Light in the Attic, like Numero, has never gone in for half measures. When a release is compiled, they’re throrough, swaddling it in impeccable design and restoring lost music to its rightful place on your speakers. So, with this in mind it was an exciting announcement that the label would be starting a new Japanese archival series looking at different scenes and subgenres throughout the region. Their first take puts the focus on the ’60s and the folk movement that grew out of student protests, “authentic folk” leanings and the beginnings of psychedelic folk. Much of this came under the banner of “New Music” which tied together the Eastern and Western regional strains.
The collection is stitched with a wonderful slide in and out of the more authentic, stripped-down artists, many of whom find a plaintive beauty in their compositions. The songs are clearly leaning away from what would have been traditional Japanese folk, but also working in the same way that their British and American counterparts had contrasted the more pop sounding beat groups. While there’s certainly an argument to be made for more Japanese traditional influence to rear its head, this collection stands as an interesting argument for the West’s pervasiveness on young people at the time.
Light in the Attic has shone a light over many voices that seem left out of the current conversation in Japanese music. It’s easy to connect the dots between Takashi Nishioka’s subtle boil of fuzz and later works by Masaki Batoh. For me, personally, so much of my contact with Japanese music is rooted in the noisier ends of psych, the discordant ends of rock and, when scrubbed up, the more beat-leaning ’60s groups like Jacks or Apryl Fool. It’s great to have a collection that brings the underground beauty of these artists to the foreground. Can’t wait to see what LIA digs into in this series next, but for now, this one’s a keeper.
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