Ayumi Hamasaki’s “Rule”

Ayumi Hamasaki / Rule / February 25, 2009
01. Rule

It’s hard to write reviews about an artist who has become a brand unto herself; rarely do I think “music” when I first think “Ayumi Hamasaki” any longer. It’s even harder when you’ve been a fan for so long that each subsequent record has been like taking a bullet compared to the early work that had you so enthralled. Regardless, it’s worth saying in a Twitter-length phrase: best Ayumi single in three years. Srsly.

Words like “aggressive” and “massive” are being thrown around to describe the scope of “Rule,” a loud, soaring rock epic that Hamasaki first played around with in 2008’s “Mirrorcle World.” The music video may be a whole other story (same, tired attempts at bombast in camera preening, overstated dance routines, questionable wardrobe), but the song is just as intense as the movie it’s promoting needs it to be. “Sparkle,” however, is the darling of the single; a  haunting, electrock melody the likes of which Hamasaki has never experimented with before is kind of a mindfuck the first time it plays, but its novelty only gains momentum, neutralizing the awful lyrics (“Don’t be on the defensive / Try to make yourself look aggressive and attractive“). It’s eerie, but strangely joyful; the only thing missing from its liner notes is a HAL credit (who coincidently, is credited on “Rule”).

In a throwback to earlier singles, a few remixes are thrown among the three versions available. The only contention I have is with “Days (8-bits of tears YMCK remix),” which is exactly what it sounds like: an 8-bit version of the ballad “Days” that is tolerable for about :50 seconds before irritation sets in. The other remixes are enjoyable, club versions of her previous single, and the acoustic versions are pleasant, welcoming shout outs to the popularity of the full-length acoustic orchestra version compilations Hamasaki released at the height of her fame. While her popularity may not be so high any longer and she hasn’t exactly gone anywhere (actually, each mediocre release has been just as in your face as ever before), this single features an artist itching for a comeback, or, wait for it, taking things to the next level.

♫ Official Site
♫ Buy Rule

Maki Goto’s “Fly away” and BoA’s “Eien”

Maki Goto – Fly away / BoA – Eien

These are the coolest pop videos and songs I have seen and heard so far this year. “Fly away” is dynamic, with teeth, and even though the music video is not really edgy and it’s not even all that entertaining (no story line, no discernible context for the lyrics), it’s this conventionality that works in favor of, rather than against, the music. In a time when experimental drivel like MEG’S FREAK is coming out (and OK, I acknowledge and applaud the hypothesis, but I reject its aural conclusion), it’s the simple songs that seem most stimulating; “Fly away” and “Eien” use technology that compliments the genre, rather than bastardizes it.

In fact, “Eien” is almost quaint: boy meets girl, girl falls in love, boy shares text messages, boy breaks up with girl, girl cries. The sound comes from mid-90’s era R&B and the music video is much like Maki Goto’s: amazing, entertaining dance routines, set amid some useless shots of a somewhat, to not at all related backstory. BoA looks androgynous and pulls it off beautifully and even though the dancing is kind of a Michael Jackson rip-off, what isn’t? Plus, it lets BoA show off the extent of her skills. Now there are some major gender issues that make these music videos a tad repulsive (there’s the obviousness of Maki Goto, squirming around blindfolded on a bed, following by high-heeled thrusting, but then there’s the suited, crop-haired BoA, who makes this masculine image appealing only because despite the attempt, BoA is still portrayed as so goddamn feminine, it’s regressed to an almost condescending “cute” status), but they’re still entirely enjoyable as a whole; there’s real talent here, despite how the marketers are selling it.

MEG’s “FREAK”

MEG / FREAK / February 11, 2009
01. FREAK

“FREAK” is so annoying, and the music so uninspired, the only way I could ever describe it would be in a therapist’s office using dolls. It’s not enough to simply switch producers (Nakata, where did you go?), but the entire 80’s-electro bit is wearing thin in general, and with the sudden influx of artists riding the bandwagon, it’s like attempting to sift through every single banal album recorded in the 80s for the few Pet Shop Boys among them. But that’s just the thing: none of these bands will live to hone lucrative, long-term careers simply doing spin-offs. The jazzy club of MEG’s first two albums were novel and worked around her big-eyed, nasally vocals to make them seem nothing less than indispensable. “FREAK” is the epitome of an experiment that shouldn’t happen for at least two more albums; it’s annoying (“Hello! Hello! Hello! Hello!”), conventional, and makes poor use of keyboards that brings the term “techno velcro” to mind. “TOXIC” sounds like it was recorded stream of consciousness style and then slapped on as a b-side without editing. I imagine if this is the same direction Perfume will take for their next single, “One Room Disco,” we should all be prepared for disappointment and the longest bout of nostalgia-for-one-year-ago-itis.

♫ Official Site
♫ Buy FREAK

Top 10 albums/20 songs of 2008

01. Cut Copy – In Ghost Colours [ read full review ]
02. Ami Suzuki – DOLCE [ read full review ]
03. OceanLab – Sirens of the Sea [ read full review ]
04. PlayRadioPlay! – Texas
05. M83 – Saturdays = Youth
06. Perfume – GAME
07. Tiziano Ferro – Alla mia Eta
08. Britney Spears – Circus [ read full review ]
09. MEG – STEP
10. Santogold – Santogold