Yanakoto Sotto Mute – Humouresque

In October 2018, indie idol group Yanakoto Sotto Mute announced a “continuous release” EP, comprising three separate EPs, released digitally over the course of three months. Combined with a series of free gigs, it formed part of a publicity campaign in the lead up to their third one-man live, entitled THE GATE at Tokyo's Zepp DiverCity in January 2019.

Most idol acts that start out in the independent alternative fringe usually play ‘taiban’ shows, with five or six acts on the bill, where the combined fanbases of each group can hope to fill a smaller venue together. It’s an indication of the mark that Yanakoto Sotto Mute were making that they could fill a 2,400 capacity like Zepp DiverCity on their own.

Even though the rest of the world has an image of Japan as an advanced high-tech society, in truth, it has lagged behind when it comes to digital music and streaming. Many record companies still cling to the CD format and the marketing opportunities and extra revenue that multiple limited editions of the same record can provide.

While many fans would have playlisted the Humouresque EPs into their own DIY album, if they wanted an actual physical CD, they would've had to grab the one-night-only, venue-only special edition on sale at THE GATE. Otherwise, it was a case of trying pick it up later on the internet at an inflated “collector's” rate.

It took over a year for the three Humouresque EPs to finally be collected into an album and physical CD that fans could add to their collection without breaking the bank. Each EP had its own character, highlighting the versatility and creativity of Yanakoto Sotto Mute’s songwriting crew.

The first EP had the heartfelt and emotional tracks Stain and Nostalgia sandwiching the hard-rocking uronos. The second outing had the playful Pastureland and swirling, densely-layered guitars of Bokura no Chiisana Chizu along with the frantic helter-skelter of Blue. They finished the series with their most diverse tracks yet, heading into shoegaze and jazz territory.

It’s not unusual for idol groups to have an album with tracks of varying styles all jumbled together. Yanamyu have pretty much kept to their emo/grunge roots though and Humouresque #3 was the first real departure from their core sound. Whirlpool Swirls is another prog rock symphony penned by the group’s live band guitarist J.og.

Meanwhile, Westminster Chimes is an ode to vintage British shoegaze, with guitars reminiscent of Cocteau Twins effects pedal genius Robin Guthrie. Backed by a distorted, feedback-drenched looping riff and piano rippling like a peal of bells, it conjures an ethereal atmosphere. The vocals are cleverly constructed with Nadeshiko, Mani, Ichika and Rena each taking their individual lines as usual but they back themselves with rich choral harmonies, giving the song an otherworldly, angelic touch.

Wonder Gate adds a surprising influence to the mix as its delightfully laid-back, jazzy verses bloom into rousing rock choruses. Nadeshiko and company handle the switch in tone with ease and Rena’s sweet and gentle voice is a perfect fit for the song’s quieter sections. Enjoy it while you can though. These are the last recordings to feature Rena, as she left the group in the summer of 2019 to attend university.

While each separate EP worked as a trio of songs, collected into an album, they’ve been re-ordered to give the long play format a better flow. It’s fascinating to see the different sides of Yanakoto Sotto Mute emerging and how the highly polished emo sound they‘ve built their reputation on is expanding to take in the influence of other genres. Humouresque is another first-rate, if long-awaited, entry into Yanamyu’s discography and it serves as a fitting swansong for Rena, who gets to show the best of her voice on Nostalgia and Wondergate.