Sounds from Osaka: Exploring Punk, Indie, and Alternative Music from Osaka, Japan (Framtid, Kung-Fu Girl, Junky58%)

Sounds from Osaka is our first article in a series highlighting local scenes in multiple ‘postcard length’ album reviews. We’re looking to do more of these scene focused articles in the future! Go to our contact page and let us know about your local scene and we may just cover it. Till then, consider this article ‘postmarked’ March 27th, 2022!

That said, is this list looking a little incomplete? Because we’re sure it is. There may be more pivotal bands in the Osaka scene, but we’ve decided to go with what stuck out to us via Bandcamp, recommendations, and liner note skimming, so Skate Punk bands like The Skippers or Manchester School (M.A. School) won’t be on this list. Consider this a small round up of Punk, Indie and Alternative bands from Osaka, Japan.

Diskover – The End Has No End (2018)

Noisy and nasally Pop Punk, The End Has No End is a lilting and lo-fi record worth a listen. The 3-track EP by Diskover has all the melancholic emotional weight one could hope for from Pop Punk and Power Pop. There isn’t much readily known about them, but they’ve had one release since: a self-titled 7” EP available through nearly a dozen smaller record outlets. You can also find it through the Punk & Destroy record shop and distro, located in Osaka.

Argue Damnation – The Situation In Society Is Worse Than Before, It Is Getting Worse. Direct Action Now Demo (2021)

The medium is the message- and so too, in this case, is the album title. Not ones’ to waste space, Argue Damnation’s ‘The Situation…’ is a collection of demos for what was their third and final album Direct Action Now, recorded and released in 2000. Tracks like Direct Action Now, Number People, and 反新安保 (‘Anti-New Security’) break out of the tight mold of D-Beat and Crust for something more expressive than many of their contemporaries, while Up The Punx gets as close to ‘punk anthem’ material as possible without getting too corny.

Argue Damnation were active from 1994 to 2003, but their music still resonates.

Shonen Knife – Pop Tune (2012)

While I never promised a comprehensive list, I would feel remiss for not including Shonen Knife. Take it from their Bandcamp artist-bio:

“Shonen Knife was formed in 1981 by Naoko Yamano, her friend Michie and sister Atsuko. 35 Years, 19 albums and well over 1000 gigs later the band is as strong, fun and original as ever…”

For this list I’m pulling their 2012 album Pop Tune, whose titular track is so satisfyingly bubbly and fun. People more in tune with the D-Beat and Crust bands on this list may roll their eyes, but Shonen Knife’s Phil Spector and Ramones inspired Alternative Rock’n’Roll sound is a delightful and uplifting force in the cross-cultural milieu of our ever increasingly interconnected lives.

Junky58% – おい、ミルクじゃなくて酒よこせバブー (2020)

おい、ミルクじゃなくて酒よこせバブー, or Don’t Milk, I Want to Alcohol (Google translated to ‘Hey, Give Me Sake, Not Milk.’) is a pumped up Pop Punk EP by Osaka’s Junky58%. Their early Green Day influence might be most noticeable on midway track Junky Band, but flows through the album’s joyous celebration of alcoholic shenanigans (and chocolate cookies?); a high-spirited step away from some of their more melancholy-tinted peers. As someone generally uninterested with alcohol-centric Punk and Rock music, I still found ‘Don’t Milk,…’ a worthwhile and fun record, going near the top of my wishlist.

OXZ – Along Ago: 1981-1989 (2020)

OXZ (pronounced ‘awk-zed’) are in a Post-Punk vein of their own creation, but could be roughly triangulated with bands like Suburban Lawns, Ausgang, and The Passions. OXZ weren’t afraid to include big spacial synthesizers on otherwise dry recordings. This makes for a rare listening experience, especially in the midst of the slog of ‘Post-Punk’ and ‘Goth’ worship bands coming out of the Anglosphere currently.

The compilation, released by the NYC independent label Captured Tracks, shows OXZ’s artistic progression across the band’s 3 EPs and single released during their band’s original run. It’s incredibly satisfying hearing where they took things as their song writing grew stronger and stronger. Personal favorite tracks from Along Ago: 1981-1989 include Vivian, Boy Boy, and Is Life.

