Karen

Karen is a five piece band whose two guitar players are Art-School members (front man/guitarist Riki Kinoshita and guitarist Masafumi Todaka) and whose rhythm section is made up of two former Downy members. Singer Achiko provides the contrast to all that arty/indie testosterone with her mild, crooning vocal style.

Obviously something of a side-project due to the fact that Art-School is still quite active, the band nevertheless manages to produce solid releases with a sound independent from that of its Frankenstein's Monster origins. Sure, some of the guitar tones and playing can echo that of Art-School's dreamy, indie, emo-rock sound and Riki's occasional backing vocals only serve to amplify that echo, but Karen's overall vibe is much more suave and contemporary. It's obvious that the band knows how to pound out a song, but in Karen they all fall back a bit, instead simply keeping things very tight and stripped down. Given the chance, the band does toss in some tricky rhythms and the production is generally louder and more raw than on any regular AAA release. You can lead a horse to water and all that...

They also mix things up with a few lines of saxophone, oboe and other instruments rarely seen in your typical rock set-up. The atmosphere is extremely hazy and reverbed-out, a nod to the heavily effected shoegazy sounds of early '90s groups like Mazzy Star and The Sundays. The songs themselves follow suit, being generally slow and subtle. Achiko often lets her voice ring out for what seems like ages, with nary a waver or wobble in her crystalline tone.

One final note. While the name Karen could be thought of as the Japanese word "かれん" pronounced "kah-ren," looking at their almost exclusively English song and album names, it would seem to be more likely that it is simply meant to be pronounced as "care-en." Though that could be incorrect and any insight would be appreciated.

BUY KAREN RELEASES HERE

"Lorraine"



MySpace

Members:
Achiko - Vocals
Kinoshite Riki - Guitar
Todaka Masafumi - Guitar
Nakamata Kazuhiro - Bass
Akiyama Takahiki - Drums

Albums:
Maggot in Tears - 2008
Sunday Girl in Silence - 2009

"Marine"

Kalafina (カラフィナ)

Kalafina is the product of producer and composer Yuki Kajiura, along with a bevvy of vocalists, currently Keiko Kubota, Wakana Ootaki, Maya and Hikaru. Kajiura's massive back catalog makes her worthy of an entry all to herself. The highlights? The Xenosaga III OST, the Noir, .hack//Sign and My Hime anime OSTs (among many others), as well as being a member of See Saw and FictionJunction. All of these (and much more) easily puts her on-par with the great Yoko Kanno. But let's not get distracted.

The music of Kalafina, like much of Kajiura's work, is also based around anime. For Kalafina, Kara no Kyoukai is the series of movies (based on novels) that provides their muse. Their style runs the gamut from a Middle Eastern to Celtic feel, pop to operatic, classical to rock.

Not everything they've released has been directly tied to the series, but only a few songs seem to have a life of their own. For the most part, Kalafina could legitimately be called an anime band, though "band" might be going a bit far since Kajiura does all the actual composing and recording. The vocal parts are performed by a group of women, all presented in very regal and ethereal forms. Again, one is reminded of Kanno's works like the Macross Plus OST, at least in the vocal department. The Kalafina sound is decidedly electronic, yet dark and organic, a feeling echoed in the groups videos. They are always presented in very ornate, almost gothic regalia, residing in lush, fantastical environments.

Far from being a typically vapid studio creation leaning heavily on a cute "moe" crutch, the work of Kalafina is rock solid and very well developed. Kajiura is truly a talented producer, drawing on her deep understanding of music from all over the world. This musical maturity is desperately needed in the world of anime and video games, and something that will always be a welcome change.

BUY KALAFINA RELEASES AT CDJAPAN and AMAZON

Sprinter




Official Site

Members:
Yuki Kajiura - Producer
Keiko Kubota - Vocals
Wakana Ootaki - Vocals
Maya - Vocals
Hikaru - Vocals

Albums:
Seventh Heaven - 2009

Seventh Heaven


Lacrimosa


Aria (Live)


Oblivious (Live)

Kanon Wakeshima (分島 花音)

In a sea roiling with wave after wave of icy salt water, it's understandable that a person would eagerly grasp at any handhold proffered up by the briny deep. In the sea of idol after frigid, vapid idol, the cello slinging Kanon Wakeshima is a welcome life-preserver.

Allegedly only 18 or 19 years old, Wakeshima started out her career with hopes of being a singer. She had a lifetime of training with the cello, but almost let her unique talents fall to the wayside when she was preparing a demo. She reconsidered and used her cello playing along with her singing, and Song snatched her up.

Don't let the slightly dark/vis-kei look fool you though. She is first and foremost a pop idol, just in a slightly different setting. Her 2009 debut album Shinshoku Dolce is pure pop with a layer of dark chocolate and lace. Her singles also give a slightly false impression, being the more gothic of the songs offered. Sure, they are full of the requisite organs and reverby hallways, but the production makes it obvious that her songs are about her voice above all else. Produced by vis-kei god Mana (Malize Mizer, Moi dix Mois,) the album is also jam packed with his disdain for "real" instruments and is instead rife with his usual cheesy pallet of fake drums, stings and hokey synths. This drains much of the lifeblood out of what might otherwise be very rich and pretty songs.

Stripped down to the bone, when Wakeshima is allowed to flaunt her unique traits, i.e. her lower register voice and her cello playing, the songs really do shine with a dark light. All too often it seems like she is being pressed into the standard j-pop mold. While she is guaranteed to appeal to those with a darker world view, the shallowness and overall low-rent production might turn off those with truly refined pallets.

BUY KANON WAKESHIMA RELEASES HERE!

