Killermont Street 2001 is a diverse showcase of Japan’s rich indie pop scene in the late ‘90s and early 2000s. Although released by LD&K, a smaller label most closely associated with the local Shibuya-kei scene, the content isn’t restrained to any one particular genre or style. Instead, you can expect to hear everything from bright neo-acoustic and twee pop, sugary picopop, and atmospheric dream pop tracks. Despite the range of genres and styles, the album flows well from one song to the next. This ease is thanks to the broadly similar lo-fi production styles throughout the compilation, and a common influence in the Western pop tradition of the ‘60s.
The album is front loaded with some fairly big names—bands who have since gone on to develop devoted and passionate followings in the West. If you’ve listened to a lot of ‘90s Japanese pop, some of these names will certainly be familiar to you already, but fear not! Most of their selections are unique to this release, so the album will sound fresh to even the most experienced ears. For instance, 6 out of the 15 bands featured contributed an original song including: Cymbals, Citrobal, Sylvia 55, Advantage Lucy, polyABC, and Jet Lag. On track two, Cymbals come in hot with a spirited and fuzzy rock cover of the classic Martha and The Vandellas hit ‘Heat Wave’. A really fun and catchy little song not featured anywhere else in their discography. Similarly, Advantage Lucy contribute an alternate version of their song ‘Earth (地球)’, originally found on their EP Anzu no kisetsu. This version is longer, noticeably hazier, and has a totally re-worked intro with a new guitar riff repeating throughout. These changes make what was previously a very good song into an incredible one.
But the real stars here are all the small, comparatively obscure bands that make up the bulk of this release. Highlight after highlight from bands I’ve never ever heard of in all my years. Just who the hell are these guys!? I can not stress enough how all of these bands sound like they’ve submitted the single greatest song they ever wrote and recorded to this sampler. Take for example track 6, polyABC’s ‘18 Candles’. Beautiful, soft and lightly strummed verses explode into a chorus of big, crunchy guitars. Pop perfection. This is immediately followed by what might be the best song on the whole comp: Maybelle’s ‘Kagebōshi No Koro (かげぼうしの頃)’. Absolutely gorgeous twee pop, with shimmering jangly guitars and soaring vocal melodies. And herein is what makes this collection so special. I can practically guarantee that most of these bands will be new to you. I’m sure they will make such a strong impression, even after only one listen, that you’ll feel compelled to look into all of them further. In this way, these 15 featured bands can easily point you towards dozens of additional releases to enjoy.
In the past few years, Shibuya-kei music has had something of a resurgence in popularity in the west. Bands like 800 Cherries and Halcali have gone semi viral on TikTok and Youtube. This renewed interest has driven a lot of excitement and led to a lot of great music getting rediscovered and re-issued. Yet unfortunately this amazing compilation remains an obscure and overlooked gem. Too often compilation albums try to recap or lift from much greater material. In this way, they frequently function as glorified playlists. Hastily and haphazardly constructed, prioritizing vibe over song. Killermont Street 2001 is the exact opposite. An essential, gold standard in the format, clearly assembled with great care and precision. The “worst” song included here is merely good instead of an incredible all-timer. Anyone with even a passing interest in Japanese pop and indie music should make listening to this a high priority. Recommended in the highest possible terms.
Favorite tracks:
Maybelle – かげぼうしの頃
Advantage Lucy – 地球 (Far Away Ver.)
Runt Star – 落葉とファンファーレ
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