tehlupin

1. Black Jenny
2. Baby Gun

I never quite got movie soundtracks. Sure, the songs sound great in context, but when removed from the emotional setting and stripped of the dramatic significance, they lose some — if not most — of their appeal. However, Sherbets‘ “Black Jenny” is an exceptional exception.

Though I’ll always associate it with the aimless wandering of a disaffected youth in Gu Su-Yeon’s Worst by Chance, I love it all the same without the imagery. Perhaps it’s because the song plays like a film in its own right. Beginning with a soft, delicate melody, it slowly escalates in intensity, introducing more elements along the way, until it culminates in a climax of guitar riffs and hoarse mumbling. Needless to say, by the end of the song’s 8 minutes, it’s almost as if you’re listening to an entirely different song. Whether this is good or bad, however, is certainly arguable, but it’s definitely worth a listen, even if for the individual parts.

B-side “Baby Gun” is both more frantic and consistent. While “Black Jenny” vocals gave off a more mature sound, the singer here seems to have resorted some sort of incoherent, drunken slur. Miraculously, it works wonderfully with the song’s rhythm and contributes to the overall charm. The stuttering of “baby,” in particular, adds a level of catchiness which elevates it beyond casual listening to addiction. For that, I’m inclined to call “Baby Gun” my favourite, but the reality is, whichever one I happen to be listening to always seems to comes out on top.

Check out a live concert performance of the ridiculously long “Black Jenny” after the break.

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Wow, it’s been a while — almost 2 months — since I last posted. I can’t say that it wasn’t laziness on my part, but the quality of music — plus the heat — was definitely a factor. Put simply, only great music — that is, music which moves me, empassions me, fills me with emotion — motivates me to write. I thought that there was none to be found in these past few months, but looking back at recent(ish) releases, there were quite a few gems to be found. So as a catch-up of sorts, here’s a quick rundown of notable singles/albums, in no particular order:

If you sift through the archives, you’ll notice that I listen mostly to rock. Yes, I like my rock, but I also like it in a specific way — not too hard but not too soft, with the right blend of energy and poetry. And no genre delivers this better than alternative (rock). It’s that precise fusion of different elements that makes perfect piano lesson’s debut single, terra incognita, so hypnotic. The title track, “springstorm”, opens with bass(?) plucking that somehow, with just a few simple notes, manages to evoke the feelings of freshness and vitality associated with the season in question. It’s almost as if I can imagine raindrops falling before me. But the real hypnoism lies with the whimsical “death at the library” and sombre “stew”, both of which, especially at the chorus, draw you in with their pleasing melodies and flowing lyrics.

Speaking of melody, Asian Kung-Fu Generation are back with the melodic sound I previously raved about in 未だ見ぬ明日に. Title track “未だ見ぬ明日に” sounds like it could have easily been on the recent World, World, World — as could many other tracks — but that’s not necessarily a bad thing. It simply goes to show that they’ve taken the brilliance (forgive the hyperbole) achieved in their previous album and carried it onto this mini-album — perhaps even exceeding it. No absolute winner here, but “深呼吸”, “ムスタング”, and “脈打つ生命” are all burning up my playlist.

But if you want real, raw, unrelenting energy, look no further than BEAT CRUSADERS. Already in their 10th year, the band continues to rock with all they’ve got. The commemorative anniversary package includes their newest album, popdod, along with select singles from their filmography, now out-of-print. “FIRESTARTER” and “ATTENTION,PLEASE” are not only blasts from the past, but blasts of dynamite. The former, a struggling musician’s declaration of stubborn pride, and the latter, a catchy little number whose only crime is its 2:05 length, are both bursting with gusto. New songs “CHINESE JET SET”, “SHOOT THE SKY”, and “WORK IT OUT” are similiarly pumped with adrenaline and random Engrish, to the point where it’s simply impossible not to sing along. I guarantee you’ll be shouting nonsensical phrases for days to come.

While we’re on the topic of oldies, let me introduce a few of tsubaki’s. As I’ve mentioned before, I’m fondest of their older work, and these songs will explain why. “今日も明日も” is a mellow piece which, being slow and melancholic, pretty much satisfies all my requirements, but there’s something about the combination of the music and vocals which makes it so devastating and devastatingly beautiful at the same time. Needless to say, it’s a real shame that the single was limited to a venue release. For a change in pace, “夢のあとさき” offers a captivating cycle of melody, crescendoing and decrescendoing throughout like clockwork. The effect? Music that’ll keep your head bopping.

But if trashing your head about is more your thing, you might want to check out NUMBER GIRL. Admittedly, the only song I’m in love with at the moment is “I Don’t Know”, which was featured in one of my all-time favourite films, Harmful Insect (Gaichu), but it was love at first sight. Although, to be honest, I might have preferred the instrumental more. Screaming’s not really my thing.

