  The Japan Shoegazer Festival in Osaka was a very comfortable spot for me, and thanks to the bands and the community that grew around the event I was able to get to know some great folks and learn a lot about the Japanese shoegaze scene.

 photo from  http://cigaretteinyourbed.com/
photo from http://cigaretteinyourbed.com/

When I came to Japan and started a blog about Japanese shoegaze music, I almost immediately found the Kansai scene to be the most accessible.  I have fond memories of a bunch of bands who were not only really welcoming but also supportive of the blog and zine, especially bands like Lemon’s Chair and Ether Feels.  The Japan Shoegazer Festival in Osaka was a very comfortable spot for me, and thanks to the bands and the community that grew around the event I was able to get to know some great folks and learn a lot about the Japanese shoegaze scene. 

One of the bands who really helped me out was Cigarette in your Bed.  The band split time between Tokyo and Osaka, though around that time they seemingly played a bit more in Osaka.  They were a staple of not only the Japan Shoegazer Festival (in both cities), but the frequently held High Fader Night at Club Vijon in Kitahorie as well. 

In addition to being cool dudes, Cigarette in your Bed’s music resonated with me instantly.  Their style was really unique compared to a lot of what was going on in the Japanese shoegaze scene.  The name conjures the image of a My Bloody Valentine knock-off, but they were far from that.  They were far edgier than their peers, drawing as much influence from grunge and 90s alt rock as they did shoegaze.  Their live show was dynamic and brutally loud.  I’d made it a point to come down to Osaka to see them play whenever I could.

Cigarette in your Bed has come quite a long way since then, releasing their debut full-length Darkness in 2014 via High Fader and playing some big shows, including opening for Astrobrite in 2015, while also starting an event of their own called “THE FUZZ”.  The band’s since moved on from their previous scene and found a new home in the Koenji hard rock scene, but with the release of their new Nothing E.P. they’ve shown a dedication to their core sound.

The EP kicks off with “Nothing”, a track that plays like a straightforward rock song blanketed in quivering shoegaze guitars.  The verses are decent enough, paced by a steady beat and frontman Kazuya Saijo’s simple vocals, but the song really takes off at the explosive chorus.  The repetition of the vocals is pretty similar to “Let Me Out”, giving them an almost instrumental quality that’s secondary to the massive guitar buildup. 

“Ghost” is a three-phase track that cuts from a bendy guitar howl of an intro verse not too different from “Nothing” to an overdrive-heavy rehashing of the same.  The song feels like three different variations of the same basic line, with the first part being more “gazey” and the second a bit more grunge-y with super distorted vocals.  The track winds down in a sort of striped down version of the introduction.  It’s a short track, but interesting enough in that the band basically demonstrates its range while never really changing the parts too much.

Finally, “I Don’t Know” gets away from the intensity of the first few tracks, showing off the dreamier side of what Cigarette in your Bed can do.  The song basically goes back and forth between a sweet-sounding, reverb-soaked verse and a sort of disorienting few measures of a chorus.  The main part is really chilled out and comfy before the guitars spin out for a bit.  One other noticeable part of the song that’s a bit different from their previous work and consistent throughout the EP is the complexity of the basslines.  The band is showing some maturity with their new stuff, and it should sound even better once the production value picks up.

Overall I’ve enjoyed the EP.  It’s just three tracks and they’re pretty simple, but Cigarette in your Bed have always made some really great tracks with a simple approach.  Unfortunately for fans of the band overseas it’s going to be tough to get your hands on this, but if you happen to be in the Tokyo or Osaka areas for one of their gigs it’s totally worth it for the show and the goods. 

There aren’t even any samples of the music online apart from a few brief clips the band has posted on its Twitter account.  You can also buy some merch at their online store and purchase their debut album “Darkness” on Amazon.  Here is a video of a live performance of “I Don’t Know” uploaded by Club Kinoto.  The recorded version is better, but this will at least give you a bit of an idea.  Enjoy!

Mississippi Khaki Hair – “1st Demo”

It doesn’t feel like very long ago at all that I was gushing over a promising teen indie shoegaze outfit from Osaka called Whisper Voice Riot.  2015 was a great year for the band, who established themselves as one of the promising young bands to keep an eye on – and not just in the indie scene.