Framtid – Under The Ashes (2002)

Crust is universal, so it seems. So I’m not surprised to find heavy hitters Framtid among the crowd. The band’s 2002 release Under The Ashes features members Makino (vocals), Takayama (drums), Ryota “Jacky” Watanabe (guitar), Ina (bass) and Chuma on bass for tracks 12-21. Under The Ashes is unrelenting. With each track fading into the next one, the chaos never stops. I definitely recommend Framtid to fans of Crucifix and Napalm Death.

Kung-Fu Girl – Cassette Tapes Series Vol.1 (2021)

Cassette Tapes Series Vol.1 is a single release by the lo-fi Pop Punk band Kung-Fu Girl. A-side Rabuka might be my favorite, as it stood out to me immediately with its melancholic bubbliness. It’s absolutely something for fans of Full of Fancy or Bluffing. But b-side Ghost Girlfriend incorporates Power Pop sensibilities with raw Punk energy. It’s incredible, and a fun break from more D-Beat oriented bands.

Potato Headz – Potato Headz (2018)

Seeing “POTATO HEADZ” in a varsity font on a black and white concert pic, I wouldn’t have expected something so sonically interesting. Through and through, it’s your ‘classic hXc’ style beatdown Hardcore, but with just enough off-kilter weirdness and goofball energy to make it an incredibly fun album.

The riffs: chunky. The drums: hunky.

I’m all into it.

The Harriets – The Harriets 1st Demo (2019)

The laid back Indie jams of The Harriets’ 2019 self-titled first demo are easy on the ears, but don’t take that to mean ‘light listening’. The Harriets are made up of members Milk (guitar), Nana (drums), and Fumi (bass) with all 3 members contributing vocals. This relax-adaisical demo single features the a-side track Last Night backed with the fuzzed out I Don’t Care.

There’s an element to The Harriets that might make them an easy shoe-in for fans of bands like Slant 6 or Apocalypse Meow. The songs are minimal and well written, invoking an easy going feeling while keeping sonic vitality.

I would like to note The Harriets and the American band Frankie Cosmos as an ‘ideal’ double-billing for a tour. Seriously, can we make that happen?

Beverly Hills Ketsukon Hactyo (2004) [compilation]

Beverly Hills Ketsukon Hactyo is a compilation released by Centralscum in 2004 celebrating the marriage of WonWons bassist Mami and Haruo Ishihara (owner of Lost Frog Productions, “the oldest Japanese netlabel in existence”).

Beverly Hills Ketsukon Hactyo is a short but stylistically mixed bag. The lo-fi indie jam and titular track Beverly Hills Ketsukon Hactyo by Morino Jun (Moaco) is a fun and sloppy melancholic song in the style of Magnetic Fields. The album is balanced out with off-kilter Indie Electronic in a style similar to the UK group The Sons of Silence.

But by far, Loggins Alive by Izumi Headache of UltraFuckers is an immediate favorite. Thumping drum machines pound away under the clatter of metallic guitar noise and pitched and processed vocals that sound like the Max Headroom Incident. It’s a hair too wacky to be considered a Big Black tribute, but likely ‘just right’ for Men’s Recovery Project fans.

Keep your eyes peeled for an upcoming +Brief Thoughts article with a follow up to Beverly Hills Ketsukon Hactyo as well as Shock Rock in Japan and the USA.

5 Songs for Fans of Broadchurch (Susumu Yokota, Richard Hawley, John Murphy) | Audio. Visual.

In the Resident Sound series Audio. Visual., join Lubert Das as they attempt to become a music sommelier of sorts; serving cross-medium recommendations and top-choice pairings of music and other cultural works. Will Lubert serve you up a new favorite song? Something to flesh out your viewing-party playlist? Or the worst trash you’ve ever heard?! These are, simply put, 5 songs you might enjoy if you enjoyed the TV-show Broadchurch.

Part police procedural, part grief-laden small town drama, Broadchurch was a moody British crime show which starred David Tennant, Olivia Colman, and Jodie Whittaker to name a few. Whether it was the desolate downtown strip or struggling hillside church, the fictional town of Broadchurch often acted as the most important character throughout the entire series.

