All posts tagged Japan

Haisuinonasa – Reflection


Of all the amazing sounds emanating from Japan at the moment (and it is a veritable hive of amazingness), I’m especially enjoying this latest cut from 5-piece Haisuinonasa on Tokyo’s Zankyo Record (the lack of pluralisation there is completely intentional by the way, just relax). Grammatical nervousness securely placed to one side, this is I think about as fresh and un-generic as a slice of math-rock-electronica can possibly be without becoming obnoxiously pretentious or overbearing to listen to. Let me try to explain.

This track really resonates with me on some peculiar level that it has taken me the best part of a week to fully comprehend and appreciate. From the cut & paste glitch (like a more rhythmically apprehensible Venetian Snares); breakbeat drums stirringly juxtaposed with counterpoint piano; to the Cornelius-like intention to harmonically soar which begins about a minute and a half in, this is clearly music designed for travelling. Really really fast. Maglev train, space shuttle, human cannonball – your choice. The more ergonomically appealing the blur of landscape the better. I promise you, it will be exhilarating.

Mike Phillips

Gutenberg – Net Complex


I forever long for music to console and soothe the sonic ache perpetuated by an endless daily grind. However, in this instance Gutenburg from Nagoya, Japan (the slightly ambiguous efforts of Google Translate suggest this ‘techno-unit’ consists of two contributory minds, Sakurai and Terasawa) have produced something so uniquely persistent and pummelling that it becomes impossible to ignore via ordinary means.

Net Complex, is at the very least, as complex as it is docile and gentle (i.e not at all). But the manner in which this minimal industrial pattern and associated digital bell effects morph and distort, slowly drilling their briskly paced synthetic charms through human skull is fascinating. It is the barely concealed warmth which is so appealing; a glut of dance music sub-genres so frustratingly saturated by unflattering aural palettes, tired cliches and stock magic tricks here find themselves tastefully revitalised.

Mike Phillips