It doesn’t feel like very long ago at all that I was gushing over a promising teen indie shoegaze outfit from Osaka called Whisper Voice Riot.  2015 was a great year for the band, who established themselves as one of the young bands to keep an eye on – and not just in the shoegaze scene.  They put out their debut EP, Before the Morning Cleaves Our Night, last fall, appeared at Total Feedback and Kyoto Shoegazer, and seemed to be picking up steam.  It was therefore a bit of a shock that this past spring the band announced that their appearance at the 2016 Kyoto Shoegazer fest would be their last.  The news was pretty sudden, and I was personally really disappointed to see such a promising young band call it.  

There was some consolation, however, upon hearing that three of Whisper Voice Riot’s members, including frontman Taito, would continue making music under a different name.  The direction of the new project, called Mississippi Khaki Hair, was a bit of a mystery, but one thing was made perfectly clear: this wasn’t going to be a shoegaze band.  

Mississippi Khaki Hair got right to gigging in early May and this past Friday released a 3-song demo EP.  They released two-thirds of the EP a week or so in advance on Soundcloud, and my first thought was that it wasn’t a massive departure from some of the dancier WVR stuff.  There is much more of a groove to the new project, though, but it didn’t seem different enough to necessarily warrant a completely new project.  “True Love” is a romantic, synth-laden blend of new wave and shoegaze, while “Phone Call” has a distinctly Strokes-y vibe to it, with overdriven vocals and prominent guitar lead paced by a consistent four on the floor beat.  “Silence Like A Shout” is a bit more along the lines of the latter – another lo-fi indie rock dance track.

The demos are really rough, and Taito acknowledges this along with the fact that this is pretty much just a sample to show people what the new band is all about.  When I asked him why he scrapped Whisper Voice Riot to start a new project, his answer was simple:  “I couldn’t be satisfied with WVR.”  In addition to members being busy and it being difficult to consistently write music, there were creative issues as well and Taito stresses the goal of MKH is to make music that’s more original.  “Whisper Voice Riot’s music was derivative, and I didn’t want it to end there.  The two new songs we posted are really traditional, but, combining shoegaze, post punk, and pop music, we are getting ready to show people what we’re all about.”  

This is just the beginning of Mississippi Khaki Hair as a band, and, just like WVR, they’ve gotten off to a pretty fast start.  Physical copies of their demo EP are only available at gigs at the moment, but there are plans to release it digitally on Bandcamp and potentially sell physical copies online as well.  In the meantime, the whole thing is up on Soundcloud.  It’s still a demo, but you can get an idea of what the band is going for, and it’s a lot of fun.  My personal favorite track – it’s probably not a coincidence that it’s also the song that most resembles WVR’s music – is “True Love”.  You’ll be wanting to keep an eye and an ear open for these guys, so be sure to follow them on Twitter and Facebook.  

Sapporo Shoegazers Edy Two Arc

After a couple years of trying to hunt down their music, I was finally able to get my hands on a release from Sapporo’s Edy Two Arc.  The CD, titled Kurakute, Oto no nai Tokoro (暗くて、音のないところ), is actually an 8-track split, featuring two tracks apiece from four Sapporo bands.

 http://edy-sapporo.jimdo.com/
http://edy-sapporo.jimdo.com/

After a couple years of trying to hunt down their music, I was finally able to get my hands on a release from Sapporo’s Edy Two Arc.  The CD, titled Kurakute, Oto no nai Tokoro (暗くて、音のないところ), is actually an 8-track split, featuring two tracks apiece from four Sapporo bands.  Edy Two Arc, who prior to a sudden name change last month simply went by Edy, lend a dark, heavy shoegaze vibe to a comp that features everything from math-y funk to melancholic pop.  Though the band has been around for a few years, they’ve been largely inaccessible with a limited web presence and live-exclusive releases.  

Edy Two Arc have managed to remain something of a mystery, despite frequently appearing Total Feedback events and opening for Ringo Deathstarr in Hokkaido.  Their songwriting is by no means adventurous, but their sound is very comfortable and should hit the spot for fans of big, billowy shoegaze with a darker vibe.  About five months or so ago, the band posted the two tracks they submitted for the split on Soundcloud.  Check them out below.

Citrus Nowhere – “A Nightmare Before She Sleeps”

By now it’s no longer much of a secret that Tokyo’s Citrus Nowhere are regarded as one to keep an eye on in the Japanese shoegaze scene.