Like many of the show’s characters, you too may feel stuck in the vortex that is Broadchurch. The series’ third and finale installment may have ended in 2017, but there’s no need to fear! To hold you over just a little bit longer, here’s 5 songs you might like if you love Broadchurch.

Richard Hawley – The Ocean

What is there to say about grief? A lot, probably. But sometimes it’s just better to let it wash over you. If you find yourself getting drawn into the emotional swells of this fictional sea-side town, perhaps consider checking out Richard Hawley’s song The Ocean from his 2005 album Cole’s Corner.

John Murphy – In A House – In A Heartbeat

Me? I don’t need to explain anything! It’s YOU that needs to watch the opening of the series premiere of Broadchurch, then you’ll understand!

…Okay, maybe I need to explain that Broadchurch isn’t a zombie film, as In A House – In A Heartbeat is perhaps most recognizable as part of composer John Murphy’s score to 28 Days Later, and later used in 28 Weeks Later and plethora of other outlets. It’s a great song, and whether you’re currently watching or looking back fondly, you might enjoy this classic Post-Rock track.

Susumu Yokota – Long Long Silk Bridge

Arguably most in line with the original score for Broadchurch, multiple tracks from Japanese Electronic composer Susumu Yokota’s 2005 Ambient masterpiece Symbol could easily be substituted in for the show’s original score. Maybe now is a good time to admit I didn’t care too much for composer Ólafur Arnalds’s score for Broadchurch. It came across a bit hammy, a bit expected for a European murder mystery series.

Even with the use of somewhat ‘obvious’ orchestral samples- a jab I’ve seen lobbed at Yokota and plenty of other artists, and one that I take issue with- Yokota’s work feels more emotionally dense, more emotionally nuanced. Its lush beauty and slightly off-kilter delivery feels like birds of a feather with Broadchurch’s scene-establishing shots of a gloomy, sometimes desolate seaside town.

Add it to the shortlist, folks. I also recommend another track from this album: The Plateau Which The Zephyr Of Flora Occupies.

Starflyer 59 – She Only Knows

Seemingly the exception to Christian Rock, Starflyer 59’s Shoegaze era is full of songs to set adrift to. It’s got the dense waves of guitar you’d expect from Shoegaze and an abstracted sense of forlorn longing that matches right up with the atmosphere of Broadchurch.

Red Lorry Yellow Lorry – Strange Dream

This might be a strange addition to this list but if I wanna do this right I’m going to need to make some bold choices. For the more restless Broadchurch fans, I wanna recommend the song Strange Dream from Red Lorry Yellow Lorry’s first full length record Talk About The Weather (1985). The first minute and fifteen seconds of Strange Dream sounds like something out of some darkened Euro thriller/crime show, so what more could you want?

Under pummeling drum machine rhythms, the song’s “alone he ran” mantra and its hazy layers of guitar fit Broadchurch‘s lead detective Alex Hardy (David Tennant) and the case that still haunts him (season 2, baby!).

REVIEW: Catcher – Yesterday’s Favorite / The Skin (Uninformed Versions) (2021)

Catcher’s brooding melodies and pummeling rhythms constitute a sound reminiscent of early 2000s Post-Punk revivalism. It’s the revival of a revival sound, held back only by an unwillingness to move forward. Any artistic experimentation or intrigue associated with the original wave of Post-Punk have been overridden by the contemporary fixation on the semblance of prior artistic movements.

As far as being a vehicle of emotional expression, I don’t think they could take the carpool lane. Both the vocals and instrumentation feel phoned in and prescriptive in nature. Yesterday’s Favorite and The Skin feel like songs written from the top down, rigid to fashionable tastes within an ever homogenized underground scene.

These are songs I’ve heard before, done better by the artists Catcher has attempted to emulate. Yesterday’s Favorite consists of equal parts Crime & The City Solution and …And You’ll Know Us By The Trail of The Dead, while The Skin is the same only with a double shot of Gun Club.

I wish them luck and hope they make lots of money.

