3776’s debut full length LP “3776 wo Kikanai Riyuu ga Aru to Sureba” is a mixed bag, in every sense of the term. Genre hopping is the name of the game, and this is the most interesting aspect of 3776‘s music. Unfortunately, it doesn’t really sit well with me as a full album, and the approach often feels directionless. Another album that was a mixed bag this year that I really appreciated was Boku to Georges‘ self titled. Where that one worked well, with songs playing off each other- and never outstayed it’s welcome, this album just drags on and on and made this listener get fatigued by about the halfway mark.

It’s not to say that the album is terrible, it does have some real highlights that are worth mentioning. Mizu de Dekiteiru is a great nod back to progressive rock with an idol twist, Doukutsu Tanken has some wonderfully floaty elements that are highly appealing, Haru ga Kita has a wonderful jazzy beat and little flourishes of electronica and glitch throughout, making for the most interesting track of the album. Seito no Hongyou is probably as strange as the album gets- and manages to get the right balance of being WHAT???– push it that slightest bit more and it would come off as annoying. The last track on it that stood out was 3.11, which goes more into what people expect from this genre- bright, bubbly and a joy to listen to.

Something just doesn’t sit right with vocalist Chiyono Ide and the production, the balance is uneven and for the most part, made it more of a distraction than an addition to the music. When the vocalist isn’t particularly strong or charismatic, like in this case, it becomes a nuisance, like a stubborn fly. Never once do I feel like she is genuinely invested or interested in the genres she covers- as if she is merely singing to a backing track, regardless of what it sounds like (I get the same feeling with BABYMETAL for example). Instrumental production for the most part is quite flat, however I also feel like this is intentional- perhaps to add an extra level of forced weirdness to the mix. However, to this listener, it comes off a little bit tongue-in-cheek and dull.

The intervals just bore- they don’t add anything and just seem to be there to pan out the running time. And that’s another problem- the running time. This is a full hour and considering the amount of filler tracks- it could have been trimmed to say, 40 mins and would have had a much more punchy, lasting impression. It took this listener two sittings to listen to it in full, and barely conjured any desire to revisit outside of purposes for reviewing.

3776 seem to be causing quite a stir right now, unfortunately, this album has not even created a ripple for me. I do however, see the potential that is there and won’t be dismissing 3776 completely just yet.

5.5/10– with a bit more focus on tightening up the screws, 3776 could become a formidable force in the Jpop scene. In it’s current state, it’s a tedious listen with a few gems thrown in.


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