Hagata

Part of what made Teke::Tekes outstanding 2021 debut album Shirushi so pleasurable was the sheer novelty of the bands approach. The Montreal-based groups blend of Japanese traditional music, indie rock, film music, psychedelia, art rock, and eleki (a Japanese subgenre of guitar rock heavily influenced by the Ventures) was so thoroughly unique that the excellence of the execution was almost beside the point as the different ingredients joyously bounced off one another. Two years later, Teke::Tekes second full-length, 2023s Hagata, is every bit as much a left-field delight and finds the band even more confident and adventurous in their sonic shape-shifting. Hagata rocks harder than the debut on tracks like "Garakuta and "Hoppe," and the rhythms show off tougher and more potent grooves, while the mingled mystery and sense of discovery in their melodies is still grand, challenging fun. Maya Kuroki is the rare vocalist who is so expressive and dramatic that she can make herself understood even if you dont know a word of Japanese, and the dynamics between the guitar attack of Serge Nakauchi Pelletier and Hidetaka Yoneyama and the sweetly inquisitive voice of Yuki Isamis flute demonstrate how well opposites can attract. The detour into 70s cop show themes on "Setagaya Koya" is as welcome as its unexpected, and Etienne Lebels trombone work on "Kaikijyu" invokes a jazzy spirit guided into unknown worlds by the intelligent force of bassist Mishka Stein and drummer Ian Lettre. "Yurei Zanmai" is the Asian-Canadian avant-prog workout you never knew you needed until you heard it. Shirushi made Teke::Teke sound like a band who could conceivably strike out in any number of directions in the future, and Hagata is the work of happy musical wanderers making glorious discoveries in their self-created universe. ~ Mark Deming