For fans of: Bass Drum of Death, Swans, …And You Will Know Us By The Trail of The Dead

Like Catcher? Give these a listen: Geisha Girls, Crime & The City Solution, Rule of Thirds

Rethinking Southern Gothic Music: 10 Songs You Need To Know

Southern Gothic is, first and foremost, a literary genre that seemingly no one can define; a series of broad themes, stereotypes, and general ‘vibes’ often interpreted through the lens of the untrue many, regurgitated back into a self-affirming echo chamber of aesthetic cheesiness. In many ways, what people view to be southern gothic music is more of the steampunk approach to being poor wHite (with a capital “H”) country folk with an alcohol problem. So take it from a southerner who’s seen their fair share of weird occurrences; that ain’t southern gothic.

Here to correct course, flesh out your southern gothic music knowledge or at least your spooky Halloween playlist, here’s Resident Sound’s Guide to Southern Gothic Music.

Bill Frisell – Tales from The Far Side

Originally the theme for the hard to find Gary Larson’s Tales from The Far Side 1994 TV Halloween special, The Bill Frisell Quartet’s lengthy opening statement takes cartoon oddity to a macabre and haunting place. The song’s eerie and haunting motif is slowly twisted and transformed into a grotesque and wild semblance of its origin, giving Tales from The Far Side more bite than its ‘Denver sound’ contemporaries.

Porter Wagoner – The Rubber Room

From Porter Wagoner’s vaguely uneasy What Ain’t to Be, Just Might Happen (1972), The Rubber Room is the oft overlooked and much needed addition to any southern gothic or spooky country playlist. On the non-cinematic side of additions to this list, Rubber Room sings the malady of the minds and the confinement and isolation imposed on the mentally ill, all located in “a building tall, with a stone wall around.” The whole song could’ve started with ‘on a dark and stormy night’ for all I’m concerned…

Rowland S. Howard – Dead Radio

What’s more southern than the southern hemisphere? Okay, that’s a copout, but Australia has given us The Birthday Party, and with it the solo careers of Nick Cave, Mick Harvey, and my personal favorite Rowland S Howard. Rowland is the Lee Hazlewood of goth music, and in turn Hazlewood’s southern gothic counterpart. While his earlier work alongside Nick Cave in The Birthday Party may have embraced southern gothicism to a T, Rowland S Howard’s solo record Teenage Snuff Film (1999) is a must for anyone looking to dive right in.

Hank Thompson – I Cast A Lonesome Shadow

Let’s get it straight: the best version of this song is on Hank Thompson at The State Fair of Texas (1963) bar none. The spacious feel of its environment only sneaks into mind all the negative tropes of carnies and fair. Besides that, Hank Thompson at The State Fair of Texas offers a more uptempo version to the song’s slower single release from the year prior.

Foetus – Spit on The Griddle (The Drowning of G. Walhof)

The lush orchestral arrangement from composer J.G. Thirlwell more or less speaks for itself. Thirlwell’s high anxiety sound lends itself perfectly to the dark edges of perception. Perfect for night drives in the backwoods or stumbling upon a mutilated dead body. Looking for more? Try the Foetus track Rattlesnake Insurance.

Reverend Horton Heat – It’s A Dark Day

Perhaps the only person using ‘reverend’ in their band name that I don’t hold disdain for, Jim ‘Reverend Horton Heat’ Heath and crew usually deliver at least one fairly dark gem per record. 1990’s Smoke ‘Em If You Got ‘Em may have the beloved hit Psychobilly Freakout, but It’s A Dark Day, a perfectly somber song drudging through the depths of depression and heartbreak, is our takeaway. 

These Immortal Souls – These Immortal Souls

These Immortal Souls was the brief side-project of Rowland S. Howard. A split from his work in Crime & The City Solution, These Immortal Souls may be the most interesting and overlooked branch in The Birthday Party lineage (to echo sentiment from Charles Spano). Rowland S Howard’s work may be the most consistently southern gothic while never falling to the try-hard cheese of dedicated ‘southern gothic’ music acts.

