CD released by Fuzzy Pals Records (Japan) LP by Bachelor Records (Austria) |
Every once in a while you come across an album where everything falls in place. I first encountered Falling Sugar on a graphic for Mike Rogers' Japan Indies 2024 Music Awards and then heard them on the Todd-o-Phonic Todd WFMU radio show when he played “West Coast.” I'm guessing their band name is most likely inspired by the fantastic Beatlesque ‘60s pop Nugget “Falling Sugar” by the Palace Guard. The continued influence of the '60s looms large on their debut album. They even pay homage to that decade by briefly quoting sections of the Troggs’ “Can’t Control Myself,” and “She’s Got Everything” by the Kinks as points of departure into their own songs.
Falling Sugar are the co-headliners for Mike Rogers' final Japanese Indies Music Awards show |
Off the Cuff
On their originals, they exude a ramshackle charm with their catchy combination of ‘60s pop and ‘90s indie-pop played with maximum joy. They shape an amalgamated and shambling sound that approaches and lands near the first-rate pop that the Apricots and Dizzy Joghurt whipped up 25 years ago along with Mama Guitar, the Pebbles, Berry, and Tirolean Tape. When they go more into bubblegum mode, they are found somewhere in the same aisle as the Cherry Splits and the Strawberry Zots.
Disk Union display-notice the Each Time by Eiichi Ohtaki promo in the southwest corner. |
Listen People Their self-titled album contains the excitement and exuberance expected in a strong debut. Overall, they achieve a rounded-out sound with propulsive percussive momentum, strummy guitar, prominent bass, and buoyant keyboards-in other words the active ingredients of bubblegum music. They strike upon this captivating sound with Mikko’s keyboard playing providing the requisite bounce that pairs up with her gliding voice that is well-suited for this type of music. Monma’s bold and pronounced bass brings in both mod-ish and Motown elements, while Toyozo Toyoshima’s apt (punch & strum) guitar playing and experience plays a major role in the band. When not with Falling Sugar, you can find him somewhere in the world playing in the Fadeaways, Angel Face, Paul Collins Beat-to name just a few of his many involvements. All the original songs are co-compositions by Toyozo and Mikko.
Falling Sugar: Clockwise L-R Mikko (Vocals, Organ), Monma (Bass), Toyozo (Guitar, Vocals) Ani-Pon (Drums) |
Short, Sweet & Succinct
“Sugar N Honey” brims with vocals reminiscent of the aforementioned Mama Guitar and a ringing Rickenbacker guitar comparable to the McCharmlys. “West Coast” leans in almost an anorak direction with its brisk melodies that would appeal to both Peach Kelli Pop and Pedal Records listeners. Be sure to catch that "Eight Days A Week" riff on the outro. The band is also stellar when they slow things down and incorporate a charming and chiming xylophone on songs like “Take Around” that recalls the best indie-pop featured by Shredding Radio/Magazine 25 years ago. By the way, “Take Around” seems to be a wonderful combination of “You, You, You” the 6th and “Leave all your Old Loves” by the Liverbirds, (later covered by the Shebrews). “Sigh” is overflowing with Herman’s Hermits/Merseybeat influences that will have SFTRI fans recalling the Stool Pigeons. Their rendition of “After Hours” fittingly closes. This Velvet Underground classic pop song was famously sung by Mo Tucker as Lou Reed said the song was too innocent and pure for him to sing himself. They ace the cover by adding a dash of Death By Chocolate, which should not come as a surprise.
Bubbling Under
The quartet displays a deeper understanding that the roots of the bubblegum lie in the cubicles of the Brill Building as their record is immediate, catchy, tuneful and made to endure. While most of the late ‘60s American bubblegum groups were uniformly male, it’s refreshing to have females on the forefront, which has long been a major strength and characteristic of mold-breaking Japanese music. Falling Sugar excel with their originals and overall their debut captures the undeniable and vibrant spirit of the Tokyo garage scene, while putting a new spin on the most welcome sound of strummy Japanese bubblegum garage pop.