By now it’s no longer much of a secret that Tokyo’s Citrus Nowhere are regarded as one to keep an eye on in the Japanese shoegaze scene.  I wrote as much in my 2016 preview piece at the beginning of the year, and the band’s commitment to not only putting out more material – seemingly the endgame for a lot of promising young bands here – but to gigging and ironing out any remaining wrinkles in their live game has been a really positive sign.  

The band had a bit of a coming out party in the form of a self-titled EP and release party alongside fellow passengers on the raging war wagon that is the new generation of Japanese shoegaze bands, Yukino Chaos.  At the gig, which took place in Nagoya, there was a sense that everything was still being figured out.  It wasn’t super tight, but you got a feel for what they were doing.  I enjoyed the opportunity to see them.  It didn’t feel like a finished product.  To be fair, it was also the band’s fourth ever show.  

This month Citrus Nowhere released its second EP, this one titled A Nightmare Before She Sleeps, as a free download on Bandcamp.  At first listen its hard to ignore the release’s raw production value.  The fuzzed-out guitars dominate the mix while the drums are faint enough in the background to guide you hazily through each song.  There’s a playful poppiness to what’s going on below the layers of noise, and I found the combination more interesting than their previously released work.  

The intro track “Beautiful Lies” is a persistent, free-flowing wash of droning guitars.  It’s a refreshingly unstructured song with a bit of a subtle jangle and light male-female vocal harmonies fluttering around.  There’s some pop there, but it’s subdued for the sake of noise.  

“Blue Enemies” is another that stuck out, perhaps because it’s got a bit of a different vibe from the rest of the EP and it sits right smack in the middle of the five songs.  The beat on this track is infectious and the band does well to create a haunting mood from some trippy textures and subtle falsetto vocals.  

As a stand-alone, Citrus Nowhere’s A Nightmare Before She Sleeps is really enjoyable, but the production will definitely be a turn off for some.  In context though, this EP is a step in the right direction, muddying things up in a scene where too many bands try to keep things super clean.  It’s their willingness to experiment and not shy away from the harsher side of things that makes these guys, in my opinion, such a key member of this new wave of Japanese shoegaze bands.

You can pick up A Nightmare Before She Sleeps, as well as their self-titled EP, on Bandcamp for free.  

 

 

Collapse – Self-Titled EP

In my constant search for Japanese shoegaze bands a little more willing to go hard in the paint, I came across a little known band from Saitama called Collapse, thanks to a poster in our Japan Shoegaze Facebook group.

 L to R: Kohei, Tomoko, Satoru, Shibuya ( Source )
L to R: Kohei, Tomoko, Satoru, Shibuya ( Source )

In my constant search for Japanese shoegaze bands a little more willing to go hard in the paint, I came across a little known band from Saitama called Collapse, thanks to a poster in our Japan Shoegaze Facebook group.  Though the band was formed by bassist Kohei in 2013, a bunch of member changes hindered any sort of momentum until Collapse finally established its current four-piece lineup with the additions of guitarist and vocalist Tomoko, guitarist Satoru, and drummer Shibuya.  Three or so years of settling culminated in a hot start to 2016 for Collapse, who, in addition to gigging regularly, released its debut self-titled EP on Bandcamp.  Shortly thereafter, the band started selling physical copies of the EP via its newly established online store.  

At first listen, I immediately appreciated the heaviness of Collapse’s sound.  In their biography they describe their sound as the combination of elements of “stillness” and “floating” from shoegaze and the “violence” and “speed” of metal.  The result is a sound perhaps more similar to the recent western model of shoegaze than the pop-heavy style that continues to dominate the Japanese scene.  There’s balance though.  The tonal aggression is contrasted by Tomoko’s sweet-but-not-too-sweet vocals that sit just right in the mix.  The melodies are poppy, but they’re not too prominent.  In that respect Collapse reminds me of a somewhat more balanced version of AZMA.  

“Syrup” and “RIP”, the EP’s opener and closer, respectively, are the two tracks on the album that really stand out.  Each really showcases the band’s ability to just pour on the waves of guitar noise with catchy vocal melodies woven in.  “Yellow” doesn’t quite keep up in terms of pace, but doesn’t lack for explosiveness.  The third track on the EP – conspicuously titled “Intro…” – is just a brief ambient interlude before the screaming finale kicks in.  

