In this world there are two types of horrible albums.
- Those so misguided in their intent and execution that they completely miss the mark and are just a terrible listen
- A great artist stops giving a damn about their integrity and opts for the cash in approach
Shiina Ringo’s “Hi Izuro Tokoro” (from here on out, “Sunny”) is the latter, and in my opinion, most unforgivable of these. This wasn’t just a change in direction or a ‘moving on’, it was a complete abandonment of what made Shiina Ringo so great. It’s true that at that stage, she had been flirting with what she eventually ended up embracing; but still, the heart and soul that was “Shiina Ringo” was still there behind every questionable turn she may have taken. “Sunny” is the first time we saw raw abandonment of the artist for sheer sales.
Ringo had set the tone to “OMG HERE SHE COMES!” after her mixed but daring self covers album “Gyakuyunyuu ~Kouwankyoku~, or Reimport”. That album had seen her step out of her comfort zone a little, with less obvious arrangements, new collaborators and producers. It had shown her fans that yes, there was still some fire behind her. I personally, was pumped to see what she was going to do with new material.
Then the track-list dropped. Oh. 6 new songs? “Ariamaru Tomi” as the closer. Ohhhh……. Hmm. Still, I was optimistic, as I was still quite forgiving and not as jaded as some of the fellow fans who had been sick of her since the mess that was Tokyo Jihen‘s “Variety“. Still. I ordered it and listened to it the second I had a chance to. I still don’t think I’ve tried as hard to like something that really isn’t good. So much time denying to myself that Shiina Ringo, queen of J-rock, had released something truly awful. So what is it exactly that sucks about Sunny, apart from the ‘commercialism’ of the whole thing?
Ringo here, at best, plays to our sentimentality of her older material. There is never a moment where it sounds like something we haven’t heard from her before- one of the more exciting staples of previous solo releases. Nothing really feels like a development of her persona; it truly is treading water in the worst way possible.
And while yes, you can argue that some of the songs on Sunny are decent (they are), there just simply isn’t enough of them to go around- a quarter at best. It’s also very telling when the best cut on the record is one that is five years old and from her last album’s recording sessions. What enjoyment can be found from these tracks is killed by their surroundings anyway- like finding nice food in a dirty food-court.
It opens with the promising “Shizuka Naru Gyakushuu”; which truly does rock underneath all the over-processed orchestration. At first it’s exciting as hell- until you realize it sounds strikingly familiar. Indeed, it’s just a reworked version of one of her early demos. Out of all the new tracks, the best one is over 15 years old. Let that sink in. I’m not saying I have a problem with Ringo reworking older material- she has become notorious for it after-all- but I do have to question it when all the legitimately new material pales in comparison.
The other new tracks range from decent (showtune “Chinchinpuipui” is too good for this album) to what the fuck was she thinking (the fake-ass latin tinged “Sekidou o Koetara”). Lead single “Arikitari na Onna” truly sounds like a Phase 2 Tokyo Jihen leftover and makes you question why she bothered to break up the group in the first place. Many listeners consider “JL005-bin de” to be the prime pick of these new songs, however, it never really did anything for me. It’s bleep-bloops ultimately are inoffensive, stale, just ‘there’. I never remember what it sounds like until I play it.
The previously released songs are a mixed bag too- the best of them being the powerful “Irohanihoheto” or the wonderfully subtle “Carnation”- both of which sound better on their original single releases. There’s the sickly awful “NIPPON” that makes me cringe every time without fail, the bland forgettable Jihen leftover sounding (are you noticing a pattern here) “Jiyuu e Michizure” and the goofy ass “Kodoku no Akatsuki (Nobu Neko-ban)” (making an ‘eh’ song even more ‘eh’). As mentioned above, the best track on the album is the 5 year older power ballad “Ariamaru Tomi” which I can never fault- but it simply shouldn’t be on this, especially as a closer.
Then of course, (there’s no way we can discuss the album without mentioning it) there’s the mastering, which has almost become the fabled low point for all Japanese music to be compared to. It’s practically become a meme. It almost seems like someone intentionally wanted to sabotage Ringo’s album (a bitter Tokyo Jihen fan perhaps?) with how ridiculously bad it sounds. It’s a talking point and a great example of how brick-walling can truly destroy a listening experience. It is no exaggeration to say that you feel literal physical pain or fatigue when listening to Sunny. Every negative element of the album itself is amplified tenfold as it melts your eardrums to mush. Not even the high resolution Mora download can save this sinking ship. There is never, ever a need to sound this crap, even noise albums have more dynamic range.
Things haven’t really taken much of a turn for the better either, every studio track released post Sunny has been a shadow of what Ringo used to put out, and the vapid, soul sucking commercialism behind every move is truly a downer. Arcade Fire were ripped apart for putting out an album that parodied this kind of move, Shiina Ringo is doing it for real.
If anything, the album is a grounding reminder that even the greatest of artists can make massive stumbles. It’s just a shame that this wasn’t really something Ringo learned from or shows any kind of intent to move on from. This is what Shiina Ringo is now.
So yes, Sunny was, and still is, a pretty depressing experience.
Oh a score?
Stick to the first four albums/10.