Make Believe Melodies For Nov. 2, 2020
My baby woke up at 4 am so I'm writing this in a delirious state
Native Rapper — Magnet
Kyoto’s Native Rapper probably didn’t influence the sound of J-pop in 2020, but he was way out in front of where everything would end up. Back when his “Water Bunker” demo charmed me enough to gush (and write a truly reprehensible headline), he felt like an example of digital natives emerging to carry on the genre-blurring that someone like tofubeats helped make cool for a generation of Japanese creators glued to SoundCloud and various bulletin boards. Today, the same elements Native Rapper played around with — pop meeting electronic trends, with a pop heart — have become mainstream (or at least TikTok-stream) thanks to breakout acts such as Rinne, Sorane and (to a degree) yama, among others.
Being an early adopter has its perks, though. Magnet, his latest via Trekkie Trax, offers far more energy than what the artists above tend to give the world, helped by a continued fondness for 2010s electronic trends that give these numbers lift (see “Love Sweets” featuring Masayoshi Iimori, here operating in big-fest mode rather than the rumbling net-damaged sounds of what he helped build for 4s4ki). There’s a giddiness here that just doesn’t always come across on the more chilled-out takes on it that have enjoyed newfound attention over the past 12 months, making for an overall more fun time on songs like “Liar Dancer.” Get it here.
Kazumichi Komatsu featuring Dove & Le Makeup — “Umi Ga Kikoeru”
Two generations of Kansai electronic artists meet on this number by the artist formerly known as Madegg. Though really this sounds way closer to a vulnerable Le Makeup song, with only the rumbling touches bringing me back to the INNIT days. That’s fine though, because this vulnerable backdrop works best with the two vocalists featured.
Haretokidoki — “Get You”
On the one hand, Haretokidoki pretty much do the same late-80s throwback pop on every song they’ve put out. But…they do it so well, it ends up always being a welcome sugar high.
Tamanaramen — future
The third EP release from Tamanaramen finds her continuing to make the most of space, and at her best here channels the disorienting world building of Metoronori and the uneasy drama of the whole poemcore sub-genre (see “Gate” and “voyage”).
Oomori Seiko — “Night On The Planet - Broken World -”
Woooo boy…one of my confessions for 2020 is I’ve kind of been just waiting for the new Oomori Seiko album to come out and have been kind of ignoring everything else in her orbit (including only passing knowledge of the drama around ZOC). She’s one of those artists who I find always works better when you have time to stew with the final work, rather than your typical build up. I will say that this song is simultaneously bewildering (all English!?) and an extremely welcome break from dominant musical trends (slow-burning ballad on the verge of total collapse?!). REALLY interested to see what this one ends up being like.
Toshiki Kadomatsu — Summer Time Romance
The new Oneohtrix Point Never album is good, but it features these attempts at, like, radio station banter between songs that just get me thinking about this compilation from Toshiki Kadomatsu, which packages some of his best songs around a radio broadcast out of Hawaii that…only plays the music of Toshiki Kadomatsu. Incredible idea, and doubles as a great intro point for one of city pop’s finest creators.
Oricon Trail For The Week Of Oct. 19, 2020 To Oct. 25, 2020
Back in the day, the Oricon Music Charts were the go-to path to music stardom in Japan. Acts of all sorts traversed these lands, trying to sell as many CDs as possible in order to land a good ranking on a chart choosing to only count physical sales, even as the Internet came to be and the number of versions offered for sale got ridiculous. Today, with the country finally in on the digital, these roads are more barren and only looked at by the most fanatic of supporters needing something to celebrate. Yet every week, a new song sells enough plastic to take the top spot. So let’s take a drip down…the Oricon Trail.
LiSA “Homura” (42,123 Copies Sold)
Can it be…a single topping the Oricon chart for more than one week? This might be the most relevant this seemingly outdated ranking has been in at least two years. Speaking of charts we would be better off ignoring…“Homura” has also moved into the top ten of Billboard’s “Global 200” ranking, complete with no photo of LiSA despite her being the “greatest gainer.” It’s also number two on their “Global 200 Excluding US” chart.
News And Views
J-pop’s continued march towards “the internet” continues, as J Storm, home to huge Johnny’s & Associate groups, launches a YouTube channel. On the other hand, the continued tradition of said talent agency refusing to let images of their artists carries on for…Seven-Eleven commercials
Well, how could I not click that!?
Crowdfunding platform Campfire has done well enough this year they can splurge on ex-SMAP members for their commercials.
Pentatonix having their “big in Japan” moment.
Two 1980s Tatsuro Yamashita albums get the re-release treatment at the end of the month…with bonus songs!
Written by Patrick St. Michel (patrickstmichel@gmail.com)
Twitter — @mbmelodies