REVIEW: SHIINA RINGO- SANDOKUSHI

Well, it’s finally arrived, Shiina Ringo‘s long, long awaited sixth record, entitled ‘Sandokushi‘. It’s no secret that I’m not the biggest fan of her later output, I really didn’t enjoy ‘Hi Izuro Tokoro’ and I’ve been especially disgruntled by her most recent singles, so to say that I went in wary and with undeniable pre-determined bias is an understatement.

I did however, try to go in as open as possible for an album I’d already heard the majority of (as will be explained below). I’m not going to be treading old ground and comparing to anything from her ‘legacy’ releases either- that dead horse is fucking beat as it gets. I guess in a situation like this the main question is ‘Were there any more surprises to be found from the record?‘ Read on to find out.

So let’s start by having a look at what is actually on offer here. 13 tracks total, and at the point of it’s release date, only three left unheard. That’s already a pretty bad start for Ringo fans and enthusiasts, more disparagingly so because some of the songs are getting on a bit- some being almost five years old already. Secondly, outside of the ‘new’ compositions for this album, there doesn’t seem to be a real flow to the record, it’s almost juvenile in it’s composition as a whole. It definitely is reaching to say that it has a distinguishable theme other than that which Ringo has tacked on recently via Kronekodow.

But that’s not to say it’s 100% awful. Cast aside non existent album flow, blink and you’ll miss it non-gaps between songs for a second and just look at some of the separate songs. ‘Ma Cherie’ is quite nice (though was nicer in it’s Ringo Expo ’18 rendition), the faster, upbeat version of ‘Donzoko Made’ is decent, ‘Kamisama, Hotokesama’ is an oldie but a goodie, still the best single she’s released in the last few years. ‘TOKYO’ is an OK song, if bringing up an intense sense of déjà vu despite it’s stripped back arrangement. Finally the closer ‘Ano Yo no Mon’, is the most wonderfully creative Ringo has been in years, even if it never gets fully realized and seems to cut off just as things are about take off. The rest of the album, however, ranges from passable (opener ‘Niwatori to Hebi to Buta’) to downright nails on the chalkboard grating (HZM featuring song ‘Isogaba Maware’, ‘Jiyu-dom’ and this reviewers all time most hated but fan favorite, the somewhat now legendary ‘Nagaku Mijikai Matsuri’).

While it’s true that the titular “three poisons” mythology is certainly interesting, the Hansel and Gretel trail of corporate jingles scattered throughout rarely gives this idea time to bloom and reach a level that that can be truly believed; instead what is delivered is a strange absurdity that is, dare I say it, nearly deviant in nature. I feel Ringo really is trying to say something here, but the message is so misplaced and buried in the sea of its own camp that it gets bogged down and murky as soon as the album’s introductory track is over.

Which brings me to the real questions people should be taking into consideration from this album. Up until recently, Shiina Ringo had made a massive and dutiful point in killing off the earlier, edgier image that she had; in lieu of a classy, jazzy output, aimed at the high end, stay at home housewife market. Why then has she tried to integrate this faux edginess again? A fucking centaur? Is this a premeditated FUCK YOU or troll, or is it -and far more likely- a sort of midlife crisis or last hurrah; a reach back to them earlier days but coming off a little bit Madonna-like in the process?

Ultimately I think the answer might lie right there in the packaging. The booklet contains a picture of herself in a knights helmet from twenty years ago. With the Olympics upcoming and her talking about Sandokushi being the end of a 2nd trilogy of records, it will not surprise at all if this turns out to be her final album. It’s a damn shame then, that it’s a bit of a clunker, chock full of duets and only a few really meaty cuts.

5.5/10 In short, an interesting tone is set by Sandokushi, but never really explored. It’s a very mixed bag, and it definitely can’t be denied that it’s truly a compilation rather than an album- which is very disappointing because the mythology and concept Ringo has created is by far the most interesting aspect of the album (even if it really only applies on a superficial level). If it does turn out to be the last album by her ever, at least it carries with it a certain ‘WTF‘ aspect that is almost admirable.

