#nostalgical

Here I am with the first part of this month’s themed week in “Let’s Listen to”! Today’s subject is one of the most awaited released of the Japanese summer, the latest effort of the pop artist Kenshi Yonezu, the fifth album Stray Sheep, came out today. The album’s concept comes straight from the title, a reference to the parable of the “stray sheep” told in the New Testament, used to describe the sense of confusion and disorientation brought by the current times. And now... let’s review!

-Campanella: the album opens with the first lead-track, featuring a pretty peculiar sound; soft beats accompain Kenshi’s flowing and natural vocals, in a light and upbeat pop melody; a nice opening song, with an interesting vocal interpretation. ---> 9/10

-Flamingo: one of the leads from the tenth single sees a more decise sound, where Kenshi’s vocals move swiftly in the articulated melody, well underlined by the bass; a flowing and easy song, which keeps up the positive atmosphere of the album. ---> 8.5/10

-Kanden (Electroshock): the second lead-track of the album, used as theme for the drama MIU404, is kicked off by pretty positive notes, surrounded by a pretty simple beat; the vocals are nice and pretty balanced, especially in the refrain, making it even catchier; a nice track, dyed by a jazzy vibe. ---> 8.5/10

-Placebo (ft. Yojiro Noda): this song starts with soft notes, accompained by a pretty relevant beat; Kenshi’s voice is steady, keeping up the melody along with interesting guitar notes and a pretty efficient duet with the lead-singer of Radwimps, in another catchy and easy track. ---> 8.5/10

-Paprika: the lead of the thirteenth single starts with slower and melancholic notes, disposed in a peculiar way; Kenshi’s vocals are pretty suggestive, driving an electronic and fascinating melody, made of a balance between positive and melancholic shades; a song which brings the album to a maturer side. ---> 9/10

-Uma to shika (Horse and deer): natural vocals and nice guitar notes open the lead of the twelfth single, used as theme for the drama No Side Game; the rhythm builds up slowly, leading up to a pretty pleasant melody, with not so exaggerated electronic effects, greatly helped by a deep vocal interpretation; a distinctive track. ---> 9/10

-Yasashii hito (Kind person): this song sees sweet vocals by Kenshi, accompained by warm guitar notes, leading up to a slow and melancholic ballad, where the vocal interpretation is the most remarkable highlight of the track; a track which shows Kenshi Yonezu’s emotional side at best. ---> 9/10

-Lemon: the lead song of the ninth single, theme song of the drama Unnatural, starts with Kenshi’s deep vocals, accompained by a nice melody and a flowing beat, creating an intense atmosphere; the melody improves more thanks to a rock vibe, especially in the refrain, making this track even better, without forgetting the vocal interpretation, which improves more in the second part. ---> 9.5/10

-Machigai sagashi (Look for a mistake) -Masaki Suda cover-: the song starts with twittering birds, bringing back the naturalist touch seen in Kenshi Yonezu’s music, where the vocals become sombre and mature, accompaining a crystalline fascinating melody; a song which looks back to this artist’s origins, exalted by the vocals and a good use of electronic notes. ---> 9.5/10

-Himawari (Sunflower): this song brings back the positive vibe in the album, with soft notes opening the song, whose rhythm is pretty fast and the melody is upbeat; the vocals are living, accompained by a fresh guitar, in a pleasant and catchy song, featuring a sort of exotic vibe. ---> 9/10

-Mayoeru Hitsuji (Stray sheep): the title-track starts with a pretty steady melody, featuring decise and dark-ish tones; Kenshi’s voice is intriguing, bringing out a really peculiar vocal interpretation; a good song, built by a various and fresh melody, improved by a nice piano work. ---> 9/10

-Décolleté: this song sees a retrò vibe, where the enigmatic notes mix up with a balanced beat for a quite paced melody, driven by Kenshi’s simple vocals; the song is pretty good, where the best feature is a curious mix of R'n'B and folk sound. ---> 9/10

