goodbye, subculture

an english-language japanese music blog with a focus on interesting and emotional, often independent artists.

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The blog has moved!!

I’m not sure how many people are here for this enough to follow it to another site, but I’ve moved the blog over to https://goodbyesubculture.wordpress.com

I’ll no longer be posting stuff here, so please check it out!!

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Single Review: Ling Toshite Sigure - DIE meets HARD

In the fifteen years since their inception Ling Toshite Sigure has undoubtedly found a formula that works for them, a unique style that many are influenced by, yet no one can ever fully imitate. The problem with being as consistent a band as they have for as long as they have is that sometimes that consistency can start to feel like complacency. Ever since the release of 2013’s i’mperfect, what is probably the most powerful release to come out of their formula, the band seems to have been in a state of stagnation. However, with “DIE meets HARD”, they may have found a way to bring an exciting freshness to their signature sound.

Since the release of the short clip on the internet several weeks ago, “DIE meets HARD” has felt subtly different from Ling Toshite’s recent output. The main riff of the song brings a welcome change; a high energy, confident piece of guitar work that sounds like it would feel at place in a completely different song by a totally different band, but that’s actually why it works. What really sets this song apart and gives it its freshness is not only the chaotic riff that the song is structured around, it is also the melancholic and melodic bass that plays alongside it, providing a contrast that we don't always get from this band. At around three minutes into the song, we finally hear the title sang aloud, and, like this band's most endearing past uses of english, it's corny, yet performed with such conviction that it really stays with you. bassist 345's delivery is what sells the line and, coupled with the breakdown that immediately follows, turns what might be embarrassing coming from a different artist into something exemplary and effecting. Unfortunately, the remix by Koji Nakamura that is included on the release seems to remove all of the distinguishing and exciting aspects of the song listed above, resulting a very stale and reductive version the inclusion of which is, frankly, unnecessary.

B-side "I'm Machine" puts the focus on Pierre Nakano’s drum skills in a way that this band hasn't done in some time. Not very memorable when compared to the previous song, but like “Die Meets Hard”, reminds of how affecting 345's vocal performances really can be. Going forward, Ling Toshite could benefit immensely from more spotlight on her vocals, and general increased attention on members other than TK.

“DIE meets HARD” is not exactly a drastic change in direction for Ling Toshite, nor is it the much needed revitalization I was hoping for. What it is is a step in the right direction, an interesting and exciting tweaking of the group’s road-hardened formula that could lead to some very intriguing work in their future.

Note: Since the music video for the song is blocked in countries that aren’t Japan (ughhhh), I’ve left it out of the review proper and linked it here in case anybody who’s reading this can watch it: http://www.youtube.com/watch?v=PAyJshW6-qA

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Review: Higuchi Ai - Mousho Desu e.p

After last year's brilliant Hyakku Roku-Jūdo, which brought Higuchi Ai to the some of the darkest places of her burgeoning, yet impressive career, the idea of a summer-themed EP did come as somewhat of a surprise. While the summer songs advertised on the CD's spine are here here for sure, and not in any way as filler or justification for the album's theme, the real standouts on Mousho Desu e.p are the brutally honest and remarkably sensitive compositions that are the artist’s strong suit.

Starting off with a song from last year’s album with “Mousho Desu”, from which this EP takes it’s title, is an interesting choice, but ultimately a fulfilling one. While the song itself is notably altered, giving it more body and scale by way of strings and more full piano, it isn't until the end of the album that we see the real reason for this song’s reimagining. the last song on the album is similarly and purposely titled "Zansho Desu ", meaning "lingering heat" in contrast with the former, which means "heat wave”. In the same way that one looks back on the past more objectively, this last song is a colder and more calculated look at the relationship discussed so heatedly in the first song, a feeling made tactile by the specificity of the digital beat supporting the much more somber piano.

Video: official trailer featuring the artist eating an ice cream and very short previews of every song on the EP

The core of the EP is made up of Higuchi Ai's forté: achingly human and refreshingly honest songs that show not only the artist’s propensity for bearing her soul, but also her talent and range as a musician. “Yawarakai Kamen” is a powerful ballad led by spacious piano and boisterous strings that sees the artist at once at her most venomous and her most vulnerable. In contrast, “Radio Taisou" is Higuchi's most tender and understanding song in some time, with piano so intimate and arresting that she needs only it and her own voice to convey the depth of feeling displayed here.

As is true of all of Higuchi Ai’s output, the songs found on Mousho Desu e.p range from biting and soul-bearing to understanding and tender, all tinged with her unique and open artistic voice. These are the kind of songs only an artist so deeply in touch with her own emotions, and so understanding of what it means to be a human being in the modern world, could produce. That she is capable of expressing all this in such a digestible form and, more importantly, willing to do so is a fantastically brave and rare thing, and it’s what makes Higuchi Ai the most intriguing singer-songwriter in Japanese music today.

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Review: BiSH - GiANT KiLLERS

Leaning more than ever into their "punk band without instruments" self-description, GiANT KiLLERS finds BiSH in their prime, having reached a consistency that was foretold by their stellar second album, Full Metal Jacket, and one that few idol groups are lucky enough to ever reach. Their first long-form release on a major label, BiSH manages a brilliant debut that offers more of what seasoned fans already love while introducing new fans to the group in a characteristically bizarre and bombastic way.

The unbridled energy and confidence of the album’s first and title track perfectly exemplifies how well this group can capture the feeling that many of their darker-leaning idol peers are aiming for -- motivation through emotional honesty no matter how ugly and the solidarity with knowing you are not alone in feeling like an outsider. These are some of the most appealing emotions that one gets from more traditional punk bands as well, making their self-description one of the most apt they could possibly choose.

What really sets BiSH apart from other major label idol groups is a personality that is palpable in every single bit of promotional material. Each member’s voice is distinct and distinguishable, yet this difference leads them to compliment each other and add depth to the overall vocal performance of the group. Even the weak link on the album, “Shakai no Rule”, which sounds exactly like the kids anime theme it was no doubt designed to become, is seeped in this personality, and fits surprisingly well in between the two emotional apexes of the album.

ABOVE: Music video for title track “GiANT KiLLERS” *trigger warning for mild violence and abuse* 

BiSH's real strength has always been in their grand, emotionally charged songs -- Not quite ballads, but with about as much emotional weight as one. The most effective example of this is still last year’s “Orchestra”, but we’re still lucky enough to get two memorable songs in this vein on GiANT KiLLERS. Early favorite “Nothing.", the emotional climax of the EP, fits more safely into this sound profile, whereas the brilliantly titled “VOMiT SONG" takes a more simple rock approach, but with a distinct emotional weight that closes the album out on a somber, yet hopeful note.