Suna no Oshiro



Official Site
MySpace

Albums:
Shinshoku Dolce 2009

Still Doll

Kamomekamome

While the name Kamomekamome (literally "seagull seagull") may evoke romantic images of graceful birds gently floating over the sea for some people, those of use who live with the birds on a daily basis may have a slightly different interpretation. Sure, watching the animals drift over the water may be relaxing, we also know their darker, more basic scavenger nature. Also, their piercing shriek. Both of these images work well in describing the music of Kamomekamome.

On the one hand, singer Tatsuro Mukai's history as the singer of hardcore punk band Nunchaku provides the raw, scavenger edge, while the rest of the band brings the slightly more calming flight. Far from punk, the band is more of a progressive rock, or even metal, band. Certainly their elaborate guitar riffs and heavy syncopation brings the metal, and Mukai's restrained, almost conversational vocal delivery adds to the art-rock feel. Add the occasional electro beat and repetitious, almost trance-like section into the mix and the band evolves into much more than your average hard-rock project.

Co-founding member and drummer Masashi "MARCY" Shimada also brings in his experience playing for the very mainstream space-rock band Buddhistson. Joined by high-school friends Fumito Shirogane, Soichiro Oda and Kenzo Nakase, the band indeed sounds more like an art-school project than a band resigned to settling into a specific sound. Their first self-titled album is an exercise in genre jumping. Dark and sinuous, with several extend songs running near or over the ten minute mark, it nevertheless travels through plenty of lighter territory from time to time before diving back into the frothing waves.

Their second album Luger Seagull is a more tightly focused affair, with songs rarely topping three and a half minutes. Here, the riffs are much heavier and chug along in a straight line. In fact the album almost seems like a study based around a single uniform idea, something akin to a concept album. Perhaps this is their answer to their previous, slightly more rambling album. The beats are much more up-tempo and danceable, as are the guitar parts. Even Mukai's vocals are more rhythmic.

At this point it would seem that Kamomekamome is more than just another side-project for its already busy members. While Lugar Seagull is a bit less ambitious than their debut, it also has a stronger focus. Hopefully this is a reflection of the band's dedication to the project and we'll see more great stuff from them in the future.

Kotokire Temari Uta

Buy Kamomekamome releases here!


Oficial Site
MySpace

Members:
Tatsuro Mukai - Vocal
Masashi "MARCY" Shimada - Drums
Fumito Shirogane - Guitar
Soichiro Oda - Guitar
Kenzo Nakase - Bass

Releases:
Kamomekamome 2005
Lugar Seagull 2007

ハミングエンバーミング

Album Review: ketchup mania - F.L.A.G.

Japan's pop-punk ambassadors ketchup mania have to be one of the most visible bands here in America lately. Not only did they play Sakura-Con (make sure to check out the Jtor interview with them there!) this year, but they were also a part of the massive Japan Nite tour that hit up SXSW. With the help of JapanFiles.com, they have released two new singles this year, and just yesterday they finally unleashed their new album unto the world.

Following the pattern of past albums U.R.G.E. and L.O.V.E., this new one is titled F.L.A.G. It arrives less than a year after their previous L.O.V.E. album, just as L.O.V.E. came only a few months after U.R.G.E. These guys not only play fast, but write like crazy as well.

With so much material being produced at a break-neck pace, it wouldn't be surprising if things started to blur together. Join me after the jump to see if F.L.A.G. brings any new colors to ketchup mania country.


The album starts of with a brief acoustic tease before launching with full force into the short but sweet “LOST.” It quickly sets up the ground rules for the next half hour of their signature pop-punk style. As in the past, the production is incredibly sharp and devastatingly compressed. Somehow everything is in the foreground. Wani's highly tuned snare clangs away over a sizzling wash of cymbals and the razor sharp guitars, with Hiro's laser beam vocals burning a path through it all. “BAD! BAD! BAD!” which we've already been well acquainted with, keeps the tempo high and the energy set to maximum with plenty of fist pumping moments. “JUST A MESS” continues with the screaming force, but finally takes things down a notch. This allows them to crank up the melody just a bit and adding an anthemic feel worthy of the album title.



“119110 “is just about as close to a ballad at ketchup mania gets. The chorus gets down-right dreamy at times, and the funkier groove evokes memories of a No Doubt from light years ago before they had totally sold out.

The sugary pop coating starts to crack a bit on “EVERLONE.” With electro-vocals, chugging ruffs and even some dueling metal guitars, it shows a marked increase in maturity both in structure and attitude. It's one of the few times that the band allows themselves to stray off message, if just a little. It's a very welcome break from the norm. As if to counter this dip into darkness, they follow it up with their most recent single “PLEASE MARRY ME.” Again, we've heard this one before, but it's just as poppy and funky fresh-faced as it was then.



“PING-PONG” is one of their hardest hitting tracks, full of monster guitars and a blistering run of snare rolls and non-stop punishing beats. Again they stray just a bit into metal territory with the guitar style and the speed at which they attack the song. “PINK WATER,” which we also heard back on the first single, brings a bit of experimentation to the table. It has a few electro breaks and even a very brief old-school rave beat tossed in the middle. This is exactly the sort of thing I feel the band needs more of. Not that what they have is inadequate, but pushing boundaries and expectations is always a good thing. Isn't that what punk is all about?

“PAST-NOW-FUTURE” is a full on pop track. Instead of jangling guitars and a softly mixed back-beat, we have the now ubiquitous in-your-face sound, but it's a pop song none-the-less. Full of a warm glow, the chorus is all smiles and happy feelings. Is that a harmonica? Yes, the (for once) subtly mixed harmonica also adds a bit of a folk flavor to the otherwise touch edged track.