The debut EP from Collapse isn’t perfect, but it’s a really good start.  I talk about my desire for more aggressiveness in the Japanese shoegaze scene in just about every other blog post, and Collapse has come through for me.  It’s recommended that you pick up the EP on Bandcamp.  At the moment it looks like physical copies are only available for purchase within Japan.  You can check out Collapse’s homepage or follow them on Facebook for more information.

Seventeen Years Old and Berlin Wall – “Aspect”

Tokyo-based Seventeen Years Old and Berlin Wall (17歳とベルリンの壁) released their first mini-album on the 18th of July, adding on to an already robust month of shoegaze releases and events in Japan.  Aspect is a six-track CD, which includes some new music and older demo tracks that have received some much needed polish.  As is so often the case, some of the demos were pretty rough to listen to, and up until they released a split with Nagoya gazers me in grasshopper earlier this year, it was hard to get a feel for what they were doing.  On top of that male-female twin vocals can be very unflattering when poorly produced.  On Aspect they were able to clean everything up production-wise courtesy of Yasutaka Ishikawa, and the result is a surprisingly solid debut.

Tokyo-based Seventeen Years Old and Berlin Wall (17歳とベルリンの壁) released their first mini-album on the 18th of July, adding on to an already robust month of shoegaze releases and events in Japan.  Aspect is a six-track CD, which includes some new music and older demo tracks that have received some much needed polish.  As is so often the case, some of the demos were pretty rough to listen to, and up until they released a split with Nagoya gazers me in grasshopper earlier this year, it was hard to get a feel for what they were doing.  On top of that male-female twin vocals can be very unflattering when poorly produced.  On Aspect they were able to clean everything up production-wise courtesy of Yasutaka Ishikawa, and the result is a surprisingly solid debut.

The folks at kiiro records – who have put out some of Seventeen Years Old and Berlin Wall’s music via the aforementioned split and the first Forever Shoegaze compilation – have described the band’s sound as “sparkly shoegaze pop”, and that’s the sort of vibe of the first couple tracks of Aspect.  “A Thousand Days” and “Talking Eggs” could probably be considered their most identifiable songs to this point.  The former evolves into a really thickly textured, dreamy track and the latter a pop song that could easily be mistaken for a My Dead Girlfriend song.  At this point in the album things are still very light, relying on some really nice vocal melodies (especially in “A Thousand Days”, which really is a good song) and subtle guitar noise, but seemingly stopping just short of really letting it all out.  

Cattle have set the precedent for the pop-heavy indie shoegaze bands really stepping things up noise-wise once they get into a proper studio.  Though Seventeen Years Old and Berlin Wall never quite reach that blistering intensity, they do a pretty good job of belting it out on “27:00” and “June”.  My two favorite songs on the album step things up in the volume department wrapping bending guitars around the poppy leads and vocal melodies that define the band’s sound.  The tracks flank “Lilac”, a tune that is probably my least favorite on the album, if only because its placement really stunts the intensity of the album at that point.  Overall though, I was really impressed with the new stuff from Seventeen Years Old and Berlin Wall.  I would say I love half of it, and really like a couple more songs.  Seeing bands starting to focus on and gathering resources in order to start getting more solid recordings together is a huge for a scene that is full of untapped potential, but covered by a shroud of a bad demos and live recordings.

You can purchase Aspect on iTunes.  Physical copies can be ordered from the following shops:

Here is the video for the final track on Aspect, titled 終日 (“All Day Long”).

Cruyff in the Bedroom – “Laurelei”

Another weekend, another barrage of events and new releases in what has been a remarkably busy 2015 for shoegaze in Japan.  The big news this past weekend was the annual Japan Shoegazer Festival, which was held in Tokyo on Sunday the 5th.  Perhaps a bit lost in the hype of the fest was a somewhat low-key release from the proclaimed “Japanese King of Shoegazer” Cruyff in the Bedroom, who put out their new EP Laurelei at a Tokyo release event which also featured genre-benders CQ, noisy alt rock outfit Kaimy Plants, and local up-and-comers Yukino Chaos.  

