"The music of Los Doroncos is one of smart simplicity, of bands charged up and ready to go in the garage, of friends gathered in rooms – from basements to studios – exploring the truths that feel inherent in playing just the right three or four chords, at just the right time, between just the right people. There’s a spirit here that’s time-honoured, but one that sustains songwriters who know that all you need is a few hands around the necks of guitars, and a few leaps of faith, to achieve remarkable results.

It's probably hardwired into the Los Doroncos membership, by now. At the head of the group is Takada Kiyohiro, who cut his teeth first recording, then playing with, Les Rallizes Dénudés. But he’s been making music with Los Doroncos for well over a decade now, with several albums to their name already: a self-titled set on 8mm, and a double-CD, shared with Majutsu No Niwa, recorded live at Showboat, both released in 2012. There’s also parallel outfit Doronco Gumo, who’ve released three albums, most recently 2019’s Old Tribe; and RQRQ, which has Takada playing alongside Mitsuru Tabata and Ijichi Yuka.

Three other members complete Los Doroncos, each with their own weighty histories – Kawaguchi Masami on bass, perhaps best known for membership of groups like his own New Rock Syndicate, or Haino Keiji’s Hardy Rocks and Aihiyo, or Miminokoto, or Usurabi. Hasegawa Mako, on drums, is a some-time member of Maher Shalal Hash Baz and was one half of duo Macomelogy; guitarist Mugishima Tetsuya , aka Seven, was a member of Shizuka, though his history dates to the eighties and formative alliances with the likes of Merzbow.

There’s definitely some trace elements of the overamped, blasting guitar scree of the likes of Rallizes or Shizuka in the psychedelic sprawl of songs like “A minor” – Mugishima’s guitar spills and swirls across the song, lashing it with waves of noise, before Takada’s guitar lets loose some clipped, stuttering notes that’re pure Half Japanese or Syd Barrett in their clangourous expression. But often, there’s a kind of pacific wisdom in the songs here – gorgeous miniatures, hints of melody carousing with chiming guitars, and a rhythm section that knows how to move with deceptive simplicity, and grace.

Surprising things crop up – see the bossa/samba-ish sway of “Tin Ear”; the strained strings that introduce the “Roadrunner”-esque anthem that is “Sunny Morning”, burning rubber on the tar as it drives a giddily simple riff down the highway, with the radio on. Barrett, Richman, DIY punks hitting the road, got the world, got the turnpike… they feel like pretty good parallels for what Los Doroncos are up to: hypnotic, fully lubricated jams that nod equally towards histories of the Tokyo underground and of garage gangs the world over, claiming their time with the simple bliss of plectrums to strings to pedals to amps, to you."

An'Archives, 2024