Mario Batkovic – Quatere

It would be remiss to go straight to the Red Dead Redemption soundtrack in a guide hoping to change your perception on southern gothic music, but Red Dead Redemption go-to-ers get some things right. We went with score contributor Mario Batkovic’s cinematic solo accordion work and, I guess, ‘hit’ Quatere. 

Patsy Cline – Crazy

C’mon. Do I need to explain this? If you still don’t hear it, go back to Tumblr fanfic or harassing children on the internet or whatever it is you do with your life. …Still here? Great. Try throwing a little extra reverb or delay on this song if you really want to trip out. I highly recommend it.

Eddie Noack – Psycho

Of course this song is on our list. What’s wrong with you? While plenty of murder country music should be left to the grave, Eddie Noack’s single Psycho is a bonafide classic in our ears. Sometimes put in comparison to the later serial killer Ed Kemper, Psycho is a twisted tale of black outs, murder and mommy issues. What more could you ask for?

REVIEW: KAPUTT – Carnage Hall (2019)

Part of the new wave of new wave, or of the Mark E Smith-speaking ‘post-punk’ vein coming out of the UK right now, KAPUTT is perhaps the most overlooked and under appreciated group out of this new batch of bands. Carnage Hall explores the sweet and aggravating with a surrealist bent.

KAPUTT builds off the sound of its saxophone fueled dance-punk predecessor James Chance, while ditching the self-important disdain (and racism) for short melodic motifs interlaced in a roller coaster of walking disjointed riffs. Carnage Hall features punched up versions of all the songs on KAPUTT’s 2017 demo while new angles are explored with tracks like Accordion. Using the band’s standard countering angular motifs, Accordion manages to pull off the beach side relaxation we could all use in a time like this. Think About Your Face explores a level of funky festivities not seen previously by group, while Suspectette’s sweet and caring nature could work the right listener into a good cry.

Carnage Hall demands a level of focus, each note (and there are many of them) only as rewarding as the attention you give them. This is why a song like Hightlight! is not only great fun, but also necessary to Carnage Hall’s vibrancy. Highlight!’s emotions are accessible and needed. Falling saxophones lead organically into a stomping chorus, backing and lead vocals come together before the chorus turns to its anthemic instrumental b-part.

KAPUTT wastes no time jumping back into the fray with following Hi! I’m The Wasp. Updated since its debut on Demo 2017, The Wasp is still its slow, creepy self, though now with filled out backing vocals and light reverb.

The whole album is more or less this way. Far from over produced, but no longer the dry bare-bones tracks presented on the demo. The songs are all strong to start with, but with just the right amount of production they really shine in their full potential.

Their face-value goofiness is reminiscent of prog-punk legends The Cardiacs. But like The Cardiacs, under any face-value goofiness is an emotionally intelligent current of decision making. Surely, KAPUTT is the thinking-man’s Shame.*

There are far too many ‘standout’ tracks (Parsonage Square in particular) to point to a handful and say ‘try these’! If you’re a seasoned new wave/punk fan searching for refreshing energy, or simply looking for something offering a slight challenge, Carnage Hall can’t be beat.

*Not to knock Shame. Songs of Praise is a great album and given the chance you ought to see them live.

For fans of: Crack Cloud, James Chance & The Contortions, Devo

Like KAPUTT? Give these a listen: The Cardiacs, Polyrock, Clinic

REVIEW: Knitted Abyss – Bad Lassies (2019)

Bad Lassies is the 2019 debut album by Australian experimental pop duo Knitted Abyss. Members Lucy Phelan and Anna John bring an ambitious level of creativity to darkwave and post-punk that their ‘nu goth’ contemporaries (I won’t call them peers) fail to deliver. Bad Lassies‘s quirky eccentricities distance the band from their contemporaries’ dismal artistic stagnation, yet these quirks never feel gimmicky. No, Bad Lassies’s emotional delivery is only ever enhanced by the artistic choices made.

Album opener Attention is a minimal post-punk track reveling in its loneliness. Squelchy synth bass and light drum machine work give the band an almost early-80s Bananarama rhythm section, blanketed in the more morose qualities of gothic post-punk classics. From here things get darker, less pop oriented, but never losing a distinct sound established from the start.

