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As the torpor of summer dissipates into autumn’s more tolerable temperatures, the music scene moves from the beaches of Shonan and the foothills of Fuji back into its dark and dank urban recesses.

Tokyo’s music scene continues to be fractured. The only trend is that there is no one overarching direction. Instead, the city’s most interesting music continues to be made by individuals working out idiosyncratic musical ideas regardless of what is hip or happening elsewhere.

Though grounded in dub, the Play Label is emblematic of Tokyo’s eclectic musical imperative. The label’s first three releases, the compilation series, “Stone, Scissors, Paper,” explored just how broadly that aesthetic could be interpreted. On the last compilation, “Paper,” the standout track was a jazz-inflected number courtesy of hip-hop DJ and MC Takagi Kan.

Kan will be one of the supporting acts for the Mighty Quark, whose recent “Silverdale” album is Play’s first full-length record. As the label is funded by a Japanese conglomerate and run by an Englishman, it should be no surprise that their first release is so cosmopolitan: The Mighty Quark is Mark Sullivan, an Irishman based in Stockholm.

A quark is a quantum particle that is thought to be the basic building block of all subatomic particles but has yet to be directly observed. “Silverdale” is equally elusive. Although, like all Play releases, it has a definable dubby, Jamaican-derived quality, this is transposed onto tracks that are sometimes pure danceable house, sometimes verging on prog rock and, as on the final track, almost elegiac. Sullivan has called it “disorganized.” “Lackadaisically adventurous” might be a better description.

Sullivan is a former soccer player, and his hulking frame makes him an imposing performer. He has said that “Silverdale” was composed so that it could be played live by a band, so perhaps he has a few surprises in store for his Tokyo gigs.

Also joining him on the tour will be the equally undefinable Susumu Yokota. Yokota is best-known in Japan as a house DJ and producer and one of the superstars of Sublime, Tokyo’s legendary beats-driven label. But recently his music has taken a different direction entirely. His latest record, “The Boy and the Tree,” has been called ambient, but that doesn’t do justice to the lush layers of sounds and intense feeling that permeates the record. Philip Glass is one of Yokota’s biggest fans, and “The Boy and the Tree” shares Glass’ sweeping minimalism and elegant restraint. Yokota is currently experimenting with a hybrid of his beat-driven music and his recent moodier music, to be released later this year on Play.

The “Silverdale” Tour, with the Mighty Quark, Susumu Yokota and others, plus special guest Takagi Kan (Tokyo only): Oct. 17, 10 p.m., at Yellow, (03) 3479-0690, 3 yen,000/2,500 yen with a flyer; Oct. 18, 11 p.m., at Osaka Karma, (06) 6344-6181, 2,500 yen advance/3,000 yen at the door.

The Play Label and The Japan Times are giving away limited-edition “Silverdale” T-shirts made by Harajuku fashion brand Famouz to two lucky readers. E-mail gakugei@ japantimes.co.jp to win.

If there is one trend in Japanese music, it is that some of the most interesting acts labor in obscurity at home while being celebrated abroad. Asa-Chang and Junray are the latest Japanese group to be embraced overseas. (Cuts from their first album are even being used for the soundtrack of a BBC television drama.)

Their new album, “Tsuginepu,” continues the strangely compelling mixture of electronics and Indian-tinged rhythms that characterized their earlier work. The toy instruments give it a gently humorous touch. There are no new directions here, but that doesn’t make it any less beguiling.

Asa-Chang and Junray: Sept. 22 at Spacelab Bubble in Mito, Ibaraki Prefecture, (029) 303-1331; Sept. 23-24 at Sonic in Iwaki, Fukushima Prefecture, (0246) 35-1199; Sept. 26 at Soso Cafe in Sapporo, (011) 280-2240; Sept. 28 at Shu’s Hall in Aomori, (017) 775-1554; Sept. 29 at Sakurayamajinja in Morioka, Iwate Prefecture, (019) 654-5822; Oct. 1 at Asia Shokudo Cafe Cho Lon in Sendai; Oct. 2 at Cafe Yale in Fukushima; Oct. 3 at Albuquerque in Higashimatsuyama, Saitama Prefecture, (0493) 25-0019; Oct. 6 at Kaseiro in Kawagoe, Saitama Prefecture, (0492) 24-1841; and Oct. 11 at Club Asia in Tokyo, (03) 5428-5979. See www.riverrun.co.jp

Japan’s psychedelic scene is enjoying the sort of boom that Japanese noise groups did in the early ’90s. The Liquid Room is providing a primer to some of psychedelia’s newer sounds during its eighth anniversary celebrations. The Stars are known as the more accessible face of Japanese psychedelia. The group features members of Ghost and Tokyo’s own version of Iron Butterfly, Yura Yura Teikoku. Christine 23 Onna likewise draws its members from cult favorites including noisemeisters Masonna and Angels n’ Heavy Syrup. The Angels were one of the first all-female Japanese groups to gain attention overseas; their one CD, released way back in the early ’90s, is a collector’s treasure abroad and a bargain bin item at home.

The Stars, Christine 23 Onna and Boris: Sept. 23, 6 p.m., at the Liquid Room, (03) 3200-6831. 2,500 yen in advance; 3,000 yen at the door (includes one drink).

In line with COVID-19 guidelines, the government is strongly requesting that residents and visitors exercise caution if they choose to visit bars, restaurants, music venues and other public spaces.

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