Eclectic without feeling out of place or off-brand, GiANT KiLLERS is not only one of the most consistent releases from the already fantastic group, It's one of the best possible jumping-off points the group could hope for on their first decent length major label release. The fact that BiSH has continued this level of consistency is a testament to the group’s staying power, and continues to inspire hope that they won’t fall into the same traps of mundanity that many Japanese artists find themselves at this level of popularity.

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Review: DADARAY - DADAMAN

Compared to foreign artists, Japanese musical acts, especially those still clawing their way to success, have a pretty tough release schedule, with about one album or EP a year. Despite this, several have opted for even more frequent releases as gimmicks, such as the three consecutive monthly singles Seiko Oomori released last year. Not to be outdone by this, newcomer DADARAY have opted to release three consecutive monthly EPs, the first releases from the band. With DADAMAN, the second in this series, the group continues to succeed at their strengths, while losing some momentum to trends and an unfortunate comparison.

It's incredibly difficult for any artist to overcome strong comparison to another, and DADARAY have had their work cut out for them since their inception. I am speaking of the now infamous Gesu no Kiwami Otome, with whom this band shares not only a similar piano-driven sound, but also a member in bassist Kachō Kyūjitsu. He, of course, cannot shoulder all the blame for the bands' sonic similarities, but his presence serves to underline the comparison in a direct and visceral way. That being said, with DADAMAN, DADARAY do make significant headway towards distinguishing themselves from the aforementioned by focusing on a more balladic piano style that increases the scale of their sound significantly, most prevalent in "Breeze in me", as well as relying on a much smoother, jazzier style of song composition, as on "WOMAN WOMAN" and “TokyoΣ". Almost all of the songs on this album still share obvious quirks with Gesu no Kiwami Otome, but what runs through all of the band's output so far, DADARAY's best weapon against the comparison, is their far more tender and honest tone in place of pretense and masculine posturing. It is what sets the band apart and continues to make them more endearing and refreshing, especially since the public relations and subsequent creative slumps of Gesukiwa.

Music Video for “WOMAN WOMAN”

Looking at Japanese culture, specifically music, from the perspective of a native English speaker can often be frustrating, mostly because when using English, as song lyrics in this case, Japanese artists simply aren't thinking of their international listeners. This is absolutely fine of course; a negligible portion, if any, of their profits come from these fans in most cases. The reason it tends to really clash is the general trend of using English in Japan almost always equals cool or hip, often to a disingenuous degree. There is a way to do it right however, siraph's "quiet squall" being the current gold standard, and interestingly enough we have both a surprisingly great and very awkward approach to English on DADAMAN. On "Do what you want" the English is used sparingly and to great effect, restricted to the title and the word "please", and only in the chorus. The contrast between this and the Japanese verses gives the song a more unique melancholy. On the other side of this coin is "Breeze in me", which is sung entirely in English, where the pronunciation and vocal delivery make the song feel disjointed and surface-level as opposed to DADARAY's usual refreshingly honest Japanese language songs. This whole trend of seemingly forced English usage points to a problem that plagues many Japanese bands, but is probably the biggest obstacle in the way of DADARAY feeling truly fresh and unique, and that is the problem of intentionally trying to be "cool". Especially in the case of a band with such expressive, open music, this pretense causes a completely avoidable drop in momentum in the middle of an otherwise moving album.

One of the benefits of releasing albums as close together as DADARAY has is the freshness that their first album DADAISM still has going into DADAMAN. The frequent releases give a rare and realtime look into the progress of the band’s sound. While there are a few setbacks still keeping them from reaching their full potential, DADARAY is one of the more exciting bands on the scene today, and knowing that another release is less than a month away is a truly exciting prospect.

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Review: Gesu no Kiwami Otome - Daruma Ringo

When I last wrote about Gesu no Kiwami Otome, it was in review of the seemingly intentionally and ironically titled Ryouseibai, and fresh off of vocalist Enon Kawatani's affair. At the time, it was a personal matter that I didn't really feel was my place, or really the place of any media to get into. However, now over a year, and another scandal of album-delaying proportions, later I feel it is important to at least address the fact that Kawatani is not the only one negatively affected as a result of his recklessness. Now that the aforementioned album has actually seen the light of day, it really needed to be an absolute triumph to even begin to part the dark clouds that Enon Kawatani has brought upon this once promising band. What we got was Daruma Ringo.

Despite starting off strong on the fantastic “Shiawase Ringo”, which seems as if to signal a return to form, Daruma Ringo is plagued by issues a lot of latter day Gesukiwa output suffers from. Several songs, like “Gogo no Hi-fi”, feel like the band is simply making the kind of music expected of them, like the result of asking someone else to make a song that sounds like a Gesu no Kiwami Otome song. Several others, including “Boutōkyo” and “DARUMASAN”, feel like half-formed ideas that could have been quite substantial if allowed to mature to their full potential, but mostly end up as short and hollow afterthoughts.

At around the halfway point, “Ikenai Dance Dance” kicks off a noticeable shift in quality that lasts until almost the end of the album, as if opening the floodgates on the emotion and energy that was being held back in the first half. The first verse of this song is the most honest and heartfelt that Gesukiwa, and especially Enon Kawatani, has produced in a while. It conjures the same feelings of genuine melancholy in modern life and romance that no one else in mainstream Japanese music was doing and made their rise to fame so exciting.

“Katte na Seishungeki” (video above) delivers a return to the level of instrumental performance and feeling that was promised in this album’s first track, and which makes them such an intriguing group sonically. Along with the fabulous “Shōsetsuka Mitai na Anata ni Naritai”, these few songs give us a glimpse into the band that Gesu no Kiwami Otome was, and could be still if they can manage to overcome the musical and PR rut they currently find themselves in.

While not a terrible album in any way, Daruma Ringo is most certainly missing a lot of the spark that makes Gesu no Kiwami Otome’s output so arresting, with recent scandals no doubt at least partially to blame for the sudden and complete loss of momentum that happened a little over a year ago. The effects of the disservice that Enon Kawatani brought upon not only himself, but also his fans, his bandmates, and most egregiously, the women who are shouldering most of the blame for the incidents they were involved in, is hard to quantify, but Daruma Ringo is a suitably uninspiring example that leaves the future of this once skyrocketing band ambiguous at best.