Inspiration and stylistic elements are lifted and fitted together well without ever falling victim to pastiche. Elements of darkwave, post-punk, shoegaze and Ladytron-esque electronic pop are prevalent and well mixed together to create something new. Knitted Abyss dismisses the queue of bands lining up for ‘cool factor’ authenticity by creating something distinctly their own. Lucy Phelan and Anna John created a well-crafted album, and therefor don’t need to mold to any perceived idea of ‘how things should be’ within a genre.

For fans of: Crack Cloud, Waitresses, Crash Course in Science

Enjoy Knitted Abyss? Give these a listen: Casket Girls, Cold Choir, Tropic of Cancer

TAKE VIBE: An Interview with Laurence Mason

Laurence Mason is the mastermind behind Take Vibe, a reworking of the Strangler’s Golden Brown (a post-punk meets baroque pop ode to heroin) in the style of Dave Brubeck’s Take 5 (written by saxophonist and composer Paul Desmond and first released in 1959 by Dave Brubeck Quartet). A demo and later de facto music video for the single reached viral status clocking in multi-million views and sparking interest in the opposing bands’ work within their counterpart’s audiences.

The original demo video, uploaded May 11th, 2020.

The following interview with Mason took place over email on April 21st, 2021.

The original demo was a hit, now with a little over 4 million views. Then the 7” is pressed and sells out. Did you know there would be such a strong audience out there for a Take Vibe type concept? What would you say is the make up of Take Vibe’s fanbase?

The only reason I thought people might click on it is because it’s the sort of thing I’d want to watch. That’s what an audience is really though isn’t it, a group of like-minded people who share a common interest with the creator. What I didn’t realize, and still struggle to comprehend, was how large that audience would be. The whole thing was very much a case of right place, right time – people seemed to be finding my video from lots of different places. There were visitors who had found it from searching for Dave Greenfield pretty early on, which of course was the initial reason I’d made it. Golden Brown had been used in an episode of a Netflix series called Umbrella Academy, and also in a film called Baby Teeth round about that time too. Then later on in the year it would have been Dave Brubeck’s 100th birthday so people were finding it through that.

In a roundabout manner of reaching out to you, I spoke with Jazz Room Records “Head Honcho” Paul Murphy. What was it like getting to work on the album? Could you run through the process of how the record was made?

The entire thing was done at my dining room table. I was moving house at the time of making it so I had limited equipment I could use, with most of it being packed away. This lo-fi setup was great because I wanted it to sound like it had been recorded 60 years ago, the idea of studio quality went out of the window and I was adding effects to make it sound grainy and old. For the release, the drums and bass were re-recorded so we weren’t using any samples as I had done on the original video, these were played by John Settle and Josh Cavanagh-Brierley. I ended up playing baritone sax for the B-side, “Walking On The Moon”. I’d been listening to Gerry Mulligan’s Night Lights album so it was a little nod to that. 

The jazz and post-punk connection has been made before, most notably with certain No Wave adjacent groups like Lounge Lizards, James Chance, and later with the lounge group Nouvelle Vague. Even then, I don’t believe there’s ever been a more direct connection between the two worlds, especially recently. Is this new terrain you’re hoping to explore further, or has the statement been made?

The connection I made was between the two songs (Take Five and Golden Brown) rather than looking at it from a perspective of connecting two genres. For a long time I’ve heard musical similarities between both tracks, and I’m not the first person to have done that, but the way I presented those similarities was the way I was hearing them. There’s definitely more terrain to explore in that field, but I’ve not yet found a pair of tunes that click together as well as those two did.

The idea of working with other people’s material, covering it, or of there being music ‘standards’ has really fallen out of popularity. How does a musical piece as a commercial entity transition into the greater cultural narrative, especially surpassing the original writer or performer?

