You can now get ramen, Japanese drinking snacks and more until 1am on Chapel Street
Previous SlideNext Slide
Japanese$
Umami Tokyo, an izakaya close to bars and clubs that push through to dawn on Chapel Street, serves street dishes such as takoyaki (fried octopus balls), chicken skewers and pork gyoza, as well as ramen, until 1am on Fridays and Saturdays.
Founder Manato Hikawa (Parco Ramen) created the concept after noticing there were no late-night places serving the Japanese drinking snacks he had become used to in Tokyo.
In contrast to the rich, creamy tonkotsu pork broth served at many Melbourne ramen restaurants, Umami Tokyo focuses on lighter chicken ramen including more vegetables than usual: mushroom, carrot, radish and kelp round out the flavour extracted from simmered chicken bones.
There's extra umami from two types of oil stirred into the finished ramen: chicken oil that's skimmed from the base broth, and a vegan oil powered by slow-cooked leek and nashi pear. The resulting soup is glossy, silky and comforting. The medium bowl size ($20-$23) is a draw too, making it feasible as dancing fuel rather than the typical ramen-to-couch trajectory.
Small bites are just as carefully constructed. Agedashi tofu is served with a sauce that includes five different soy sauces, and roasted cauliflower is seasoned with two types of Japanese curry powder (try adding it to your ramen). The shopfront restaurant has 30 seats, arranged around a central horseshoe-shaped bar.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

The Age
a day ago
- The Age
Can't get into one of Tokyo's biggest attractions? Try Osaka's instead
Translucent pods are a hallmark of teamLab's artistic vision. The Osaka garden has two displays of ovoid sculptures, small ones among camellias and three metre-high eggs in a eucalyptus forest. In response to human touch, the pods change colour and emit tones that are then transmitted to the next structure, much like a technological pass-the-parcel, replete with the giggles of children. Digital ubiquity also comes into play with the artwork Universe of Fire Particles in the Forest, which explores teamLab's concept of Distributed Art. When you download a smartphone app and approach the work, a digitised flame will ignite on your phone via the app and can be passed to others near you. The flames are tracked globally on the Map of the Flame and the artwork allows you to take the images home as it is locked into the cloud. But for me, it's the simplest display that resonates most effectively. Walk, Walk, Walk is a series of images that portray diverse marching figures projected along an avenue of trees. There are chariots pulled by horses, samurai and hopping bunnies – classic Japanese imagery that reflects the Zen expression 'Hoho kore dojo', every step is a place to learn. A computer programs ensures the scene is ever-changing and each picture unique, never to be seen again. There's no set route for visitors to take in the 13 artworks in the garden; you can return to your favourites at leisure until close at 9.30pm depending on the season. Loading In a world where light installations seem ubiquitous, some of the displays in teamLab Botanical Garden Osaka may feel familiar – think Field of Light at Uluru or Nocturnal at Scenic World in the Blue Mountains. But in a similar way to those exhibitions, it's the use of technology to connect the elements and landscape with humanity that makes this such an enticing and refreshing slice of Japanese artistry. DETAILS

Sydney Morning Herald
a day ago
- Sydney Morning Herald
Can't get into one of Tokyo's biggest attractions? Try Osaka's instead
Translucent pods are a hallmark of teamLab's artistic vision. The Osaka garden has two displays of ovoid sculptures, small ones among camellias and three metre-high eggs in a eucalyptus forest. In response to human touch, the pods change colour and emit tones that are then transmitted to the next structure, much like a technological pass-the-parcel, replete with the giggles of children. Digital ubiquity also comes into play with the artwork Universe of Fire Particles in the Forest, which explores teamLab's concept of Distributed Art. When you download a smartphone app and approach the work, a digitised flame will ignite on your phone via the app and can be passed to others near you. The flames are tracked globally on the Map of the Flame and the artwork allows you to take the images home as it is locked into the cloud. But for me, it's the simplest display that resonates most effectively. Walk, Walk, Walk is a series of images that portray diverse marching figures projected along an avenue of trees. There are chariots pulled by horses, samurai and hopping bunnies – classic Japanese imagery that reflects the Zen expression 'Hoho kore dojo', every step is a place to learn. A computer programs ensures the scene is ever-changing and each picture unique, never to be seen again. There's no set route for visitors to take in the 13 artworks in the garden; you can return to your favourites at leisure until close at 9.30pm depending on the season. Loading In a world where light installations seem ubiquitous, some of the displays in teamLab Botanical Garden Osaka may feel familiar – think Field of Light at Uluru or Nocturnal at Scenic World in the Blue Mountains. But in a similar way to those exhibitions, it's the use of technology to connect the elements and landscape with humanity that makes this such an enticing and refreshing slice of Japanese artistry. DETAILS

AU Financial Review
a day ago
- AU Financial Review
Time to short Labubu? This fund says $66b craze's days are numbered
It's the soft toy that has gone from Gen Z craze to cultural touchstone, but one Australian hedge fund is betting that the global mania for Labubu won't last and is hoping to cash in on the collapse of its popularity. Arnott Capital, a secretive hedge fund which invests on behalf of wealthy Sydney families, says the 'viral sensation' is nearing peak saturation, likening the Labubu to Hello Kitty, a Japanese bobtail cat that became a global icon in the 1990s but is no longer a global phenomenon.