The October 2010 issue of Otaku USA Magazine is out an I've got a butt-load of new album reviews in it. Lillies and Remains' Meru, D'espairsRay's IMMORTAL, Dazzle Vision's to the next, Aural Vampire's Zoltank and Boom Boom Satellites' 19972007. Pfew!
And of course there are the usual anime, manga, cosplay and video game goods and much much more. Sorry for the delay in letting you know. Run and and see if you can still find a copy before it's too late!
Just A Moment is the third full-length album, first on major label Sony, released by Ling Tosite Sigure. They are a band that often plays with convention (even the Romanization of their name is sometimes written as Rin Toshite Shigure,) and they push that role to new heights on Just A Moment.
All of the song writing, lyrics and production are handled by the band's front-man Toru “TK” Kitajima. The fact that they are on a major label like Sony, yet maintain their extremely independent spirit, is a testament to the powerful range of skill that the entire trio brings to the table. Indeed, it's easy to forget that this is just three people playing in an otherwise conventional guitar, bass, drums and vocals set-up.
It's that lethal and obsessive production style that sells the album. Allowed that creative freedom, every phrase seems to get a slightly different sonic treatment, with echoes extended to the breaking point, reverb and delays swirling in and out, voices booming, then reduced to radio static. Every note is injected with a massive dose of aural steroids, crushing the air with unrelenting compression and rage. Yet at the same time it's impossible to forget that this is a warm-blooded group. Their lyrics are filled with poetic passion and evocative images. Of course the signature shared male/female lead vocal style is still prominent, most notably on the album's first single “Telecastic Fake Show.” While both TK and bassist Miyoko “345” Nakamura continue to flaunt their disregard for pitch when screaming in their their incredibly high-range voices, they both dial it back much more often than on previous releases to actually sing with great skill. Both “Seacret CM” and “Moment A Rhythm” are full of soft subtlety while still being wrapped in a warm wall of noise.
True to the title, the most precious and beautiful passages often last for a single short moment before being subsumed back into the frothing waves. While all of this intricate attention to detail would seem to make Just A Moment the perfect headphone experience, it in fact works much better when propelled through the air. When allowed to fill a room at full volume, it's as if the entire place begins to whirl with energy. If ever there was a band who could project their inner turmoil into a telekinetic tsunami, it would have to be Ling Tosite Sigure. Just A Moment is an incredible album that will not allow itself to be ignored, a high–water mark for all rock records of the future.
That's right. You can now pick up the December 2009 issue and read my review of the new Vola & the Oriental Machine album Sa Ka Na Electric Device in all its glory.
And that's all that I've got this time around, but there's more great music coverage to be had in the form of Brian Camp's huge interview with the members of Morning Musume. (Did you read my interview with group leader Ai Takahashi in August?) And there's also a special Cosplay Cafe interview with the Anime-Song Girl's Club.
Then of course there's the usual barrage of video game, film, anime, manga and general otaku spazoid greatness. Check it out!
It's another year and time for another album from Polysics, a band that's been releasing a new album every year since their first release in 1999 (not to mention a constant stream of singles, EPs, compilations and DVDs along the way). Their profile has been constantly on the rise, hitting its peak in 2006 with the release of the "I My Me Mine" video featuring the robotic dancing of Strong Machine 2. (Oddly enough, aside from the Now is the Time! album, the song was only released as a 7" vinyl single in the UK.) They went on to sign with MySpace Records and go on progressively growing tours overseas.
For the uninitiated, Polysics is a highly energetic surf-rock guitar driven, new-wave band. They augment their four member line-up with with plenty of digital playback, lead vocals from three of its members as well as plenty of robotic, vocoded lines, making their digital material something of a fifth (or even sixth) member of the band. While the songs are pure pop at their core, the outer shell is abrasive, jagged, sweaty and very very loud. This is no gang of posing '80s fashion throwbacks playing pillowy soft-core synth pop or ecstasy-fueled chiptune children's music. This is a hard rockin' punk/synth monster. It's essential to experience Polysics in a live setting as their performances are non-stop mayhem. Front-man Hiro is usually drenched in sweat by the end of their opening song. Their visual look is equally unique, with all four members wearing matching neon-colored jumpsuits and sunglasses that are little more than a large black bar across their faces, a direct and very intentional nod to the band's biggest influence, Devo.