I still can’t unsee that album cover though, yeesh.

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REVIEW: Passepied- More Humor

It’s a strange thing to talk about Passepied in 2019; only a few years ago they were toted to be the next HUGE band. They had at one point, three extremely exciting releases in a row and shared similarities with groups like Tokyo Jihen, Midori and a vocalist that really managed to capture the spirit of legends like YUKI. They had J-pop at their fingertips, but then, sharply, fell off into the world of music nerds and near obscurity.

It didn’t help that their recent works were all missing a real focus or edge, plagued with filler tracks and a sense of lifelessness. I barely even blinked when they announced their latest release ‘more humor‘ earlier in the year, but singles and samples really caught my attention- had Passepied found their ‘mojo’ again? Let’s find out!

While some of these songs are traditional Passepied ‘bangers’ (like the blazing opener ‘Graffiti‘), the majority of the albums magic lies in it’s subtleties. I’ve never found the group to be a particularly ‘sexy’ one, but songs like lead single ‘ONE‘ and the absolutely outstanding ‘waltz‘ (likely this reviewers new favorite song by the group, period) really show a tenderness that one doesn’t generally think of when talking about ‘Passepied’.

The instrumental work has really improved over the years; the band sound massive here- there’s some absolutely breathtaking guitar passages and key work (even when they do fall into the 80s revival trappings that has worn out its welcome in recent times). Drums are mega tight, holding the often intricate and progressive compositions together with gusto. Every member gets their moment to shine throughout, often it’s hard to believe that they aren’t chart topping mainstream favorites.

There’s also a lot more focus here on getting the production right- the ‘brickwalling’ that plagued their earlier works is almost completely gone, and the vocals have been balanced and mixed far more ‘sensibly‘: no longer are they a dominating factor. Nothing is ever out of place or overused, Passepied sound like they’re putting their heart and soul into all of these songs- and for the most part, they work wonderfully.

It’s very rare that I complain about an album being too short- but for this one, the finale just fizzles out, I actually sat there waiting for the next song to play on first spin. For the most part the album is very tight, but would have benefited from either something extra and more punchy to close it, or a track-list shuffle. It’s a nitpick but does drag the album as whole down that little bit.

There’s a couple of songs that don’t hit the mark quite as strong either, the bland R138 is a drag and BTB sounds like a desperate and unnecessary attempt at an early Passepied song to pander to fans. However, despite those niggles, it’s still undoubtedly the finest work put out by Passepied since 2015’s ‘Shabaraba‘.

Ultimately, Passepied’s latest offering sounds confident, mature and oftentimes gigantic. It finally feels like Passepied have picked up where they left off- whether or not those fans that became disinterested will return to the group will be an interesting thing to watch pan out.

7/10– More Humor is a strong, professional and mature comeback release from a band that have lost their way in recent times. Let’s hope they continue in this direction, because there’s potential here for something truly incredible. As it stands, you could pick up far worse to check out.

REVIEW- MOKA SATO- MERRY GO ROUND

Moka Sato‘s new album ‘Merry go round‘ starts off dreamy with a little ditty ‘Insomnia‘.  This sets the tone perfectly for what is going to come; a meticulously crafted and planned-out dreamland of some of the most gorgeous tracks to come out of Jpop in a while. Managing to integrate elements of many different genres (ranging from RnB/Hip-hop, Jazz and Folk to smidgens of Doo-Wop and Cabaret here) without sounding trite is quite a difficult thing to pull off- but not only does Sato seem to do it right- she absolutely flourishes in doing so.

At a brisk 32 minutes, Moka Sato manages to expand and improve significantly on her debut album, ‘LUKEWARM‘ that I spun on release but never really clicked with (though on a recent return, it still has some absolutely quaint enjoyment to be found). The production is greatly widened, instrumentation tighter, vocals more focused and strong. She’s really hit a run here, and there’s no slowing her down.

