5 SHORTIES VOLUME ONE

This year I have missed quite a few releases that I felt are noteworthy to mention, but might not have a full length review of things to talk about. So here, I’ve decided to put together some quick thoughts on five of the more interesting ones.

Haru Nemuri – kick in the world

Let’s cut straight to it- the main single on this thing is a fucking beast. Huge, sweeping, emotionally potent, Haru Nemuri has pretty much dropped the cut of the year with it. The single as a whole, while not as mindblowing as her album, is still a worthy listen. I’m quite often turned off by remixes, but Haru Nemuri has made them a staple of her career (really playing with the idea of what a remix can be) and thus, are quality listening regardless. Most standout is the 8 minute ‘kick in the hell (HELLZAVIELERJP remix)’ which opts for sparse static accompanied by a piano- it’s truly arresting and the pick of the bunch. It’s been quite a while since I’ve seen a true ‘MAXI’ single and this is as long as a lot of artists’ EPs. Definitely a must listen if you’ve been enamored by Haru Nemuri before. 7.5/10

Wakusei Abnormal- Watashi wa Ikari de Dekiteiru

Wakusei Abnormal finally released their first full length album, 5 years after their astonishing debut EP, ‘ Nandemonai Kyoki’. While the group have gone through some major changes (and so-so releases) in that time, it’s great to see that the wait for an album has culminated in something so exciting. There’s not a dull track in the release, and it never wears out it’s welcome because it’s so tight. The group are the sexiest they’ve ever been, and their blend of pop is crisp and punchy. It’s a great return to form, and those on the fence about them will finally be able to settle in with this great listen. Keep it up! 7/10

ZOMBIE-CHANG- Petit Petit Petit

 

ZOMBIE-CHANG’s 2018 effort is a little bit of a departure from the synth pop of GANG!, featuring live bass and drums as backing. However, that trademark sound is still ever present, and it feels like a new avenue for ZOMBIE-CHANG to experiment and expand. It’s always catchy as ever, and ZOMBIE-CHANG’s songwriting is growing to be even more eclectic, with some cuts on this having a new-wave-ish tinge to them. You wouldn’t be completely out of line if you said you heard tinges of Halmens throughout. It’s another super short release, but it doesn’t need to be any longer than it is. Good stuff as usual. 8/10

LOONA- [+ +]

Unfortunately, the huge buildup and hype-wagon leading up to LOONA’s major debut did not help this mini album whatsoever. It, by Kpop standards, is not too bad- it’s chock full of catchy hooks and decent enough production- however, the godsend it feels like it should be it is not. As usual with K-anything, the singles are the standout tracks. They haven’t transcended the meme dirge they are stuck in yet. Ah well, maybe when they ‘comeback’. For now I’ll just stick with Eclipse. 5/10

Perfume- FUTURE POP

Is it really fair to review something that is just so easy to hate on? Probably not. However, I’ll be totally honest and say that the problem isn’t exactly with the girls themselves (actually, that’s the least of it’s problems)- it’s just the sense of laziness around this release. It definitely is the worst Perfume album to date- with its totally unappealing blend of future bass creating a messy foundation for the ‘bops’ it attempts to dazzle with. Nobody’s buying it, Yasutaka Nakata, and the blame is solely on you. 4/10

REVIEW: SAYUKO NANO- TENGOKU HAJIMEMASHITA

When Sayuko Nano dropped her first major EP “Kimi to Issho Nara Jigoku Demo Iiyo” in 2015, she struck a chord with her intended audience. She fit right in with the new wave of ‘alt-girls’- hitting a perfect midpoint between the likes of sparkly pop artists like Seiko Oomori and Hanae, whilst also touching on the sound of whisper-rap artists such as Izumi Macra and (then) Daoko. It went down perfectly with her intended audience- and was one of the most widely accepted and easily digested EPs from the emerging current scene.

And then, she sorta disappeared– delving into the world of seedy photo-books and occasional tweets to let us know she was still alive. Last year then, when she announced that she had recorded a new EP was very exciting news for anyone following her. The followup, 4 track mini album “Tengoku Hajimemashita” hit late January to a fairly lukewarm response. The lead single was a bit concerning to say the least. Still, I persevered and tried it out regardless. This definitely wasn’t the Sayuko Nano who sent shivers down our spines three years earlier. This was, well, disappointing, generic J-pop.

While there isn’t anything particularly atrocious or offensive about it, nothing really pings or stands out. The character of her early work has all but disappeared, instead favoring the trappings of lesser idol groups or casual contemporary pop. No teeth, no soul. Production opts for highly polished, overly glossy bops instead of the dreamy murk of her last outing. Unfortunately, it means that the mere four tracks just pass-by without any fanfare, just a slightly pleasant time kill.

Other than that, there really isn’t much to say. No individual tracks are better or worse than the others, so no “listener picks” can be discerned. The EP is concerning to anyone who has followed her from the start; in many ways it reminds of Wakusei Abnormal, who after blasting off with an amazing debut, ended up falling into the depths of generic pop with their followup releases. Hell, Sayuko Nano’s songs here even kind of sound like later Wakusei Abnormal at times. It’s not a release I can recommend to anyone, and that is a saddening thought for someone who had caught my attention so much just one release earlier.

4/10 Hopefully it’s just a misstep, but for now, Sayuko Nano has provided the most disappointing release of 2018 so far.