Ever since National P in 2003, arguably the band's strangest and most adventurous album, they have been dialing back the craziness. From Now is the Time! to Karate House and then on to We Ate the Machine, each album has become progressively less noisy and insane in favor of cleaner production and less jagged song structures. (For, again arguably, their best production, one must got back even further to 2002's For Young Electric Pop.) Even their reliance on Kayo's synths and other digital tracks has gone down. On Absolute Polysics she has a much more traditional role, playing less grating sounds and more straight up harmony to Hiro's guitar. She only has one song in which she has a lead vocal part, the album closer "Wasabi," but she is, for all intents and purposes, silent on the other 13 tracks.
By contrast, Fumi has been taking an increasingly dominant role on the band. While Hiro still takes on the lion's share of the song and lyric writing, Fumi has been getting more of a chance to take up this role, almost seeming to become a second band leader at times. This is a role that, in the past, Kayo seemed to fill. Fumi has been writing both lyrics and music more often and has been filling more of the alternate singing roles as well. This isn't exactly new, and probably isn't a major factor in the band's slow sound shift, but it's also worth taking note of.
Absolute Polysics starts off very strong with “P!,” the usual brief, instrumental introduction full of enegertic synths and even a marching band whistle counting off the measures. This is followed up with the album's two singles, "Shout Aloud" and "Young OH! OH!," both of which are among the album's strongest songs. The former is certainly the most intense track on Absolute and contains all of Polysics' signature moves. It has a practically non-stop metal-industrial beat, complete with blinding fills from Yano on the drums, frantic guitar arpeggios and ascending scales all over the place. There are three vocal treatments as well. Hiro's usual, chirpy delivery, a bridge from keyboardist Kayo, a vocoded chorus and even a massive crowd chant mid-way though. "Young OH! OH!" pulls the tempo down just a bit, but it's just as energetic and infectious. The silly, whispered "young oh oh!" breaks and straight-ahead beat make it impossible to not both smile along with and bob along to.
"Hypnotized GO" keeps the fast beats going, but this time in a much more electro/industrial vein. It's actually a bit of a departure for the band, being dark like a late P-Model track than their usual new-wave rock. The songs doesn't really do much more than pound along like a robot hammering out miles of sheet metal.
This is followed by the short instrumental "Time Out." An obvious homage to Devo's "Timing X," it severs as an early break in the album's frantic pace.
"Bero Bero" is the first strange track on the album, which is what most long-time Polysics fans will be expecting. It has all the de-tuned and jagged synths that are missing from the first part of the album. It also has some pretty bizarre vocals from Hiro who, for what seems to be the chorus, simply goes something like "blublublublubulbulbulbulbulbuuyeah!" That's followed by “Cleaning,” the most straightforward and radio friendly track, written entirely by Fumi. It's much like "You You You" and the Polysics of Die reworking of "Black Out Fall Out." It's a simple, poppy rock song devoid of anything too harsh or wacky. In a way, it's one of the standout track just because it's so “normal.”.
"E.L.T.C.C.T." is another example of what Polysics does best. Sung by Fumi, it has an odd time signature, stuttering syncopation and lots of chaotic noise in the background. Then all of that is cast aside as the shining, sing-along chorus breaks though, bringing back the pure pop-bliss, before then dropping back into the oddly timed "Every girl knows, Every boy knows this, Every thing can cause trouble" chant (again, with a possible nod to the beat in Devo's version of "Satisfaction.")
"First Aid" and "Fire Bison" are again something of a 1-2 punch. They fill in the requisite amount of raw, distorted rock, similar to "Hard Rock Thunder" and "We Ate the Machine" from previous albums. The band simply turn up the amps and fill the air with noise. "Fire Bison" mixes it up a bit, using a more electronic base. Both Fumi and Yano chugging along though most of the song and there's even a heavily effect violin, played by Yuji Katsui (of Bondage Fruit) at the end. Yet both of these songs are a little unremarkable due to their being pretty basic and surrounded by so many other memorable and quirky songs.
In a sort of mirror to the beginning of the album, "Eye Contact" is something of a break from all the rocking. It's totally electronic, featuring a very basic electro beat and bass line. Hiro's vocals sound a bit like the rhythm from Devo's "Redeye Express" and the synths seem to be taken straight from Kayo's version of "Saraba Siberia Tetsudou" from her solo album, neither of which is a bad thing. Overall, it's a nice break in tone, but it's another example of a song that seems to be either half finished or just stuck on the album for filler.
"Beat Flash" is a return to the same clean and fast sound on "Shout Aloud," which isn't a surprise since it was the b-side to that single.
"Speed Up" is the one real clunker on the album. It's almost as if it missed getting mastered, sounding totally flat, muddy and quieter than the rest of the album. It does have a nice, catchy chorus, again like "You You You," but the rest of the sing just seems dull and phoned in. Again, this could simply be a result of the piss-poor production. Any of the other b-side releases from the singles would have been a better fit.