The album seems to be written as a full listening experience (complete with gorgeous short intermissions), it breezes by and there’s no tracks that wreck the flow (even when it hits acoustic folk number ‘Tomodachi‘), all building to the brightest and most brazenly catchy single on the album, the lovely ‘melt summer‘.

My favorite song is the jazz heavy ‘Utau Onna‘, which is exactly what I love to hear when it comes to Japanese Pop with jazz influences- it stays bright and bouncy but ever so often feels like its going to come off the rails, creating a gorgeous tension. Oh and that sax/piano solo: amazing. Jazz in J-pop has become almost a cliche/joke at this point, but Moka Sato really seems to understand it and uses it as a tool, rather than merely a tack-on, and it’s absolutely refreshing to hear.

Overall, refreshing is really the best word to describe ‘Merry go round‘ in general. I’ve not been able to put the album down since listening to it, a wonderful surprise that I’m very grateful to have come across this year. Definitely another AOTY contender for 2019 (watch out CHAI!), and one that I’m sure most of my readers will enjoy.

9/10– Moka Sato has really lifted her game with this one and presents a brilliant, essential sophomore release. Adorable.

REVIEW: Seiko Oomori- Zettai Kanojo feat. Sayumi Michishige

(This review looks at the single as a package, not just the A-side)

There was always going to come a time where Seiko Oomori eventually dropped a single that I couldn’t defend whatsoever- and this is the one, a reimagining of a classic with Seiko’s personal idol Sayumi Michishige onboard. Even though Zettai Kanojo in it’s original form is one of her finest works to date- this absolute bastardization is a big black blemish on her gorgeous pink canvas. The overuse of autotune, miserably overproduced backing track and knowledge that she has done a better duet with a JAV actress all add up to the worst track in Seiko Oomori’s discography to date.

However, the two b-sides that come with it really soften the blow- for they are two of her best songs since TOKYO BLACK HOLE- particular LOW hAPPYENDROLL — Shoujo no Mama de Shinu, a gorgeous, lengthy power ballad that really embraces Seiko’s most tender side (with sweet, humble, non-autotuned backing vocals by Hiraga Sachie), complete with a gigantic release near the end is everything I love about Seiko Oomori.

The brand new version of VOID is amazing too -a punky rendition of the acoustic bonus track that appeared on certain versions of KUSOKAWA Party– harken back to her wild days in former band Pink Tokarev. It’s adorable, majorly catchy and bound to get stuck in your head for days. It really showcases the best of her live side, and it’s surprisingly even more effectively energetic than most of her previous album. More like this please!

So, overall, what you’re getting into with this single is a really terrible A-side (sorry Sayumi Michishige fans!) and two blisteringly amazing b-sides that deserve all fans attention. It’s a pretty nice 5th anniversary parcel- and the blu-ray edition comes with a pretty damn sweet concert from the Kusokawa Party tour too.

I’m comfortable with giving an overall score of 7/10– Two great, one truly awful track make up a pretty decent single well worth having for Seiko Oomori fans.

REVIEW: CHAI- PUNK

CHAI‘s ‘PUNK‘ is one of the most immediate, fun, and addictive records that has come out of J-pop in quite a while. It might be bright and silly at times, but it still is indeed, as the album title suggests, a punk record at it’s heart. From it’s ugly ass album cover, to it’s simple, but potent lyricism and punchy, memorable choruses on literally every track; CHAI recognize that their rough edges are perfect for hooking their listeners in to create an unforgettable experience. This album is no exception.

The group’s previous album ‘PINK‘ was a fantastic milestone and got CHAI worldwide recognition (including a Pitchfork feature)- PUNK continues in it’s vein, but manages to be slightly uglier, have more attitude and again, will receive an international release via Burger records. Also like it’s predecessor, CHAI uses a slimline approach to the album as a whole, making a very tight listening experience clocking in at a mere 31 minutes- making it an easy album to digest for newcomers, and a very repeatable listen for established fans at the same time.

