We Speak Music
Sakai Unleashes Debut EP ‘Do You Like Me Now?’
Some records ask to be heard. Do You Like Me Now? asks to be felt. Sakai’s debut EP is an elegant meditation on vulnerability, identity and emotional contradiction, unfolding across four songs that blur the boundaries between indie rock, soul, jazz and traditional Japanese musical influence. It is a release that favours atmosphere over excess, finding beauty in restraint while never sacrificing emotional impact.
The emotional core belongs to Marié Sakai, whose songwriting transforms deeply personal experiences into universally resonant narratives. Rather than presenting vulnerability as something to overcome, the EP embraces uncertainty as an essential part of human connection. Questions remain unanswered throughout, allowing listeners to inhabit the emotional spaces between certainty and doubt.
That openness extends to the music itself. “Orange Tree” stands as a quietly remarkable composition, inspired by an eighth century Japanese poem and enriched through the Hirajoshi scale and Marié’s return to the flute. The arrangement feels graceful without becoming delicate, balancing cultural heritage with contemporary alternative songwriting in a way that feels instinctive rather than self conscious.
The remaining songs each reveal different emotional textures. “Out” captures the internal friction between ambition and avoidance through expansive arrangements that continually shift beneath Marié’s expressive vocals. “Wanted” radiates quiet intimacy, its shimmering guitar harmonics adding warmth to an already affecting performance. The title track provides an emotionally satisfying conclusion, examining people pleasing and identity through dynamic instrumentation that builds naturally towards its memorable piano driven finale.
Recorded between Tiny Telephone Recording and Women’s Audio Mission, and brought together through Danielle Goldsmith’s spacious production, the EP possesses a tactile sense of place that complements its lyrical introspection. Do You Like Me Now? introduces Sakai not simply as accomplished musicians, but as thoughtful storytellers whose willingness to embrace complexity feels increasingly valuable within today’s alternative landscape.
There is an admirable sense of purpose running through Criminal Hour, the latest album from Fringe Frontier. John Lloyd and Jerry Thomas have created a record that understands the enduring appeal of classic guitar music while embracing the textures and emotional openness of contemporary indie rock. Rather than chasing trends, the duo refine a sound built upon memorable hooks, driving rhythms and stories that unfold with cinematic detail.
From the opening moments of “Heading For,” the album establishes an engaging balance between muscular performance and lyrical vulnerability. Isolation forms the emotional starting point, yet the music itself constantly reaches outward. That instinct continues into “Think Back,” whose uplifting refrain transforms personal struggle into collective resilience. The contrast between emotional weight and melodic accessibility proves to be one of the album’s greatest strengths.
Several of the record’s finest moments revolve around place and memory. “Little Five Points” evokes faded neighbourhoods and youthful possibility with affectionate precision, while “The Lights of Edisto” ventures into more difficult emotional territory. Its exploration of addiction and recovery unfolds patiently, allowing the arrangement to mirror the uncertainty and hope contained within the lyrics. These songs reveal Lloyd’s gift for vivid storytelling without sacrificing musical momentum.
Elsewhere, Fringe Frontier demonstrate an appealing versatility. “Personal Ad” introduces humour alongside its observations on contemporary romance, its jangling guitars recalling classic alternative rock without becoming derivative. “Follow Me” injects a burst of youthful urgency, examining the endless cycle of promotion and recognition that defines modern musicianship while maintaining an infectious sense of fun.
The closing stretch is particularly satisfying. “City of Dreams” drifts through New York with quiet grace, capturing both the excitement and melancholy that accompany remembered ambitions. The title track then concludes the album with a darker atmosphere, weaving together mystery, restless energy and melodic confidence into a finale that lingers long after its final notes.
The contributions of mixer McKenzie Smith and mastering engineer Kim Rosen provide Criminal Hour with impressive sonic depth, but the true achievement lies in the songwriting itself. Fringe Frontier have produced a record that feels lived in rather than manufactured, proving once again that thoughtful lyricism and memorable guitar music remain an enduring combination.
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