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Review: Polkadot Stingray - Daiseigi

Despite having formed as recently as 2015, through a combination of uniquely catchy, yet simple rock music and an almost shameless use of their lead singer’s attractiveness as self-promotion, Fukuoka’s Polkadot Stingray have quickly become somewhat of a sensation in the Japanese music scene. With their first mini-album, Daiseigi, the band doesn’t make any major progression in sound or style from previous releases, but instead continue to focus on their already self-realized sound to cement their position as a band to watch.

Every song on Daiseigi is notably distinct after very few listens, while still falling clearly into Polkadot Stingray's wheelhouse. This does mean that there's very little in the way of  development in the band's style, but the group has carved out such a recognizable niche for themselves that the consistency they have achieved is, in itself, commendable. The jumpy and smooth guitar work by young lead guitarist Harushi Ejima, which has come to characterize Polkadot Stingray’s sound, is out in full force, shifting deftly between style and effect at a moments notice, and can be heard at the height of its playfulness on the album closer, “Honjitsu Mimei". Guest bass performances by Hiromi Hirohiro of Tricot fame and Igarashi from Hitorie add a bit of a different feel to the songs they perform on (tracks 1,3 and 2,6 respectively), with special props going to Hirohiro, whose work on the album’s powerhouse third track “Synchronisica” manages to be about as frantic and fun as the guitar, which is at it’s most powerful on the album.

Above: Music Video for the album’s lead track, Electric Public

Like many "girls' rock" and female-fronted bands, a lot of Polkadot Stingray's marketing and visual presentation revolve around pushing songwriter and vocalist Shizuku's appearance. While it's not necessarily hard to see why they would do this, her biggest contribution to the band is undoubtably her expressive and distinctive voice. It’s her playful vocal delivery that gives this band's music character, making even repeated lines like those of the “Midori" verses feel fresh every time. Her versatile performance works in perfect sync with the rest of the music—playful and bouncy in the more upbeat songs, with some natural giggling left in to great effect, and becoming more soulful and sultry, verging on yelling at points at points, in slower, more intense numbers like “Benikurage”.

Daiseigi is certainly nothing new and different to those familiar with Polkadot Stingray, but it does make an impressive addition to their repertoire as their most well-rounded release to date. Being an indie band so confident in their signature sound and image so early into their career, it is an exciting prospect to watch them grow into their already impressive potential and see where they go from here.

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Some Thoughts After Listening to Seiko Ōmori’s Kitixxxgaia (Non-Review)

I said in my review of Seiko Ōmori’s previous album, Tokyo Black Hole, that I was interested to see whether the artist’s increasingly tame and, frankly, more boring direction was a result of some kind of artistic or personal maturation, or whether it was simply the time-honored tradition of major label debut equals a more mainstream sound. While it’s still unclear which one of these it is, the three singles Ōmori has released since then have done nothing but add to the confusion, as they are even more varied and unfocused than the album which preceded them. When this album, Kitixxxgaia, was announced, I was hoping to come closer to some sort of answer, or at least get a solid feel of Ōmori Seiko’s trajectory, but it is nowhere to be found here.

It's clear simply from a glance at the track listing that Ōmori's reliance on guest collaborations has reached an all-time high. This is not always a bad thing when it comes to the songs themselves, as the reminiscent “Dogma Magma”, the always fun “Hikokuminteki Hero”, and even “Pink Methuselah”, an unstated but obvious collaboration with Kenta Sakurai of Maison Book Girl fame, are some of the better tracks on this album. Instead, it is the growing reliance in itself that is troubling. As i pointed out in my review of the Pink Methuselah single, “Gutto Kuru Summer” tries so hard to recreate the unpredictability and energy of Ōmori’s earlier works while ignoring the more important emotional aspect. Perhaps the most telling and ironic example of this is “Chikyuu Saigo no Futari", a collaboration with DAOKO, another prominent female artist who has had trouble keeping up with the hype of earlier releases. Like pretty much every song on this album, it isn’t bad it’s just nothing special.

Kitixxxgaia is at its best when Ōmori doesn't try too hard to do anything and just naturally expresses and emotes. This is what we see in the most impactful tracks here, as both “Orionza" and “Mugen Climax” bring the raw, heavy vocal delivery and subject matter that Oomori displayed in the early work which made her stand out and gave her relevance. Both of these fantastic songs just feel out of place on this release and make me wish she would just put out an album of ballads.

We shouldn't expect the old Seiko Ōmori anymore, nor should she try to deliver it, and perhaps this is why I can’t appreciate her new music and why it just probably isn’t for me anymore. This is no longer the same Ōmori who called out Kyary Pamyu Pamyu in the opening line of a song. She’s no longer the frantic, borderline gross, and refreshingly depressing artist that resonated with me so much. While I most likely won’t stop listening to Seiko Oomori, what I will do is my best not to get worked up and write just another similar review repeating the same reasons why I don’t understand her appeal anymore.

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Review: Soko ni Naru - METALIN

If there are any attributes that can instantly associated with Soko ni Naru's music, they are raw emotion and youthful intensity. While both of these are definitely present on METALIN, they are much more contrasted and diluted here. While the group have always been on the heavier side, the specific focus on the metal genre for this album, hence the title, is at least partially at fault. However, the results of this shift are not all necessarily negative.

Like both of Soko ni Naru’s previous albums, but especially on the previous YAMINABE, METALIN starts off with an intensity and power that few bands can claim on “Break Out!!”. The only difference here is that, while this song is certainly catchy, it has little in the way of palpable and honest emotion. This is part of a distinct prioritization and interest in more straightforward metal from the band on this album, the culmination of which is the relentless-yet-fun, one minute grindcore experiment that is "family". While the enthusiasm and youthful energy that characterizes the band's best songs is a part of this experimentation as well, these songs leave much to be desired when it comes to the emotional expression that is one of Soko ni Naru's strongest points.

In the other category, immediately following "family", are “Aiiro no Ashita e” and “Hoshi no Yukue”, which are more straightforward, contemplative post-hardcore songs with a little bit of the band's technical flare and energy, but nothing on the level of songs like Emerald Green off of YAMINABE. While the feelings meant to be conveyed by this approach are done so successfully, these songs are missing the unpredictability of songs like “pirolin ~exskill of excalibur ver~” which displays beautifully this band's unique appeal.

Above: the fittingly chaotic Music Video for title track METALIN.

