Spoken word, the increasingly hip combination of poetry and music, has never really cut it in Tokyo. While New York, Chicago and London boast regular spoken-word club nights and poetry slams, one of Tokyo's few regular events is the Johnbull-sponsored event dubbed Bookworm.

Among the fruits of Bookworm's bimonthly mix of musicians and wordsmiths is Noise on Trash. Singer-guitarist Madoki Yamasaki comes off as the appropriately distant yet emotional poet, while drummer Tsutomu Kurihara and upright bassist Katsuhiko Sakamoto lay down a thumping set of beats that would be at home in any San Francisco coffee house circa 1962. Dressed as working-class heroes (leather jackets, caps, the occasional pair of dark sunglasses) the trio summon up visions of Kerouac and company.

Many Japanese groups would stop there: a perfect copy of the beatnik tradition. Noise on Trash, however, mix their nostalgia with a thoroughly modern musical vision, throwing in a dollop of rock angst.

"Vanity," the opening cut of last year's "Laugh," bears an uncanny resemblance to a Joy Division bootleg. Yamasaki's voice bears that clear, low tone that gave Ian Curtis' spare lyrics an imposing weightiness, while Kurihara's drums and Sakamoto's bass weave through a hint of early '80s synth pop.

At other times, the band is more distinctly bluesy. Yamasaki's voice takes on the growly, gruff tones of Tom Waits and his rhythm section slows things down to a sinuous crawl. In whatever guise, Noise on Trash manifests a sense of pared-down simplicity and control that is a relief after the bombast of so many rock 'n' roll bands. And they are the perfect excuse to pull out that black turtleneck and light up an unfiltered cigarette.

Noise on Trash with Ego Wrappin', 5 p.m. April 29, at Club Cay in Aoyama. 3,000 yen in advance; 3,500 yen at the door. For more information, contact Cay at (03) 3498-5790.

Japan's hip-hop scene has grown increasingly interesting, with events like Hella Tight reviving the live possibilities of the genre and groups such as Tha Blue Herb and Shin02 bringing a new word play that stresses politics and poetry instead of B-boy boasts.

Clue, a newish bilingual fanzine from Yokohama, has some of the best coverage of this scene, preferring to depict hip hop as culture, rather than as a strictly defined musical form. Volume I boasts a lengthy interview with publicity-shy Tha Blue Herb and an equally long talk with didgeridoo performer Goro. With eclectic overseas coverage taking in Canadian hip hop and Chicago's burbling underground, Clue is a must-read for the baggy-pants set.

Clue is available for 500 yen at various hip hop-related shops or in the book section of Tower Records. For more information, contact clue@mail. goo.ne.jp

Austin, Texas' South by Southwest Music Festival has become the premier venue for struggling young bands looking for the big break and for record labels and managers looking for the next big thing. In the last few years, an increasing number of Japanese bands have used SXSW as a launching pad for their dreams of American rock 'n' roll glory.

More than 20 Japanese bands packed their bags for this year's festival held in late March. Some of the names are familiar to Tokyo scene cognoscenti. Number Girl made a return trip after blowing away last year's Japan Night audience. Demi Semi Quaver and eX-Girl also made their second appearances, giving American audiences a strong dose of what Tokyo's avant-garde fringe has to offer. Others like Mini Crab and Psychedelic Kinky Fellows are all but unknown back home too.

Japan's big hitters came from diametrically opposed ends of the spectrum. Puffy, performing at Sony Japan's showcase, wowed American audiences with their cute, idol-inspired pop. In keeping with the festival's claim to dig out fresh new talent, however, it was Osaka's Mummy the Peepshow that caused the biggest buzz. Playing at Japan Night, one of the festival's must-see events, Mummy blasted audiences with its potent mix of tightly constructed garage rock. Judging from the loose talk afterward, this is a band well on its way to Stateside success.

Satellite station Viewsic (available on Direct TV and Sky Perfect TV) will broadcast a series of SXSW specials May 4-25, the first being Thursday at midnight. Check listings for exact days and times. The channel will also run a two-hour SXSW special May 28.

Crucial concerts: Skist brings its combination of radical and beautiful electronica to Vitamin's Kitchen in Parco Part 1, Shibuya tonight. Doors open at 8 p.m. Tickets are 1,000 yen at the door.

Salon Mixcafe at Ebisu Milk is an afternoon of music, talk and performance curated by the editors/producers of cutting-edge music production company and magazine Headz. April 30, 1-7 p.m., 2,500 yen with one drink. For more information, contact Milk at (03) 5458-2826.