-Teenage Riot: the second lead of the tenth single starts with interesting guitar notes and a fast beat; the vocals are pretty steady, but fitting with the unpredictable approach of the song, whose melody evolves even thanks to a balanced drum work; another great track, exalting once again Kenshi’s singing skills. ---> 9/10

-Umi no yuurei (Spirits of the sea): the lead of the eleventh single, used as theme for the movie Kaiju no kodomo, is kicked off by Kenshi’s clear vocals, accompained by a nice piano, where the rhythm is made by a slow and articulated beat, where the vocal interpretation is filled by nostalgical shades; a quite compelling track, where the melody evolves with suggestive electronic notes. ---> 9/10

-Canary: the album ends with a quite long song, staying in the nostalgical side; Kenshi’s voice is intense, accompained by clear piano notes, driving up a slow and melodious theme, making the song even more compelling than expected; the vocal interpretation reaches high peaks, especially in clearer notes, where the violin gives an extra touch to an already awesome song. ---> 9.5/10

Final Vote ---> 9/10

Kenshi Yonezu is definitely an unique artist within the Japanese pop scene and a confirmation of how in music surprises never end. In ten years of career he always brought something new and refreshing, reinventing his concept through his suggestive art and melodies touching each emotion possible. Stray Sheep represents a fundamental step forward in his path, since it extended his sound to a wider audience, even outside Japan, bringing upbeat melodies, melancholic notes, compelling and various vocals, and a touch of nostalgia and nature, reprised by Kenshi’s early style, showing how pop music is able to bring in unexpected directions and to further horizons. This album is a breath of fresh air, needed in troubled times like these, whose influence is felt even inside each track, and a good companion for everyday life, making it more pleasant and flowing, without any doubt. If you are looking for an intense pop artist, whose sound goes out of schemes, Kenshi Yonezu is your answer, especially with this fifth album. An album for who already knows Kenshi’s unique world and for who needs to get into his music, made of positivity, nostalgia and feelings.

That’s all folks! See you with the second part of this month’s themed week in “Throwback Thursday”!

Thanks for the reading!

READ OUR RELATED POSTS:

REVIEWS

Here I am with the third part of August’s themed week in “Focusing on”! Today’s subject is a Japanese pop artist, who breaks the canon of the genre with simpleness and energy. We’re talking about Kenshi Yonezu, born on 10th March 1991 in the rural area of Tokushima. His first approach to music occurred on 2006, when he created a band with a friend of his, named Late Rabbit Edda, which didn’t get much success. Then, between 2008 and 2009, he started to release Vocaloid tracks on Nico Nico Douga under the stage name Hachi and sometime later he moved to Osaka, where he published other Vocaloid tracks, which became quite popular. On 2009 he officially appeared in a Exit Tunes compilation and in other Vocaloid compilations, boosting his popularity even more, arriving to release two albums of his own, Hanataba to suisou (Bouquets and sea burials) and Official Orange. On 2011 he officially debuted in a major laber as Kenshi Yonezu and since then he built up the concept we got to know, mainly artistic and naturalistic, as he is also a drawer, whose works, inspired by Edward Gorey’s art, are featured in his videoclips and release covers. His genre is an alternative pop-rock, pretty unusual for the canon, where there’s an alternance between upbeat and nostalgical themes, with each song cured by Kenshi himself, in each aspect. His official debut occurred on May 2012, with the release of the first major album Diorama (reviewed here).

One of the lead-tracks, named Go go yuureisen (Go go ghost ship), sees an extremely positive sound, articulated by good electronic notes and charismatic vocals; the song is about the beginning of a revolution, synonym of a new chapter of Kenshi’s musical path. It has been followed by the singles Santa Maria and Mad Head Love/Popping Apathy, the second album Yankee (reviewed here) and the single Flowerwall.

The title-track has clearer notes, building up an upbeat melody, with a relevant rhythm and Kenshi’s light vocals; the song is about trying to live in happiness and harmony. It has been followed by the single Unbelievers, the third album Bremen and the single Loser/Number Nine.