While it certainly isn't on the same level of dynamism we saw on previous albums, there are songs on METALIN that are among Soko ni Naru's strongest efforts. “Shin Sekai Yori" is a familiarly solemn post-hardcore song with the unpredictable technical twists-and-turns that keep this band's music exciting and fresh. Album closer “sayonara blue” is an especially moving example of this, with several smoothly transitioned breaks throughout. Title track “METALIN”, is the release's best balance between it's more metal tendencies, complete with old-school breakdown and speed metal solo, and the emotional resonance of their previous work. It is also probably the best example of the increased emphasis placed on bassist Misaki Fujiwara's vocals. Not only does her vocal performance stand out more than on previous albums, it is equal in terms of time to guitarist Juko Suzuki’s, who had previously performed almost all of the singing. Before, only a few songs, like “Mou Nidou to Modorenai Ano Koro ni”, the most powerful song on YAMINABE, featured Misaki prominently, and her increased role in Soko ni Naru’s sound is very exciting indeed.

Overall, Metalin is another engaging album by one of the more interesting bands in the scene today. The pondering on the theme of metal that Soko ni Naru has always used at least minimally, but now is at the forefront led to some very provocative and surprising songs, but ultimately takes a little away from the band’s usual well-rounded and eternally youthful sound. Whether this metal-focused approach is the direction the band decides to use going forward or a one-off experiment for this album remains to be seen, but one hopes Soko ni Naru will at least return to the more evocative and unpredictable energy that has characterized their sound and made them a band to watch.

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Review: Passepied - &DNA

As is common for Japanese artists lately, Passepied spent a year, last year, releasing only periodic singles. On these releases, the band experimented more and more with their sound and their dynamic as a group, on a trajectory that was started on their 2015 album. Some of these efforts were more effective than others, but the songs on this album, Shaba Lover, featuring both songs from last year as well as all-new ones, gives an intriguing, if shaky, glimpse at the band's sound going forward.

With only 4 of the songs from last year's singles making it to this album's cut, it seems Passepied are making a concerted effort to show that they have been consistently creating and changing. That being said, the songs that are here are the most innovative and well-rounded compositions, from a band standpoint, that have come from the aforementioned singles, with specifically “Hyper-Realist” and “Yoakemae" being the peak of Passepied's artistic efforts as a group so far. The inclusion of these specific songs shows that the band has a good sense of what worked and what didn't in their experiments with last year's singles.

The original songs that appear on &DNA can pretty much be separated into two categories: songs that continue in the band's more experimental band-focused direction, characterized by spacey, delayed guitar and a general increased focus on every instrument, and those that tend to fit more into their familiar straightforward synth-pop sound from previous albums. Highlights of the former, which also contains the songs that came from recent singles, are the bouncy, yet solemn “DISTANCE” and the infectiously upbeat “Oishii Kankei". Standouts of the latter are “Supercar”, which evokes some of Passepied's most moving earlier songs like “Nanairo Shounen", and “Last Dance”, which sounds appropriately like an 80’s slow dance song. Neither of these distinctions can be said to produce superior or more interesting songs, as both contain hits and misses. What is interesting, however, is the decision to put them on the same album, providing an interesting dichotomy and pointing to Passepied still being 

very much in the transitional period they have been for the past couple years.

The music video for Supercar, which is appropriately uncomfortable and strange.

&DNA is a fitting title for this album, on which Passepied are still looking at the basic fabric of their sound, and deciding what and what doesn't suit their identity going forward. While the group is definitely still experimenting and shifting their specialized sound identity, they seem to be on the right track towards becoming a more focused, centered band that define the new face of mainstream Japanese pop.

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Goodbye Subculture’s Top 10 Albums of 2016

All things considered, 2016 was a turbulent and uncertain year for many all over the world, especially those in my home country of America, where I spent the year’s entirety. Seemingly mirroring this global turmoil is the music that was released this year, which ranged from expectedly fantastic new albums from long-time greats, to the rise of new powerhouses, to the unfortunate shortcomings of artists who either missed something along the way and came up short of expectations. Despite the uncertainty to be found abundantly in all aspects of this past year, We still managed to get another fascinating slew of releases. Perhaps emblematic of this year itself, various reasons, both out of and in my control, kept even this list from being posted until now. Without any further delay, here are Goodbye Subculture’s top 10 Japanese albums of 2016.

10. Togawa Jun with Vampillia - Watashi ga Nakou Hototogisu

Togawa Jun is undoubtedly a monumental figure in Japanese alternative music and subculture. You’d be hard-pressed to find a fan of the Japanese underground who didn’t at least know the song “Suki Suki Daisuki". To celebrate 35 years of her illustrious music career, this collaboration with contemporary cult favorite Vamipillia to release new renditions of some of her classics is a recipe for a mind-blowing album. While this excitement is fulfilled in many songs on this release, especially ones like “Barbara Sexaroid" and “Like a Butcher”, which are more compatible with Vampillia’s own unique and heavy style, the re-dos of more pop-leaning favorites like the aforementioned “Suki Suki Daisuki" fall short from a combination of sound incompatibility and bad mixing. For a 35th anniversary album, Togawa Jun herself is fairly good form, but this compounded with everything else is enough to keep this great album from being something truly special. In the end, it is more of a reminder and motivation to revere Togawa’s classic repertoire from the prime of her career than it is a good release in it’s own right.

full review: https://tmblr.co/ZR5pgj2G7dqUE

9. Tricot - Kabuku EP

After achieving widespread acclaim as indie darlings both in Japan and abroad, ceaselessly energetic tricot’s first release since their most recent and best album, AND, is what you would expect from them. Bringing the intensity, flavor, and trademarked math-rock-pop we’ve come to associate with the band, the only thing missing on the Kabuku EP is something new and exciting. While energy and enthusiasm are part and parcel with tricot, the aforementioned AND was above and beyond anything that first album, THE, could have predicted. In contrast, Kabuku EP gives us mostly more of the, brilliant, fun, yet very similar feelings that AND provided, which is by no means a bad thing.

