Back again with lucky show number 93! I'm glad we all survived through that harrowing, evil number 92 to find ourselves here enjoying the blissful calm of 93.
00:00 OP: Shiina Ringo x Saito Neko - Gamble (Inst.) - Heisei Fuuzoku [BUY]
1:10 Versailles - Gakkakou - Ascended Master Single [BUY] 5:42 Gackt - No Reason - Lost Angels Single [BUY] 9:35 Kalafina - Lirica - Storia Single [BUY]
14:40 Break: 8bit Prophet - Utada Hikaru Medly - Spicy Innovator Vs Superior Marionette [BUY]
If you've spent any time on this blog, you know that I'm not a huge fan of pop music. But I must admit that I have a pretty big soft spot for Perfume. I really liked them right from the start, and have been following them ever since. Most of their music sounds very "same-y" lately, but their newest "Night Flight" single is quite different and just plain loaded with retro smoothness. It's like a long-lost Yellow Magic Orchestra track unearthed and updated. Plus, the video (or the commercial that the song is used in, actually) also looks great. Like living inside a Famicom!
Perfume "Night Flight"
More after the jump!
Vola and the Oriental Machine "Self-Defense"
This is an amazing live performance from Vola. It's totally chaotic, but the amount of energy they bring is incredible!
Ling Tosite Sigure - live
Speaking of high-energy live shows, here are a couple live songs from Ling Tosite Sigure. 'Nuff said!
Yellow Magic Orchestra "Tighten Up"
This is a "live" version of "Tighten Up" by YMO (originally by Archie Bell and the Drells), on the classic US show Soul Train nonetheless! Obviously they aren't actually playing, but it's still a historical "performance."
Oh, and just in case you didn't know why I found this even funnier the first time I heard it, watch this:
And, of course, the obligatory bizarre Japanese Michael Jackson "Thriller" parody.
Little is known about the mysterious trio that goes by the name of Mouse on the Keys. Even their official website is just a simple re-direct to their sparsely populated MySpace page. We know their names, Akira Kawasaki (drums, keyboards, piano and of Nine Days Wonder) Atsushi Kiyota (keyboard, piano) and Daisuke Niitome (keybord, piano). We know that they are part of the Toe founded record label Machupicchu Industrias (again, another site that simply re-directs to MySpace). In fact they are the only other band, aside from Toe, on the label.
All we really have to go one is their music, and fair enough. Except that they only have a single four song release, titled Sezession, out at the moment, though there is a full-length just over the horizon. Regardless, what we do have are four songs of instrumental drum and piano, sometimes jazzy, sometimes almost classical, other times sounding like a soundtrack to a rainy drive through the heart of a city. Whatever they do, it's a dark and grim journey.
"Saigo no Bansan" is easily the stand out track from the trio. In fact Sezession feels more like a "Saigo no Bansan" single with a few tacked-on supporting tracks than a solid EP. The song is a lethal serpent strike to the spine, starting in near silence before launching into a furious battle between the drums and pianos. The three following tracks are much jazzier and improvisational in tone, with some saxophone and effected keyboard sounds augmenting the regular piano tones.
Of course it's far to early to pass any sort of meaningful judgment on such a young band with so little material. Yet it's tough not to get excited by what Mouse on the Keys has let us in on thus far. If they can reign in their more abstract tendencies and bring their more muscular A-game, then their first proper album could be something great indeed.
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.
Don't let the outrageous name fool you. If you could distill unassuming, twee feelings into sonic form, you might have something closely resembling Ogre You Asshole.
Formed around 2004, the gentle indie rock foursome has released a slew of equally modest singles, mini-albums and just-barely-full-length efforts. These are all full of the band's extremely muted and flat sonic treatments. They are the opposite end of the spectrum from, say, Ling Tosite Sigure's frenetic production or Boris' wall of sound.