Of all the praise I’ve seen for CHAI, I have yet to see anyone focus on what I feel is one of the key elements that makes them so standout- and that is the amazing bass guitar work by Yuuki (ironically the latest member to join the group). Sure, Mana, Kana and Yuna all are essential and irreplaceable here- but that amazing amount of crunch Yuuki brings to the table (listen to “FAMILY MEMBER” for the best example of this) is what really cements the sound fans love. It also happens to have the most adorable song CHAI have ever recorded, with closing track “FUTURE” lamenting on the dreams of childhood.

Most importantly, the album carries the ‘girl power’ that CHAI have made a name for themselves with- which feels absolutely right for a group from Japan- with the serious and current issues of equality and image touched upon throughout all the bops presented here (most glaringly blatant on lead single ‘Fashionista‘). Top that with CHAI’s absolute discontent for ‘kawaii’ culture (indeed calling their blend of music ‘neo-kawaii’) and you have one amazing melting pot that represents more than just a small part of what is going on underneath Japan’s cultural veneer. It’s compelling and exciting- and PUNK as fuck.

9/10. CHAI’s best and most important work to date, PUNK is an album no-one should be skipping off their radar this year.

DEADGRANDMA’S BEST OF 2018: 5-1

5. Sleep- The Sciences

The return of Sleep was absolutely wonderful. Five epic, beastly tracks that really showcases the band’s strengths even after all these years since Dopesmoker‘s release. Truly an example of what levels you can take stoner metal to if you are focused and ready to go the whole hog. Immaculately produced, with some of the finest riffs this year. Some may even argue that it’s Sleep’s best release in general. Not only the best stoner release, it’s the best metal album of 2018. Light up! (Seriously though, it can be thoroughly enjoyed even without the assistance of mind altering substances, trust me).

4. Jun Togawa avec Kei Okubo- Jun Togawa avec Kei Okubo

One of the later releases of the year, another fantastic addition to the Jun Togawa canon and one that seems to have been the release many Togawa fans have been waiting for. Stripped back, it’s just Togawa and Kei Okubo on a sole piano, covering both her most iconic tracks, along with some interesting and beautiful covers of classic songs from around the world. Togawa’s voice is getting stronger and stronger after her return and it finally feels like she is truly back. Amazing!

3. Kero Kero Bonito- Time ‘n’ Place

Never did I see myself enjoying a Kero Kero Bonito album enough to get on my top 25 list, let alone in the top 5. I’ve never found anything about the group genuine enough to go back on, however, with Time ‘n’ Place, they really took me off guard. Sure we had the EP ‘Totep’, which showed some progress from the trademark J-pop/PC Music inspired sound they established themselves with; it still had not really given an indication of how well the band would adapt to the new genres that they would take inspiration from with this album (ranging from Brit-rock to splashes of punk and even twee). It’s still got the pep that fans have grown to love, except it seems to come from a slightly more jaded place, as if the KKB of before have grown up a little and had some dreams stepped on by the big bad world. Sounds horrible, I know, but it’s worked wonders for them. They’ve also tightened the screws, got their lyrics together, managed to release something that is thematically coherent and not irritating, and ultimately, one of the greatest releases by any band this year. Essential.

2. Mitski- Be the Cowboy

The album that has by far hurt the most of any album this year (in the best way possible). Mitski has such a vivid, gorgeous way of invoking memories and feelings through her lyricism. We’ve all known someone like some of the characters in these songs, hell, some of these songs might even remind you of yourself. These tracks are short, fleeting thoughts that really just work beautifully as a whole, especially on repeated listens. You will probably find it difficult to land on a definitive favorite song, because it will change every time you listen. Most of all though, the most miraculous thing that Be The Cowboy does is reignite that naive romance of a rock album that ‘will change your life’ that you probably haven’t felt since you were a teenager. Listen to it, dummy.

