‘Indie Electronica Angst-Pop’ is the genre the press release attaches to Trouble Over Tokyo’s second album, Pyramides, and, it must be said, that’s a fairly accurate description. Trouble Over Tokyo is the solo work of Londoner Christopher M. Taylor and there’s a distinctive late 20th/early 21st century Britishness to his work. This album reminds greatly of the likes of Muse, or even Bush from a little earlier, particularly in the vocal delivery, but also in the manner in which the digital synths are sharply programmed to arpeggiate, directly replacing the guitars, or the drum machine sounds are treated with the same layers of reverb applied to the analogue kit of the former.
There is a certain degree of bombast, particularly in the vocal delivery which can sometimes be grating but is generally kept in check. Synth sounds are often reminiscent of 80s timbres, but used in a manner that avoids current retro cliches. The drum machines can sometimes be a little thin sounding, particularly under piled masses of string samples and buzzing bass synths, which has the affect of betraying the bedroom production which Taylor seems eager to deny through sheer bravado.
There are a number of memorable melodies under the introspective lyrics. ‘No Handed’, with its lyrics “Every time I look in the mirror/I see someone new looking at me”, point to another obvious influence in Michael Jackson (‘Man In The Mirror’) with its stacked multi-tracked harmonies and falsetto glissandos. “When I’m too close to the picture I can’t make any sense/so I reach into my pocket for a fist of regrets” in ‘Pyramids’ is consistent with the lyrical tone of the album which uses nice turns of phrase throughout to lift it above cliche.
Pyramides didn’t blow me away and feels very much like the work of an artist in progress. There is enough to suggest, however, that as Trouble Over Tokyo develops a stronger unique musical voice he could begin to reach the heights he is aiming for.
Adrian Elmer
