Hikari no Kakera stands as a testament to the ingenuity of the Japanese shoegaze scene, and the unparalleled understanding of texture commanded by Walrus.

Existing in a state of transience between the genre’s critical zeitgeist in the west, the eclecticism of 2000s nu-gaze, and the growing Japanese shoegaze scene, Hikari No Kakera deconstructs the production techniques of classic shoegaze and alternative rock, redefining the space between artistic convention and sonic innovation.

Gracefully dancing on the threshold of what is real, and what is synthetic – Walrus masterfully conducts the ebb flow between various levels of futuristic programming, transcendent vocals, and dense instrumentation.

Disjointed sampling and explosive percussion by Kenroh Wakasugi on tracks “Exit” and “Hikari no Kakera” underpin a suffocating physicality that grows increasingly tactile.

Kaoru Miura’s pummeling bass freely evolves around the shape of the tracklist – becoming a sine wave of noise and commanding the shape of movement within “Wade” and “Orange”.

Melodic riffs and rhythms courtesy of guitarist Atsushi Kobayashi and guitarist/vocalist Akitomo Tanaka discharge off each other, condensing into a thunderhead of feedback and distortion. “Dyed” and “Matataki” are pierced by a bolt of lightning, their hazy atmosphere elucidated by Tanaka’s impassioned delivery.

Walrus’ utilization of modernist textures, unparalleled performances and progressive structures cement Hikari No Kakera as one of the crown jewels of Japanese shoegaze; a 'Piece of Light' whose luminance will never dim, and whose radiance still outshines 24 years past its initial release.

Listen to Hikari No Kakera:

Spotify

Apple Music