This isn't to say that their songs lack punch or sparkle. In fact many OYA songs have a habit of sneaking up on the listener. Of lulling them into a quiet reverie just before launching into a more cacophonous chorus or boisterous bridge. They keep their music just a bit on the raw side, something that sets them apart for a much more average, nice and safe rock band. Manabu Deto's light and gentle voice is able to shift effortlessly into something more aggressive and plaintive, just as their music makes subtle shifts and movements.
It's this clever credibility that proves Ogre You Asshole has a large cache of talent to draw upon, and something that allows them to release consistently great indie rock gems.
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.
Ah! They just don't stop coming! We've tried fire, acid, rabid dogs and fire-acid, buy we just can't stop another Japanator Radio from surmounting the hillside and ravaging our tiny hamlet. Despair!
This week, incredible new music from Lillies and Remains, a new thing from Gackt, some Buck-Tick (just for the hell of it,) and, speaking of ach eee double toothpicks, Moi dix Mois in the Artist Spotlight.
You are not ready for this! OK, now you are ready for this!
OK, another Sunday, another look back at a few videos that have been running though my brain lately.
First up, here's the new video from Molice for "Ms. Panic":
Check out my full Doctor Ray album review for more from those guys.
OK, hit the jump for more!
Beat Crusaders "Phantom Planet"
You may have just seen this one on my recent profile update, but I thought it was worth pointing this one out, just in case. Beat Crusaders used the level design feature of the video game Little Big Planet to made a video! Obviously it's not all directly from the game, but it's a pretty cool idea nonetheless.
Nobukazu Takemura "Sign"
Here's a really arty/strange/hypnotic video from Nobukazu Takemura. I can't believe I haven't profiled him yet! That's something I'll have to fix in the very near future.
Auranoisazzzz
In a very similar vein, here's a short animation for the glitchy experimental group Auranoisazzzz. I haven't really heard much from them, so if anyone has a lead on more info, I'd love to hear it!
Ran across this one again recently. It's one of the most crazy videos I can think of, but then would you expect any less from Maximum the Hormone?
Devo "Don't Shoot (I'm A Man)"
In the non-Japanese category, here's the brand new Devo video. I really cannot wait for their new album to finally be released.
Hikashu "Pike"
And speaking of classic arty electro new-wave, here's a classic from Hikashu. This song when on to inspire The Ventures to do a faster, instrumental surf-rock version, and that inspired Polysics to do their own version of the Ventures' version with the original lyrics put back in. Got it?
OK, that's all for this week. Got any interesting videos to share? Let the world know in the comments!
TWIN TAIL, not to be confused with the Japanese metal band Twintail, is a three piece improvisational, instrumental band. Made up of drums, bass and violin, they bring something of a unique sound to the table. That said, they do sound an awful lot like other bands featuring violin, specifically sgt. Violinist Yuji Katsui uses the same set of floating, delayed and syrupy effects as sgt's Mikiko Narui. The sound is so similar as to make one wonder if there isn't some sort of conspiracy going on amongst post-rock instrumental bands in Japan.
The sonic resemblance ends there though. It's obvious from the start that TWIN TAIL is all about improv and jamming out thorough extended passages. Their songs build (very) slowly, with tempos stretching and breathing along with the intensity of the music. There are really no "songs" or hooks per se. Yuji plays his violin like a screaming, psychedelic guitar more like a blissed-out solo from Jimi Hendrix than any sort of classical piece, while drummer Tatsuya Nakamura and bassist Toshiyuki Terui pound out a trance-like tribal backdrop.
One other element to their music is their fourth, off stage member Toshiaki Toyoda, their live cinematographer. As is often the case with instrumental groups, their live shows are enhanced by visuals project both behind and onto the band. In the case of TWIN TAIL this is a much need accompaniment, since their songs are ephemeral at best. They work much better as soundtracks or background wallpaper than an in your face group with a message. Something which the band is well aware of, blending sight and sound into one unpredictable package.
