Gone are the melodramatic posturings, the over-the-top inflections, the overdone stage settings. Bowie is being David, rather than some fantasy construct.
Why does a band that has become internationally famous for breakbeats and “Loops of Fury” revert to the metronomic bass drum sound that drove so many away?
Birmingham, Alabama’s retro/modern garage-rock band conjures lush lo-fi grooves, invokes Stones-like melodies, and fills in the cracks with ambient putty.
The liner notes to this Tokyo garage rock comp give the impression that the sheer hideousness of the Japanese pop scene inspired most of these bands to form.