Modern Japanese music has habitually been recognized as a niche rather than anything mainstream in the Western music world. Yoko Ono had her time, but after almost three decades she is still portrayed as the Asian woman who led The Beatles to collapse. Bands like Loudness and Shonen Knife have made their voices heard at certain times, but for the second largest music market in the world, something remains lacking. Japanese music has been muted for too long, and the younger generations here are running out of patience.

This is not about girl groups or visual-kei bands. We’ve always known there are extreme fans out there who believe that anything Japanese is ‘hip’ and ‘edgy’, and we can see the wide culture appropriation among these fans.  Just as how there’s a distinction between the definition of 芸術家 (geijutsuka / artist) and アイドル  (aidoru / idol) in Japan, in America most people understand ‘popular’ and ‘respected’ are two different words. The target audience of Japanese girl groups and visual-kei bands however, are not the most representative among the young generation of Americans.

A year ago in another article, I described the typical Japanese indie scene as comprising two categories: hardcore, masculine, “Oowa!” type toughies and new wave, white-washed, sissy shoegazers.  The classification still applies today.  Harsher emo youngsters still follow the footprints of One Ok Rock, Coldrain and Crossfaith. They see the success these bands have made at home and overseas, and find the music easy to copy. However, due to their limited vision, it’s hard to have any breakthrough, even domestically, let alone abroad. Most of their songs are just a mix and match of heavy bass lines and basic pop-rock tunes accompanied by a growing rage that often sees them attached to anime shows.  The westernized skinny hipsters however, set their eyes on foreigners and avant-garde youth du jour from the very beginning. Their fans are not your average Joes who go to Zepp Tokyo or RIJF (Rock In Japan Festival). They wear vintage clothes, eat no meat and write their Instagram captions in Katakana or English.

Historically, we have to admit, many Japanese people have always had a somewhat warped feeling of worship towards westerners, especially caucasians. Back in the 60s, when The Beatles fever hit the entire western world, Japan was the only place in Asia where the four-piece Liverpool band became a national phenomenon instead of a minority favorite as in Korea and Malaysia. Meanwhile Japanese artists are eager for recognition of their identity from the outside world. After establishing the contrasting roads that the two groups have taken, it’s all becomes clear, Japan needs more futuristic, edge-cutting music than the self-repeating and superficial entertaining ballads played on Music Station. White-washed music might not be, and shall not be the ultimate answer, but it’s a vital leap from as-is.  

Since the 2010s, modern Japanese music has been witnessing a boost of 'neo-new-wave' bands outrunning the traditional music industry. Notable  artists include Suchmos, The fin., never young beach, Yogee New Waves, Ykiki Beat/DYGL, Oh Shu and Mitsume. Together, these bands created a posh sub-culture with core elements such as surfing, skating, graffiti and DJing while based in Tokyo's Shimokitazawa, the new Harajuku of indie music. These bands were mostly born in the early 90s and heavily influenced by western rock and jazz music from an early age. Some of them sing in English as much as possible and try hard to rid themselves of even the slightest trace of Japanese. Not that they reject their Japanese heritage, they just feel their own music doesn’t go well with the Japanese language.

In terms of popularity abroad, especially here in the United States, indie music lovers are beginning to notice local Japanese-American artists like Mitski, and Japanese bands singing exclusively in English like the Fin. Meanwhile these Japanese bands are responding with frequent overseas visits to major cities such as New York, LA, Berlin and London; The fin., Mitsume, DYGL, having all performed in the U.S.on several occasions. Though yet to attract large audiences, they have enjoyed increasing awareness from fans and have received critical acclaim from fellow musicians. Some of the pioneers, for example DYGL, have successfully made connections with renowned figures in the industry. Most strikingly, Albert Hammond Jr. from The Strokes, who produced DYGL’s debut album which came out just last week.

Japan Nite, a tour that has been featuring trendy new Japanese bands since 1996, has also greatly contributed to the Japanese indie scene in America. The bands they invite would usually attend SXSW (South by Southwest) as a warm up, and then tour the whole of the States playing local, signature indie venues. The fin. first came to the U.S. with Japan Nite in 2015.  Last year saw shows from Tempalay and Atomic stooges, and this year Japan Nite brought us CHAI and Walkings.

The organizers are devoted to promoting ‘new blood’ so it’s not surprising when you find out the bands they present are relatively unknown, even in Japan.  Unlike the typical audiences seen at the concerts of major Japanese musicians such as X Japan, B’z, VAMPS, and Hotei, among many others, where more than half appear Asian, at Japan Nite gigs the audience looks nothing different from a DIIV show in Brooklyn.

Looks promising? At least I think so. The prelude of a Japanese indie music tornado has just seen its first few flaps of the butterfly wing. We won’t see it happen tomorrow but hopefully sometime before the mini-skirt-uniform girls occupy all Japanese TV channels.