November 6-8, 2009 Suicide Ali Nekocon - Hampton Roads Convention Center, Virginia Beach, VA
Source: Tainted Reality (see below)
Tainted Reality presents Suicide Ali In Concert At Nekocon 2009
June 17, 2009 - Visual Kei Industrial rockers Suicide Ali are set to make their American East Coast debut at Nekocon 2009. Nekocon 2009 will also be the American debut for the band's newst member, Koji. The band will be appearing in support of their new CD, "Daishi no waltz", being released through Darkest Labyrinth Records. Their appearance will consist of 2 full concerts, merchandise sales, autograph sessions, a Fan Q&A panel, and possible other surprises! Nekocon 2009 will take place on November 6th-8th at the Hampton Roads Convention Center in Virginia Beach, Virginia.
About Suicide Ali: Formed by vocalist Goshi and guitarist Hiroshi, Suicide Ali breathed it's first breath in 2004. Described as a bastard child of deep psychological ideas and questioning, the band's music and ideas seem to explore and attempt to discover what truly is the meaning of life, from its epic battles to its smallest nuances. The two brought in Yuu on guitars and Hisashi on drums in mid 2005. Having only a few downloadable demos on their website, the band managed to gain wide notoriety with both the Japanese and American visual kei fanbases. When Yuu announced he would be departing the band in early 2009, Koji was welcomed in to fill the void. The band continues to bring its unique autonomy and outlook on life to the world, with hopes to one day conquer it.
Suicide Ali Links: www.suicide-ali.com www.myspace.com/suicidealirock
About Nekocon: Nekocon is a fabulous anime convention located in the eastern part of Virginia (Hampton Roads area.) Every November the Nekocon staff pull together many enriching and entertaining activities for fans by fans, and 2009 will be our 12th year... and fifth year at the Hampton Roads Convention Center.
About Tainted Reality: Tainted Reality is the premiere source of Japanese rock (J-Rock) entertainment in the United States. Tainted Reality hosts their own internet radio network dedicated to Japanese musical programming and produces radio shows such as Tainted Reality & The Tainted Reality Talkshow. Tainted Reality often conducts interviews with some of the biggest musical artists of Japan like Yoshiki of X Japan, Die of Dir en grey, Miyavi and MUCC. They also manage and organize tours for prominent J-Rock bands such as BLOOD, Versailles -Philharmonic Quintet-, The Candy Spooky Theater as well as producing media such as the Darkest Labyrinth Vol.1 DVD and the Darkest Labyrinth CD.
Does it seem like a lot of Japanese band's bios start off with "Formed by childhood friends..." I know that every band I've been in has been started with/by friends, but I find it amazing that anyone can from a band at a young age, with other young friends, and manage to not only stick together, playing the same music for over twenty years, but also consistently produce amazing music. That's some hardcore dedication, and Eastern Youth has a hell of a lot of it.
Their musical style falls into the emo/screamo category, but with none of the limp, sniveling, pantie waist, fake trendiness of most emo bands. Eastern Youth is the real deal. Singer/guitarist Hisashi Yoshino's is constantly at risk of having his head to explode from the force of his vocal delivery. On the other hand, they have a sort of quiet earnestness that leads extra weight to their more restrained tracks. These guys mean business and they sound desperate to get the word out to everyone within range.
They don't fool around to fancy production or special sonic sound palettes. The Eastern Youth sound is guitar, bass, drums and vocals with no added ingredients or effects. This is something else that helps paint their landscape with bombed out buildings, run down cities and a rugged countryside. It's music of the people and for the people. They seem to embody the underground indie vibe, making it hard to imagine their music bring played anywhere but the smallest, sweatiest and beer-stained club full of rabid fans.
Hohaba to Taiyou, their new album in 2009, marks their 21st year together.
Albums: East End Land - 1989 Time Is Running - 1990 For Skins and Punks EP - 1991 Eastern Youth - 1993 Kuchibue Yofuke-ni-Hibiku - 1995 Koritsumuen no Hana - 1997 Tabiji ni Kisetsu ga Moeochiru - 1998 Kumo Inuke Koe - 1999 Kanjusei Outouseyo - 2001 8 Teeth to Eat You - 2002 What Can You See From Your Place - 2003 Don Quijote - 2004 365歩のBlues - 2006 Blowing from the Other Side of the Earth - 2007 Hohaba to Taiyou - 2009
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!