Wow! Right, I’ll have a stab at that one… My thoughts are that it comes down to purpose versus right. Whether or not a statement (be it music, art, a campaign, etc.) has a right to exist in culture is entirely up to the individual who is on the receiving end of that statement, but its purpose to exist (and ultimately its success) is decided by society. The best example I can think of is Tracey Emin’s bed. On one side of the room you’ve got the people who say it really strikes a chord, the people who nominated it for a Turner prize, the people who actually bought it… Then on the other side you’ve got the people who say “Well that’s rubbish, I’ve got one just like that at home.” But its purpose in culture transcends what any individual thinks of it because society has decided that it has a place to exist in conversations, discussions, and arguments. So much so that on the mention of modern art, most people will bring up an image of an untidy bed in their minds. On the subject of using other people’s material for their creations, I think its use needs to be justified – what purpose does it serve in its new setting? Its right to be reused is up to the opinion of the consumer, but the decision of society on how well it has served its new purpose will govern its success in culture. That got deep.

Punk can in many ways be referred to as the great reset on music. With lower bars of entry, for both artists and consumers, how does jazz with a relatively high bar of entry stay relevant and keep forward momentum with younger audiences?

Look no further than YouTube for that – creators like Adam Neely, Aimee Nolte and Charles Cornell cater for young people wanting to learn about jazz, particularly jazz music theory, and it makes up an incredibly large audience on YouTube. Making something that previously seemed untouchable available to the masses is probably about as punk as it gets.

A little question I like to ask people I’ve just met, what are you listening to? No cool answers!

At the moment I’m listening to a lot of 90s RnB but that’s for a project I’m working on with someone. I’ve got Radio 6 on whenever I’m driving, I love Mary Anne Hobbs’ show.

Last but not least, ‘run what ya brung’ as they say where I’m from. Let the people know what you’re working on and where they can find you!

My next project involves a 100-year-old bass saxophone and some Leeds-based brass players. If that’s whet your appetite just type Laurence Mason into YouTube to find my channel, there’ll be some stuff up there soon about it.

You can find Laurence Mason’s Youtube account here or head on over to Jazz Room Records.

Wanting more strange jazz pastiche? Well you should check out Resident Sound’s Guide to The Fast Paced, Lighthearted World of DOOM JAZZ.

REVIEW: Geisha Girls – Disappearing Act (2006)

Geisha Girls puts their contemporaries to shame with accessible high intensity alternative rock tinged with death rock sensibilities. Pounding tom percussion, use of 16th note hi-hats, and angular power-chord-shy guitar work may feel familiar to any Rikk Agnew/Rozz Williams era Christian Death fans. But with dry production and Hot Hot Heat styled vocals, Disappearing Act is as distinctively 2000s alternative rock as it is anything else.

The bass bounces, nearly plodding along with angsty disregard. That is until Retaining Water. With walking bass lines and a stripped down section where the bassist shines, Geisha Girls skirt the repetitive nature that current death rock bands accept as the boundaries of the genre.

In other ways, Disappearing Act is what Arctic Monkeys fans thought they were into. Tonal similarities wouldn’t be lost on a listener of both bands, but Geisha Girls don’t let the listener off as easy. Songs like This is Novelty, Finding Peers, and Skinny Wrists use dizzying compositional structures with puncturing frenetic drumming.

If you enjoy alternative rock, and are looking to get into something a little bit harder, you need to hear this album.

For fans of: Phantom Planet, Art Brut, Christian Death

Like Geisha Girls? Give these a listen: Infinite Void, Dame, The Atom Age

REVIEW: KAPUTT – Demo 2017 (2017)

Demo 2017 is a uptempo danceable punk splurge of weirdo rock’n’roll archived in stripped-dry production. Its wirey and agile songwriting keeps things moving and interesting for the whole 14 minute ride. What more could you want from a demo?

KAPUTT’s guitar work is, in some way, in lineage of Devo’s Bob 1 and Jerry Casale, while drummer Rikki Will and saxophonist Chrissy Barnacle take a laid back but nevertheless meticulous playing style reminiscent of The Cardiac’s Dominic Luckman and Sarah Smith, respectively.

The band has since released the full-length album Carnage Hall (a demo of the title track appears here on Demo 2017) as well as 2 singles. You can go check out Carnage Hall now, or keep a look out on Resident Sound, as I’m sure I’ll be revisiting KAPUTT more in the coming weeks.

For fans of: The Cardiacs, James Chance & The Contortions, Devo

Like KAPUTT? Give these a listen: Crack Cloud, Clinic, Polyrock

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