Now that we are (already!) nearing the end of the album, it must be time for the wind-down to the finish. “ETERNAL LOVERS” lives up to its romantic name by shifting way down into territory normally reserved for your Puffy Ami-Yumi type sing-alongs. Again, no one has touched the distortion pedals or those amps turned up to eleven, but the tempo signals that it's time to hold hands and sway gently to the beat, even if the sound-waves are peeling the paint off your car while you do it.

Finally (can you say that after only twenty eight minutes?) “COME ON!!” does exactly what you'd expect from these guys. Namely, turn everything back up to Ludicrous Speed for the big finish. At this point the listener's ears have been brought to the brink of annihilation, and things are starting to feel a bit like more of the same. All of a sudden thirty minutes seems like exactly the right length.

If there is one thing you can say about F.L.A.G. it's that it's consistent. From the very beginning the production and instrumentation is virtually set in stone. The only signal you get that you're now listening to a new song is the very brief pause in the sonic barrage. There are a few very welcome change ups along the way, but for the most part ketchup mania do one thing and do it very well. They play loud and fast and keep the Technicolor smiles and rainbows flying at you at break-neck speed for thirty minutes straight, never giving an inch and planting their flag firmly into your face.

Review: ketchup mania "Please Marry Me!" single

Cross-posted from Japanator.

It's no secret that ketchup mania has been getting a lot of love around these parts as of late. Plus, they've been touring around the world, gaining tons of fans in the process. Plus plus, they've got a new album out soon, not to mention a brand new single due later this month.

No, wait, we will mention it. In fact, after the cut you'll find an entire review of the forthcoming single for “Please Marry Me!” from the pop/punk-rock band, as well as the new video.

If that wasn't enough, we also have the (exclusive?) first look at the amazingly cool cover of the new album. What are you waiting for? Hit that jump!





The single is a bit of a departure from the band's usual high energy approach. They drop the punk in favor of a much stronger stronger pop feel and even a funky, groovy bassline. It's very bright and upbeat as the title might suggest, with the “Please marry me!” sing-along chorus being extremely catchy and memorable, not to mention the wedding march breakdown. It's a great middle of the road track from an otherwise high energy band. Check out the video and judge for yourself!

This is followed up with “Paranoia,” another curve ball from the band. This is even more laid back and tripped out. There's a ton of reverb and delay on Hiro's vocals, and there's even a sitar playing in the background. While the band's signature sharp and heavy sound is all over it, the structure and melody remind me of more soft spoken acts like Puffy Ami-Yumi or Love Psychedelico. It's probably as close to a ballad as KM ever gets.

“Ping-Pong” is definitely back to business as usual, with a crazy nu-metal opening and clanging drums echoing over the fuzzed out guitars. The verses take a break for Hiro's typical chirpy delivery and the choruses are a sprint to the finish, again as is usual for the band. While this one certainly doesn't break any new ground for the band, it's a nice finish to the otherwise down-tempo single.

Overall “Please Marry Me” is a solid single. It shows a lot of growth for the band, that's for sure. If they can keep up this level of variety on the upcoming F.L.A.G. album, then we're all in for a treat come June 11th! Speaking of which, check out the F.L.A.G. cover in the gallery.

Until then, the “Please Marry Me!” single, available May 21st from JapanFiles.com, will just have to do.

ketchup mania's BAD! BAD! BAD!

Anyway you look at it, it's going to be a big year for Japan's pop-punkers ketchup mania. So far they have a list of seven gigs in America, starting at Austin's SXSW this year as part of the awesome Japan Nite Tour, and ending at Seattle's Sakura-Con March 28th.

On February 20th, JapanFiles.com will be releasing the band's previous L.O.V.E. and U.R.G.E. albums, as well as the brand new single BAD! BAD! BAD! How does the new single hold up to the band's previous ventures? Put on your pink skull t-shirt and follow me to the jump to find out!

The single opens with the title track (obviously.) "BAD! BAD! BAD!" sticks closely to the tried and true ketchup mania formula, that being hyper beats and guitars under Hiro's high pitched vocal delivery. In fact it's Hiro's chirpy vocal melodies that drive the song over the rather subdued guitars. The chorus chant seems tailor-made to get the fists pumping, lights flashing and sweat flying. The video is the perfect visual representation for the music, being very clean with bold lines and flashy primary colors. The teddy bear sporting the Gurren Lagann-style sunglasses and the heart shaped gun also add to the apt tough-but-cute impression.

The first b-side is "Yes Freedom Yes My Life." This one has a slightly more earnest feel. While it's hard to call the blisteringly fast bridges "light," the choruses do have a more precious and sparkling feel. Hiro's vocals shift into a softer range from time to time, and the swing feel and twinkling bells also add to the softness.

The final track "Pink Water" is the foil to "My Freedom." It's the heaviest track on the single, with a steady, driving beat and surplus of guitar distortion. It manages to toss in a few surprises, like some techno passages and other odd instrumentation, all with a dark atmosphere. Personally, I feel that if ketchup mania did more of this sort of experimenting that it could propel them a bit beyond being simply a good pop band and on to something much more special.

Overall, BAD! BAD! BAD! is a solid single. While it does stick the the ketchup mania formula and delivers exactly the quality that fans have come to expect, it also shows signs of a shift into a slightly more interesting realm. It proves that there is still a lot to look forward to from this band.

The new single will be available February 20th from JapanFiles.com, along with their two latest albums L.O.V.E. and U.R.G.E. You can head on over there right now and stock up on several of their E.P.s and early albums.

Review and Lyrics: Kayo - Mitsuami Heroine

As a huge Polysics fan, there was no way I was going to miss out on the solo album of the band's iconic keyboard player Kayo. Luckily it was actually rather easy to track down, and is still available.