The first title-track mixes pretty well rock and dance pop, in a catchy sound, driven by energetic vocals and a positive melody; the song is about the bad luck and the defeat in everyday life. It has been followed by the singles Orion and Peace Sign, the fourth album Bootleg and the single Lemon.

The title-track, featured as theme for the tv series Unnatural, has an intense atmosphere and a nice rock vibe, provided by a good melody and well kept up by Kenshi’s mature vocals (the videoclip has over 600 million views, making it the most viewed musical video in Japan); the song is about loving the life with someone else, even in bad moments. It has been followed by the singles Suna no wakusei (Sand planet), made in duet with Hatsune Miku, Flamingo/Teenage Riot, Umi no yuurei (Spirits of the sea), Uma to shika (Horse and deer) and Paprika.

The Japanese pop scene is incredibly wide and features a lot of acts, some better than others, but mostly calibrated in a certain common direction musically talking. Kenshi Yonezu has been able to subvert any expectation, since he came from the Vocaloid scene and brought a new and refreshing way of doing pop music. Catchy and upbeat themes, alternated to experimentations and melancholic melodies, accompained by Kenshi’s versatile and suggestive vocals, singing really peculiar lyrics, made of nature and feelings; this is how his music can be summarized, redefining the way most people is watching at Japan in terms of music. The presence of his songs in anime themes, dramas and TV spots boosted more his popularity, reaching even oversea audience, thanks to a simpleness which hides something more complex and deeper than expected. Surely Kenshi’s works don’t go unnoticed and that’s a surprising thing, since he relies on mature concepts and a characteristic art behind each his composition, and recently he stepped the game with his newest work, the fifth album Stray Sheep, one of the most awaited releases of this Summer and a really good companion for these troubled times.

Who might enjoy: who is looking for an unusual and riveting pop artist, whose style goes between nature, emotions and nostalgia.

Recommended tracks (as Hachi): World’s End Umbrella, Rinne and Matoryoshka.

Recommended tracks (as Kenshi Yonezu): Go go yuureisen, Vivi, Santa Maria, Flowerwall, Peace Sign, Loser and Lemon.

That’s all folks! See you on the final part of August’s themed week in “Lyrical Love”!

Here I am with the second part of August’s themed week in “Throwback Thursday”! Today’s subject is a release by the Japanese pop artist Kenshi Yonezu, precisely one of his earlier ones, the second original album Yankee, came out on 23rd April 2014. This album is pretty different from the previous one, Diorama, since it is the first work where Kenshi records with a support band and has a more introspective approach, with a concept dealing with the invisible forces influencing our lives. And now... let’s review!

-Living Dead Youth [limitless life]: the album starts with its first lead-track, where Kenshi’s vocals kick off a steady and positive theme; the vocals become more positive and paced, building up a pretty nice song, driven also by a good guitar work. ---> 8.5/10

-Mad Head Love [oppressing love]: the main track of the second single is opened by a mixed sound, between electronic and rock, thanks to interesting guitar notes; the vocals are steady and animated, driving the melody, simple and flowing; an upbeat song, with a peculiar shade. ---> 8.5/10

-Wooden Doll [finding answers]: the second lead-track of the album sees clearer notes and a paced rhythm, where Kenshi’s voice is shaded accordingly and fits with the melody, especially in the refrain; a really good track, which express Kenshi’s positivity at maximum. ---> 8.5/10

-Eine kleine (A little) [fading happiness]: the third lead is opened by soft vocals, accompained by a light and warm guitar, where the rhyhm wraps the melody in a simple way, building up a pleasant and enjoyable track, with positive vibes and a compelling simpleness. ---> 9/10

-Melancholy Kitchen [being honest with loved ones]: this song is opened by melancholic notes, followed by a pretty peculiar beat, which changes the melody’s vibe; Kenshi’s fast vocals keep up the song, now more upbeat and refreshing, even thanks to the notable funk influence; a catchy track. ---> 9/10

-Santa Maria -album ver.- [being together in darkness]: the lead song of the first single is opened by shaded notes, with a melancholic piano joining slowly the melody; flowing vocals kick off the theme, building up a pretty nostalgical melody, thanks to deep guitar notes; a really intense ballad and one of Kenshi’s outstanding hits. ---> 9.5/10

-Hana ni arashi (Flower in the storm) [flower ---> survivor]: this song starts with fast guitar notes in a pretty paced rhythm, bringing the album back to its positive side; clear and energetic vocals lead the whole thing, accompained by a nice and refreshing melody; a pleasant pop-rock track. ---> 9/10

-Umi to sanshōuo (Sea and the salamander) [finding peace]: this song sees a more decise rhythm, along with a really peculiar melody, characterizing the whole thing even more; Kenshi’s mature vocals give an unique touch, especially in the catchy refrain, where they work even more along with the energetic sound; a light and articulated track at the same time. ---> 9/10

-Shitodo seiten daimewaku (The great problem of being drenched in fine weather) [throwing away the evil]: fast rhythm and animated guitar notes introduce this song, where Kenshi’s rapid vocals fit quite well; a song which can be linked to the initial phase of this album, made of thoughtless and enjoyable tunes. ---> 8.5/10

-Ganpuku (Sight for sore eyes) [hurting future]: this song is started by soft vocals, accompained by a light and melancholic guitar, in a notable vocal interpretation, even if pretty simple in its own; a nice and pleasant track, which shows how Kenshi makes simpleness a virtue. ---> 9/10

-Horafuki nekoyarou (Bragging cat dude) [tough life]: this song brings another style to the album, featuring retrò shades in a jazzy melody, well paced and pleasant; the vocals are rapid and positive, appearing even more versatile than expected; a nice track, which gives some variety to the release. ---> 9/10

-Toxic Boy [getting free from pain and guilt]: a strong and various rhythm in a refreshing melody characterize this song, where the instruments are well placed; an energetic and simple track, bringing back the thoughtless side of Kenshi’s music. ---> 8.5/10

-Hyakki yakou (Pandemonium) [love which burns and leaves no way out]: the b-side track of the first single is opened by peculiar notes, leading up to an energetic melody; Kenshi’s vocals are piercing and fit with the decise rhythm; a rocking track, which works mainly for the charismatic vocals. ---> 9/10

-Karma City [city ---> metaphor of memories and experiences]: electronic beats kick off the song, with clear and versatile vocals leading up a peculiar and fascinating pop melody; a nice track, easy to appreciate and hard to forget. ---> 9/10

-Donut Hole (self-cover) [unavoidable separation]: the album ends with a cover of a song from his Vocaloid phase, featuring an animated rhythm and an energetic melody, with fast and positive vocals driving the whole thing; a good track, which ends the release in a coherent way. ---> 8.5/10

Final Vote ---> 9/10

Following up the unexpected success brought by Diorama, Kenshi Yonezu started to shape up what it would have become his current style, balancing between pop melodies and nostalgical shades. Yankee develops this commistion throughout all its tracks, a selection of styles and approaches which bring an interesting mixture of notes, helped by the distinctive presence of a support band and accompained by Kenshi’s charismatic performances, various and compelling, even appearing incredibly simple and easy. This album shows also how Kenshi is good in bringing compelling subjects to his songs even with pop tunes and creates a meaningful link to his Vocaloid phase, especially for the choice of the final track, a self-cover from Hachi, his stage name during this early phase. If you needed a confirmation about Kenshi Yonezu and his unique but simple world, Yankee is the album which you are looking for, where there’s literally tracks for all tastes. An album for who loves Kenshi Yonezu’s music in any shape and needs to know better the world of this incredible pop artist.

That’s all folks! See you with the third part of August’s themed week in “Focusing on”!

Thanks for the reading!