8. Oomori Seiko - TOKYO BLACK HOLE

TOKYO BLACK HOLE may be Oomori Seiko’s darkest work to date from a conceptual standpoint, but what is actually put forth on this album is probably the cult favorite musician’s most hopeful and accessible work. While undeniably an Oomori album, much of the intensity that fans have come to expect from her is in short supply here. That does not mean that the artists is completely stripped of her power, only that she is proceeding in the logical direction that her fame and musical progression have taken her. Both songs from the single released late last year, “Magic Mirror” and “Sacchan’s Sexy Curry”, are full of the bitingly honest and cant expression that have put Oomori on the map, while songs like “SHINPIN", co-produced with Sakurai Kenta of Maison Book Girl fame, show a rather newfound talent of Oomori’s to utilize the most interesting artists in Japanese music today. As a combination of everything in Oomori Seiko’s career so far, TOKYO BLACK HOLE is a logical next step, but not one that inspires excitement in those who prefer her more spastic and honest modus operandi.

full review: https://tmblr.co/ZR5pgj24Bc8zv

7. Utada Hikaru - Fantôme

One of the very rare cases where pretty much everyone who pays any amount of attention to contemporary Japanese music at least knew about this album’s release, and for good reason. Not only is it the first album in 7 years from one of the biggest names in j-pop, it's also one of the most substantial releases of 2016. It goes without saying that Utada's voice is powerful, but it shows no sign of atrophy from the hiatus, resulting in probably the best vocal performance and delivery this year. The fantastic and finely tuned production belies surprisingly introspective subject matter about life and love in the modern day. Not to mention there's a song, “Tomodachi”, apparently about the complications of a gay crush, the allegations of which, whether true or not, is a subject that simply does not get discussed in Japanese music in general, let alone on one of the most talked about releases of the year.

6. BiSH - KiLLER BiSH

Thus far into their short career, self-proclaimed punk rock idol group BiSH has proven not only to be one of the best and most consistent idol groups around, they’ve accomplished the monumental task of stepping out of the shadow of their immensely popular predecessor, BiS. However, By joining major record label Avex Trax, BiSH not only set up expectations of continuing in their predecessor’s footsteps, but actually attempt to do so on a few slipshod homage songs. Despite this being their most recent album which features some of their most powerful and emotionally charged songs like “Hontou Honki” and “Orchestra”, there’s a reason why it is the lower ranking of the two BiSH albums from 2016, both of which absolutely deserve to be counted among the best of the year’s offerings. For an album as catchy, powerful, and enjoyable as KiLLER BiSH, a drop in consistency from their previous release and a bit of pandering lands it a lower spot on this list than the group as a whole deserves.

full review: https://tmblr.co/ZR5pgj2DYgZv1

5. siraph - siraph

A truly impressive debut album from a group consisting of former School Food Punishment and Haisuinonasa members that combines energetically sporadic and smooth jazz with alt-rock and just ever-so-slightly glitchy, yet evocative keyboard. The true strength of this group lies in the fantastic balance between moments of aggression and tenderness, both amplified by vocalist Annabel’s dulcet tones. Perhaps the only significant criticism that can be said of this eponymous release is that it’s just too short. A recently released single, quiet squall, proves that this first album was no fluke and that siraph is definitely a band to pay attention to.

4. Soko ni Naru - YAMINABE

Taking a few pages out of Ling Toshite Sigure’s book, but putting their own youthful spin on it, Soko ni Naru stand out by showcasing intensity and heart in equal measures. Starting from the aptly subtitled “Roku Gatsu no Sensou ~extreme explosion ver.~”, Soko ni Naru puts their energy and skill out in full force on this album. While previous EP, i’m not a pirolian, introduced us to Soko ni Naru’s unique sound, YAMINABE ups the anti by showing more of each members individual skills. This is especially true in the case of bassist Fujiawara Misaki, who, in addition to dealing out blistering bass lines throughout the album, has a rare lead vocal performance on “Mou Nido to Modorenai ano Koro ni”, which is the melancholic highlight of the EP. With emotional depth to match the their ceaseless youthful energy, Soko ni Naru continues to prove themselves as the most powerful and earnest post-hardcore band in Japan today.

full review: https://tmblr.co/ZR5pgj24pNP_Q

3. Higuchi Ai - Hyakku Roku-Jūdo

Coming from the artist whose previous album was titled Zenin Yūshou, meaning Everyone Wins, this major debut album from Tokyo based singer-songwriter Higuchi Ai is decidedly more somber and lonely than anything seen from from the artist so far. This is evident right from the first track, the title of which translates roughly to “Someone Else’s Happiness is my Unhappiness”. Even not knowing the details of the singer’s personal life, one would be remiss to read this as a breakup album. Despite its overall depressing and brutal tone, Hyakku Roku-Jūdo also contains some of the artist’s warmest and most human moments. Featuring perhaps the widest range of songs from the already eclectic musician and composer, this is a brilliant introduction of the artist into the major label scene. Even when sharp and distressing, Higuchi Ai’s raw emotion and talent shine through, as she expands both the scale of her sound and the depth of her honesty.

full review: https://tmblr.co/ZR5pgj2FPPITE

2. BiSH - Fake Metal Jacket

Despite starting off with new renditions of three previously released songs, usually a huge nail in the coffin of sophomore albums, BiSH’s first release this year, Full Metal Jacket, is also it’s strongest and most memorable, landing it a spot on this list way above its successor.  More than simply an album, this is the point at which BiSH really stepped out of the shadow of their extremely influential predecessor and became their own, and even more powerful, entity. They accomplished this by taking the sounds that worked best on their debut, namely punk and emo, and putting their own honest and open idol twist on them. “beautiful Sa” and “Departures”, as well as almost every other song, are full of the unbridled emotion and energy that can only be found in this kind of incredibly simple, yet forceful punk music, while “Primitive” and “BUDOKAN Kamoshikuwa TAMANEGI”  take what worked best for BiS and improves on it to an impressive degree. Add to this the realization and first true harnessing of the group’s secret weapon and greatest strength: member Aina the End with her endless enthusiasm and inimitably powerful voice, and you’ve got an emotional force to be reckoned with that not even the album succeeding it in the same year with more budget could best.

full review: https://tmblr.co/ZR5pgj20y295B

1. Soutaisei Riron - Tensei Jingle

Given the pedigree of this band, and perhaps even more so in the case of their vocalist Yakushimaru Etsuko, it's absolutely no surprise that this most recent offering was one of the year’s best, despite how early in 2016 it was released. While not accomplishing anything groundbreaking, at this point, Soutaisei Riron have such a genius formula that even minor tweaks and small new ideas make their songs feel fresh. this album in particular has quite a bit more energy than 2013’s Town Age, exemplified on “Berlin Tenshi”. This general energy is owed mostly to the more intense, yet just as technically impressive guitar work, which is most readily observable on “Oyasumi Chikkyu”, as well as personal favorite “Cerebrus". Tensei Jingle has a little more of a dark streak running through it, which can be seen in no better place than out-of-left-field stormy almost-edm album closer “Flashback”, which simply begs to be expanded upon on a future album. Every Soutaisei Riron release is an exciting prospect, combining energy, skill and individuality, and Tensei Jingle is just more proof that this band can simply do no wrong.

