"that can never touch or see" (Towa Tei - Cute)

Towa Tei
Cute

Why you'll love it: Innovative + catchy

Why you'll hate it: not much depth

I am getting really tried of saying this with every Japanese release that I like:  trust me, this is awesome stuff.

Towa Tei is an art-pop musician, most known in the western world as 1/3 of this cheesy dance group from the early 90's, Deee-Lite.  I know him first as a solo artist due to my obsession with Shibutya-kei music ten years ago, thanks to the Katamari Damacy video game series.  No, really, trust me...

Towa Tei's solo output has mainly been focused on composition and production.  Bright and bouncy synths, weird obscure voice samples that all sound like they came out of a MST3K short, guest vocalists from all over the Japanese pop industry; all chopped and screwed together in a Picasso like manner.  He's been hit or miss his whole career.  His 2011 album (Sunny), is personally my favorite Shibuya-kei album of all time.  The 2013 follow up (Lucky), just threw a bunch of stuff at the wall that did not stick.  The kind of music Towa Tei makes is tough to manage.  When he focuses too much on a hook, it just gets annoying and repetitive.  Likewise, it's just as easy to find himself at the other end of the spectrum, when there are just weird sounds and no hook.

Sunny had that sweet spot.  Cute has it too, and in such a more innovative way.  There is much wider array of bopping, clicking, and hooting synths.  The opening tracks sound like playing with the sound test in an old video game's options menu.  "Fluke"and "Tope Note" demo the low and high end of whats to come.  "Luv Pandemic" is the first actual song, and boy is it a catchy one.  Towa Tei is expertly transitioning from one exciting hook to the next.  The drum and bass heavy verses, the stuttering pre-chorus... everything about this song screams summer hit.  I find it very similar to Hot Chip's "Ready For The Floor".

In fact, Cute has a lot to share with Hot Chip in their late 2000's.  Both use an abstract / art deco approach to music, and insert just enough pop before watering it down.  Both seem heavily influenced by Kraftwerk.  Just as Hot Chip follows up "Ready For The Floor" with the Kraftwerk-esque "Bendable Posable", Towa Tei offers up an instant reprise of "Luv Pandemic" with "NOTV".  It's a track with deep, echoey synths, very much like the kind you would hear on the 1977 Kraftwerk album Trans-Europe Express.

UA has an impressive showing on the mellowed out "Sound of Music".  Her oddly deep voice fits in wonderfully with Towa Tei's off kilter attempt at chill-wave.  I don't follow her solo career, so this is the first I've heard of her since the one-and-done Kenichi Asai collaboration, Ajico.  It's nice to hear she's still got it.

The bulk of this album is mostly tranquil instrumentals.  Towa Tei plays with his toys in an island / bossa-nova style.  Not much hits on the same level of "Luv Pandemic", but that shouldn't take away from his most consistent release probably ever.  Because of how all the sounds pop and echo, I'm engaged with Cute all the way through to the end; even as things wind down in the last ten minutes.  Going from synths firing away like pistons to reverberating into the ether by the end of the album is a nice little journey.

Towa Tei resists his urges to borrow from the corny R&B dance scene he grew out of, and sticks to robotic synthpop with a Shibuya-kei flavor.  As a result, Cute has its own unique sound and character; and Towa Tei comes off as confident rather than out of touch.  Cute is low on the hits, but makes up for it in consistency and style.  If you dig catchy music, Shibuya-kei, instrumentals, or weird robot sounds, Cute has what you're looking for in a very well put together package.

"changed" (Refused - Freedom)

Refused
Freedom

why you'll love it: The best T(I)NC album in years
why you'll hate it: The worst Refused album in years

Deep down, we all know this wasn't going to be good.  I mean... we're lucky for what little good Freedom has.  Before listing off the (many) reasons why Refused's reunion album, Freedom, does not live up to their reputation; let's consider the reputation:  A little record from 1998 called The Shape of Punk To Come.

It's a hardcore record that seriously rocks.  You can't take anything away from that.  It busts at the seems with youthful aggression, but what made it so special at the time was focused aggression.  It was punk and hardcore contained in a high-production studio atmosphere with no distillation whatsoever.

