Make Believe Melodies For October 18, 2022
Early 2010s Indie, Now Johhny's-ized!
Hizuo, Lewo Chyba And M4tt — ARK006 (Dragon Ball EP)
I went to Kyoto last week for work / fun before the now-open borders result in the city being squished once again with visitors.1 I had the chance to chat with a couple artists in the local electronic community and swing by some record stores, and it was downright inspiring taking in everything happening in the city. As Archipelago Soundsytem told me from a video game bar not far from Gion, the pandemic forced creators in Kyoto to…bolster their own scene rather than rely on outsiders to create something they could enjoy. The city is, for the time being, of shifting local to foster great art, with a new nebula of labels and creators popping up (and getting to play shows at clubs that, for the most part, weren’t rattled by the last two years) to make it a creative hub.
Arkuda Label is just one example of that in action, and this three-artist-split release shows some local producers giving their spin on UK Garage and juke among others. Browsing their label Instagram, what’s maybe most striking is how young everyone involved is, adding extra excitement to all of this. The trio of creators present here are the foundations of this imprint, and here they flex their enthusiasm via frantic reworks and what sound like nods to the region (“CITY” sounding similar to…a predecessor working wonders a short train ride away?). Anyone can enjoy it, but just remember where it comes from. Get it here, or listen above.
Lafuzin — Love Energy Motivation
Based on the sax-accented twinkle of “Tokai Girl” and the early-afternoon funk melancholy of “Lunchtime Love,” I fully expected a clever angle on city pop celebrations from this duo. Oh, it’s so much more, though these numbers are total highlights too.
This is a time machine back to everything ‘80s, alongside some glances to modern times (“Inspiration” offering some dance-pop LEDs against the album’s neon tinge). You get piano ballads, mid-tempo sobbers, some of the cheesiest and cheery pop anthems courtesy of “Sakasete,” and a lot of solid dance-pop. These two clearly have a funny streak to them, and aren’t aiming for pure nostalgia bliss…but they do it well, all while providing a wider snapshot of the sounds once en vogue that haven’t enjoyed their time in the algorithm yet. Listen above.
uami — hyperKan
Man, making sense of uami’s 2022 is going to be a real treat come year-end time…and look what’s on the horizon! The Fukuoka experimental dreamweaver has been one of the year’s most prolific creators while also veering into the world of J-pop writing. A lot to sort through, and here’s another collection of pop espers and freestyle meditations to consider. Listen above, or get it here.
MCpero And UKR — “Kokyu”
I should check in with old friends more often…it’s one of my greatest flaws, even though I know just how exhilarating the pang of excitement of seeing a message from someone important. Leave it to a rapper who vanished for a few years to submerge themselves in life coming back out of the blue to get those feelings tumbling around. MCpero put out some of the best internet-centric hip-hop of the early 2010s — that fucking Milk EP — while also offering some of the wiser insights into trying to make it as a female MC in Japan at the time (a situation that I feel has become much more accepting). Now, she’s back, with producer UKR, for a new EP. “Kokyu” is the highlight, melancholy…not all reunions have to be happy…but with enough light coming in to make it closer to the diary entries of Izumi Makura than the more nihilistic blend popping up on SoundCloud today. Listen above.
Miyuna — “Ai Ai Dana”
In a just world, the theme songs to Japanese dramas would (uhhh, somehow) have as much traction as anime and Miyuna could enjoy more attention. Loose-limbed funk swerving into robo-vocal sing-speak…you got me all the way in, to the point of at least recording this show (which features a French guy??????). Listen above.
HALLCA — Seaside Bar
Didn’t expect HALLCA to benefit from letting her songs breath a little more, but she works best on Seaside Bar when letting the music around have some space. “Dream Dancer” is the only real moment of the former Especia member lightin’ up, and while it’s fun, the three songs that follow — featuring slower paces and chances for her to showcase her voice more. It isn’t minimalist by any stretch — the PellyColo penned “Marble” builds up to a one-person-club fireworks display — but when HALLCA gives in to a slow burn on “Jewel Rain,” she hits on a whole new dimension to her sound. Listen above.
20th Century — “Suiyobi”
The remarkable part of “Suiyoubi” isn’t that Johnny & Associates dipped into Tokyo indie vibes circa 2015 and pulled out Mitsume to write a song for three former members of V6. This agency loves grafting modern trends of all types onto their projects. The remarkable part is that this is like, literally, a Mitsume song. No notes given, it seems like. Laid-back guitar melodies and a light melody, topped off by a vocal content to stroll along rather than jog…which these J-pop vets pull off. The only real disruption comes from a heavier emphasis on a hook…Mitsume are often content to just let the guitars handle these centerpiece moments, but this is a pop troupe, so they have to use their voices to up the ante. Still…weird seeing a pop juggernaut Silly Putty an act I watched at Shibuya 7th Floor a decade ago, and copy it directly. Listen above..and also listen to Mitsume’s delightful album from last year below.
Oricon Trail For The Week Of October 03, 2022 To October 09, 2022
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 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 trip down…the Oricon Trail.
SKE48 — “Zettai Inspiration” (225,424 Copies Sold)
A throwback of sorts to a zippy sound -48 groups have long centered their music around, featuring a theme idols excel at detailing (the moment of falling in love, here complete with an apology to person behind them in line who…can’t inch forward because of heart swells?). Familiar, fine and mostly forgettable.