Beat Crusaders have been making their own brand of power-grunge/indie-rock since the late '90s. While their overarching style is quite simple, three chord rock, they manage to mix things up with lo-fi syths and some clever cover songs. Their love of UK and US rock is obvious, echos of which reverberate in several of their songs.
In general, they are very upbeat and catchy. Like early Green Day mixed with a bit of early Weezer and the Rentals. In typical punk style their songs rarely extend beyond the three minute mark. They hop in, play their super catchy tune and hop right on out again. Yet they're not overly fast or raw. They stick to the pop side of punk, a proclivity evident in the names of their more recent albums, all of which contain the word "pop" in one way or another. On the other hand, they aren't super saccharine or kitschy either. They manage to find a nice middle ground and hold it.
Around 2003, the entire band abandoned ship, leaving founder Toru Hidaka all to his lonesome. Ironically enough, right after this is when the newly staffed band released one of their biggest hits, the appropriately titled "Hit in the USA." The single appeared in the popular anime series Beck, a show about an Japanese indie band. Beat Crusaders went on to release several other songs to anime series, including the massive Bleach franchise.
Of course the band's visual projection also needs to be noted. Since its very beginning, each member of the band has kept their identities hidden behind old-school dot-matrix printouts of their faces. These paper "masks" are then stuck on, even during live gigs. It shows a strong dedication to an idea, something with is equally reflected in the band's unwavering adherence to its own musical style over the years.
Albums: HOWLING SYMPHONY OF...- 1999 ALL YOU CAN EAT - 2000 FORESIGHTS - 2001 SEXCITE - 2002 A PopCALYPSE NOW ~ jigoku no POP shiroku ~ - 2005 P.O.A.~POP ON ARRIVAL~ - 2005 EpopMAKING ~ Pop tono sogu ~ - 2007 popdod - 2008
I am not going to lie to you. This is, in fact, another episode of Japanator Radio!
This week, new, crazy-ass stuff from Gackt, some schlock and roll from Vamps, some good old Supercar and the enigmatic Matryoshka in the Artist Spotlight.
0:17:35 Lite - Phantasia - Phantasia [BUY] 0:22:37 Twin Tail - Born to Fight - Everything is Permitted 0:29:55 Ten to Sen - Scene 2 - It Might Not Be Never - Ten to Sen [BUY]
Going to kick off a new feature today, the rather self-explanatory "Videos of the Week."
Every week, I'll round up a few of the videos that have caught my eye. They'll be a mix of new and old and not always Japanese, though you can rest assured that most of them will be about Japanese music.
Without further ado, here's the first one:
Mouse on the Keys "Saigo no Bansan"
This is the first I've heard of these guys, and it totally blew me away. The song is cool, but this video really takes it to a whole new level. I absolutely love its dark, gritty Noir feel. Perfect.
Hit the jump for more!
Polysics "Young Oh! Oh!
New single from Polysics. Absolutely crazy, as usual. Seriously, just try and follow the logic of this one. You can't! There isn't any!
I don't remember now where I got the link to this, probably someone on Twitter. New music from Hiroshi Sakaue, a singing grandpa, slathered with Auto Tune. Weird.
History of Buck-Tick
A 10 part history of the very early Buck-Tick days, all in English! A must watch for any BT fan, to be sure.
Susumu Hirasawa "Solar Ray 2" Live
A mesmerizing live solar-powered performance from electro genius Susumu Hirasawa. I could listen to the into forever.
9mm Parabellum Bullet "Punishment" and "Discommunication" Live
It's not often that a band becomes more popular outside of its home country before they are equally well known at home, but it would seem as though Lite, an instrumental post-rock progressive band from Japan, has done just that.