Another weekend, another barrage of events and new releases in what has been a remarkably busy 2015 for shoegaze in Japan.  The big news this past weekend was the annual Japan Shoegazer Festival, which was held in Tokyo on Sunday the 5th.  Perhaps a bit lost in the hype of the fest was a somewhat low-key release from the proclaimed “Japanese King of Shoegazer” Cruyff in the Bedroom, who put out their new EP Laurelei at a Tokyo release event which also featured genre-benders CQ, noisy alt rock outfit Kaimy Plants, and local up-and-comers Yukino Chaos.  

The EP features two original songs:  the title track “Laurelei” and “She is a Low”, plus a remix of each song by Broken Little Sister and Clubbers, respectively.  “Laurelei” kicks off with a bit of dreamy melancholy, with frontman Yusuke Hata weaving a sad-sounding vocal melody through a mass of swirling guitars.  There’s a nice groove to the bass, and the drums are tight and powerful as ever.  By the end of the song none of that matters though because the whole thing is enveloped in guitar noise deep down from within which Hata continues to croon on.  Essentially, it’s everything there is to love about Cruyff’s music.  

“She is a Low” is a bit more hook-driven and pacy, and not quite the immersive noise-fest of the track it follows, but it’s by no means tame.  It’s a simple track that’s chock full of screeching feedback and a chorus that will stick to your brain.  “Laurelei” melodically tugs at the heart strings, while “She is a Low” sort of just steals your car and drives it really fast and doesn’t care, showcasing in a little over seven and a half minutes just a bit of what Cruyff in the Bedroom is capable of.  As a bonus, you get to hear what the lovechild of Cruyff and fellow Tokyo shoegazers broken little sister would sound like.  Not to be ignored is a weird kind of trip-hop remix by Clubbers that took me a few listens to get into.  It’s nothing like the other three tracks, but is actually pretty cool once you get used to it.

For right now, the EP is only available at live venues – words that are no doubt nails on a chalkboard to the band’s overseas fans.  They’ve announced a bunch of tour dates in the coming months, with Yukino Chaos tabbed to support them on their way.  Definitely a must-see for fans in Japan.  

In the meantime you can hear a world premiere of “Laurelei” this weekend on DKFM‘s famed New Track’s Weekend, and one or both of the tracks will certainly be on next Wednesday’s Muso Asia.   As always follow the band on Twitter  and the Only Feedback site for further developments.  

Cattle – “Somehow Hear Songs”

One of the biggest knocks on the current crop of up-and-coming shoegaze bands in Japan is a lack of the “loudness” that is requisite to the genre.  A lot of bands are tending toward the indie-pop side of things at the expense of balls-out explosive volume.  To be fair, I really do like this current generation of Japanese shoegaze bands, and they do the jangly pop thing really well, but personally I prefer my pop music drowned mercilessly in reverb and noise.  Upstart shoegaze outfit Cattle have found that perfect balance between playful cuteness and relentless tonal aggression and the result is a very solid debut EP.

 Cattle (L to R):  Naoya Hinuma, Saori, Nomeko, Shuta Kokubun (photo from Facebook)
Cattle (L to R):  Naoya Hinuma, Saori, Nomeko, Shuta Kokubun (photo from Facebook)

One of the biggest knocks on the current crop of up-and-coming shoegaze bands in Japan is a lack of the “loudness” that is requisite to the genre.  A lot of bands are tending toward the indie-pop side of things at the expense of balls-out explosive volume.  To be fair, I really do like this current generation of Japanese shoegaze bands, and they do the jangly pop thing really well, but personally I prefer my pop music drowned mercilessly in reverb and noise.  Upstart shoegaze outfit Cattle have found that perfect balance between playful cuteness and relentless tonal aggression and the result is a very solid debut EP.

Technically Somehow Hear Songs, isn’t the first material the band has released – they put out a demo single and a split within a two month span last year – but neither really did justice to their live performance.  In fact, I really liked the demos until I saw them play live and actually realized what the band was capable of.  I wasn’t the only one apparently, as shortly thereafter it was announced that they would release their first proper EP and that it would be produced by none other than Makoto Gomi.  Not a bad guy to have overseeing a recording process, having plied his trade with the likes of Zeppet Store and Sphere among others.  His own experience with beautifully loud music and Cattle’s potential to create some of their own made for a pretty good pairing in the studio.