READ OUR RELATED POSTS:

REVIEWS

Diorama (16.05.2012)

Here I am with a new review in “Throwback Thursday”! Today’s subject is another album by the visual kei band D’Erlanger, precisely the second album Basilisk, come out on 07th March 1990. This album is the last one before the band disbanded on December 1990 and encloses their most nostalgical sound, becoming pivotal for the visual kei history. And now... let’s review!

-Hurts: the album starts with a short track, featuring a dim and chilling atmosphere, with Kyo’s spoken vocals, which become more disquieting.

-Incarnation of Eroticism [unstoppable desire]: a fast and electronic intro kicks off this song, with a clear and paced guitar along with rapid and dim vocals, fitting the previous track; a simple and catchy track. ---> 8/10

-Crime & Punishment [pain as the only way for going on]: a piercing guitar along with a deep bass characterize this song, building up a sustained rhythm, empowered by balanced vocals; a good song, whose enigmatic melody is emphasized by the guitar. ---> 8.5/10

-After Image [illusion of a lost love]: this song is characterized by a relevant rhythm and suffused vocals, where the melody is driven by a dark and piercing guitar, along with a refined bass work; a really good track, which shows off a certain complexity. ---> 9/10

-Sad Song [indelible memory]: a melancholic guitar kicks off a song featuring a decise rhythm, driven by a good drum work; Kyo’s vocals are quite standard, keeping up a theme which is easy to follow and pretty nostalgical. ---> 8.5/10

-Darlin’ [constant presence in mind]: the title-track of the first single is started by an animated and fast guitar, empowering a pretty flowing melody; the vocals are balanced, well coupled with the bass; building up a fascinating and catchy track. ---> 9/10

-Moon and the Memories [night which revokes a past love]: the lead track of the album is the longest one and even one of the most famous hits by the band; the song is kicked off by a relevant drumming, in a theme driven by an energetic guitar, joined by the bass, which makes the melody even deeper; Kyo’s voice is bright and balanced, in an interpretation which keeps up an articulated and nostalgical ballad, featuring even relevant techincal feats. ---> 9.5/10

-So... [hard to say goodbye]: Kyo’s rapid vocals open the song, animated by a soft guitar and a flowing, thanks to the interesting work by drums; the track results quite simple, featuring a pleasant nostalgical atmosphere. ---> 8.5/10

-I Can’t Live Without You -acoustic ver.- [life without the loved one]: this song is the acoustic version of one of the tracks from the first album La Vie en Rose, where a crystalline guitar kicks off the theme with slow notes; the vocals are fleble and melancholic, keeping up the melody in a great interpretation, with the electrical guitar which exalts more the second part. ---> 9/10

-Bara iro no jinsei (Life in rose) [love coloured dream]: the album ends with a song, which results to be a new take of La Vie en Rose, started by fast and rhythmed notes, with suggestive electronic effects and an energetic guitar; the vocals are rapid, featuring an aggressive touch, which gives a bit of difference in a song which maintains the formula seen in the album. ---> 9/10

Final Vote ---> 9/10

Following up their first album, La Vie en Rose, which has been incredibly successful and influencing for the whole visual kei scene, the band made an important step in releasing a disc under a major label, BMG (specifically the sub-label Ariola), which was anticipated by the first single Darlin’. Basilisk is the other side of D’Erlanger’s musical concept, which evolved quite a bit since their debut, but became a symbol of the end of their first phase, as the band decided their own disbandment some month later. The album incarnates their most nostalgical essence, with the tracks revolving around their dearest themes, such as love, feelings and past, alternating ballads and lighter melodies in a cohesive structure. For sure the band never forgot what made them famous in the scene, as they revamped most of their works here featured in the releases following their reunion, without neglecting the many Japanese bands which has been influenced by their style, making this album a must for visual kei fans and a true milestone for the genre. An album for loves truly the visual kei scene and in particular enigmatic and seducing rock melodies.

That’s all folks! See you with a new special in “Focusing on”!