They've played shows around the world, hitting up the UK and Ireland several times, as well as New York. They've released two live albums, one from Ireland and one from their recent 2009 trip to New York. They are even signed to a European record label, Cargo Records, along with the likes of The White Stripes.
The music that the band makes is, as mentioned, all instrumental. They are a bit like Downy in their overall sense of darkness, but Lite isn't nearly as arty or experimental. They are also not as light and precious as Miaou, nor as harsh as sgt. In some way Lite lives up to their name in that, while intense and intricate, little of what they do is overly heavy. This leaves them a bit more accessible to a wider audience who might be turned off by noodly math rock or way too spaced-out jams. They are smart without letting it get in the way.
Their instrumentality also makes them much easier to get in front of international audiences, something that has been a considerable help to other instrumental groups like Mono. Plus, they're just damn good at what they do, which is something attractive in any language (or lack thereof.)
Miyavi (Takamasa Ishihara) started his solo career around 2003 after his previous band split. His early style is extremely heavy, almost industrial at time, full of clanging percussion, blast beats and guitars distorted to the point of oblivion. His songs at the time feature fractured time signatures and phrases along with a chaotic blend of multiple layered vocal tracks. This is a style he's stuck close to over the years, even when much of the actual music has changed considerably.
The second phase of his career featured stripped down songs focusing more on his singing and acoustic guitar playing. He also dropped much of the hard edged rock in favor of funkier beats. This style naturally evolved into a third phase in which he adopted a bit of hip-hop style, rapping more a little himself and getting special guests to stand in. Some tracks blend all of his previous genre experimentation, and it's those songs the seems to be the strongest.
In 2007 he joined the vaporware band S.K.I.N. for a single, one time show at Anime Expo in Long Beach California. Formed of fellow pretty-boy rock superstars Gackt, Yoshiki (of X-Japan) and Sugizo (of Luna Sea) as well as Gackt bassist Ju-Ken, the band made many promises of future activity, none of which have been fulfilled in the slightest.
Anyway, Miyavi is obviously an artist with a lot going on, taking him in different directions all the time.
It's pretty tough to sum up a band that's been around for twenty five years and who has evolved as much as Buck-Tick, not to mention the huge influence they've had on the music world both in Japan and in the West. They were a big part of the early vis-kei movement in Japan, and they also managed to work closely with and influence many musicians overseas.
While the band has jumped genres over the years, at the same time Buck-Tick has retained their own signature sound. They've never been afraid to use electronic textures and special effects in their music, which is something else that has traveled with them to various degrees through the years. In the early days they were more of a pop/punk/glam band, with just as much of a focus on their outrageous visual style as on their music. They slowly became darker and more noisy until they eventually moved to almost entirely electronic and industrial sounds. After that they became even more grand and gothic before seeming to reach a sort of elaborate-production saturation point. Most recently they have dropped almost all of the fancy pretense in favor of much more direct and raw rock and roll. If their own personal lives are mirrored in their music, then things must be going very well in the world of Buck-Tick these days.
Even during all of these changes the band has never been afraid to experiment with their sound. Their songs are almost always rooted in a kind of dangerously playful, swaggering rock. With the exception of their most industrial work, they have always been a rock band first. It's this solid rock foundation (and their label's willingness) that allows them to wander off in whatever direction they choose. This doesn't always work out, but it does let them peruse their own interest, a genuine, honest quality which is something not lost on the fans. It doesn't hurt that the band members play up their looks for all they're worth, though again in a more subtle, understated way these past few years.
It would be folly to try and predict where Buck-Tick is going to go from here. They've already done much more than many other bands, and had a freedom to pursue their own ideas from the very beginning. While they obviously have strong overseas influences, they also seem content to stick to Japan for their main audience. A band so content with who they are (their lineup has never changed)and where they are, both literally and figuratively, is a rare thing indeed. Whatever happens next, it's sure to be interesting, as always.