The final track "Wasabi," is the real hidden gem. It's the most unique song on the album, featuring Kayo singing in a high voice that has a feel of the Buggles' "Video Killer the Radio Star." The song itself feels a bit like "Miss Donuts" off of the Kaja Kaja Goo EP. It's very poppy, with twinkling xylophone sounds and a nicely dissonant bridge thrown in. Plus, it's the only song to really feature Kayo, something that is sorely missing from the rest of the album. The very end of the song, and the album, features some backwards screaming and other chaos that quickly fades out, providing a very unceremonious and abrupt end.
The overall lack of variance to the album's production, the sameness to the feel of every track, makes Absolute Polysics a bit of a disappointment in the “wow” department. There are a some great songs and interesting ideas, but they seem to be spread very thin. "Shout Aloud" and "E.L.T.C.C.T." are packed with exactly the right amount of catchy song writing versus zany structuring. "Bero Bero" and "Wasabi" provide the strangeness and playfulness that really defines the band. Everything else? Certainly not bad, but also not so great. The lack of Kayo's lead vocals and the way in which her usually squelchy and abrasive synths are pushed far into the background in favor of the cleaner production also leaves the songs sounding a little too even. On the other hand, it's much easier to make out what everyone is playing, something that was lost on the band's earlier, and more noisy, releases.
Maybe that is what's missing. That sense of the band playing live in a big room. The feeling that everything is on the verge of falling apart and exploding. That dirty new-wave punk sound. Now they are clean and precise. Once again there is the feeling that this album has been churned out at break-neck speed, written more to meet a contractual deadline than for the fun of playing loud and fast. It's still a work of occasional genius, packing more material into most songs than other bands use on an entire album. Absolute Polysics is an album that only becomes more awe-inspiring on repeat listens. Yet it's tough to not see how the band is evolving (or, of course, DEVOlving) toward an almost clinical, assembly-line method of song writing.
As an added bonus for fans, there is also a special edition version of the releases that includes a DVD. In that disc are the videos for “Shout Aloud” and “Young OH! OH!.” But the real attraction is the six, yes six hour documentary of the band recording in the studio. In this film, we get to see the band recording a new, and very short, song from beginning to end. Hiro brings the song in as an all electro demo, playing it off of a computer a few times for the band to hear and take notes. They then gather together and play the song through a few times, working out exactly what to play. It's all pretty self explanatory, really. The band play the song though together, then they individually go back and re-records their parts until the song is done. The entire session is shot without a break, give it a sort of impossible-to-look-away feel since there are never any obvious gaps. Oh, and as a gimmick, when a band member walks off-camera to go into another room, they almost always return wearing a different t-shirt. It's a surprisingly effective way to keep people watching, since the actual action in the studio is about as dull as you may expect. Fans will no doubt find it interesting to see the band at work, regardless of having to hear a 30-second song hundreds of times.
In the end, Absolute Polysics isn't the best thing Polysics has ever done, but it's not bad by any means. The songs will likely translate better in a live setting, which is where people should be seeing the band anyway. If nothing else, Absolute Polysics is simply a good excuse for the band to go out on tour and tear up stages around the world. Who could blame them for that?
The members of sgt. fall into a lineup a bit more like that of a jazz quintet than a traditional rock band. Drummer Hitoshi Ono and bassist Kouji Akashi form the band's solid backbone, proving the beat and pulse. Guitarist Hironori Taoka also falls into this role, merely fleshing out the band's sound rather than performing any virtuosic feats on the fretboard. Violinist Mikiko Narui most often falls into the role of soloist, taking the place of a saxophone or trumpet. She also takes the melody almost exclusively, in those rare cases when there is one to take.
sgt. isn't exactly well known for short, pithy and easily digestible songs. That's not to say that they're overly infatuated with creating inscrutable, million changes-a-second math rock or imposing sonic mountains. Their songs are more like a walk down a long, dimly lit path near stormy seas than any sort of road-map like the more universal language of verse chorus verse chorus bridge chorus chorus.
Having said that, Capital of Gravity, sgt's third mini-album (available now at HearJapan) is even more likely to get distracted and wander around that path than their previous releases.
Now, I'm no video games journalastic historianist, but I seem to remember that the very first Katamari Damacy game was something of a slow burn. In my own circle, it was the very definition of a word of mouth sensation. I had no idea what it was, but I had heard from a gradually growing number of people that it was awesome and amazing and weird and totally addictive and all those other things that it is. I think the thing that finally sold me was hearing about how "Japanese" it was. Well OK then, I guess I'll have to check it out, I said to my dog, who I don't think I had at the time and who I am now retconning into my narrative.