Here I am with a new band review in “Focusing on”! Today’s subject is one of the most important bands of visual kei history, despite their not so huge discography. We’re talking about D’Erlanger, formed on 1983 and composed by Hiroshi “Kyo” Isono (vo.), who became the singer after having substitued Yoshifumi “Dizzy” Fukui on 1988, Ichiro “Cipher” Takigawa (gt.), Tomohiro “Seela” Nakao (ba.) and Tetsu Kikuchi (dr.), who substituted Tadashi “Shi-do” Cho on 1987. The band name comes from an alteration of a French expression, meaning “indecent temptation”, linked such in a way to their musical concept; in fact at the core of their artistical world there are love, pain, passion and desire, which are the main themes of their songs. Their genre is a pretty dark and enigmatic alternative rock, with shades of hard rock, punk and gothic, influences which were exalted in their second phase. Following up a series of demos, released between 1985 and 1987, the band officially debut on February 1989 with their first album, La Vie en Rose (read the review here).

The title-track shows off a strong rhythm and seducing notes, along with a particular vocal versatility by Kyo; the song is about of a dream coloured of love. It has been followed by the single Darlin’ and the second album Basilisk (read the review here).

One of the lead-tracks, named Moon and the Memories, is a really complex ballad, articulated well by the instruments and the deep vocals, putting out the best features of the band; the song is about a night which revokes a past and far love. It has been followed by the single Lullaby, last release before their disbandment, occurred on December 1990. After the single members continued their careers in other bands: Kyo became the vocalist of Die in Cries, a band made of other relevant musicians of the scene lasted only four years, Tetsu briefly joined Zi:Kill as drummer, while Cipher and Seela joined less famous bands. Then, after seventeen years, the band reunited, following the release of the third album Lazzaro and the single Zakuro (Pomegranate).

The title-track has a deeper rhythm, keeping up a seducing and dark melody and piercing vocals, showing that the band didn’t change much of their sound; the song is about putting an end to the pain, before life gets withered. It has been followed by the fourth album The Price of Being a Rose is Loneliness, the fifth album D’Erlanger, the self-cover compilation A Fabulous Thing in Rose, the sixth album #Sixx, the seventh album Spectacular Nite and the eighth album J’aime la vie.

The lead-track, named Bara iro no sekai -Le monde de la rose-, mixes up energetic elements with more nostalgical shaded, in a commistion between old and new; the song is about a love dream which overcomes reality.

D’Erlanger is one of the bands which is mandatory to know when you get into the visual kei scene, as they might be considered one of the pioneers of the genre. Their fusion between nostalgia and seduction made them incredibly relevant, even thanks to a refined sound, alternating between energetic themes to more melodic and complex ones, making them fit for each kind of listener. Still today the band is celebrated inside the scene, and because of this has been made a tribute album, entitled D’Erlanger Tribute Album -Stairway to Heaven-, an album where their most famous tracks has been covered by important acts of Japanese rock scene, such as Mucc, Kiyoharu, Hyde, Dezert, Dir en Grey, Merry and others, all of them being inspired such in a way by their style and music. Luckily D’Erlanger is still an active band, as they recently released the ninth album Roneve (read the review here) which seem to maintain their enigmatic and seducing style.

Who might enjoy: who loves old-school visual kei bands in general and in particular who is looking for an attracting and compelling rock band.

Recommended songs: La Vie en Rose, Lullaby, Moon and the Memories, Zakuro, Angelic Poetry, CRAZY4YOU and Bara iro sekai -Le monde de la rose-.

That’s all folks! See you with a new song analysis in “Lyrical Love”!

Here I am with a new special in “Focusing on”! Today’s subject is a Japanese rock act, whose style is driven by a charismatic and compelling vocalist. We’re talking about Superfly, formed on 2003 and composed by Shiho Ochi (vo.) and Kouichi Tabo (gt.), who left the project as active member on 2007, but stayed behind the scenes as composer. The band name comes from the famous song with the same name by Curtis Mayfield, one of the main musical inspirations of the band, along with The Rolling Stones and Janis Joplin. So their genre is a reprise of all those styles, resulting in a suggestive rock sound, hanging between pop, soul and blues, where the main element is Shiho’s charismatic voice and unique presence in each performance. After four years as session band at Matsuyama University, the band officially debuts on 2007 with the single Hello Hello.