Simply put, Mitsuami Heroine is, on the one hand, far from what one might expect from the robotic, nearly emotionless woman behind the screaming synths of one of the world's most spastic and energetic new-wave bands. On the other hand, it is exactly what you might expect from a very talented woman who wants to break free, at least a little, from that very image.

Before I begin this odyssey, I'd like to thank yuri_nikko of j_music_lyrics for the lyric translation. Without it, this would be a much less interesting review. With the help of the translation I was able to dig up a wealth of details pointing to the origins of some of these songs. She also did the translation for Supercar's Highvision album. Thank you yuri_nikko!

What treasures did I find? Well, you'll just have to continue on to find out. HINT: It has a lot to do with Yellow Magic Orchestra!



Kayo
『三つ編みヒロイン』
『mitsuami hiroin』 {Braided Heroine}
Produced by Hayashi Hiroyuki

1. Mitsuami Hiroin 2. Natsu Nandesu 3. Bokutachi no Jikan 4. Midori Poppu de 5. Saraba Shiberia Tetsudou

1. 『mitsuami hiroin』 {Braided Heroine}



The first thing I noticed, way back in 2004 when I first devoured the liner notes, was that there were a lot more people involved in the production of Mitsuami Heroine than just Kayo. First off, her band-mate and fellow Polysics founder Hayashi Hiroyuki had a very large role in the overall production, along with some songwriting. As much as I love Polysics, he thankfully manages to keep the band's sound out of this album...for the most part.

Also involved, both directly and indirectly, is Haruomi Hosono, a member of Yellow Magic Orchestra, one of the most influential electro pop bands to come out of Japan. Hosono wrote the title and lead track for Mitsuami Heroine, along with another popular songwriter Takashi Matsumoto. Matsumoto worked with both YMO and Hosono in the past. He also is responsible for the lyrics to three of the five songs on Mitsuami Heroine.

From a fan's point of view, it's almost hard to believe how totally awesome this is. Two major figures of Japanese electro rock, coming together to compose a new song for the next generation. The real kicker is that "Mitsuami Heroine" is a very laid back song, once again not something you may expect knowing Kayo's main gig. It's simple and reserved, nothing showy or too artificial.

The song seems to be a fatherly note of advice from Matsumoto to Kayo, telling her that even if she becomes nervous and falls (the allusion here is to being in a band), that it can't be helped. It just happens sometimes, even to the best of us. She will just keep going. She is the braid-haired heroine. (Note, the "The earphones on your walkman sang of 'glass apples'" line is probably a reference to Seiko Matsuda's 1983 single of the same name. Is that internet Matlockery or what?)

2. 『natsu nandesu』 {Because It's Summer}

Original version by Happy End



Next up is a cover of "Natsu Nandesu," written in the early 1970s by Haruomi Hosono's band before YMO, Happy End. Again the lyrics were originally composed by Takashi Matsumoto.

As you can see in the video above, the original is a straight-up folk song. It floats along like a rolling stream full of hazy '70 nostalgia. Very little is changed in Kayo's version. Hiro adds a toy-box drum loop suitable for any lazy tropical location, and his signature clean-channel electric guitar replaces the acoustic guitars of the original. Aside from that, it's a perfect copy, with Kayo's far superior vocal performance (though a bit flat at times) adding a much needed dose of sublime emotion.

3. 『bokutachi no jikan』 {Our Time}

"Bokutachi no Jikan" is the first (and only) song written entirely by Kayo. This time it's performed by instrumental jazz experimental freak-out rockers Natsumen. After the first two mellow opening tracks, this is a welcome upbeat song. Once again, Natsumen defies expectation by playing things straight and close to the vest. Full of walking basslines, funky guitars and a soothing horn section (even a kazoo!) "Bokutachi no Jikan" is a fun, easy listening surprise totally devoid of electronics. Much like the lyrics, the music is all about innocent joy and happiness, which is, after-all, the main theme behind the album.

4. 『Midori Poppu de』 {With Green Pop}

If everything up to now was a smack to the face of our expectations, than "Midori Poppu de" is a kiss to make it all better. Written entirely by Hiro, it's a song taken straight out of the Polysics lexicon. Extremely, well, poppy and totally electrified, it's very much like their other Kayo fronted songs, i.e. "Baby BIAS" or "Miss Donuts." It's fast, simple and to the point and full of the usual crazy, almost nonsensical lyrics one would expect from Hiro. It could easily be (or perhaps at one time was) a B-side to any regular Polysics single.

5. 『saraba shiberia tetsudou』 {Goodbye Siberian Railroad}

Original Version


Once again we have another all electro, synth-pop song, once again in the Polysics style. "Saraba Shiberia Tetsudou" is another cover song, this time from another popular '70 era producer Ootaki Eiichi, with lyrics, once again, from Takashi Matsumoto.

Much like "Natsu Nadesu," very little has been changed on Kayo's version of "Saraba Shiberia Tetsudou." It's already an excellent song, so why break it? Hiro has simply updated the sounds and production and let Kayo deliver an absolutely stunning vocal performance. I'm not saying Kayo is a bad singer, far from it, but her voice on this song is perfect. I wouldn't be surprised if there was a little support from a Simpson's-esque voice enhancer. Seriously though, this song it easily the star of the show for any synth-pop fan. 100% electro-bliss.

I have to admit, this simple little five song, obscure solo EP from a member of a Japanese new-wave band most people have never heard of (but that's changing fast now, isn't it?) came with an education I never expected. It almost outweighs the musical content itself. It shows that there is much more going on here, not only with Kayo, but with Polysics as a whole. They aren't springing out of nowhere and flailing around without purpose. Not at all. They are Japanese electro-rock anthropologists. Historians with cyclops eyes and Technicolor jump-suits. There is a rich history that they are tapping into. It's all just waiting, willing us to reach in and be subsumed by its wonders and mysteries.

--------------

LYRICS

Kayo

『三つ編みヒロイン』
『mitsuami hiroin』 {Braided Heroine}
作詞: 松本 隆 | 作曲 & 編曲: 細野晴臣
{Lyrics by Matsumoto Takashi | Composition & Arrangement by Hosono Haruomi}
[Translation by yuri_nikko/j_music_lyrics]

西瓜畑の細い道
入道雲にご挨拶
ブレーキの鳴る自転車で
入り江に降りる急な坂

suika hatake hosoi michi
nyuudougumo ni goaisatasu
bureeki no naru jitensha de
irie ni oriru kyuu na saka

A narrow watermelon field
greeted by summer clouds
With the sound of my bike breaks
I fell in a cove off a sudden drop

ソフトクリーム抜けた指
カレ氏ない歴１年か
ウォークマンのイアフォンが
「ガラスの林檎」歌ってた

sofutokuriimu nuketa yubi
kareshinaireki ichinen ka
wookuman no ieafon ga
"garasu ringo" utatteta

The ice cream fell from your hands
you hadn't had a boyfriend for a year
The earphones on your walkman
sang of "glass apples"

三つ編みヒロイン
岩をめざしクロールする
三つ編みヒロイン
ただの地味な紺の水着
空よりも海よりも深く青い日々
さざ波ピチャピチャ　光のあやとり

mitsuami hiroin
iwa wo mezashi kurooru suru
mitsuami hiroin
tada no jimi na kon no mizugi
sora yori mo umi yori mo fukaku aoi hibi
saza nami pichapicha hikari no ayatori

Braided heroine
You crawled aiming for the rocks
Braided heroine
dressed in a plain deep blue swimsuit
a blue more deep than the ordinary sky and sea
the rippling water splashes, strings of light

指が空中叩いてた
わたしピアノも上手いんだ
都会に行ってバンドでも
組んだら何か変わるかな

yubi ga kuuchuu tataiteta
watashi piano mo umainda
tokai ni itte bando demo
kundara nanika kawaru kana

My fingers beat in the air
my piano playing is much better
But when our band went to the city
altogether, somehow something was off

未来をキッて睨むのよ
怖がっててもしょうがない
怒った顔が綺麗って
言ってたカレは消えたけど

mirai wo kitte niramu no yo
kowagattetemo shouganai
okotta kao ga kirei tte
itteta kare ha kietakedo

Take care in the future
you can't help being nervous
He said my angry face was beautiful
but then the guy vanished

三つ編みヒロイン
雲の波をクロールする
三つ編みヒロイン
手を広げて離陸しよう
空よりも海よりも深く青い日々

mitsuami hiroin
kumo no nami wo kurooru suru
mitsuami hiroin
te wo hirogete ririku shiyou
sora yori mo umi yori mo fukaku aoi hibi

Braided heroine
You crawled on the waves of clouds
Braided heroine
Let's spread our arms and takeoff
into a blue more deep than the ordinary sky and sea

三つ編みヒロイン
岩をめざしクロールする
三つ編みヒロイン
ただの地味な紺の水着
空よりも海よりも深く青い日々
さざ波ピチャピチャ　光のあやとり

mitsuami hiroin
iwa wo mezashi kurooru suru
mitsuami hiroin
tada no jimi na kon no mizugi
sora yori mo umi yori mo fukaku aoi hibi
saza nami pichapicha hikari no ayatori

Braided heroine
You crawled aiming for the rocks
Braided heroine
dressed in a plain deep blue swimsuit
a blue more deep than the ordinary sky and sea
the rippling water splashes, strings of light

『夏なんです』
『natsu nandesu』 {Because It's Summer}
作詞: 松本 隆 | 作曲: 細野晴臣 | 編曲: HAYASHI
{Lyrics by Matsumoto Takashi | Composition by Hosono Haruomi | Arrangement by HAYASHI}
[Translation by yuri_nikko/j_music_lyrics]

田舎の白いで畦道
埃っぱい風が立ち止まる
地べたにぺタンとしゃがみこみ
奴らがビー玉はじいてる
ギンギンギラギラの
太陽なんです
ギンギンギラギラの
夏なんです

inaｋa no shiroi azemichi de
hokoroppai kaze ga tachidomaru
jibeta ni petan to shagamikomi
yatsura ga biidama hajiiteru
gin gin gira gira no
taiyou nandesu
gin gin gira gira no
natsu nandesu

On a path in a white rice field
the dusty winds stand still
Crouching, pentan* on the ground
they fling the marbles
silver silver glitter glitter
because of the sun
silver silver glitter glitter
because it's summer

鎮守の森はふかみどり
舞い降りてきた静けさ
古い茶屋の店先に
誰かさんとぶらさがる
ホーシーツクツクの
蝉の声です
ホーシーツクツクの
夏なんです

chinju no mori ha fukamidori
maioritekita shizukesa ga
furui chaya no miseseki ni
dareka santo burasagaru
hooshiitsukutsuku no
semi no koe desu
hooshiitsukutsuku no
natsu nandesu

Deep green leaves in the shrine grove
calmly they dance to the ground
At the old tea house store front
a certain someone hangs around
Intently they chirp
the cicada's voices
Intently they chirp
because it's summer

※日傘くるくる
ぼくはたいくつ
日傘くるくる
ぼくはたいくつ※

※higasa kuru kuru
boku ha taikutsu
higasa kuru kuru
boku ha taikutsu※

※Spinning my parasol
I'm so bored
Spinning my parasol
I'm so bored※

空模様の縫い目を辿って
石畳を駆け抜けると
夏は通り雨と一緒に
連れ立って行ってしまうのです
モンモンモコモコの
入道雲です
モンモンモコモコの
夏なんです

soramoyou no nuime wo tadotte
ishidatami wo kakenukeru to
natsu ha toori ame to isshouni
tsuredatte itteshimau no desu
monmon moko moko no
nyuudougumo desu
monmon moko moko no
natsu nandesu

Follow along the seams of the sky
and run through the stone paving
We'll go along together
in the summer showers
Worrying away, fluffy
are the columns of clouds
Worrying away, fluffy
because it's summer

(※くり返し)

*Pentanque is a French game played with metallic balls on dirt.

『僕たちの時間』
『bokutachi no jikan』 {Our Time}
作詞 &作曲: KAYO | 編曲: NATSUMEN
{Lyrics & Composition by: KAYO | Arrangement by NATSUMEN}
[Translation by yuri_nikko/j_music_lyrics]

窓に写る　憂鬱な顔
機嫌直して　夜空の下へ

mado ni utsuru yuuutsu na kao
kigen naoshite yozora no shita he

In the window reflects my sad face
Calm my mood under this night sky

誰のいない　僕たちだけの
時間過ぎてゆく　今だけは

dare mo inai bokutachi dake no
jikan sugite yuku ima dake ha

No one's around, it's just us
Time just passes by, now is all there is

窓の外の　小鳥たちも
目を覚して　歌ってる

mado no soto no kotori tachi mo
me wo samashite utatteru

Outside my window, even the little birds
they open their eyes and sing

優しい気持ちに慣れるのはやっぱり嬉しい

yasashii kimochi ni nareru no ha yappari ureshii

So gently, the feeling I feel is of course, happy

心の中の違う　あの子に
色んなモノを　見せてあげたい

kokoro no naka no chigau ano ko ni
ironna mono wo misete agetai

All the faults in my heart, to that kid
I want to show, all sorts of things

誰も知らない　僕達だけの
時間過ぎてゆく　今だけは

dare mo shiranai bokutachi dake no
jikan sugite yuku ima dake ha

Things no one else knows, just us
Time just passes by, now is all there is

楽しい気持ちになれるのはやっぱり嬉しい
優しい気持ちになれるのはやっぱり嬉しい
楽しい気持ちになれるのはやっぱり嬉しい
優しい気持ちになれるのはやっぱり嬉しい

tanoshii kimoshi ni nareru no ha yappari ureshii
yasashii kimichi ni nareru no ha yappari ureshii
tanoshii kimoshi ni nareru no ha yappari ureshii
yasashii kimichi ni nareru no ha yappari ureshii

So joyously, the feeling I feel of course is happy
So gently, the feeling I feel is of course, happy
So joyously, the feeling I feel of course is happy
So gently, the feeling I feel is of course, happy

大切なもの　無くさぬ様に
笑っていてほしい　君だけは　君だけは

taisetsu na mono nakusanu you ni
waratte ite hoshii kimi dake ha kimi dake ha

What's important, is that you never go away
I want you smiling always, just you, just you

『ミドリポップで』
『Midori Poppu de』 {With Green Pop}
作詞, 作曲, 編曲: ハヤシヒロユキ
{Lyrics, Composition & Arrangement by Hayashi Hiroyuki}
[Translation by yuri_nikko/j_music_lyrics]

キレイな光　そそいでみるなら
あなたどれくらい　育ってくれるの？
自分次第ね～　もう一歩
後は雰囲気もね～

kirei na hikari sosoide miru nara
anata dorekurai sodatte kureru no?
jibun jidai ne~ mouippo
ato ha funiki mo ne~

If you tried to let in some pretty light
how much would it help me grow?
It all depends on me~ Just one more step
After I'll get in the mood okay~

キレイな音に　かたむけてみるなら
あなたどれくらい　染まってくれるの？
気分次第ね～　もうイイヨ
後は気付いてね～

kirei na oto ni katamukete miru nara
anata dorekurai somatte kureru no?
kibun jidai ne~ mou ii yo
ato ha kidzuite ne~

If you let me listen to a pretty sound
how much would it seep into me?
It all depends on my mood~ That's all
After you'll realize, okay~

ミドリポップで　一番いいのはそばにおいでよ
ミドリポップで　一度いいからごらん下ください
ね～　おねがい　２人のポップ

midori poppu de ichiban ii no ha soba ni oide yo
midori poppu de ichido ii kara goran kudasai
ne~ onegai futari no poppu

With green pop, the best place to pop up is by your side
With green pop, please don't look at me just this one time
Hey~ please it's our own pop

安心感はもう足りない　うわべでしか笑ったりね　ホントひどいね

anshinkan ha mou tarinai uwabedeshika waratteri ne honto hidoi ne

A sense of security isn't enough, you're just laughing on the outside, that's really mean you know

ミドリポップで　一番いいのはそばに置いてよ
ミドリポップで　いつでもいいから話かけてね
一人ぼっちで　動かないカラだただ見つめてる
ミドリポップで　一度でいいからごらんください

midori poppu de ichiban ii no ha soba ni oite yo
midori poppu de itsude mo ii kara hanashi kakete ne
hitoribocchi de ugokanai karada tada mitsumeteru
midori poppu de ichido ii kara goran kudasai

With green pop, the best place to pop up is by your side
With green pop, you can always count on me to listen
Only you alone, I'll gaze at your unchanging figure
With green pop, please don't look at me just this one time

ね～　おねがい　ね～　おねがい
ね～　おねがい　ミドリのポップ
ミドリのポップ　ミドリのポップ

ne~ onegai ne~ onegai
ne~ onegai midori no poppu
midori no poppu midori no poppu

Hey~ please Hey~ please
Hey~ please green pop
Green pop, green pop

『さらばシベリア鉄道』
『saraba shiberia tetsudou』 {Goodbye Siberian Railroad}
作詞: 松本隆 | 作曲: 大滝詠一 編曲: HAYASHI
{Lyrics by Matsumoto Takashi | Composition by Ootaki Eiichi | Arrangement by HAYASHI}
[Translation by yuri_nikko/j_music_lyrics]


哀しみの裏側に何があるの？
涙さえも凍りつく白い氷原
誰でも心に冬を
かくしてると言うけど
あなた以上冷ややかな人はいない

kanashimi no uragawa ni nani ga aru no?
namida sae mo koori tsuku shiroi hyougen
dare demo kokoro ni fuyu wo
kakushiteru to iu kedo
anata ijou hiyayakana hito ha inai

What is there beyond this sadness?
My tears even freeze into a white snowfield
In anyone's heart
hides something called winter
On the other side, there are no cold-hearted people

君の手紙読み終えて切手を見た
スタンプにはロシア語の小さな文字
独りで決めたで別れを
責める言葉捜して
不意に北の空を追う

kimi no tegami yomi oete kitte wo mita
sutanpu ni ha roshia go no chiisana moji
hitori de kimeta de wakare wo
semeru kotoba sagashite
fui ni kita no sora wo ou

I finished reading your letter and saw the stamp
On it was written tiny Russian characters
You decided to say farewell
I searched for condeming words
suddenly chasing the Northern sky

伝えておくれ
十二月の旅人よ
いついついつまでも待っていると

tsutaete okure
juunigatsu no tabibito yo
itsuitsuitsu made mo matter iru to

Convey for me
December travellers
I'm always, always, always waiting

この線路の向こうには何があるの？
雪に迷うトナカイの哀しい瞳
答えを出さない人に
連いてゆくのに疲れて
行き先さえ無い明日に飛び乗ったの

kono senro no mukou ni ha nani ga aru no?
yuki ni mayou tonakai no kanashii hitomi
kotae wo dasanai hito ni
tsuite yuku no ni tsukarete
ikisaki sae nai asu ni tobinotta no

What lies at the end of this railroad track?
Lost in the snow are reindeer with sad eyes
To we who cannot answer you
lead us though we're wary
Prance upon an unknown tomorrow

僕は照れて愛という言葉が言えず
君は近視まなざしを読みとれない
疑うことを覚えて
人は生きてゆくなら
不意に愛の意味を知る

boku ha terete ai to iru kotoba ga iezu
kimi ha kinshin manazashi wo yomitorenai
utagau koto wo oboete
hito ha ikiteyuku nara
fui ni ai no imi wo shiru

I can't say those awkward words of love
My nearsighted eyes can't scrutinize you
I remembered my doubts
But as long as we're alive
we'll know the meaning of love

伝えておくれ
二十月の旅人よ
いついついつまでも待ってると

tsutaete okure
juunigatsu no tabibito yo
itsuitsuitsu made mo matteru to

Convey for me
December travellers
I'm always, always, always waiting

Koenjihyakkei

"I'm probably going out on a limb here, but from my vantage point, this is not only the most brilliant of all of contemporary Japanese bands, but perhaps the greatest group currently operating in the world." -Alternative Press

Yes.

Well OK, best band in the world might be pushing it a bit, but if you're grading based on intensity, musicality, prowess and sheer weight of sound, then Koenjihyakkei is definitely one of the best bands out there.

If Fantomas, Ex-Girl, John Zorn and Godzilla were all battling at the end of the world, than you might get close to the sound of Koenjihyakkei. They are first and foremost an avant-garde, progressive, jazz/rock/choir fusion band. There isn't a straight time signature to be found for miles, and the concept of verses and choruses have been thrown right out the window. Instead, Koenjihyakkei focus on an ever evolving wall of voices and massive drums, conjuring up the aforementioned epic space battles on the edge of an erupting volcano. The most distinguishing features have to be the operatic vocals sung by just about everyone in the band. In that respect they are a lot like Adachi Tomomi Royal Chorus, only with a furious band full of synths, bass and drums behind them.

The official genre-fication of Koenjihyakkei is called zeuhl. While Wikipedia has a full explanation, it's summed up simply (in my opinion) as intense prog-rock with made up words. Drummer, vocalist and founder Yoshida Tatsuya is part of another zeuhl band called Ruins, which gets its major influence in the ur zeuhl band, Magma.

While the following videos are awesome, they don't compare to the utter heaviness of the albums.

Grassttrumm (live)




Official Site
Unofficial MySpace

Members
Yoshida Tatsuya: drums, vocals
Sakamoto Kengo: bass & voice
Kanazawa Miyako: keyboards & voice
Yamamoto Kyoko: vocals
Komori Keiko: reeds & voice

Major Releases
Hundred Sights of Koenji - 1994
II - 1997
Nivraym - 2001
Angherr Shisspa - 2005

Mederro Passquirr (live)


Rattims Friezz (fan-vid)


Rattims Friezz (live)


Axall Hasck (live)


Live at WFMU

Kigurumi

Kigurumi started with Kewpie, a company that makes all sorts of food stuffs, from pasta sauce to salads to eggs, as well as "fine chemicals." But we don't really care about their better living through chemistry company line. What we're interested in is this crazy ad campaign featuring little kids with red blobs on their heads. What I can only assume began as an innocent commercial soon mutated into a giant red blob of insanity. At least two CDs and a DVD were released featuring the song and the dance. The two girls appeared on TV shows, including Music Station, a show normally reserved for only the biggest music superstars of the moment.