Albums: Hurry Up Mode - 1987 Sexualxxxxx! - 1987 Seventh Heaven - 1988 Taboo - 1989 Aku no Hana - 1990 Kurutta Taiyou - 1991 Koroshi no Shirabe This Is NOT Greatest Hits - 1992 Darker Than Darkness -style93- - 1993 Six/Nine - 1995 Cosmos - 1996 Sexy Stream Liner - 1997 Kyokutou I Love You - 2000 One Life, One Death - 2000 Mona Lisa Overdrive - 2003 13kai wa Gekkou - 2005 Tenshi no Revolver - 2007 Memento Mori - 2009
Polysics are the pinnacle of new-wave synth-punk, the result of years of work put in by Yellow Magic Orchestra, P-Model, The Plastics and, most importantly, Devo. Polysics itself has been around since 1997, slowly working their way up the charts and oversea into clubs around the world. Signed both to Sony and MySpace records, they are in a unique situation to be able to easily promote themselves all overtheglobe. They have launched several successful mini-tours of America and the U.K. to larger and larger groups of rabid fans, and have played to massive crowds in Japan. While the band's sound has shifted subtly over the years from an all out wall of synth-punk noise to a much more restrained pop mentality, do not be fooled. There is still much your ears have to fear from Polysics.
For instance, there are the Nord-generated lo-fi glitches and soaring electric melody from Kayo, Fumi's furious bass-lines, Yano's relentlessly pummeling drums and Hiro's spazz guitar and spazzier vocal work. I say "vocal work" because quite often he's screaming, chanting, or just spouting gibberish. Polysics is a great band for anyone afraid of bands singing in a foreign language, because just about everything will be foreign to someone. Poly-lyrics are a mish-mash of English, Japanese and what Hiro calls "space language" that is sent down from above into his brain. There's something there for everyone to be confused by.
While these elements have always been present in their music, it has gradually been cleaned up over the years. Their punk spirit is still there, but their desire for mainstream pop acceptance is showing more than ever. Not that this is entirely bad. Songs like "Electric Surfin' Go Go," You-You-You" and "Moog is Love" are pop masterpieces with a spine, something that is woefully missing from 99.9% of the candy-coated fluff that usually fills the charts. And let's not forget "Baby BIAS," possibly the best pop song ever written, that appeared on Now is the Time!. Now there is a song that could have sold a million copies outside of Japan if handled correctly.
While Polysics have been busy trying to break into the pop world, some of what made Polysics Polysics in the beginning, namely their experimental spirit and abrasiveness, has been downplayed. There are still plenty of head-scratching time signatures, dissonance and totally brutal tempos, but the elements that would have been pushed to the front in the early days are now set far back in the mix as sonic filler for the more obvious hooks.
Much of this change in sound can be attributed to one thing: playing live. Most recently, Polysics has said that they work out new songs in a much more live way, and their live shows are only getting bigger and bigger. The songs are often stripped down to their bare essentials, showcasing the members' incredible proficiency as players over the usual layers of synth noise and sound effects that sometimes obscure the more technical details in their early work.
Polysics are many things, but lazy is not one of them. What never changes is the high quality, originality and genuine sense of fun in all that they do, be it in the studio or on stage. Their albums often feel more like a simple collection of current songs than individual bold statements. More like "here's what we have right now" than "here's what we have to say." People looking for profound introspection into the human condition would do better looking elsewhere. They've also managed to keep their own unique identity despite the high pressure to conform to more traditional sounds. Sure, they've matured, but they are still pushing the limits of new wave rock. They are gradually working their way into the mainstream, subverting it from the inside. For a true new-wave, new-pop, new-rock thunder, you can do no better.
Albums: 1st P - 1999 A.D.S.R.M! - 1999 Neu - 2000 Eno - 2001 Lo-Bits - 2002 For Young Electric Pop - 2002 Kaja Kaja Goo - 2003 National P - 2003 Polysics or Die!!!! - 2004 Now Is The Time! - 2005 Karate House - 2007 We Ate the Machine - 2008
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