Somehow Hear Songs wastes no time getting to the point, as the intro and partial-title-track “Somehow Hear” starts off straight away with the sugary sweet vocal melodies of singer/keyboardist Saori and the blistering guitar attack from word go.  The guitar noise never actually ends, though you really feel the intensity during the extremely catchy choruses throughout.  The male and female twin vocals that are so very much a staple of Japanese shoegaze are there, though rather than running alongside each other, Saori’s vocals feature more prominently in the mix, while those of male counterpart Naoya Hinuma are a bit washed out and distant.  Effective balance is a big part of what makes this EP unique in the current landscape of Japanese shoegaze.

You can grab a physical copy of Somehow Hear Songs on July 8th, though for the time being Jigsaw Records has released it digitally on Bandcamp.  The CD is currently available for pre-order in Japan via most major music retailers and sites.  For folks in the US you can pre-order straight from Jigsaw Records.  

Here’s a preview of the EP.  Give the band a follow on Facebook and Twitter and visit their homepage here:  http://cattle-jp.wix.com/cattle

[Hong Kong] Thud’s Debut EP “Floret” (6/30)

Late last year, Thud was a little-known band from Hong Kong whose single “Lime” had drawn intrigue from just about every shoegaze fan who came across it on social media.  On the back of their first single, the band’s popularity had continued to grow and with it the demand for more music.  A second track “Venture” was released, which was an encouraging sign that perhaps a proper release was in the works.  Fast forward to June and the exciting news that they will, in fact, be releasing an EP.

Late last year, Thud was a little-known band from Hong Kong whose single “Lime” had drawn intrigue from just about every shoegaze fan who came across it on social media.  On the back of their first single, the band’s popularity had continued to grow and with it the demand for more music.  Early this year a second track “Venture” was released, which was an encouraging sign that perhaps a proper release was in the works.  Fast forward to June and the exciting news that they will, in fact, be releasing an EP.

去年末、当時あまり知られていなかった香港のバンドThudはSNSで紹介された初シングル「Lime」によって賞賛を受け始めた。曲がリリースされてからどんどん人気が出て、新曲の需要も高まった。今年の始めにセカンドシングル「Venture」がリリースされたことによりアルバムが制作中かではないかと期待が高まった。そして6月、ついにThudがEPをリリースすると発表された。

Floret will be the maiden release for both Thud and Hong Kong-based label Records For Children.  The EP will feature four tracks from the quartet, whose sound features an extremely appealing marriage of ‘classic’ shoegaze guitar textures and blanketed atmospheric synths.  Shades of Slowdive and M83 – whose influence becomes especially apparent on the charmingly woozy “Venture” – can be heard throughout Floret, and though comparisons can be made to any number of influential shoegaze/dream pop outfits, Thud’s debut is an imaginative display of a sound that they’ve uniquely constructed as their own.  The whirring instrumental blend is entrancing, the rhythm and synth pop melodies danceable from start to finish, and the breathy female vocals are a thing of beauty.  Simply put, it’s a fantastic EP with no discernible flaws, that should be among the year’s best when all is said and done.  As an added bonus, the fifth track on the CD is a chilled out remix of “Lime” done by Max Bloom of Yuck, for whom Thud opened in Hong Kong this year.  

FloretはThudと香港インディレーベルRecords For Childrenにとって初のアルバムリリースとなっている。4曲が収録され、彼らの90年代シューゲイザーを代表するようなギターテキスチャーと多層のシンセサイザーで作られた雰囲気のある組み合わせをショーケースする作品である。Slowdiveの影響が伺え、気持ちよく渦を巻くような「Venture」ではM83の影響も感じられるが、他のバンドと比べるのは公平ではない。Thudのデビューは非常に想像力のある独特のサウンドの展示である。ギターとシンセの相性がぴったりで、リズムとシンセポップ的なメロディでダンス向きの特徴もあり、かすかなボーカルは本当に美しい。簡単に言うと、欠点のない素晴らしいEPである。更に、5曲目にはThudが今年香港のライブでサポートしたYuckのMax Bloomが手がけたリミックスバージョンの「Lime」も入っている。

In addition to a digital release, physical CDs will go on sale at the EP Release Show in Hong Kong on June 30th.  To follow news and updates regarding this release and future releases follow Thud and Records for Children on Facebook.  

このEPは6月30日にデジタルリリースされ、当日行われるリリースパーティではCDも販売されるそうである。今後の情報はThudとRecords For Childrenのフェイスブックで発表されますので、是非フォローして下さい。

Here is a preview of the EP via Thud’s Soundcloud page: