It’s hard not to feel a sense of desperation with FEMM’s covers album; its as if they know the time for their gimmick is up, and they pumped it out contractually rather than it being from a well thought out place. Where FEMM were playfully tacky before- this time round it’s just plain old tacky. Most concerning however, for a  group of such intense nature- it’s woefully dull.

Indeed, my experience with “80s/90s J-POP REVIVAL” was mainly that of boredom and waiting for the album to be over rather than any kind of scoffing or smirking at the delightful trashiness that FEMM have become known for.

Perhaps having these songs embedded into my childhood would have helped, as I am sure there is a lot more on offer for those who grew up with these tracks. However, for the songs that I do know, I felt an certain level of awkwardness and discomfort. Wink’s “Samishii Nettaigyo” lacks any warmth and Kenji Osawa’s “Konya Wa Boogie Back” is the most clunky rendition I’ve come across yet. In-fact, the only track that really does anything for me at all is the opening cover of Misato Wantanabe’s “My Revolution”- and that probably stems from it featuring Akina, Anna and Mikako from FAKY, giving it a little bit more character than most of the other tracks. It’s a bit telling when guests are required to make a track standout.

The main element really holding all these tracks back is the production value. The compressed digital sound of FEMM does not mesh very well with the more organic sounds of past eras. While it’s true that this is no doubt intentional to try and make it sound like a “FEMM” release; ultimately it really makes for no more than a distraction. The arrangements themselves are pathetically safe and feature no real deconstruction, departure or re-imaginings- basically, just imagine your favorite old-school J-POP track with the added bastardization of auto-tuning, brick-walling and a sense of disinterest.

The sense of disconnect from the material is strong. FEMM feel like they are just girls doing vocals on oldies rather than adoring the songs they are covering. Most cover albums showcase, or at least give an idea of an artist’s inspirations. Knowing FEMM’s style, the songs chosen couldn’t seem more distant, or uninspired. While these songs are beautiful classics in their original form, FEMM are barely the go-to group that people would want to hear covering them.

That leads into the issue of target audience. How many of FEMM’s fans who have fallen in love with their bad girl image are going to be interested in them covering traditional idol pop? How many old idol pop listeners are going to give a damn about a niche group like FEMM potentially murdering their all-time favorites? The more you ponder these things, the more the release feels truly unnecessary.

I’d like to say that the album is at least tight, but it suffers from being overlong and has a questionable song order to boot. There’s no real momentum to the track list and the album just dithers off rather than closes, with two completely forgettable remixes at its ass end. It only heightens the feel of being slapped together over a short period of time with little thought or fanfare. Perhaps releasing it as a mini album would have helped in the end, who knows.

Ultimately, “80s/90s J-POP REVIVAL” is a clunky collection of half baked tunes that are nowhere near as cool as FEMM would like you to think they are. It serves as a disservice to fans waiting for a followup to their debut, and ironically, is one of the least interesting additions to the 80s and 90s revival albums of the last few years.

3/10 FEMM should just stick to being FEMM and carry on doing what they do best- creating trashy bangers with teeth. The way things stand, I really can’t recommend this to anyone, and that’s a shame. It could have been something unique.


One thought on “REVIEW: FEMM- 80s/90s J-POP REVIVAL

  1. I actually kind of liked the cover of hitomi’s “CANDY GIRL”. I thought all that bright, poppy stuff fit the song. But speaking of murdering faves, “SEVEN DAYS WAR” might be my favorite JPop song lyrically, and they just stripped all the emotion out of it.


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