My dog and I found the game for a super low price and we instantly won over by the simple box art and design. Two seconds and it already looked like nothing we had seen before. A few minutes into playing it and we were both eternally lost to its bizarre charms. And by "we" and I mean me and my dog. Seriously, the thought of her playing a video game is so cute and is now distracting my thoughts.
I was personally drawn in more by the soundtrack than the game itself, and I don't think I'm alone there. To say it was a breath of fresh-air would be lazy and boring, so let's call it a bottle of absinthe to a chronic alcoholic with nothing left to live for. I couldn't get enough and I didn't want to hear about anything else until I had consumed it all. Every new installment of the series was a new fix. Sure, it may have never been quite as magical and deleterious as the first time, and I always needed a little more, and I went blind, but I still welcomed them all like an old friend returning with a new bottle of sweet, sweet poison.
FLOPPY is a chiptune/8-bit/electro project from Sharaku Kobayashi of Metronome and Hiromu Toda of Shinjuku Gewalt. Since 2004, they've been producing some of the best and craziest chip-fueled electro mayhem around. Their somewhat retro-futurist sound is highlighted by their goofy no-budget sci-fi costumes and the music's dreamy yet chaotic atmosphere.
Their growing popularity is only highlighted by the fact the both JapanFiles and HearJapan are stocking up on the new album Deus Ex Machina, offering it up to fans around the world. You can get it right now on both sites.
In case you've been wondering where all the daily content has been here on the A-Z, well, what can I say? Life is busy and Zac is lazy.
But that doesn't mean that I've been totally dormant! Just in case you didn't already know, I am also a regular contributor to Japanator. A few of the recent Japanese music related things I've done over there include:
- A review of sorts of the newest Perfume album called Triangle. I don't exactly give it high marks for originality, and I think that raised the dander of some of the more hardcore fans...
- Another somewhat snarky review of the new album from the crazy vis-kei band Mix Speaker's Inc. called Monsters Junk in My Pocket. While I don't really find anything interesting about the music, you really need to check out their totally over-the-top (even for vis-kei!) style.
- An exclusive interview with American songwriter and performer Becca. She's managing to make a name for herself in Japan. She also just recently played at Otakon 2009.
Something else that I had nothing to do with but that I know readers will be interested in is the coverage of Kanon Wakeshima's recent stop over in LA for a live show and autograph session. Ace0fClub5 once again managed to get some amazing photos of the event.
So, things may be a little quiet here from time to time, but I'm certainly not slowing down. (Oh yeah, there's all that new stuff for Otaku USA Magazine too...) Maybe just choosing my battles a little more carefully. But never fear! More is on the way.
Just got the new Polysics single Young OH! OH! today. I managed to get the DVD version, and I am damn glad I did!
The DVD is 11 live songs from a show at Club Quattro from April of 2009. The chosen songs are mostly from their older catalog, stuff like "Bye Bye Red Sneaker" and "Which!," but that also have some newer ones like "Oh! Monaliza" and "Sony-san." They also wear their classic blue suits with the military-style hats. Oh, and the best thing ever? They do a live version of "Computer Obaachan"!!!!!!
But that's just the extra stuff. The single itself is great. "Young OH! OH!" is a bit catchier than the previous double single "Shout Aloud! / Beat Flash." The b-sides are also very cool. Like many of their non-album tracks, "Do You Remember?" is pretty silly and has a goofy, deep voice repeating the title. There's also a live version of "Shout Aloud!" (from the same live show, but not on the DVD) so if you missed the single, then you can still get the song.
The price for the entire package is almost a steal. You'll get an hour of new Polysics material for around $15. Obviously I highly recommend that you pick it up.
Check out some relevant video clips after the jump.
There are two lines on Part of Grace, the first full-length release from Lillies and Remains, that basically sum up the entire album for me. The first is from the second track, "The Fake." The song itself is a dangerous, throbbing slab of post-punk doom. In this context, the line "The more I heard your song / The more I wanna write my own songs" could be construed either as inspirational or confrontational. This ambiguous split between positives and negatives seems to be exactly what Lillies and Remains is all about. They are constantly riding the line between sin and virtue, darkness and light. Their music follows suit, one the one hand bring raw and stark, frenetic and somewhat lethal, while on the other hand being incredibly beautiful at times, showing a soft and vulnerable underbelly under the scarred carapace.