Down the chart, meanwhile, a clash of generations. K-pop group ITZY’s latest Japanese single “Blah Blah Blah” debuted well, especially on the combined ranking where it appeared at fourth, behind only SKE48, Ado and YOASOBI. Yet on physical only, an unexpected name just beat them out for silver…
…yes, THE ALFEE, a group nearing their 50th anniversary and whose fanbase is definitely on the older side. Who, you ask, is buying 30,000 CDs for an artist in 2022? It’s a mix of older folk returning to the sounds and formats they love…and youngins boosting up new names in the market.
News And Views
The Sheena Ringo / “help mark” mess-up mentioned last week has only gained more attention in the country since Twitter users first expressed anger at the limited-edition goodies modeled after a tag used by those with medical conditions. More media started reporting on the controversy, which has turned it into a larger trending story as of today (Tuesday) in Japan, one that even prefectural mascot Gunma-chan commented on (with sharp insight at that…if they had just made this any color but red, they’d be safe!). The Tokyo government is looking into it, and Universal Music is deciding what to do about this, though I’d wager “don’t release them” will be the answer. All this for a remix album!
Ado’s “Shin Jidai” stands as one of 2022’s biggest J-pop hits…if not the hit domestically…and it has been locked down on the Spotify charts for months now at number one. No more, though, as Kenshi Yonezu’s theme for Chainsaw Man slices through to the top…at least for now.
Nako Yabuki, of HKT48 and formerly IZ*ONE, will graduate from her idol unit next spring. South Korean industry next?
Beloved Akihabara venue Mogra will team up with Porter Robinson’s Second Sky Festival for an “immersive anime music experience” (in conjunction with Crunchyroll).
Suiyoubi No Campanella appeared on The First Take to perform viral breakthrough “Edison.” Besides being a surprising display of vocal prowess…not something I ever really associated with any incarnation of this project!…it does underline just how much the way music travels in Japan has changed. It hasn’t been that long since the KOM_I version of Suiyoubi appeared on the nationally broadcast variety show SMAP X SMAP, which certainly had wider reach…but the only way I can watch it now is via a Daily Motion upload. Utaha’s performance won’t have the potential to be as ubiquitous…but, in the same way “Edison” mutated on TikTok, it will stick around and reach those receptive of it. Watch below.
Hypnosis Mic and Pizza Hut, together at last.
punipunidenki and Pasocom Music Club made a song for a Playstation ad (and it sounds great).
Who is the most popular Japanese act of the 2010s globally? In hindsight, Hatsune Miku might be the right answer…but during those ten years, it sure felt like BABYMETAL. A viral sensation who turned online fame into huge concerts abroad all while tightroping between “weird Japan” and “metal, actually.” More so than other breakout acts of the period (Kyary Pamyu Pamyu being a great example), BABYMETAL feel very locked in to the 2010s, and a group that doesn’t feel very contemporary despite influencing so many acts. Not helping them…they’ve been pretty quiet in recent years.
Yet that’s changing, as the group announced a big return live show set for January and a “concept album” set for spring 2023. I’m not sure what BABYMETAL will look like next year or how their sound will translate to modern times…but should be interesting to see, at the very least.Joey The Anime Man talked to a former member of an idol group to uncover “the DARK TRUTH” of this corner of Japanese music. The “expose” side of this (ie this video is blowing the lid off a corner of Japanese entertainment that has been investigated for decades by domestic and foreign media) is just YouTube posturing, but as an actual relaying of one person’s experiences in the industry…very interesting! Especially as it comes from an “underground idol” perspective, which sometimes gets a pass in these conversations but is every bit as worthy of going under the microscope as, say, AKB48. Watch below.
An industry group created a guidance that live houses in Japan can follow that allows them to operate at full capacity, as long as they take measures that reduce cheering or singing.
I don’t have Billboard Pro so not sure how exactly they are doing it but…Avex trying to crack the U.S. market by borrowing from K-pop.
Look at this Thai pop / J-pop festival happening in Bangkok this weekend. Someone fly me out!!!
Cassette tapes selling for big bucks.
Cassette demo from Lollipop Sonic, the precursor to iconic band Flipper's Guitar, goes for ¥1,511,000 at auction.ついに終わった…。これはJ-pop史に残る出来事かも？ https://t.co/b8gQ2m9mXn
siloppi @GALAXYSYRUPPIWritten by Patrick St. Michel (patrickstmichel@gmail.com)
Twitter — @mbmelodies
Though, let’s be totally fair…Kyoto is already packed tight, but instead of backpack-sporting foreigners (which…was me, so don’t think I’m above any of this, I bought green tea soft serve like the rest of us), it was elementary-school-aged groups dashing around and nearly colliding with everyone. Turns out the real change wasn’t border rules being thrown out the window, but whoever gave an OK for every school in the country to get those charter buses rolling out to the ancient capital in mid October.
Well, I thought the Miyuna song would be the best of the round-up, but I really enjoy that V6 20th Century song, glad to see Johnny's finally try something really different!
About the most popular Japanese act in 2010s globally, how about One Ok Rock? I think they've been performing in more venues globally than Babymetal (well, no offense to Babymetal anyway.)