[goodbyesubculture-blog]

Review: Jun Togawa with Vampillia - Watashi ga Nakou Hototogisu

If you have any interest in Japanese subculture or alternative music, there’s a pretty good chance you’ve heard the name Jun Togawa in some context. Since the beginning of her career, Togawa has been an intensely influential figure, changing what it meant to be a woman in Japanese music, as well as pushing the boundaries of of both subject matter and performance. In honor of the 35th anniversary since the artist’s debut, she has collaborated with renowned symphonic rock ensemble Vampillia to put out a collection of adaptations of some of her most renowned songs, as well as one original composition, the first in over a decade. While this collaboration is very exciting conceptually, in execution it leaves much to be desired.

Once again, Vampillia prove themselves to be highly capable musicians, and almost every composition is aesthetically on point with the songs they are adapting. In especially fine form are the drums, which shine from the start in the fills on “Akai Sensha" and are, for the most part, what make this version of “Teinen Pushiganga” work as well as it does. On the topic of “Akai Sensha”, or “Red Tank”: from a musical composition perspective it is probably the most well-rounded and powerful showing here, and it was a wise decision to begin the album with it. That being said, the band’s particular style of symphonic metal is more well suited to some Togawa songs than others. The darker original compositions of “Barbara Sexaroid" and “Nikuya no You ni”, or “Like a Butcher”, are more in step with Vampillia's sound, whereas all-time fan-favorite, never-not-on-a-Jun-Togawa-release “Suki Suki Daisuki" is way more effective when the brutal lyrics are backed up by the dark and groovy synth-pop of the original. There are exceptions to this rule, though, and the scratches and skips added to “Youka no Onna" make this rendition far fuller and more realized than even the original composition. However, that's pretty much the only case. In almost every other instance, the original song is more memorable, affecting, and powerful. Rather than this being an overwhelmingly negative point, however, it serves as more of a reminder of how innovative and inimitable Jun Togawa was in her prime.

Above: Promotional video for this album’s rendition of “Akai Sensha” featuring footage from throughout Jun Togawa’s prestigious career.

Discussing a Jun Togawa release without addressing vocal performance is pretty much impossible, but it is of a certain importance to discuss it in this case. Being that this is a 35th anniversary release, one can not rightfully expect Togawa's vocals here to be as strong as in the original versions of these songs. That being said, she doesn't put forth a bad effort here, and her performance on this album is actually quite impressive considering the circumstances. The tracks that Vampillia crafted especially well are mostly the one’s that also have the best vocals and, not coincidentally, these are the songs with the deeper and darker vocal deliveries, by far Togawa's strong suit on this album. Despite Vampillia's sound not being entirely suitable to “Suki Suki Daisuki", the vocals in the second half are the most impassioned on this release. Unfortunately, almost all of the normal and higher pitched vocal sections on this album feel very called-in and despondent, almost like straight recitations. The worst offender here is “Akai Sensha", which is probably the best composition on Vampillia's side, but loses its impact because of Togawa's delivery. Even the brand new title track loses some of its edge because of this.

This might not be entirely Jun Togawa's fault, though. On pretty much every song on this album there is a slight disconnect between vocals and music. Even the best renditions here seem to have at least a little bit of a lag or dissonance that robs it of its potential impact. The most likely culprit is the mixing, which at times has the vocals way louder than the backing track and in others just the opposite, always seemingly on the least suitable songs. I have pointed out “Akai Sensha" as Togawa’s worst performance on this album, but the mixing is not blameless in the robbing this song, and ultimately the whole album, of it’s potential impact.

Above: Music video for “lilac”, the first collaboration between Jun Togawa and Vampillia.

A lot of the disappointment on Watashi ga Nakou Hototogisu undoubtedly comes from the inevitable comparison to the original tracks. Jun Togawa is a legend, and will remain one forever, but it is exactly her greatness at the height of her power that takes power from this album. In the end, while this was both a celebration of Togawa’s long and storied tenure in the industry, as well as a new release from the artist, it quite definitely functions much better as the former. While all those involved put forth an impressive effort here, this album serves primarily as a reminder of how eclectic and memorable Jun Togawa’s catalog of songs truly is.

[goodbyesubculture-blog]

Review: Higuchi Ai - Hyakku Roku-Jūdo

In a year of less-than-stellar major label debuts from beloved Japanese artists, it’s entirely understandable that cult favorite singer-songwriter Higuchi Ai’s decision to do the same would spark some anxiety. However, fans of her previous album, the  supremely diverse Zenin Yūshou, will not find the disappointment that many Japanese music fans have found recently on this album. What can be found here is a distinct shift in scale that enhances Higuchi Ai’s own unique brand of existential, and at times depressing, music with very human heart.   

One noticeable change in Higuchi Ai's switch to a major label is the grandiosity of this album's sound. It can be heard right from the first song, and felt especially on songs like “Koibito Yo”, a swooning rock song that is blisteringly personal, even by this artist’s standards. That isn't to say that her more personal sound is totally missing. songs like the sexy r&b “Hada no Are” and the hard-hitting ballad “Sacchan" are the kind that could be found on previous albums.

Whether a product of label switching or just of shifts in Higuchi Ai's personal life, this album is decidedly lonelier and more selfish, which can be seen simply by looking at the difference between the title to her previous album, Zenin Yūshou, meaning Everyone Wins, and the title of the opening song on this album, “Dareka no Shiawase wa Boku no Fushiawase,” or ”Someone Else’s Happiness is My Unhappiness”. Despite this solitary feeling, the artist's strong understanding of human feelings is not absent, and the ballads on this album are as tender as those on previous releases, but there is a definite yet subtle shift in mood at play here.

Above: Official music video for the last and most intense song on this album: “Bibōroku”, or “Memorandum”.

Similar to her previous album, Hyakku Roku-Jūdo sports an impressive variety of songs, giving evidence to Higuchi Ai’s versatility as a songwriter. While almost entirely a positive, this variety can sometimes lead to jarring switches in tone when changing from a sensitive ballad like “Aikagi”, or “Skeleton Key,” to an extremely upbeat and fun composition like “Simple”. Second song “Mousho Desu,” meaning “Heat Wave,” uses autotune sparingly and to great effect as the artist reenacts a phone conversation, and only as an intro, making the switch to normal vocals as striking as it is relieving. this decision alone is a great testament to Higuchi Ai's sense and skill as a songwriter.