The title-track features a clear and suggestive melody, exalted by warm vocals and a nicely paced rhythm; the song is about the talking with other people, a pivotal part of human life. It has been followed by the singles Manifesto, I Spy I Spy (ft. Jet), Ai wo komete hanataba wo (Flowers with love) and Hi-Five, the first album Superfly (reviewed here) and the singles How Do I Survive? and My Best of My Life.

The title-track features limpid and suave tones, provided by piano, along with light vocals, empowering the ballad along with a simple and flowing rhythm; the song is about the life, which really starts when you become aware of the self and of own resources. It has been followed by the single Koisuru hitomi wa utsukushii/Yasashii kimochi de (Lovely eyes are beautiful/Friendly feeling), the second album Box Emotions, the single Dancing on the Fire, the compilation Wildflower & Cover Songs, the singles Eyes on Me and Beep!!/Sunshine Sunshine, the third album Mind Travel, the singles Ah, Ai wo kurae (Love eats), Stars (ft. Tortoise Matsumoto), Kagayaku tsuki no yoni (Like shining moon)/The Bird Without Wings and the fourth album Force.

The title-track sees a more energetic and rocking style, provided by an animated guitar and a paced rhythm, accompaining living and rebel vocals; the song is about the power of living own life and overcoming any obstacle. It has been followed by the single with the same name, the compilation Superfly Best, the singles Live, Ai wo karada ni fukikonde (Breathe the love into your body) and White Light and the fifth album White.

One of the lead-tracks, named Beautiful, has a more articulated theme, between sweet and intense notes, empowered by Shiho’s unique voice and a pleasant atmosphere; the song is about bringing out the true self, in each its aspect. It has been followed by the singles On Your Side, Kuroi shizuku (Black drop), Good-bye, 99, Bloom and Gifts.

It’s not a common thing finding something like Superfly in Japanese musical scene. Most of the female pop singers of the country follow a pattern which help them to reach a wider audience with each release, except for artists like Ayumi Hamasaki, Ataru Nakamura, Tsukiko Amano and few others who doesn’t fear the new horizons and manage to achieve their own success even with new approaches. Shiho Ochi, with her project Superfly, belongs to this category for sure, thanks to her rocking and engaging style, taking its roots from 60′s-70′s Western rock (whose inspiration is so strong that she achieved her own dream to perform at Woodstock on 2009), but reshaping the canons of that world in a fresh way, greatly helped by her charisma, a rare feature in Japanese female singers, and her presence on stage, making the performances more animated and enthralling for the audience, without forgetting the work behind her songs, provided by the famous composer Kouichi Tabo, who works even for other Japanese and Asian artists. So, if you didn’t know this project, you should catch up with them, as their music is a true gem, catchy, refreshing and never boring. If you are already a fan, you can check out their latest release, the single Ambitious (reviewed here), a nice teaser for the upcoming sixth album, expected at the beginning of 2020.

Who might enjoy: who is looking for a Japanese pop-rock act filled with charisma, energy and positive vibes.

Recommended songs: Hello Hello, My Best of My Life, Wildflower, Eyes on Me, Force, Ai wo karada ni fukikonde and Beautiful.

That’s all folks! See you with a new song analysis in “Lyrical Love”!

Here I am with the week-end special in “Focusing on”! Today’s subject is a pivotal Japanese rock band, which defined the history of the scene for the latest twenty years. We’re talking about The Pillows, formed on 1989 and composed by Sawao Yamanaka (vo. & gt.), Yoshiaki Manabe (gt.), Jun Suzuki (ba.) and Shinichirou Satou (dr.). The band name comes up from a famous punk compilation named Pillows and Prayers, while their concept, a not defined one, is based on fun and grotesque images (not by case their mascotte is a weird bear named Buster-kun). Their genre is an alternative rock made more of energy than everything else, with upbeat and really unpredictable melodies. Their debut occurred on 1990 with two mini-albums, Pantomime and 90′s my Life, followed by the single Ame ni utaeba (Singing in the rain).