The Shape of Punk To Come was one of the first albums I ever loved that has screaming in it.  That's how distant I was from hardcore music at the time.  It wasn't the first, but one of.  My first was probably At The Drive-In's Relationship of Command, which came out in 2000.  So maybe without The Shape... there would be no Relationship... as we know it?  I dunno.  Number Girl is probably my favorite hardcore band.  They put out what I consider to be eastern culture's The Shape of Punk To Come, Num Heavymetallic (2002).  In that same year, NYC's GlassJAw released their only album of theirs I loved, Worship & Tribute.  They all combine high production, artful presentation, and wild aggression without a shred of chauvinistic oppression.  They all exist in the wake of The Shape of Punk To Come.  Did Refused really inspire a new wave of hardcore... man, I don't know; but I can't erase that dotted line.

When you have an album that casts a shadow so big it eclipses a genre, and even other bands on the other side of the globe... what chance do the creators themselves have to escape it?  Another notch against Freedom, is that nobody really asked for it.  After Refused's fucking death, Dennis Lyxzén hopped genres and started the mod-punk quartet The (International) Noise Conspiracy.  Eventually, that band jumped the shark, but Dennis proved to the world that he had more than one note; so nobody was hurting for more material from him.  Even when Refused reunited a couple years ago (and was killing it live), nobody was asking for new songs.  We've canonized The Shape of Punk To Come and were happy to have one more chance to see those songs performed live with "umph".

And yet, here we are.  A fine collaboration of bells & whistles that nobody asked for - Freedom.  What makes Freedom so frustrating to me, is that I don't find it to be all that terrible.  I can't just cast it off so easily.  Lyxzén brings it on the mic.  He has every bit of fury he had over 15 years ago.  The actual songs, though... Here is where things get complicated. "Elektra" would be one hell of a Foo Fighters track.  There are ripping guitars, and some damn good power-screaming; but it's an arena rock song, not a Refused song.  "War on The Palaces" is probably the best T(I)NC song I've heard in a while, only it's a Refused song instead.  Freedom probably would have made for a better T(I)NC album, now that I think about it.  That was a band that needed redemption.


A lot of Dennis' hammy political lyrics come through in a bad way on Freedom as well.  I never minded it so much on T(I)NC albums because the music was so groovy, but songs like "Destroy The Man" sound rough with a straight faced delivery.  Between the shallow political statements and corny arena-rock approach to many of the songs, Refused sounds more like a mid-life crisis than a trendsetter.

There are a couple of highlights to this record, though.  And each of them sound like Refused-ass-Refused songs.  I love the creative effort put into "Old Friends / New War".  "Dawkins Christ" is probably the best song on here.  I think the climax to "Thought is Blood" ("When we needed god, we thought of god") is the most exhilarating moment of the whole album.  Sadly, buried in the middle of these good songs, is not only the least-Refused thing I've ever heard, but an offense to just about every cell of taste I have in my body - the laughable sing-along "Françafrique".  WHAT. WHERE. THEY. THINKING?

"366" is an ok song too, buried in a rather messy, forgettable, or "not Refused at all" second half.  Again, I have to reiterate, Freedom's biggest problem is its older brother.  The only way Freedom would have been acceptable is if Refused improved on The Shape of Punk To Come, or made as big of a cultural splash.  Noted, it's only been a couple months since its release, but I don't think big-handclapply glam rock is going to be the new face of hardcore.

I could have just been glib and just made some "hurr hurr should have stayed dead" jokes, but I wanted to give Refused a little bit of credit here.  They tried.  Freedom has a couple duds, but standing on its own, it's not a bad album.  It's just a wholly unnecessary one.

"hard to get through" (Drenge - Undertow)

Drenge
Undertow
why you'll love it: zero fucks blues rock
why you'll hate it:  one note, slogs after 20 mins

Here is your classic sophomore jinx in full effect.  Undertow is an unapologetic grunge rock album.  The lyrics are ice cold, and the the guitars are sludgy.  Drenge succeeded in creating a more atmospheric and moody second effort.  Problem is, it's not as striking as their fiery debut.

While it will forever exist under the shadow of their self titled debut, Undertow has a life of its own.  The moody introduction track bleeds into "Running Wild" in such a satisfying way. (I love albums with a good flow).    "Never Awake" chugs along with the kind of pace and stone cold fervor that makes you want to raise your beer high in the air and rattle along to it.

Of course the real breakout song on this album is "We Can Do What We Want".  It has raucous punk rock energy, and just about the catchiest vocal hook of 2015.  It's the perfect soundtrack to all the crazy things you'll never do in life (get chased through a crowded market / smash up a antique shop).  Its catchy riff and universally understood chorus makes it inevitable to end up in film trailers some day; or even worse, something like a credit card commercial ("Shop where you want!  Do what you want!  With American Express!").