The other stand-out line (and, it should be noted, all of the lyrics are in English) is on their very first single "Moralist S.S.," a song original released on their debut EP of the same name. Chanted several times is the line "Obeying my steady view / I bring you down." Again, this rather ominous statement could be seen as coming from either the protagonist or from an outside source, being a positive or negative idea. Either way, it's an obvious show of superiority through a sort of silent intimidation. Something almost vampiric.
[Hit the jump for more]
"Moralist S.S."
The fight between these dark and light feelings runs throughout Part of Grace. The biggest contributing factor has to be front-man KENT's baritone vocals. His low-register delivery is something unique not only in Japanese singers specifically, but in most modern post-punk styles in general. He doesn't croon in that mid to high falsetto so often seen in arty, beard wearing young bands trying to prove their emotional fragility though some sort of coquettish, effeminate boy. No, KENT plays the dark, brooding, well dressed mysterioso to a "t." The album's production follows suit, itself being raw and devoid of artifice. This is likely due in no small part to the fact the KENT produced the entire album, as well as writing all the words and music. The music sometimes echoes in a damp cave, sometimes creeps right up into your ear, but its intentions are always a very clear "beware."
All of this isn't to say that the band is crushingly brooding or always serious. They come for them school of "fun" goth right, if there can be such a thing in these post irony days. Everything they do has a definite pulse, a life that makes the songs infectious and groovy. Some more than others, like the swaggering "Unmade Schemer" and the desert-washed "Grind." There are also the pop-tinged "Wreckage" and "Part of Grace," the latter of which is an actual ballad of sorts. The album is bookended with two hidden gems, the opener "ARGO" and closer "Upsetter." Again, that theme of dark and light are in full force, with both songs full of very pretty melodies surrounded by a smoky darkness and melancholy. Both songs hint at an urgent need to "be let go," of misunderstanding and of being trapped. Of a feeling that there must be something more to life.
"Wreckage"
Perhaps it's this unbalanced feeling, the thought that what you know is wrong and that there has to be something, not necessarily better, but something "else" that helps make part of Grace such a fascinating work. Of course KENT and his band are working in a certain genre, but at the same time they manage to avoid all of the clichés, both in tone and production. The astonishing thing is that Part of Grace is only their first full album after being together for only a couple of years. It is a tremendously strong first step toward what we can only hope will be a long and prolific career.
You can buy Lillies and Remains CDs here and get all of their releases from iTunes.
The new issue of Otaku USA Magazine just hit my mailbox, so I thought I'd give you a bit of a run-down to hopefully entice you to check it out when you see it in your favorite local otaku hideout.
First up, the big feature (at least as far as ZB's world is concerned) is my interview with Morning Musume group leader Ai Takahashi. We talk a bit about her rise to stardom and what it's like to be a Musume. I also review the new Morning Musume album Platinum 9 Disc. And speaking of reviews, I take a look at the debut album from Cellythm, a band signed to Nobuo Uematsu's own record label Dog Ear Records.
Aside from music, I review Noby Noby Boy, a game for the PS3. If you haven't played it, well, maybe my review will help you understand it. Maybe. Finally, as part of the big Fullmetal Alchemist: Brotherhood cover story, I take a listen to the opening and ending themes to the show, from Yui and SID.
Then there's also everything from everyone else! There's a Utada Hikaru story from Mike Dent, A look at MadWorld for the Wii from Joseph Luster, an eye-popping interview with manga master Hitoshi Iwaaki, a billion manga, anime and film reviews and way too much other stuff to go into here. I mean, you'd need 122 pages!
I really hope you can pick up a copy as soon as you see it. As always, Otaku USA Magazine is the best (and only!) magazine for the hardcore otaku!
The made up singing-idol-in-a-box known as Hatsune Miku has long been a subject of great interest around these parts, not to mention just about all of Japan. Her influence has spread across all genres, even spawning several new versions and like-minded characters.
TM Network began its life in the early '80s, making synth-pop and upbeat rock songs. After taking a bit of a break in the '90s, they managed to get back together just before the turn of the century.
Chiptunes, those delightfully nostalgic songs made from the sound systems embedded in retro gaming devices, have always been popular, at least among a certain crowd.
Now, all three of these great tastes are smooshed together into one awesome collection from VORC Records. Titled 8bit Prophet: TM Network Tribute - Generated by Chiptuine & Vocaloid, the album consists of eleven songs from a wide range of chiptune producers, wrapped into one incredibly beautiful package (illustrated by TOKIYA.)
After releasing a slew of demo EPs, the two year old band Molice released their first full-length album unto the world in late 2008. Written entirely by the band's front woman and co-guitarist Rinko, Doctor Ray is both a solid and bold first step.
