January Highlight:
ass_atte- The Greatest Hits That Should Never End
Following his 2024 release To be in Hell is to drift: to be in Heaven is to steer, home recording artist ass_atte released his latest EP in January. Featuring guest narration from bercedes menz member Wada Kazunari. This five track mini-album hosts a notable progression from his last releases, with a jump in production value, but also a slightly more marketable approach to his usual style. Make no mistake, The Greatest Hits That Should Never End may only have a half-an-hour run time, but an excessive blend of musical influence and chaotic, disordered tangential directions are unignorable.
The first track ‘The World Should End’ was a surprise, seeming so organised it could pass as something you’d hear on the radio. A ‘Punch! Punch!’ intro that smacks you in the face, a melodic chorus followed by rough walls of guitar, then contrasted with an atmospheric solo to end— if you’re having a hard time keeping up then you’ll have to get used to it. That feeling of “where is this going next?” is what separates this album from something you’d put in the background; a totally attentive experience.
Grunge, metal, sludge, pig-fuck, man against the world, bongos, industrial, bossanova, first person narration, ‘god, I fucking hate my job’ — it almost feels easier to explain the album by throwing those words onto a wall.
The album finishes on ‘All Our Lives Bound to End Like a Greatest Hits (I Wish I could)’, an overwhelming and reflective personal track. Bittersweet, grungy, cathartic, and very reminiscent of the final track on ass_atte’s first album ‘All Our Lives’, both respective albums ended on an introspective and explosive note that feels like a “to be continued” as opposed to an ultimate conclusion.
Favourite track:
To be in Hell is to drift: to be in Heaven is to steer. (digest)
Tamio Okuda- あまりもの (Amarimono)
The frontman of the legendary Unicorn returns with his first solo project since 2018. Amarimono is exactly what you want from the old man version of Okuda- warmth, wisdom, and the same old edge he sported with Unicorn through the Heisei era. The album title ‘あまりもの’ can be translated to ‘’leftovers’’, however the tracks on this project are something much more than leftovers. The title perhaps symbolizes Okuda’s view on his current, late career. The album contains new songs and self-covers, both serving as reflection on his career. Musically, the album is really solid stadium rock. Every track is catchy and memorable, nostalgia of the years past seeping from the compositions. ‘うちょうてん’ and ‘スピード’ start the project as two bouncy tracks that have Tamio stating that his guitar and voice still exist in that good old one-two punch unison. The album ends with the title track, a soft and tearjerking song that is simple in tone and lyrics, but it carries immense weight. The song is in lower quality than the rest, and creates an atmosphere of a man with guitar, just singing out his thoughts. It’s a very sweet ending.
Favourite tracks:
うちょうてん, あまりもの
Kirinji- Town Beat
Town Beat arrives as yet another serene, pop-perfect album from Kirinji. The title suggests a literal heartbeat of the city, and the songs support this theory. The lyrics tell different everyday stories of aspects of regular life, paired with idiosyncrasies and urban grooves, a Kirinji signature. The album uses funk and soul soundscapes to evoke the atmosphere of a bustling city and the society that inhabits it, everyone concerned with themselves, with very little space for other relationships. However, Town Beat examines these lives and moods from an observer’s perspective, using some sharp humor and brilliant lyrics to do so. The album is really accessible and gentle, and works great as background music for everyday tasks. However, it contains enough thought to demand your whole attention, and invite you warmly into its world. Tracks like Unseen Dancer or What A Night evoke warm spring nights under neon lights of the city, unexpected meetings and a very simple atmosphere of relaxation after a long day. The album is incredibly charming, and its underlying bossa rhythms will make it a great warm weather listen.
