I've been listening to Envy and MONO lately as part of my post-hardcore exploration. They're both worth checking out. Here's my recent post about them: Like Deafheaven, with their live-in-lockdown album 10 Years Gone, many bands are releasing live albums to help fill the void left by tour cancellations. Three such releases have appeared in the last few months that satisfy my craving for post-hardcore music and continue to display the genre’s diversity. First up is Panopticon, which began as an essentially one-man-band entity started by Louisville, Kentucky-based Austin Lunn. His work is unique, since it combines black metal with Lunn’s rural roots and interest in nature via bluegrass and traditional folk influences. This sound is most apparent on Panopticon’s fifth album, 2012’s Kentucky, a concept album concerning the labor struggles of Kentucky coal miners. Lunn sometimes recruits other musicians for rare live performances, one of which makes up 2020’s Live Migration album. The 2018 concert, recorded at the Migration Festival in Pittsburgh, Pennsylvania, is a bone-rattling career overview where the country and folk tendencies are more implied than evident (perhaps to avoid switching to acoustic instruments mid-song). The quieter moments, such as in “Capricious Miles” and “En Hvit Ravns Dod,” are almost shoe-gazey in texture. Nature and bird sounds also occasionally float in and out throughout the show, a reminder of Lunn’s passion for the outdoors. For the discerning listener, there are plenty of surprises here that go beyond the standard post-hardcore and black metal styles. Live Migration is a challenging, invigorating look into Panopticon’s distinctive musical, spiritual and world views. The Japanese quartet MONO has been mesmerizing audiences with their potent live shows for decades. They commemorated their 20th anniversary as a band with a 2019 performance in London, which is presented on the latest album Beyond the Past. MONO’s compositions are primarily long instrumental pieces (though bass player Tamaki Kunishi takes a winsome vocal turn from time to time), anchored by the rhythm and lead guitar interplay by Takaakira Goto and Hideki Suematsu, and supported by drummer Dahm Majuri Cipolla. Even when playing as just a four piece, MONO’s sound is orchestral, using extreme dynamics, distortion and feedback to vary the ambience and intensity. But the group often plays with a string section (Austin violinist Susan Voelz, who I’ve seen backing Alejandro Escovedo, has recorded with them) or full orchestra, especially for live appearances, like on this almost two hour London spectacular. MONO prefer not to be labelled as post-hardcore (how about screamo without the screamo?), but their music does share similar flowing chords and riffs with the genre. Their finest moment may be the longtime fan favorite, the epic 20 minute closer “Com(?),” a literally earthshaking work that goes from a whisper to a scream, and back again, several times. Beyond the Past is a powerful and lush tour of MONO’s extensive catalog. I recommend letting yourself fall into and then getting lost in its beautifully abrasive charms. Envy is another Japanese band that has been active even longer than MONO. Formed in 1992, their albums All the Footprints You’ve Ever Left and the Fear Expecting Ahead and A Dead Sinking Story are considered seminal works in the screamo genre. Last Wish captures the band’s final concert before lockdown at one of their favorite Tokyo venues, Liquidroom. Envy are masters of huge majestic guitar chords that grab your attention immediately with every song. Vocalist Tetsuya Fukagawa uses a suitable growl (in Japanese, of course) and the softest, most gentle recitations to effortlessly control the tension over the course of the hour long concert. Though often impressive, I’d hesitate fully recommending Last Wish, since it features a new little twist in Envy’s sound. For some reason, on select songs, Fukagawa introduces a primitive robotic effect behind his vocals that I find distracting. Too bad, because otherwise this album showcases much of what makes Envy special. It may be better to check out one of their earlier collections, most of which are flawless. One final observation: Most guitarists that I’ve seen in this genre come off as rather sedate and serious, usually leaving the heavy live action to the singer and drummer. Not so with MONO and Envy. These guitarists play with total abandon, even when seated as in MONO’s case. JUNE 21, 2021
Don't know if they're my favorite but I'm certainly fond of Food Brain, especially Liver Juice Vending Machine.
No one favorite; too many good musicians to play rank-em... Unlucky Morpheus Lovebites OOIOO Boredoms Wagakki Band Babymetal Dir En Grey Sukekiyo Hiromi Acid Mothers Temple Rovo Charan-Po-Rantan Tomita
Sadistic Mika Band probably come first - a run of three brilliant stduio albums, all of which I play regularly Runners' up:- Yuya Uhcida & the Flowers / Flower Travellin' Band Inu - based on just one post punk (sounds like punk to me though) album I could swear by
Hiromi Ohta - Goodbye Siberian railway John Zorn loves her voice very much and invited her to the recording of his Forbidden Fruit. This song was composed by Eiich Ohtaki.
If it has to be a group, either Ghost or Loudness. But if I can choose a solo artist, Hiroshi Yoshimura all the way.
New album coming soon from Otoboke Beaver! Otoboke Beaver embrace the nonsense on “Yakitori” I love this band's attitude: https://www.youtube.com/watch?v=GlwEEW6p1pE
"Pardon?" is genius and really seems to capture the zeitgeist of the era, in 2 minutes. (Another from the new Otoboke Beaver album.)