The album opens with the 1-2 punch of "White Vertigo" and "Headphone." Both establish the band's upbeat, dreamy and slightly retro-rock moods. "Headphone" is an easy candidate for the album's hit single, with a constant groove that's sure to bring down the house at any live gigs.
Headphone
Hit the jump for the rest!
White Vertigo
A batch of slower, dark songs follow. "Dear Change" brings an air of something slinky and dangerous laying in wait just underneath its smoky atmosphere. "Love Song" is indeed more sunny and charming, with a soft melody and muted drums.
Love Song
"Pop" is another big crowd pleaser, with "Yeah yeah pop!" repeated over a brash surf-rock guitar solos and slightly distorted drums. The album really takes off from there, with more echos of other raw yet melodic indie rockers like Noodles or Toddle. "Superb Space," "Bili-Bili" and "Hole!" are a trifecta of infectiously poppy choruses and irresistible hooks.
Bili-Bili
Hole! (Live)
The album ends with more muzzy, melancholy pop, perfect for a dingy underground club on a rainy night. Both "Pretty Sound" and "IN the Light" are stripped down to post-punk, almost goth levels of urgent guitar playing over some pretty sounds indeed.
Pretty Sound
Doctor Ray is a solid debut album from a very promising new band. It has a few of the hallmarks of a scrapped together first project, but also sounds absolutely pro where it counts most, namely the songwriting. All of the songs are catchy without being overly poppy, fun while still maintaining a dark air. It will be great to see what Molice does next.
Quick, what do (deep breath) Perfume, Michael Jackson, Exile, Utada Hikaru, Ai Otsuka, Studio Ghibli, Southern All Stars, Juicy Fruits, Coldplay, Raiders of the Lost Arc, Led Zeppelin, Yellow Magic Orchestra and many more all have in common? (gasp)
Well, nothing really.
Until now!
Because now they can all be linked by the power of 8bit chiptune music! Ah yes, the glue that sometime seems to hold the very fabric of the universe together has spawned yet another compilation full of both incredible and very clever covers of some classic (and not-so-classic) songs.
The album Spicy Innovator vs Superior Marionette (see, isn't that clever, now?) was put together by a group going by the innocuous name of 8bit Project. This humble name actually obscures a rather intimidating trio consisting of Ito Toshiharu (of Mansfield), Matsutake Hideki (Logic System and the sound programmer and so-called fourth member of the highly influential 1970s-80s Japanese electro super-group Yellow Magic Orchestra) and Saito Hisahi (of YMO cover band Y Setsu O). Spicy Innovator is the group's second full release (they've also recently remixed Shoko Nakagawa). It seems to take the previous effort to a whole new level of insanity across twenty one tracks of pure 8bit overload. Sure, it may be over twenty tracks, but some of those tracks consist of five song medleys! This is, like, fifty songs, people!
If you're not already running over to HearJapan to download it or to CDJapan to get the CD (either of which I can assure you, without hesitation, is the right thing to do) then follow me after the jump to get a bit (ha ha) more background on what's going on here. Then go buy it.
There is far too much going on here to do any sort of play-by-play, so instead, the highlights.
[NOTE: All video clips are the original songs, not the 8bit covers. Just in case that wasn't screamingly obvious...]
Perfume "Polyrythm"
The album kicks off with two of the strongest tracks, both a Perfume medley and a Michael Jackson medley. The Perfume track consists of four of the singing-trio's most recent singles, “Polyrythm,” “Chocolate Disco,” “Baby Cruising Love” and “Love the World.” While none of these are really any sort of revelation when presented in 8bit form, (they are an electro/chiptune-ish band already) it will nevertheless instantly get you into the right frame of mind for the onslaught to follow. Much more shocking, and simply wonderful, is the Michael Jackson material that follows. “Bad,” “Beat It” and “Thriller” are an ascending scale of perfection (come on, a chip version of an Eddie VanHalen guitar solo?!), culminating with the album's coolest trick. When it's time for Vincent Price to give his monologue at the end of “Thriller,” 8bit Project chooses to instead use the default text-crawl blips sound heard in so many early 8 and 16 bit games. It's an obvious yet at the same time surprising gimmick, topped off with a very lo-bit laughing sample at the end that you won't be able to help but giggle at yourself. This track alone is worth the entire price of the album.
Utada Hikaru "Beautiful World"
Then there's the Utada Hikaru medley, complete with an overt Final Fantasy break and Galaga sound effects, the Ai Otsuka “Tsubomi” cover with its Metroid backdrop, and the classic pop song “Hajimete no Chu” with a ton of Kid Icarus callbacks. All of the myriad of classic game samples and homages are handled with subtly and class, so much so that you'll probably often find yourself wracking your brain to solve that “where the hell I have I heard this before?” feeling.