So what to do after a long day of rocking it out? Why, listen to gloomy, lulling music, of course. And THE NOVEMBERS‘ latest album, picnic, has just the thing(s). About half the album didn’t do it for me because the songs started sounding so similiar that they blended together, but of those that stood out — “picnic”, “chernobyl”, and “アマレット” — the despair is so thick, it’s almost suffocating. But hey, when you want to listen to depressing music, why not go all out? All joking aside, the three tracks mentioned are all solid and are enjoyable alternatives to the commonly hectic rock out there. Lastly, a huge amount of praise goes out for the singer’s on-spot falsetto — there must be dogs hurting in Japan.

1. For divers area
2. 天使ノロック
3. Ability → Normal
4. Cowboy Fuck!
5. Fever
6. Face to Face
7. Invitation (Buzz Mix)
8. Under Age’s Song (Album Mix)
9. Melancholy
10. 陽はまたのぼりくりかえす
11. I LOVE HIP HOP
12. Freedom of Expression
13. Drugs can’t kill teens
14. Let yourself go, Let myself go
15. Dark cherries
16. Viva la revolution

Random? Yes. But with the string of lacklustre releases lately (hence the lack of updates), I thought it was time to revisit some old favourites. And that’s where Dragon Ash comes in. I was first introduced to the band through a random selection of singles, and their unique mix of rock, punk, rap, and reggae not only made me a fan, but inspired me to expand my horizons music-wise.

This first instalment features songs from their debut to the album Viva la Revolution, which is precisely the range I was first exposed to. Thus, it was a real nostalgic throwback to hear songs like “Fever”, “Melancholy”, and “陽はまたのぼりくりかえす” again. These favourites are a wonderful blend of melodic rock and soft rap which, despite their repetitive nature, are absolutely brilliant. I mean, “陽はまたのぼりくりかえす” is a staggering 7 minutes, with an intro and outro of one minute each, but it’s simply amazing. The balance of rap and singing is just perfect, and the transition between the two flawless. Similarly, “Fever” draws you in with that near whistling before jumping into the rap. And I have to admit, I listen to the song almost solely for the beginning — that and the second verse, with its one slightly drawn out note which strangely makes all the difference.

But more than just a trip down memory lane, the album also provided me with a few new favourites, most notably, “Face to Face” and “Under Age’s Song (Album Mix)”. Both songs are slower, but the former gives off a more depressing vibe (with the exception of the tempo change three-quarters in) while the latter gives off a more optimistic one. The addition of female vocals in the album mix of “Under Age’s Song” makes an unbelievable difference, and Kenji’s voice is surprisingly harmonic.

So that’s The Best of Dragon Ash with Changes Vol.1. I’ve skimmed through Vol. 2, but it doesn’t quite float my boat. I suppose it’s because I’m more fond of their earlier work, from the pseudo-punk days. But with leadman Kenji having said that the band’s focus was always hip-hop, and that punk music was only a marketing ploy, hanging onto their old stuff is kind of like hanging onto Namie Amuro’s Euro-pop.

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1. 散歩に行こう
2. 未来
3. 小さな優しさ
4. ベンジャミンベンジャミン
5. Cheaters
6. Y&I
7. 二階の奥の部屋
8. 0453
9. 出会い
10. この子達のために
11. ビLOカナVEナスエル
12. 366日
13. 青い地球

I first looked into HY after hearing about their charting success despite being an indie band. To say the least, I was intrigued. Most of the time, when a band makes it big, they sign big contracts and live happily ever after. But not HY. Apparently, they’re still signed onto a small, independent label and are continuing to rock on in their own way. So admittedly I checked out their latest album, HeartY, in hopes of discovering their secret. What I found instead was a strange combination of soft rock, ballads, jazz, and R&B. Needless to say, I was taken aback.

In all honesty, it took me about a week to get through the album, listening to it a few tracks at a time. The problem was that the slew of ballads were putting me to sleep (my fault for shuffling the tracks). And maybe more importantly, I was sorely disappointed. I was expecting something more erratic, more outlandish, to explain the band’s decision to remain indie. Their music, though of high quality, is something, I feel, not uncommon to the Jpop scene.

So why have I bothered with this entry if I’m not feeling their songs? The answer: Izumi Nakasone. All those who label Ayumi Hamasaki, Koda Kumi, Namie Amuro, or BoA as best female vocalist need to sit down and listen to Izumi. Her voice is simply amazing — strong, versatile, captivating. I didn’t so much listen to the songs as I did listen to her voice.

That said, in addition to the various ballads showcasing Izumi’s voice — “Y&I”, “366日” — I quite enjoyed the soft rock track “この子達のために” and the R&B/rap track “Cheaters”, if only for its breath of freshness from the slower songs.

Watch (or listen? I can’t tell, YouTube is crapping out on me at the moment) Izumi strut her stuff after the jump.

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1. Esto
2. ハローグッバイ
3. コイントス
4. ピースサイン
5. 僕は狂ってなどいない
6. 空を作りたくなかった
7. 羽化の羽(FORESTONE Ver.)
8. 不滅の太陽
9. 深く潜れ
10. 言葉の森
11. アジサイ

What to say about aobozu, other than that they’re great? I’ve gone from casually listening to some of their tracks to repeating them on my playlist. They’ve nailed the combination that I love so dearly — calm, melodic rock with some proper oomph. While it may seem trivial, some bands tend to veer towards one of the two extremes, either putting me to sleep or tearing my eardrums apart.