Oh, I suppose you may be asking yourself, "What is this red blob on their heads? How did it get there? My god, what have they done?!" Tarako is cod roe. Fish eggs. These girls are dancing fish eggs. Not only that, but they sing a siren song powerful enough to lure millions of Spartans to a happy death. It's hypnotic. It should be labeled a weapon of mass destruction, or at least mass distraction. Let's take a sort of back-to-front look at what has become my obsession for at least an hour or so.



First off, here's a link to the lyrics and a translation. The best bit?

They come all year round They come in a matching mass of red Squishy, squishy, squelchy, squelchy cod egg visitors Lots of little tiny, tiny cod egg visitors Before you know it, they’re in your mouth Before you know it, they’re in your dreams

No frickin' kidding.

Music Station Performance



Here's their Music Station performance. I find myself absolutely transfixed by the lone tarako that's wobbling around in the background. I know it's just some dude in a costume, but at the same time, it's like some alien visitor that's starring into my mind, slowly making me one of them. One of them. One of...

Christmas Version



It's a scientific fact that by simply adding sleigh bells to a song, you can transform it from a bland every day song about fish eggs jumping into your mouth, to one about fish eggs jumping into your mouth on Christmas. I love how the horizontal tarako hat girl flinches when the tarako doll makes a move to bite her face off.

CM



Here we have a few commercials. This one is probably my favorite, just because the girl in it has exactly the same expression that I've had while working on this post. Oh, and what's with the weird cross shape behind her?

CM



If every commercial were produced with this simple, clean, pastel aesthetic I would certainly watch a lot more television. Anyone else think it's strange that they seem to all be set in Denmark or Germany or something? It's as if an Ikea fell on top of Takashi Miike.

CM



I believe that this is the commercial that started it all. You might think it's the most sane of them all, but you'd be tragically mistaken. It's so messed up that time and space fold in upon themselves and cancel out the majority of strangeness. Watch it a few times. Then you'll see what I mean.

This Will Haunt My Dreams For Years



This might actually be a trailer of the next Clive Barker movie. It's tough to tell. OK, I have to go and totally not buy that DVD collection. Hey, it's either that, or an icepick to the ear.

Kishidan

*insert motorcycle engine revving noise here*

Kishidan are the embodyment of the Japanese "kaminarizouku" biker gangs. In the '80s, the wave of classic '50s style Americana hit Japan, most notably the biker culture. Slick hair, rockabilly, "Yankee" style, all turned up to eleven. Kishidan are much more than just a visual style though. They have the musical talent to back it up. You might think they'd be rough and loud, but in fact they are very melodic and up-beat. They stick to regular old rock and roll, usually with sing-along choruses and dense melodies. Many of their videos feature elaborate dance numbers, and their songs focus on young love and high-school friendship. Also, there is often a small group of, let's just say enthusiastic young men in very small shorts who dance around together. I'll let you to connect the dots.

Kiiiiiii

Gorilla Art Punk. That's the best way I can describe the duo that is Kiiiiiii. They are two women that sing, scream and pound on drums and toy keyboards, usually while rolling around on the floor or running through the audience. Their stage is littered with stuffed animals and colorful birthday party decorations. Their lyrics are all sung in a sort of fractured, childish English, filled with references to boyfriends, Michael Jackson, Star Wars, and many other '80s pop culture topics.

Kiiiiiii (that's seven "I"s, FYIIIIIII) is the definition of high energy and explosive creativity. While almost every other band works endlessly to perfect every detail of their music and performance, Kiiiiiii instead leaves almost everything to chance, literally throwing themselves into their performance with everything they've got. This isn't to say that they don't also sing about some rather serious topics, like young love gone bad ("We were so young / We were so stupid, you know? / And you were not my boyfriend") and the importance of being honest. I think "Wishing the Penguin Star" just might be the best lullaby ever written. They are first and foremost performers, often transforming art galleries and small clubs into temporary toy box puppet shows.

The best way to really understand them is simply to check out the many live videos out there. I also recommend the great collection of photos on flickr. (Photo by Justin Chiaratti.)

BUY KIIIIIII RELEASES HERE!

Kahimi Karie

Kahimi Karie has been bouncing around the Shibuya-kei scene since the mid-90s. Not surprising considering she was the girlfriend of Cornelius for a time (see below). She takes the soft, whispery vocal style to the extreme, often singing so softly that her voice completely breaks up and drops out. This is often contrasted with the typical jazzy, bossa backing tracks of the Shibuya-kei style. Karie also mixes things up by singing not only in Japanese, but French (mostly) as well as English. Gamers may know her best from the song "Blue Orb" on the "We Love Katamari" soundtrack. Her latest album Nunki drops the trendy lounge style completely and instead focuses only on her voice accompanied by gentle piano and guitar arrangements.

He Shoots the Sun (live)



Tiny King Kong


Candy Man


Elastic Girl


Le Roi Soleil


I am a kitten


One Thousand 20th Century Chairs

Ketchup Mania

Ketchup Mania are your typical Hot-Topic, prefab "punk" band. It's notable that they will be making their US debut at A-Kon in June. They are the perfect con band, being much more style than substance. They are certainly colorful and energetic.

Yoko Kanno

Please Save My Earth, Macross Plus, Vision of Escaflowne, Cowboy Bebop, Turn-A Gundam, RahXephon, Ghost in the Shell: Stand Alone Complex, Darker Than Black. That's just the very beginning of the list of work that Yoko Kanno has accomplished. She is without a doubt one of the most prolific, talented, diverse and beloved composers of our time. Her Wiki entry is a massive listing of anime, television, video games and film, as well as a who's-who of pop singers. She has proven that she is a master in all styles from classical to jazz to rock and techno. I personally think that her work on the Macross Plus soundtrack is some of the best music ever written, although the Cowboy Bebop stuff certainly makes a strong case for itself. Whatever style you prefer, you will not find a better example then than in her work.