Favourite tracks:
Unseen Dancer, What a Night
Shintaro Sakamoto- Yoo-hoo
Sakamoto’s songwriting genius is on full display on this one. The former frontman of Yura Yura Teikoku has departed the band in 2010, and decided to embark on a solo sophisti-pop journey, a stark contrast to Yura Yura Teikoku’s experimental garage rock. Yoo-hoo might just be the most solid album out of his entire solo discography, and is a genuine refinement of his signature relaxed sound. The songs are not in a hurry, they are slow and relaxing in sound, but some of them contain lyrics edging on aggressive existentialism. This is most apparent on “Is There A Place For You There?”, which sees Sakamoto’s solemn singing style clashing with lyrics that are, at times, accusatory. An interesting song to follow the intro, “Dear Grandpa”, which was a light and heartfelt ode to a family member. Yoo-hoo is wonderfully layered, at times even spacious. The album has moments of interesting genre fusions, with 1960s soul mixed with tropicalia.
Favourite tracks:
Dear Grandpa, Justice
W.o.d.- You Only Live Once EP
W.o.d. started their year with a rather soft 4-track EP. The first 3 tracks are sung gently, the instrumentals aren’t as noisy and aggressive as they tend to be with w.o.d., and they hit the nostalgia note rather well. It is a good record to kickstart a new era for the band that’s been quiet for over a year before this project’s release. The opening ‘栞’ is a highlight of this EP. The track starts asymmetrically, out of rhythm, until it unravels as a ballad mixing symphonic rock with grunge. The closing track, which is also the title track, goes back to the vintage w.o.d. sound- short, distorted, sounding like it was recorded in a garage by a bunch of angsty guys. So, good stuff.
Favourite track:
栞
Mizuirono_inu- SONATINE
Mizuirono_inu’s entire discography is full of plot twists and melodies changing rapidly with every section of their songs. Their newest record, Sonatine, exemplifies this. The album’s title might be in reference to Takeshi Kitano’s classic flick from 1993, and however I couldn’t find anything that would confirm this, the frequent cultural references scattered through the album seem to confirm this. The opening track itself, KUROSAWA, is like a small album by itself. The 10-minute long medley contains so many different small tracks, styles, melodies, it’s insane that it all makes such a concise and gripping experience. SONATINE is unapologetically loud and chaotic, even during its slower tracks, for example Sashi is Like, which evolves into a mashup of dramatic vocal delivery mixed with loud, distorted instrumentation. The same can be said about Meruem. The tracks later on get increasingly experimental and wild, unsettling at times. Elements of noise and glitch are frequently incorporated into the compositions of this album. If you like electronic, dramatic chaos, this is a record for you.
Favourite tracks:
KUROSAWA, Meruem
Base Ball Bear- Lyrical Tattoo
The power pop legends celebrate their 25th anniversary in 2026 with Lyrical Tattoo. This as well is their first album in 5 years. Surprisingly strong, with only 7 songs spanning over 24 minutes, Base Ball Bear deliver an album that isn’t just a retrospection, but a reinforcement of power pop’s place in the current music industry. The band’s songwriting is air-tight on this one, not allowing the album to have even a moment of boredom, not one song feels out of place here. The opening trifecta of tracks is a really strong one; the title track sets the nostalgic aura of the album well, Caramel Dog brings a fresh bite, and Time Shift Girl echoes the early 2000s era of shimokita-kei with its nostalgic and lovely chorus. It’s a shame this album isn’t longer, but it’s apparent that Base Ball Bear are back to form, despite years of experience on their shoulders.
Favourite tracks:
Lyrical Tattoo, Time Shift Girl
Oni no Migiude- VOODOO IN MAGMA
Now this is an album we’d love to hear performed live. Oni no Migiude, fronted by the enchanting Utena Kobayashi, released their sophomore album to many voices of approval. And it’s easy to see why, as the band creates an unique mystical atmosphere here. On one hand, this project is heavy. Like, really heavy. The guitars are amped to maximum and they weigh on the listener like a spell. The gloomy and dark aura of the album is supported by the image of the group itself, as the musicians making up Oni no Migiude wear red robes and masks everywhere they appear. It really helps the album’s credibility. All these heavy elements are paired with lighter components, like the ethereal instrumentation making the songs feel larger than life at times without them being too obvious, and Utena Kobayashi’s soft, angelic vocals, swimming on the tracks with no effort. Listening to VOODOO IN MAGMA feels like stumbling upon a ritual site, but you feel strangely at home.
Favourite tracks:
Oni Omen, Aether Pipe
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