Onto favourite tracks, I found myself gravitating towards the more lighthearted“アジサイ” simply because its melody sounds so familiar. I can’t quite put my finger on it, but it definitely rings a bell. Either way, it’s got a great summery feel which couldn’t be more appropriate, what with summer just one month away. “言葉の森” delivers my daily rock dosage and is just amazing all the way through (although this could be applied to more than one track), especially with the guitar riff halfway through.

But of the tracks that I found favourable — including “ハローグッバイ”, “ピースサイン”, and “コイントス” — there is one true winner: “空を作りたくなかった”. It’s simply so tranquil, so serene — I think it could quality as a nocturne. Yet, it maintains that balance perfectly with the electric guitar kicking in at the chorus. The whispering at the end, in particular, gets me every time. Even after 20 listens, it still gives me shivers. It’s that good.

I think I listed just about every track — except “僕は狂ってなどいない” because of its creepy circus vibe — so that should be some indication of the album’s quality. Not only that, but the album’s diversity almost guarantees that you’ll find something likable. And if/when you do, it’ll be absolutely fantastic. YouTube after the jump.

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1. また明日
2. ﾕｰﾚｲ
3. ﾀﾆｼ
4. ｶｲｾﾝﾄｳ
5. ｶﾎﾟ
6. どっちかの角
7. ﾛﾎﾞﾄﾐｰ
8. J.n

I first mentioned/noticed OGRE YOU ASSHOLE for their contribution to the compilation freebie Playlist 11 NEXT ROCK ON. Since then, I’ve been familiarizing myself with their discography, hoping to find something which rubs me the right way as “コインランドリー”. So far, no luck — until I came upon their first album and had a good listen.

My initial impression of OGRE YOU ASSHOLE, especially with a name like that, was something of a rebellious and devil-may-care kind of band. But this album really changed my perception of them. Firstly, there is a great deal of diversity and creativity present, making it difficult and unfair to pigeonhole them into a particular genre and/or image. Secondly, with tracks like “また明日” and “ﾕｰﾚｲ”, which feature delicate melodies unprecedented for a band with such a vulgar name, one just has to admire their musical talent. The guitar plucking in particular just kills it.

Along with the two tracks already mentioned, “ﾛﾎﾞﾄﾐｰ” is another favourite. In addition to the reason already given — amazing guitar plucking — the three songs are less frantic, complimenting the singer’s voice. I know I give tsubaki’s lead vocalist hell, but Manabu Deto’s voice is even more of an acquired taste. It can be unnerving at times, especially at high volumes, but at low levels, it serves to add character.

No YouTube videos for the songs off this album, but their MySpace has a handful of songs. The titles have been translated, so I don’t know if any of them happen to be from the album, but it’s worth a listen.

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1. 覚めた生活
2. 悲しみの中からはじめよう
3. 亡霊ﾀﾞﾝｽ
4. 青い月
5. さよなら､嘘つきな二人
6. ﾎﾞｰﾀﾞﾚｽ
7. money & honey
8. coffee
9. ﾀﾌﾞﾚｯﾄ
10. 羽の在処

This is a first. Normally I rely on my first instinct for songs — which is usually right — but for tsubaki’s latest album, I just had to give it another chance. Partly because I’m a tsubaki stan and partly because I feel my hasty review did not do the album justice.

After listening to the album almost daily over the past month, a few tracks have really grown on me. And those are “悲しみの中からはじめよう”,“coffee”, “覚めた生活”, and “ﾀﾌﾞﾚｯﾄ”. Granted, there are still some I absolutely can’t stand – “ﾎﾞｰﾀﾞﾚｽ”, “money & honey” — but for the most part the songs are rather catchy. But the latter two of my list are definitely my absolute favourites. The reason? Well, simply great songwriting, a real strength of the band. But the second reason is the lead vocalist, Isshiki Noriyasu. For me, he embodies the qualities of a real rock star. As previously mentioned, his voice isn’t exactly fantastic — in fact, it’s nasally and at times downright grating — but to paraphrase Gene Simmons loosely, “It’s not how well you sing, but how you sing.” That couldn’t be more true for Isshiki. Although his voice has improved drastically over the years, and particular from the last album, it’s still by no means a Grammy winner. But his attitude is really what seals the deal, his delivery and tone infusing personality into the songs and making them his — and the band’s — own.

But is the album worth buying? As much as I’d love to convince everyone to support the band, I’d have to say a reluctant no. Firstly, I still stand by my original statement that this, overall, is not the band’s best. And secondly, for the reason given beforehand, it’s probably not the best way for new fans to get into them. However, if you are a tsubaki band, then it’s a must-buy, if only for “覚めた生活” and “ﾀﾌﾞﾚｯﾄ” which are among the best songs in their discography (speaking of this, Portrait+, and their best compilation).

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