Yellow Magic Orchestra "Computer Games"
While some of the tracks on Spicy Innovator might leave non-Japanese music fans scratching their heads, there are also plenty of more “universal” hits for the rest of the world. The most obvious being Coldplay's “Viva La Vida,” followed by the main themes from Raiders of the Lost Ark and even a complete (though slightly compact) version of Led Zeppelin's “Stairway to Heaven.” The whole thing ends with an unsurprisingly brilliant medley of Yellow Magic Orchestra tracks. It's a perfect choice, since they are the ones who (unofficially) started the movement toward seeing video game music as something serious and something to love.
That's the real story here, too. Sure, some 8bit versions of “normal” songs can be the most tired and worn out hack move for shallow musicians to make. Anyone can run something though a modded NES and people will be there to blindly flock to their side. Here, it's the obvious love for the genre and the craft of making these songs that sends 8bit Project and Spicy Innovator vs Superior Marionette far beyond the also-rans. It's full of both silly fun and professional production. The sound of a few old-school electro masters playing around and relaxing with some of their favorite games and songs, and doing it better than anyone else. This is an album that any fan of the genre should buyright now, end of story.
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 is a bit daunting to try and sum up. 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.
Kalafina have just released their first full-length album unto the world. It centers around the animated film series Kara no Kyoukai. As someone with no prior exposure to the series, I can't speak on how well the music fits the series. So, anime aside, I'll focus on the music (which is why we're here, after all.)
Hit up the full review after the jump!
Oblivious (live)
The album opens with a brief ambient "Overture" before kicking straight into "Oblivious," also the debut single from the band. It sets the tone for the rest of the album well. Most of Seventh Heaven is decidedly electronic, yet organic and thrumming with life. The album art presents an apt visual equivalent to the music inside. Darkly elegant without being overly gothic, covered in lace and exotic bird feathers. "Oblivious" is all of that presented with almost tribal trance beats, spaced out synths and almost operatic harmonies from the singers.
Aria (live)
"Love Come Down" is a much more upbeat track featuring squealing violins and guitars along with the same sort of burbling, pillowy synths. "Natsu no ringo" takes a hard turn towrd down-tempo folk themes with a Celtic feel, complete with folksy drums, flutes and acoustic guitars. It's Lord of the Rings run through an even more fantastical kaleidoscope. "Fairytale" and "Aria" keep things calm with a more traditional anime style sound. You can almost visualize the closing credits rolling over rippling waves, girls riding bicycles into the sunset, trees blowing in the wind etc etc. All the while the vocals present many layers of harmonies and an almost angelic choir of voices.
Sprinter
Things get back to serious business with "Mata Kaze ga Tsuyokunatta," one of the few songs original to this album. It's a track much like "Love Come Down," this time featuring a lead cello along with the more aggressive singing and some really rocking drums. In fact the album stick close to the format of a few light, calm and fantastical song bookended by stomping, intense dance tracks. With the exception of "Sprinter," a rock rock song almost on-par with that of Abingdon Boys School in terms of its sheer epicness, Kalafina does one thing very well, but perhaps relies on this style a little too much. At least for a lengthy album like the fourteen track Seventh Heaven. Calling them a one-trick pony would be a grievous error. All of the material on the album is expertly crafted and produced. All of the performance are presented with everything the musicians and vocalists have got. In fact it's all almost too well maintained and controlled. Crafted to fit too well into a specific musical and emotional realm which causes the later tracks to begin running together. Yet for fans, Seventh Heaven is indeed the most perfect offering they could ask for. It never once wavers in its vision or high quality.
Seventh Heaven
Kalafina will be performing at Anime Boston later this month. Also, don't forget to enter the contest running right now on Japanator to win some signed Kalafina merch from the show!
You can buy Seventh Heaven at various on-line shops like Amazon and iTunes, as well as in physical form at CDJapan.
If you ever wondered if there was still a place for traditional folk music in our modern culture, you need look no further than the Yoshida Brothers.
The two young men have been playing the tsugau-shamisen for most of their lives. Over the years, they've released several albums, incorporating their chosen instrument into just about ever genre you can image. If you needed any more proof of their modern flair, they have also provided music for the Nintendo Wii commercials.
Just now, just as I was about to start on this, I realized that it has officially been one year since I started writing for Otaku USA Magazine. What? It also turns out that with the June 2009 issue, Otaku USA itself is two years old. Sure, that probably doesn't amount to a hill of beans in your world, but to me it's pretty alright.
