Tokyo / Underdogs / Oasis / The View
After spending time in Japan studying and playing in bands at high school, the Tokyo natives Nobuki Akiyama (vocals), Kohei Kamoto (drums) and Yosuke Shimonaka (guitar) formed what is now known as DYGL. These guys pronounce DYGL ‘day-glo’ and while I personally feel that we have quite enough vowel-lazy band names, I’ll stand for this one. Soon after forming, Yotaro Kachi slid into the position of bass and the band officially began.
The music scene is rather irksome in Japan. As an up and coming band, you have no choice but to play the massive music arenas. Unable to fill the giant venues or even cover the costs, it’s incredibly trying to make a name for yourself. For most reading this, the idea of sitting in someone’s front room, a small bar or a converted cellar space for a tenner is almost expected. In fact, people would be disappointed if they were unable to talk about the venue in retrospect. It is for this reason that DYGL decided to take to the skies.
Their first significant release was recorded in LA at the end of 2015. This was presented to the world and received lovingly as they played it up and down California. DYGL were even known to show up at house parties and play short, head-banging sets to welcoming crowds. However, desperate to make an album they migrated to New Jersey and spent their days, listening to music and rehearsing. In the evenings they would head out into the American air to watch live music. Influenced by James Endeacott of The View, Akiyama believes in creating a combination of worldwide sounds. With the incorporation of French melodies, Manchester sounds and Aussie indie guitar tones, you’re left with a unique yet totally familiar band.
When Albert Hammond Jr. caught wind of Japanese Indie rock four-piece he probably never thought that producing their album would “probably [be] one of the best times in the studio” for him. The Strokes guitarist worked with his band’s producer, Gus Oberg, to create a magnificent indie rock hybrid record, the likes of which has only been heard after several attempts from bands in the past. As a debut album, ‘Say Goodbye to Memory Den’ shines. The 14-track record was played live, recorded and mixed in just 9 days.
This is the kind of band who could play cover to cover at Camden’s underworld. The sweaty, intoxicated crowd wouldn’t realise they had only listened to a single artist for a full hour.
Are you listening to Pigeon Detectives, The Strokes or The Cribs? The Libertines, Catfish and the Bottlemen, The View or The Wombats?