Jul 15, 2014
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救心 相対性理論
Really been a long time.
Full version of the latest single.
They’ve quickly become one of my favorite new bands this year.
One of the more subtle trends of the year in Japanese music has been young artists (or, if you would like to be cynical/probably right about it, labels) embracing the style of Tokyo band Sotaisei Riron. That outfit aren’t exactly toiling away in the salt mines of the music industry - all three of their proper full-length albums (plus an EP) have appeared in the top ten of the Oricon Charts. Yet they are still quite a bit of an outsider group - they feature some of the most unconventional vocals and lyrics of any band capable of releasing a top-ten album in Japan. Not to mention a singer shrouded in mystery…the band famously doesn’t allow photos of them to be taken, especially at live shows. Their lead singer looks like she would rather be anywhere else than on stage. I saw them at a music festival summer and both of these points rang true…yet people still went wild for them. They are a bit of a strange band.
(They are also incredible, and one of the best bands in Japan going, and responsible for one of the year’s best albums [sample]. But that’s for another post.)
In 2013, though, more and more newish acts were starting to sound like Sotaisei Riron. One was fledgling Harajuku-tied pop star Hanae, who pretty much bit everyone of her moves from Sotaisei Riron…except for the part where her music is straight-up derivative drivel. The other act was Passepied, who have been around a bit longer but had a bit of a breakthrough year over the past 12 months. They are a bit tricky to write about - they are good band, but much of their previous work struck me as a bit too safe, a bit too much of a case of some kids taking cues from Sotaisei Riron and running with it a little too closely to the source material. The guitars were birthed from the same Showa-era records, and the vocals had the same whispery quality. Lots of good ideas, but not quite there.
Their new single, though, is a breakthrough through them stylistically. They haven’t reinvented themselves entirely, but Passepied sound way more confident in themselves here. The vocals show a bit more variety - and seem to now be taking cues from Shiina Ringo a bit more closely too - and their are great details, like the secondary voice that joins parts of the chorus like a cheerleader. And even moments where the lead singer’s voice approaches abandon, more than Sotaisei Riron ever have. Nice to see these guys leap ahead and be something more than just a trend.
Passepied’s new single is really great - I’m still trying to find the full version of the video (teaser looked really cool).
I’d definitely agree that they were playing it very safe and using Soutaiseiriron as a template for their work early on (debut and on 2012’s OMONIMONO) but this year’s Enshutsuka Shutsuen seems to be a different ball game all together. The songwriting, arrangement, and production have all been stepped up a few notches on this year’s LP and I feel that they’ve already asserted their identity with it. Perhaps the only Soutaiseirion-esque aspect remaining is Ogoda Natsuki’s vocal delivery, but even then she’s always struck me as a cross between Yakushimaru Etsuko and YUKI, not necessarily just the former.
But back to Tooryanse - I love just about everything in this song, from the rhythm to the arrangement. The instrumentals are sleek and fall into place so well in some way I can’t describe - I’m particularly drawn to the guitars and the bell-like keyboard sounds. As for the vocals, I’m not really hearing the Shiina Ringo but Ogoda Natsuki seems to have gotten better at exploiting different tones in her voice, from whispery to piercing, instead of defaulting to a shrill, nasal belt.
In conclusion, while this single doesn’t necessarily break new ground or try anything daring, it continues to build upon what Passepied has gotten good at and if they keep this up, I have high hopes for their next album.
*Also I’d like to note that the only reason Hanae’s Kamisama Hajimemashita sounds like Soutaiseiriron-derived drivel is because it’s actually produced by ex-Soutaiseiriron bassist Manabe Shuiichi, who wasn’t involved with TOWN AGE.
I checked the liner notes when that Hanae song first came out because I noticed it sounded a lot like a Soutaiseiriron track. I wouldn't really call it derivative since it's actually produced by a Soutaiseirion member, although we're free to criticize Hanae (or her team/label) for not creating her own style and using something more original, but I've never really had a problem with artists employing other songwriters to achieve a certain sound.
It is news to me, however, that Manabe Shuiichi is no longer a member of Soutaiseiriron and that he wasn't involved in TOWN AGE. The year's almost over and I was going to write something about the album in my end-of-year list, but I guess I'll just say it now.
I think TOWN AGE is their weakest album, and one of the reasons is because I've felt like the songwriting on it is particular weak compared to their previous work, especially when it comes to the guitar and bass playing and melodies. The guitar and bass used to be the highlight of their music for me, but on TOWN AGE it's been the melodies of other instruments like the steel drums (at least I think they're steel drums) on "YOU & IDOL" or the keyboard (?) at the beginning of "ジョンQ (John Q)" that have stood out for me, mainly because the songwriting on other parts was lacking. Now it's pretty obvious to me why I've felt this way, and it's due to Manabe Shuiichi's absence. I still think it's a pretty decent album, but it's concerning to me how they'll sound in the future now that I've learned this news about his departure from the group.
EDIT: I'm not sure why this created a whole new post instead of just adding on to the old one, but whatever.
相対性理論 - TOWN AGE
I want a drug that lets me feel like I'm floating around and hearing music like this. There might be clairvoyant, nameless twin Japanese girls there to make me coffee, too.