Anyway, the new issue is out, and it's also pretty alright. I've got an exclusive interview with the founder of Japan Nite, Audry Kimura. Did you know that the tour was eleven years old this year? I think it's safe to say that Audry is the hardest working woman in the already daunting business of bringing bands from Japan to the US.
I've also got a couple albums reviews: The VORC compilation Squarewave Surfers: memory of 8bit, and the incredible Moralist S.S. EP from Lillies and Remains.
But that's just the music section. There's also a massive feature on the new Street Fighter IV game, tons of film and anime coverage, way more manga stuff than you can handle, cosplay, toys, news...the list goes on and on for 128 pages. I'm sure you're sick of me saying it, but Otaku USA Magazine really is the best, most diverse and most open minded otaku-lifestyle magazine around. (Oh yeah, and also the only one around.) I really hope you check it out!
It's time again for another fantastic issue of Otaku USA Magazine to stomp its way into better magazine sellers everywhere!
This time around, I've got a nice interview with my heroes Polysics. I managed to catch them in the phone just before they kicked off their latest US tour.
Of course, that's just my own personal neck of the woods. There's a ass-ton of the usual great content, from games reviews, interviews, manga and anime talk, figures and much more. Plus, in case you didn't notice last time, the cover price is almost half of what it used to be! You can't lose. I hope you get a chance to pick it up soon. There's much more to come, so stay strong, true believers!
The hard rockin' trio that is Detroit7 will be embarking on a world tour this month, hitting up SXSW and the Japan Nite tour in American, then stomping over to the rest of the world in April. Their appearance in the States is being heralded with the release of their self-titled album on the Daruma label.
Along with a host of mini albums and EPs, it's the band's third full-length album and shows the band in top form. They blast through their 10 songs in 30 minutes. From the starting shot of "In the Sunshine" to the head thumping closer "Lovers Fight," it's a solid block of swaggering guitars, raw drumming and Tomomi Nabana's signature smokey, gruff and non-nonsense vocal assault. While she's got the delivery of a biker-chick looking for a fight, she also sounds like she's smiling the entire time.
That's not to say they are an abrasive, middle-finger-wagging punk band. They've got a heart the pumps the blues, filtering it through their fuzzed out amps. The do take a breather on both "Down Beat" and "Torch Song," though it's a bit relative. They still bring their wall of sonic mayhem along, but they manage to keep it in check, at least for a few minutes. "Zelda" ramps things back up, providing the fuel for a long distance road trip through a sweltering desert.
For anyone looking for a handy tool to explode a massive sound system through sheer rock and roll mayhem, they need look to further than Detroit7. Look for it at their shows, buy it at Amazon, or at any record shop with an ounce of credibility and common sense.
Check out some videos of their previous US tour after the jump.
J-Pop and J-Rock are only the beginning. The modern Japanese music scene is just as vibrant and varied as any other music scene in the world. I'm Zac Bentz, writer, musician, designer and all around Japanese music fanatic. Here I hope to share with you a comprehensive (!!) list of Japanese artists and bands (with a strong focus on underground and indie acts) that you may or may not have heard of, in the hopes of expanding our mutual awareness of Japanese music.
I don't mean to suggest that everything I listen to is great. Quite the contrary, I hope that you will take the time to recommend your own favorite artists in the comments so that we can all learn a bit more about the huge range of Japanese music that's out there.
"The best Japanese music blog in the world." - Door Slam "Definitely a must-visit for J-pop and J-rock fans!" -The Otaku "Zac Bentz loves music. A lot." -Japanator "Very cool!" -J-ENT "...one of the foremost blogs and information centers on all J-pop and J-rock...the top source for tour information on Japanese bands in the US..." -YankeeOtaku "Wer mehr darüber wissen will, der sollte sich mal hier umschauen, ein sehr gutes J-Music Blog übrigens." -CommandSheep "...very well-written, and there’s an excellent range of artists...a useful resource." -International Wota "не плохая энциклопедия японских исполнителей/групп" -Diary.ru "Great resource for Japanese music fans who want to explore today's J-rhythms beyond Johnny's Entertainment bishonen music and anime music. XD" -Kaishi "If you are a J-Rock fan, [ZB's A-Z] is a must see." -Crunchyroll community "Otaku USA magazine finally got wise and hired Zac Bentz as a J-music contributing editor."-Radicalpatriot "Reviews practically every Asian band that has ever created a recording."- Zallie "Gewährt spannende Einblicke in die japanische Musikszene." -Laut.de