“Mousho Desu” also highlights the subtlety and dynamism of Higuchi's vocal delivery. In the aforementioned intro, her cadence is simple and playful, and it gradually saddens and strengthens as the arc of the song requires. One of the traits that has fundamentally distinguished Higuchi Ai is the strength and depth of her voice, which on this album is only aided by the enhanced attention she gives to vocal performance. In “Shōdō” her vocals come strong, fast, and authoritative like the music and lyrics they accompany. In contrast, the sensitive ballads “Boku to Obaasan” and “Sacchan" come with appropriately subtle and soft, yet heartfelt delivery.

Despite starting and ending on raw and new depths of somber and loneliness from Higuchi Ai, these songs bookend some of this artist's most tender and loving moments. The aspects that give her music such distinctive power is out in full force on Hyakku Roku-Jūdo . It stands as proof that, now more than ever, the emotional power of the honesty of Higuchi Ai's music cannot be overstated.

[goodbyesubculture-blog]

Review: Seiko Oomori - POSITIVE STRESS

Seiko Oomori’s sudden announcement back in July that she would be releasing a new single three months in a row was surprising, yet very in-character for the artist who recently made her major label debut with the album TOKYO BLACK HOLE. While that album was somewhat underwhelming, these singles seem to be her way of bringing back the energy and raw emotion that made her a household name in the Japanese alternative scene.

Thankfully, much of the raw emotion and fun that were missing from the previous single, Pink Methuselah/Gutto Kuru Summer, can be found here. The first two songs are strikingly coherent, to a degree rarely seen from Oomori. Both songs feature bouncy and memorable guitar work with popping slap-bass lines. “POSITIVE STRESS” is an incredibly characteristic Seiko Oomori song, with honest lyrics and an energetically matching vocal performance. Standing out the most lyrically, and giving meaning to the song’s title here is “even while crying, I’m staying positive.” This song is a little more electronic than a lot of Oomori's songs, but even the usually kind-of-irritating vocal filters work well here. The stuttering edit of Oomori’s vocals going into the guitar solo is especially striking. This song is just the high-energy and fun, yet surprisingly poignant song we’ve come to expect from this artist.

Above: Music Video for “POSITIVE STRESS”

If you had told me a year or two ago that Noko of Shinsei Kamatte-chan and Seiko Oomori would collaborate on a song, nothing would have excited me more. However, while Oomori has managed to keep a lot of her musical character in her transition to a major label, Natsu Install, Kamatte-chan's recent release in the same situation, was a far cry from their more raw and impassioned albums which earned them a special place in the minds of underground Japanese music fans. “Hikokuminteki Hero” is the perfect match of these two artists who are simultaneously the darkest and most fun that Japanese music has to offer. Together, they managed to make a song much catchier than either of their more recent outputs. Seiko and Noko's voices, both tending towards the more raw and yelly, also match very well, something that adds immensely to the song's emotional strength. Like the end of this live performance from earlier this year, it seems like these two are incapable of performing together without yelling a lot, and I wouldn't have it any other way.

Above: Music Video for “Hikokuminteki Hero” feat. Noko (Shinsei Kamatte-chan)

“Asa+” is Seiko Oomori’s first dedicated acoustic song since she first captured the hearts of Japanese music fans who favored a little bit of unpredictability. While nothing fantastic, its a catchy little song that reminds us we’re still dealing with the same artist who we fell in love with years ago.

The consistency lacking in Pink Methuselah/Gutto Kuru Summer is thankfully redeemed here. Not only thanks the youth and energy that Noko brought to the song he produced, but also because of the sporadic yet deeply effective title track, “POSITIVE STRESS.” One is reminded of the absolute powerhouse that Seiko Oomori had in Senno by combining her raw emotional early releases with an increased interest from experienced and talented musicians. Surely, this single at least has more in common with that album than anything she’s released in this past year.

[goodbyesubculture-blog]

BiSH / Abema Prime 10/12/2016 Interview Highlights

On October 10th, about a week after the release of their major label debut album KiLLER BiSH, the members of idol group BiSH, now marketing themselves as a “punk band without instruments”, appeared on free internet streaming channel Abema for an interview and performance.  the interview in full can be seen above. What follows are the highlights, each accompanied by a link to the specific part of the interview being discussed. Enjoy!

Starting out with something not particularly newsworthy, but all of the members confessed immediately to buying their own album on iTunes. This isn’t actually that surprising, but it was a pretty light and cute moment early on in the interview.

https://youtu.be/pI9MvJomQuI?t=5m7s

When a host presumed that BiSH was just a continuation of BiS, every member answered that that was false, with member Aina the End going as far as to say that BiS is a totally different group.

https://youtu.be/pI9MvJomQuI?t=6m46s

Aina the End does all the choreography for the group. Considering that she was in a very heavily dance-focused group called Parallel Japan before BiSH, this actually isn’t that surprising, but it is a look into how invested the members all are in their music.

https://youtu.be/pI9MvJomQuI?t=8m18s

Bonus: Below is the music video for “Look at me!!” from Parallel Japan when they were a five-member group, in which Aina is featured.

https://youtu.be/1FCV4wDVF6Y

The members write most of their own lyrics, meaning that basically every song is written by a different member. Often, in popular idol groups, everything from lyrics to composition to choreography is done by a manager or outside source. This news makes BiSH a pretty special exception, which they point out adds an extra level of emotion to their music.

https://youtu.be/pI9MvJomQuI?t=9m6s

The interview ended with a performance of “Orchestra”, the first single off of KiLLER BiSH, for which the music video can be seen discussed earlier in this interview. An actress from the video was even a part of the panel. The performance can be seen from the following time signature:

https://youtu.be/pI9MvJomQuI?t=10m23s

I hope this was a somewhat informative look into the group for fans who don’t know enough Japanese to understand the interview, or just for those who weren’t aware the interview existed.

Disclaimer: I don’t claim to be an expert in Japanese, and undoubtedly there are things that were left out or misunderstood in this post. I simply felt compelled to share some information I found interesting with those who otherwise may not have heard it. Also, this is not an official upload of this video, as that was only streamed live.

[goodbyesubculture-blog]

Review: BiSH - KiLLER BiSH

BiSH’s second album this year comes with a definite increase in production quality, no doubt a result of the major label behind it. However, one wonders if this change is actually a good thing. The boost certainly gave way to a more diverse album, but it seems the budget of earlier releases necessitated a lower production quality, and therefore a simplicity and consistency unseen on KiLLER BiSH.