The first half of Undertow rides high on the one-two punch of it's moody introduction and hard hitting tracks.  Not much changes in "Favorite Son" and "The Snake", as Eoin Loveless finds new and creative subjects to accompany his raspy delivery.  Although, it starts to become obvious early into the second half of the album that not much about it is going to vary, and there isn't going to be another "We Can Do What We Want" to stir up energy again.  "The Woods" is the only standout track in the last half of the album.  It has a wistful tone, and fitting (yet hammy) religious nursery rhyme chorus; delivered somewhat like Ian Curtis.  There is a post-punk tinge to Undertow that I appreciate.  If more was done with it, perhaps this album would not have run out of gas so early.


The last two tracks are what really slow things down to a crawl.  They take up over a third(!) of the album, and leave on a whimper.  With the way Undertow sputters into the finish line, it's no wonder fans were disappointed.  Drenge's maudlin delivery has personality, but just doesn't hold a lot of interest, unfortunately.

One quick aside; I LOVE The album cover.  If Undertow's final songs were as evocative and vaguely foreboding as that image, they would be a lot more interesting.  Like a horror movie that shows too much of the monster, Drenge spells it all out in the lyrics and piles on the grunge.

"Why be tough"- Hot Chip (Why Make Sense?)

Hot Chip
Why Make Sense?

why you'll love it: A return to a more "fun & trashy" Hot Chip

why you'll hate it: Too cheesy and immature

I don't think I'll be any happier to eat my own words in 2015.  Back in the late 2000's, Hot Chip was one of the most daring and creative bands out there.  They created wild and weird  abstract pop art.  The sound was sharp, snappy, and catchy.  Their attitude was culturally defiant.  A group of pasty white Brits working off of classic American R&B templates, gangster rap stereotypes, and smashing it directly into new wave synth-pop and modern house music.  Unlike Beastie Boys, they didn't overcome their awkward presence; they embraced it.  The Warning (2006) & Made in The Dark (2008) are incredible albums because they fearlessly tackle genres that normally would cast-off a band as pretentious, over saturated, or not cool enough to belong in.  It all worked due to their confidence and admittance that it's all in the name of kitschy fun.

Eventually, the tide started to shift.  The last two Hot Chip albums have had a few fun singles, but saw them take themselves more seriously.  Honest love songs, and few moments of absurdity.  It was almost like Hot Chip had finally seen themselves as the forefront of R&B and UK house music, instead of the weird kids in the back of the class.

Now you can see why titling your album Why Make Sense? is one hell of a tease to me.  I built myself up so see a return of prime Hot Chip.  "Hurrache Lights" is a fine single, but they pulled the same bait & switch with their last album's lead single.  Plus, it's nowhere on the brain-busting level of "Shake A Fist" or "Arrest Yourself".  Their next single, "Need You Now" is probably the most derivative house music ballad I've ever heard.  By this point, Why Make Sense? was looking like one big con.

What surfaced was something I never expected: a roots album.  For the most part, the songs of Why Make Sense? harken back to Hot Chip's original sound: a simple and trashy take on soul and funk.  Only now they have their veteran studio experience and an arsenal of synthesizers.  Why Make Sense? is essentially a big budget sequel to their debut LP, Coming on Strong (2004).  If you were to listen to "The Beach Party" (off Coming on Strong) and "Cry For You". you wouldn't think much has changed in 10 years.

They're still making more love songs than I would prefer them to, but Why Make Sense? has that humble and fun take that has been missing for a while.  Hot Chip's hot takes on relationships this time out are comically oversimplified or just plain don't make sense.  Strangely, that's what makes these songs work.  They find a catchy beat, and do just enough to it to make it sound good.  Thanks to this silly and simple "budget CD bin" songwriting approach, Hot Chip once again recaptures that "Weirdos who don't belong in this genre" magic.  The achingly cheesy rap verse in "Love is The Future", with casio-like beats.  The laughably simple mottos of "Started Right" and "Easy To Get".  A song titled "White Wine And Fried Chicken" has the perfect little home on this album.  This album reeks of glued on plastic jewels and Elvis Presley collector plates.  Hot Chip are once again R&B's lovable dorks.

