Rather than IDOL being a break from what came before, it may just be a loop back in time.
IDOL is sonic-ally reminiscent of early Capsule...sure a little more bombastic but more related that distant. Even though this topic keeps pooping up, I think it may be a little early to be calling an end to the current Jpop.
Something in Jpop may just make it more resilient to current cultural changes than most people had it pegged for.
yeah, that's a good point, and I should probably emphasize more that "new era of J-pop" is much more about like industry developments than anything musical (besides a, very welcome in my opinion, resistance to chasing global trends). Way more in attitude and operation than sound
You had written previously about the significance of JPN almost being a reset after the tragedy [excuse the bad paraphrasing]. Potentially, IDOL is a parallel to that.
With the 'operational side, its always about what path gets to the audience...and the money follow. Hence, my point about the resilience of Jpop. It appears to take streaming, tictok, and the every shrinking length of grabs in its stride. Even its afinity to vocaloid may also make it insanely suited for whatever AI throws up.
If so, perhaps, the post pandemic qualities you have mused about in MBMMailer were another branch responding to a particular milieu and Jpop is just signalling it is now ok to again return to the vibrancy they put away for awhile.
Damn, that was genuinely a great post. Excluding the fact that I initially thought you meant "Idol" as in the death of Johnny's and the 48 groups, but this is honestly so much more interesting. J-Pop is such a strange industry to define, but I think you succinctly captured the major trends in contemporary J-Pop. I could honestly see a college music class using this to introduce students to 2020s Japanese music.
Just a thought...
Rather than IDOL being a break from what came before, it may just be a loop back in time.
IDOL is sonic-ally reminiscent of early Capsule...sure a little more bombastic but more related that distant. Even though this topic keeps pooping up, I think it may be a little early to be calling an end to the current Jpop.
Something in Jpop may just make it more resilient to current cultural changes than most people had it pegged for.
yeah, that's a good point, and I should probably emphasize more that "new era of J-pop" is much more about like industry developments than anything musical (besides a, very welcome in my opinion, resistance to chasing global trends). Way more in attitude and operation than sound
You had written previously about the significance of JPN almost being a reset after the tragedy [excuse the bad paraphrasing]. Potentially, IDOL is a parallel to that.
With the 'operational side, its always about what path gets to the audience...and the money follow. Hence, my point about the resilience of Jpop. It appears to take streaming, tictok, and the every shrinking length of grabs in its stride. Even its afinity to vocaloid may also make it insanely suited for whatever AI throws up.
If so, perhaps, the post pandemic qualities you have mused about in MBMMailer were another branch responding to a particular milieu and Jpop is just signalling it is now ok to again return to the vibrancy they put away for awhile.
I was going to give Kaze crap for working with Dahi instead of Yaffle (who is incredible), but that song goes so hard, no pun intended.
Damn, that was genuinely a great post. Excluding the fact that I initially thought you meant "Idol" as in the death of Johnny's and the 48 groups, but this is honestly so much more interesting. J-Pop is such a strange industry to define, but I think you succinctly captured the major trends in contemporary J-Pop. I could honestly see a college music class using this to introduce students to 2020s Japanese music.
"X-pop" sounds like something Elon Musk would put out, haha.
lolz don't give him ideas...