Review: Wakusei Abnormal- VIVI de VAVI de LOVE

Upon launch of the album trailer for VIVI de VAVI de LOVE, the prospect of the latest offering from Wakusei Abnormal was quite grim. The trailer really had turned this listener (and many others) off. However, surprisingly, upon listening to the mini album as a whole- well, it’s surprisingly tolerable. Hell, it’s quite enjoyable in the right mood. It’s hard to deny the flair that’s there. It’s nice to be proven wrong by something in a good way- and this really does that. There are more than a few problems with the record, yes, but on the whole, it’s more enjoyable than imagined.

Let’s start with the record itself. The opening track and lead single “LET IT DIE ~Toki wo Kakeru Koroshiya~” was something I admittedly LOATHED upon first hearing. The absolute potential the opening has with it’s brilliant electronic beat and maniacal keys lead up to… nothing. It’s generic as it gets. However, for whatever reason, it works quite well as part of the mini album as a whole. Most other tracks are the same kind of deal. Nothing stands out or sets the world on fire- but there are bits and pieces that are quite interesting. Hell, there’s fleeting moments that just sound inspired, like the delightful horn section on “Starlight Marriage“, or the absolutely adorable and beautiful “NAGUSAME NIGHT” that is easily the strongest track on the record, probably due to it’s more straightforward nature in comparison to the rest of the more busy tracks.

Production wise it’s a bright, bubbly record, to a fault. The sound here is not so much cute, just bright and bouncy. You know that chipper coworker that you appreciate when the time is right but absolutely loathe when it’s not? It’s that. There’s quite a bit of notable clipping, and it’s unfortunately very distracting in the louder moments. A shame really because with some tweaking it could sound really refreshing and pretty. Instrumental work, while never breathtaking, is tight enough, there’s a lot of little flutters of sound that become more noticeable on repeat listening.  It’s certainly a more interesting offering than their meek previous mini album “Kokoro-Koko-Ni “, and it has some actually surprising tracks that were really played down in previews before. The mini album flows along quite well (this said, the biggest blunder here is ending the mini with two needless and completely forgettable remixes), and ultimately that’s the mini’s strongest element- it’s cohesiveness, not so much the tracks themselves.

This all leads to the question that likely plagues a lot of Wakusei Abnormal fan’s minds these days- WHAT exactly is their sound? Who is this aimed at? It seems that as they progress, the further and further they depart from that extraordinary, heart pounding rock of their debut and settle into this bubbly, high sheen world of marshmallow clouds and dreamy pink- while it’s definitely a turn off for many- it’s quite good to see that at least there seems to be a pattern to it all now; that they’re finally settling with something.

A focus on expanding this sound will likely do them a world of good, and while they will never be seen as the cool new edgy rock band we thought they were, at least they can still stand out in a different way. Whether or not fans will return to take the bait is another question, and it will be interesting to see how this finally sits among their listeners.

6/10– Wakusei Abnormal‘s latest is not quite the disaster the trailer made it sound like. Fans might want to pick this one up after all.

Review: Iromegane- 37.2℃

Iromegane are quite an interesting group that are almost impossible to classify into one set genre. Their influences are vast and varied and it really comes across through their studio releases. It’s quite refreshing to get such a mixed plate of different tastes- and even more wonderful to know that this time, those tastes are fully perfected and delicious. 37.2℃ is the followup to last years “Ohanabatake ni Tsuretette” -and during that time, it really shows that the band have been working damn hard to hone all their sounds.

So, let’s talk about the sounds here- as that will definitely be the biggest talking point about this one. Here you are laid out a delicious series of highly different types of pop and rock. Opening with the gorgeous, sweeping rock ballad (and first single) “Yuuki wo Motte Goodbye“, the album takes many, many turns in style and sound from here. They range from super sweet bops (“Meshiagare” with it’s delightful, almost insane chorus complete with chiming keys and vocals, and the amazingly cute pop rock tune “Sora wa Mizuiro“)- to the hard hitting, early Wakusei Abnormal sounding second single “Kowai“- which blasts the listener’s face off with it’s astonishing energy and hard hitting guitar riffs. A lot of the fun comes from not knowing where the band is going to take the listener next- and the most interesting part is that despite the mixed bag approach the band have gone for here- it all flows brilliantly. Finally, I’ll mention my favorite track “shall we love?” which is a fun, goofy, super cute and silly (in the best way imaginable) ditty that has some of the most amazing (yet non-intrusive or overly showy) piano work I’ve heard all year. The playful use of tempo makes me smile and it’s become my latest addiction.

The production just sparkles here. Everything is present and never washed out. Nothing is muddy, and it’s just bright and bubbly throughout- even in it’s harder moments. Instruments work amazing alongside each other. Every guitar lick is as clear as each piano hit. Lead vocals are at the perfect level- they never drown out like so many albums of this ilk do- they just fit perfectly with and around the tunes. Then there’s the other things- like backing vocals- which now sound deliriously glorious and essential (instead of floaty and distracting like they did in the debut). Listen to the wonderful chants on “Shiroi Hashi” for example- they’re just at the absolute perfect volume- which raises an already gorgeous and sweet ballad to even greater heights. It all sounds truly excellent– and feels like a little bit of magic has been sprinkled all over the album.

Iromegane have really brought their mastery of a mixed bag to the forefront with this sophomore effort. It flows much better, has bright, wonderful production- and offers a lot of variety to thrill and entice listeners to keep coming back. It’s a major step forward to them from their debut effort “Ohanabatake ni Tsuretette“; it sounds absolutely professional and exciting- and truly has the potential to become a favorite of 2016 for fans and newbies alike.

8/10 Iromegane’s latest should be your latest album to check out.