The decision for BiSH to join the same record label as their predecessors, Avex Trax, is a questionable decision, as this will most likely lead to comparisons and expectations from both fans and the label of following in their footsteps. But BiSH is not BiS, and at this point have accomplished way more musically. Trying to emulate BiS  now may be two steps back from the huge step that was taken forward with this year's earlier release, Fake Metal Jacket, and act counter to the groups apparent motives thus far. There are multiple songs on this record that pay homage to BiS songs, but more than that, it feels like they're cashing in on BiS's fame and being more derivative than actually paying respect. “IDOL is SHiT”, which is basically a redo of one of BiS’s stronger efforts, “IDOL”, is a perfect example of that sentiment. However, “My Distinction”, which is a reimagining of my personal favorite BiS song, “primal.”, somehow manages to improve greatly on it. Despite this also being one of my favorites on this record, I find the idea that BiSH, a group that has thus far stood on its own sonically, felt it was necessary to do this, almost insulting to the progress they've made in distinguishing themselves thus far.

Above: Official Music Video for “Ochestra”

Deviation from the group's more consistent pop-punk sound is not inherently bad. as we see on songs like “Stairway to Me”, which has the distinction of being the first and only idol song to pay homage to “Stairway to Heaven” that i’ve heard, which is a simple yet striking piano-led ballad that increases in both complexity and strength over its 6+ minute duration, ending in a rather surprising and lengthy instrumental. This points to the fact that despite the shift to a major label, the producers behind BiSH have far more creative freedom than BiS seemed to have. Despite previous criticism, many songs maintain the effective simplicity that we saw on Fake Metal Jacket, using the increased quality as an aid rather than a crutch. The lead song from this album, “Orchestra”, is a fabulous example. Likewise, “Summertime” and “First Kitchen Life” are songs that could have been seen on previous releases, with the former leaning even more into Emo territory, and being supremely catchy despite very corny english lyrics courtesy of the groups own Momoko Gumi Company. The latter is a great performance from the group as a whole, a general positive that runs throughout KiLLER BiSH, which is an improvement from previous albums. The best example of this is “Am I FRENZY??”, where extremely adventurous production meets intense vocal performances to bring out the best in both.

As was a focus of my review of BiSH’s previous album, the member whose performance embodies everything affecting and resonating about the group, and perhaps, underground idol music in general, is member Aina the End. The passion and reckless abandon that is felt in every one of her vocal and live performances is an example to her peers, and this combined with her unique and powerful voice is what makes her my  personal favorite vocalist in not just Idol, but Japanese music right now. On Fake Metal Jacket, the group depended on Aina for most of the choruses and parts where they wanted to be particularly moving. While one listen to the intro of “My Distinction” will let you know that this is still very much the modus operandi on KiLLER BiSH, Aina is no longer used as much as a crutch. As stated above, the focus this time around is on well-rounded songs which bring out the best performance from all members. In fact, the most memorable songs on this album such as “Hontou Honki" are as such, though Aina definitely still remains the highlight.

Above: Official Music Video for “Hontou Honki”

In a year when so many cult favorite artists made their major label debuts to less than critical acclaim, The decision for BiSH to do the same, let alone to the very label that made their predecessors, BiS, a phenomenon, was a worrying prospect. While there are some missteps in this vein on KiLLER BiSH, most worries were unfounded, as this album still shows the characteristically potent and emotional BiSH that fans have come to love, while still distinguishing themselves from their predecessors in important ways. More importantly, this album marks a move for the group towards more well-rounded group performances. While maybe not as great overall as this year’s earlier Fake Metal Jacket, BiSH maintains their place as the strongest Idol group in terms of raw emotion and power of songwriting.

[goodbyesubculture-blog]

Review: Seiko Oomori - Pink Methuselah / Gutto Kuru Summer

Fresh off of her debut album on a major label, the much tamer and ultimately somewhat disappointing TOKYO BLACK HOLE, Seiko Oomori is back with a single that seems to exist almost solely to ensure fans that she’s still the wild-and-crazy artist that brought her to fame in the first place. Pink Methuselah / Gutto Kuru Summer is a unique release that both debunks and confirms worries created by her recent album, which ultimately leaves one as confused as ever about the direction that Oomori is actually going with her sound.

“Pink Methuselah”, this single’s best offering, is an extremely upbeat song with guest production from the instantly recognizable and fantastic Kenta Sakurai, notable as the producer for Maison Book Girl, as well as the song “SHINPIN" off of Oomori’s most recent album. While that song made good use of the stellar production alongside Oomori’s chaotic vocal style, Pink Methuselah feels like the next evolution in that vein, and is ultimately a much catchier and memorable song for it. The chorus of this song is one of the more infectious from Oomori in a long while, and was thoroughly drilled into my brain after only a few listens. Starting off a trend that pretty much carries through this entire single, Pink Methuselah sounds like it would fit in much better on the artist’s previous album, Senno, than the more recent TOKYO BLACK HOLE, and that is probably a good thing.

Above: short version of the music video for “Pink Methuselah”

The second titular song from this single, “Gutto Kuru Summer” is honestly a total mess. This is where Oomori tries so hard to fit her unpredictable and over-the-top image that she forgets the frankly more important emotional half of the equation that made her a breakout star, and which makes songs like “Yakiniku Date” work so well despite their spontaneity. The guest vocals from Ano from You’ll Melt More only serve to add to the chaos, leaving what is probably one of Seiko Oomori’s most chaotic songs also one of her most forgettable.

If “Pink Methuselah” sounds like it belonged on Senno, Oomori’s cover of Sugar’s 1981 hit single “Wedding Bell” fits even better into that designation. While a very good high-energy listen full of bubbly synth, admittedly a majority of the goodness comes from the extremely catchy melody of the original song, especially in terms of the chorus. That said, the greatest addition by Oomori is her sped-up, rambunctiously punchy version of said chorus. Her vocals here are also at their most impassioned and fun out of all three songs included on this release, most likely leading to heartwarming déjà vu in any seasoned fans.

Above: short version of the music video for “Wedding Bell”

Ultimately, Pink Methuselah / Gutto Kuru Summer is an infectious release from an artist who, despite debuting as a major label artist and giving birth to a child, is still struggling to find a mature and consistent direction for her sound. Undoubtedly, many hardcore fans will laud this release as a return to form, proof that Seiko Oomori has “still got it.” However, anyone looking at this single from a career standpoint will probably find it confusing. Make no mistake, the best songs of this release are absolutely compelling, much better than almost all of the songs on TOKYO BLACK HOLE, but one remains unconvinced as to whether Seiko Oomori will ever achieve the level of honest emotion and unpredictability that made her name again, or whether she even wants to.