The title-track has a pleasant rock sound, driven by a passionate instrumental work and simple vocals; the song is about singing in the rain for looking for the happiness. It has been followed by the first album Moon Gold, the single Kanojo wa sister (She’s my sister), the second album White Incarnation, the third album Kool Spice, the single Daydream Wonder, the fourth album Living Field, the singles Girlfriend Tiny Boat, Strange Chameleon, Swanky Street and Trip Dancer, the fifth album Please Mr. Lostman and the singles Kanojo wa kyou (Today, she...) and One Life.

The title-track, used as opening theme for the anime FLCL, features a sustained rhythm, building up a melancholic and nostalgic rock theme; the song is about leaving a sign within our own life. It has been followed by the singles Hybrid Rainbow and Another Morning, the sixth album Little Busters, the singles No Self Control and Instant Music, the seventh album Runners High, the singles Carnival and Rush, the eighth album Happy Bivouac and the single Ride on Shooting Star.

The title-track, used as ending theme for FLCL, features a more energetic and living rock melody, empowered by the guitar; the song is about traveling on a shooting star for finding the loved one. It has been followed by the single I Think I Can, the compilation Fool on the Planet, the ninth album Smile, the single Shiroi natsu to midori no jitensha akai kami to kuroi gitaa (White summer and green bicycle, red hair and black guitar), the compilation Another Morning Another Pillows, the tenth album Thank you, my Twilight, the single Terminal Heaven’s Rock, the eleventh album Penalty Life, the third mini-album Turn Back, the tribute album Synchronized Rockers, the single Sono mirai wa ima (That future is now), the twelfth album Good Dreams, the singles Non Fiction and The Third Eye, the thirteenth album My Foot, the singles Gazelle City and Scarecrow, the fourteenth album Wake Up! Wake Up! Wake Up!, the singles Ladybird Girl, Tokyo Bambi and New Animal, the fifteenth album Pied Piper, the compilations Once Upon a Time and Rock Stock & Too Smoking The Pillows, the single Ameagari ni mita maboroshi (Remember again the vision we saw after the rain), the sixteenth album Ooparts, the singles Rodeo Star Mate and Movement, the seventeenth album Horn Again, the singles Comic Sonic and Energia, the eighteenth album Trial, the single Happy Birthday, the tribute album Rock and Sympathy, the single About a Rock ‘N’ Roll Band, the nineteenth album Moondust, the compilation B-Side Collection “Across the Metropolis”, the twentieth album Stroll and Roll, the single Ousama ni nare (Be a king) and the twenty-first album Nook in the Brain.

One of the lead-tracks, named Envy, has a more modern rock sound, but anyway filled by the unique vibe provided by the band; the song is about the many thoughts and images which come out during the sleep. It has been followed by the single The World There Is Nowhere.

In almost thirty years of career, The Pillows redefined the canons of the Japanese rock scene in an interesting manner, accompaining nostalgic and catchy themes with a bit of rebel and funny touch which made their sound different and distinctive compared to other bands. This commistion helped them achieving a large popularity, especially in the West, reinforced by their musical presence in the popular anime FLCL, where they contributed to the whole soundtrack. Not by case they released a compilation dedicated to this project, named FooL on CooL generation, which gathers all the themes they provided in each episode of the anime. But they are more than an anime rock band and they are continuining to show it with the twenty-second album Rebroadcast, released last Wednesday, where their style seems to improve and to entertain more, even staying in the same way.

Who might enjoy: who is looking for a curious and funny rock band, with a peculiar energy and a distinctive image.

Recommended songs: Ame ni utaeba, One Life, Hybrid Rainbow, Ride on Shooting Star, I Think I Can, Ousama ni nare and Envy.

That’s all folks! See you tomorrow for the montly chart in “Best of... September 2018″!

Thanks for the reading!