1. Haru Nemuri- Haru to Shura

Haru Nemuri‘s 2018 album was, as I said in my original review, a Jpop landmark. What I didn’t expect however, was that it would blow up as much as it did internationally. Out of all the new acts, who would have thought someone like Haru Nemuri, a relative unknown at the time of launch would be the Japanese artist that got the attention of netizens?. Sure, most of that help came from Anthony Fantano giving her a strikingly good review, but still, to see her sights now set on worldwide touring (she will be playing at Primavera next year) is quite amazing.

The album still is absolutely breathtaking, its perfect blend of post rock, hip hop, noise and everything in-between proving to be one of the most infectious brews in the last few years. Every song feels alive, the production immaculate, not afraid to get rough around the edges where it needs it; those crushing, crunchy guitars the driving force Haru’s poetry. Fans of everything from Seiko Oomori to Number Girl will find something to love here, and repeated listening is absolutely guaranteed. It’s the album that has stood out to me for all of 2018 and I’m certain that it will be the defining moment that Haru Nemuri burst into the wider consciousness of the international alternative music scene. There is no more essential J-release this year and may even be the best for the next few years to come. Excellent.

(25-21)
(20-16)
(15-11)
(10-6)

DEADGRANDMA’S BEST OF 2018: 10-6

10. Manatsu Nagahara- GREAT HUNGRY

Manatsu Nagahara‘s ‘GREAT HUNGRY‘ was one of the first albums that I really loved this year. The ex-SEBASTIAN X vocalist really knows how to stir up a vivid palate of emotions in her bright punchy songs, all super catchy and very well constructed. The album is addictive as hell, and just has a level of pep that is starting to be seen less in rock music. One of the strongest albums of the year, and lands in my top 10 because of it.

9. Anna Von Hausswolff- Dead Magic

Anna Von Hausswolff returned in 2018 with another opus of an album. Gigantic, Gothic tracks that have tinges of black and death metal, playing out like Kate Bush teamed up with Opeth– and it is absolutely wonderful to behold. There is a surprising amount of replay value to be had with this one too, a really fantastic and theatrical experience that anyone with the patience for will find absolutely rewarding.

8. Seiko Oomori- Kusokawa Party

Seiko Oomori, on my top 10 list again, of course. This will happen every year unless she slows down or releases a dud. But again, she has released one of the best J-pop records of the year- if not quite up to the standards of some of her previous releases. This is the ‘fun’ album from her- it’s fast and furious, and has one of the most blazing opening runs on any record this year. It was all a bit perplexing at first, but now the dust has settled, for me, it’s just 10 more excellent songs to add to her canon. Great. Oh and ‘7:77′ is still my favorite J-pop music video of 2018.

7. Janelle Monáe- Dirty Computer

Janelle Monáe returned this year with the first album since The Electric Lady, and is the first album of hers not to be a part of the ‘Cindi Mayweather’s Metropolis‘ concept that drove her first two records. This album drops the android persona to focus on herself and her sexual identity, and it’s one of the more personal records to come out because of it. This is an album where the line between R&B and alternative pop really meets, elements of funk, hip hop and soul blend perfectly, and its fantastic because of it. Potent and powerful, a must hear for 2018.

6. MASS OF THE FERMENTING DREGS- No New World

Not only was this the Japanese comeback album of the year, it was also the most well produced. A gorgeous record from start to finish, that amazing post rock/shoe-gaze that MASS OF THE FERMENTING DREGS did so well before is truly back, more refined and perfect than ever. The record, while short, sounds like it has had hours and hours of work put into it, it seeps with perfectionism. I haven’t stopped going back to it since it landed in July and it still wows me every-time. Oh and that album cover is breathtaking.

(25-21)
(20-16)
(15-11)