Yanakoto Sotto Mute – Afterglow

Since their formation in August 2016 Yanakoto Sotto Mute have steadily built a following. As well as becoming a mainstay in the local Tokyo chika idol scene, a string of singles, EPs and two excellent albums, Bubble and Mirrors, saw them attract nationwide attention. Given the hand-to-mouth economics and 'here today, gone tomorrow' nature of being an independent idol group, it’s not often that an indie idol act can put together a body of work that’ll catch the eye of a major label. Their highly polished rock sound, with its roots in grunge and emo, has been ripe for one of the big players to pluck for a while and now they’ve finally signed up with Universal.

Although Afterglow is Yanakoto Sotto Mute’s major label debut, it’s not a new song. Longtime fans of the group will recognise the track, which has featured in the group’s live performances since 2018, but a studio version hasn't been released until now. It’s perhaps fitting that this should be the song to mark their big break, as it’s written by Ryoga Hatakeyama and Keisuke Miyazaki, who’ve been part of the group’s songwriting team since the beginning. Yanamyu’s very first release, 8cm, featured re-written covers of songs by their band Say Hello to Sunshine, and the pair have contributed a run of top tracks to the group in the years since.

Yanakoto Sotto Mute have always been able to suffuse their songs with an epic quality, but now that they have a major label budget behind them, Afterglow has benefited from the addition of a full string section. The sweeping orchestral backing gives this melancholy break up song an extra emotional punch.

The accompanying music video also gives us a first look at new member Tsukasa Rin (when she hasn’t got a bucket on her head!). The Hawaiian-born Tsukasa recently joined Nadeshiko, Mani and Ichika following the departure of Rena last summer, and she seems to have fit in seamlessly, keeping the quartet’s vocals well-balanced.

Afterglow is backed by beyond the blue, another Ryoga Hatakeyama and Keisuke Miyazaki composition, and it’s a bit of a departure from their usual sound. The soulful piano intro with garage-style digital percussion is a bit of a fake-out as it soon gets back to the heavy guitars. Still, it has a nostalgic hint of 90s R&B in places.

It’s probably a smart move to make their major debut with a tried-and-tested song. It rewards longstanding fans with a lushly-produced new version of an old favourite, while simultaneously introducing a new audience to Yanakoto Sotto Mute with a track that epitomises what they’re all about. It’s an achievement in itself to survive for years in the independent idol scene. Now they look set to grab their deserved reward.