Hot Chip isn't just going for a cheap thrill, thankfully.  They've come to far to undo ten years of growth.  I did side-eye "Huarache Lights" at first take, but admit, it's one hell of a track.  Between the First Choice sampling on this track (a perfect fit) and De La Soul's guest spot on "Love is The Future", I can see Hot Chip one day going down the Gorillaz/Battles route of guest vocalists.  Not to take anything away from Alexis Taylor's indistinguishable croon.  While we're on about vocals, the 2nd most sincerely impressive track has got to be "Dark Night", and it's all because of the best fucking performance by Joe Goddard I've ever heard.  I had to look up a live performance to make sure it was him.

If the world revolved around me, the album's self titled closer would represent the album.  The song "Why Make Sense?" is one of the most sonically abrasive tunes they've ever done.  It's an avalanche of synthesizers, making for their biggest closer ever.  A message that Hot Chip can still make a defiant artistic statement when they want to.  Hot Chip has managed to have its cake and eat it too with this album.  The love songs that have defined them for the past five years are still in full bloom, but their kitschy roots show more than ever.  That third side of theirs that I love so much is the least represented, but i know being sour over that is just selfish.  Yes, the album is that good.

winners and losers (Asian Kung-Fu Generation - Wonder Future)

Asian Kung-Fu Generation
Wonder Future

why you'll love it: English song titles for convenience

why you'll hate it: bland as toast with no butter

In their heyday, I'd refer to Asian Kung-Fu Generation as "that band from that anime you like."  I'm not so sure how true that is anymore.  I don't really know what glibly refer to them as, other than "that rock band that is sometimes good."  Being neither here nor there has been this quartet's curse for ten years now.

For a long time, Asian Kung-Fu Generation might as well have been Microsoft's Clippy.  When I was getting into fringe punk and garage rock bands from Japan in the late 2000's, their simple American influenced pop-rock would not stop cropping up.    Their saturation, due to fans interested in little more than Japanese pop-culture, was frustrating to wade through.  A frustration that I unfairly took out on the band.  Even when being kind, there is nothing experimental or outstanding about Asian Kung-Fu Generation.  They essentially sound like a typical indie-emo act.  Now, this isn't exactly a terrible thing if the songs are good, which is sometimes the case.  While I still don't feel like their popularity outside of Japan is well deserved, they have put out a decent amount of solid tunes over the years.  I have to admit, for a band that colors within the lines 100% of the time, they can impress every now and then.

Even as they release their 8th album, Wonder Future, I'm having trouble understanding why a band so capable is so.... plain.  It's almost as if the group has doubled down on the plain-ness with this release.  The album art alone is devoid of their mainstay wildly floral Yusuke Nakamura artwork.  Literally nothing replaces it.  Another sure sign of mediocrity came in that they recorded at Foo Fighters' LA studio.  The same Foo Fighters that have have only put out one album over the last ten years that hasn't been tragically generic.

That big ugly arena rock mixing style is probably the most damning aspect of the album.  Everything is mixed so loudly that nothing shines.  When trying to connect with a foreign song, it's important to have a melody or riff to latch on to, or a strong vocal performance to feel the emotion.  In Wonder Future's case, it's just one big hollow sound.  A shame, because there are some good songs buried in the mess.  "Little Lennon"and "Signal on The Street" have a strong driving pace.  The power-ballad, "Eternal Sunshine" hits all the right marks.  The best song on here is unfortunately a holdover.  "Standard" has much more personality on the version recorded last year for a compilation.

The low points of this album only reiterate the band's unfortunate production choice and nagging mediocrity.  "Easter" and "Planet of The Apes" reek of bog-standard aggressive production.  An echoey mix, distorted vocals, and just too much pomp and circumstance for a simple song.  A more down to earth presentation would have made the tracks feel more personable.  Instead they sound like they were generated by an computer program labeled "loudrockmusic.exe".  "Caterpillar" and "Wonder Future" go absolutely nowhere.  They may have had a saving grace in the form of impressive drum and/or guitar work, but everything is so clumsily layered it just sounds like white noise.

Somewhere in the middle is "Opera Glasses", with its confounding structure.  Perhaps in an attempt to recapture the magic of a popular song from yesteryear, "Senseless", "Opera Glasses" completely upends itself after the first chorus into a quirky refrain.  Obviously the most experimental songwriting on the album, but it feels a little too "Frankenstien'd" together to be actually enjoyable.  And again, the mixing just isn't versatile enough to do the concept justice.

It's been almost three years since the last Asian Kung-Fu Generation album, five since the last actually good one, and seven since the last one that was generally praised by fans.  The impulsive and high energy style of their formative years landed them anime deals that indirectly drove me mad; but I think I'd prefer that today over being plain as cardboard.