2015 mid-year report

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2015 has offered a number of notable releases so far: so much so, in fact, that narrowing it down to discuss the highlights without resorting to a wall of YouTube videos is difficult. For the purposes of this blog, I’ve chosen to focus exclusively on Japanese and Korean pop, omitting digressions on American pop, electronic, and Bollywood soundtracks, which sometimes crop up here. I think you’ll find plenty to sample and I encourage you all to share anything you may have found particularly awesome that I missed.

The Annual Yasutaka Update

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So here’s a first: Perfume released a new single and it barely registered. The trio has been getting more Internet buzz over their SXSW performance (I mean, it seems pretty cool, but it’s kind of hard to tell with all the annoying camera angles and visual effects splashing across the actual performance). For years now, Perfume has focused on live, especially overseas, performances, and songs that enhance those performances: singles aren’t so much indicative of Nakata himself, Perfume-as-statement, or even advertising anymore — they’re just the fuel that keeps the tour bus rolling. It’s hard to be completely disappointed by a Perfume single, though. Even when the A-side isn’t the newest addition to your workout playlist you were hoping for, the B and C-sides always offer alternatives. That said, “Relax In The City” isn’t bad, but it is largely superfluous next to “Pick Me Up” and “Toumei Ningen.” As Kashiyuka pointed out in an interview, it’s very Yasutaka Nakata to hide the more commercial crowd-pleasers at the back (remember “Hurly Burly” on Spending all my time?) He’s one producer who likes to dole out rewards only if you’re paying attention.

capsule’s latest original album, WAVE RUNNER, is something of a mixed bag with few really great standout tracks; it’s business as usual as the follow-up to the experimental CAPSLOCK. We also got Kyary Pamyu Pamyu’s single “Mondai GIRL.” While I appreciate Kyary as an artist, I’m not always happy with Nakata’s work with her, but “Mondai GIRL” proves how perfect the pieces can fall into place when the producer steps away from the xylophones. As always, the kiddie orgel ticks and marching drums are almost completely absent from every great Kyary song: I’ll remember this every time Mito Natsume releases any music with Nakata and won’t even bother. Instead, it’ll be nice to see if Nakata produces any more one-offs like the excellent “Music Flyer” on E-girls’ E.G.TIME: I always enjoy hearing what magic he can conjure for artists outside of his usual roster.

Girls On Top

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Thanks to some wrinkle in time, we were blessed with four long-time top Avex female artists’ albums this year. Are you there God? It’s me, grateful. To halt anticipation, I’ve never been a Kuu fan, despite my repeated visits to her back catalog, so WALK OF MY LIFE is a non-conversation. To a large extent, neither is Ayumi Hamsaki’s A ONE. But the album has some really beautiful moments: this is the first Ayumi album in years that has felt like a solid, cohesive whole. It has some breathtaking moments (the last two minutes of “Out of control,” “The Show Must Go On,” the lively cover of “Movin’ on without you” — wow! What a gentle, grand statement that Ayumi covered a Hikaru Utada song to prove that any competition between those two was always fabricated by the record companies and not by the two women themselves) that really round out what have been some truly awful career lows.

Obviously, Ai Otsuka’s LOVE TRiCKY is my favorite of the four so far (read the full review here), but it’s worth spilling a few words on Namie Amuro’s _genic, an album so uniformly perfect, it’s almost not worth listening to more than once. This album is pure pop gold, but it offers little extra on repeat listens. As Otsuka’s album is dark and vulpine, Amuro’s is effortless and seasoned. _genic is trendy hooks, high production value, and class: it’s hard to find cracks in something that already seems iconic, songs that were precisely chosen to bewitch you in the first 20 seconds, except that it’s perhaps all just very glossy surface, and I imagine many people can find fault in that the same way some people prefer the pops, hisses, and scratches in a vinyl record over 320kbps mp3 files. You can’t please everyone.

K-pop

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Post-Golden Age, good, but not necessarily great, things are happening in K-pop. Ever since Jessica’s departure from Girls’ Generation, we’ve gotten a lot of artists mimicking their debut album in a very short nostalgia turnover: OH MY GIRL’s “Cupid” and G-Friend’s “Glass Bead” are the first that come to mind. The standouts for me this year so far have been AMBER’s solo EP BEAUTIFUL, miss A’s fun “Dareun Namja Malgo Neo” and BoA’s “Kiss My Lips” (the single, not the album, which is just okay). I get the feeling many people haven’t been wowed by BIG BANG’S MADE project, or maybe that perception is just an extension of my own disappointment. The group’s releases used to be events that seemingly everyone in the K-pop fandom could get behind. Now it just seems that stretching out singles over the course of a few months is tedious and suspect, kind of like splitting the last season of an iconic show in two. Sometimes it feels that the context of other songs on an album can really change your mind about particular songs that just seem off: now all these stand-alone tracks feel obvious and not a bit whelming. Just because G-Dragon composed it and T.O.P has a really cool new haircut doesn’t make it worthy of applause, or the music videos any less problematic. Basically I’ve largely ignored the new songs up until now due to meh.

Idol Corner

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OK guys, brace yourselves, we’re gonna crank this one out, because idols are everywhere now and you can’t download a rar file or follow a tumblr without stumbling across this stuff and it’s been my year’s goal to start embracing more idol-pop and I feel I’ve mastered the rhythms when I can make a statement like: And anyway, there’s some decent stuff out there. On principle I cannot in good conscience discuss AKB48 anymore, so let’s just say that whether or not you believe that good music can stand on its own, far apart from its commercial, or more prurient interests, AKB always manages to get in those one or two songs that surprise you: if among the deluge of choices on their new album Koko ga Rhodes de, Koko de Tobe! (with all editions packing thirty-eight songs) you can’t find at least two songs that make you hesitant to dismiss the music completely, maybe J-pop is not the genre for you.

We had fantastic albums from Negicco and Luna Haruna and an okay album from Avex idols X21, and more of the same from Johnny’s groups like Hey! Say! JUMP (again, again there’s usually at least one song I can sink my teeth into, and so it is with JUMPing car‘s “Boys Don’t Stop”). I’m not sure if Shoujo X is commendable just because X21 is an Avex group and I’m now so deeply invested that to reject outright any of their output without giving it an honest try is so repugnant that is sends me into lonely spirals of repeat listens, but it’s a group that I’ll be monitoring in the future.

PASSPO☆’s Beef or Chicken? has had the most repeat value for me this year, an album that I keep playing over and over because of how fun it is. The promo “Honey Dish” is the album’s highlight, lending it the vintage-y pop style the album was going for, without abandoning the group’s hard rock style or falling into the Meghan Trainer trap of cloying, wince-inducing brass as Yuma Nakayama’s “YOLO moment” — I genuinely like this guy and think he has potential as a soloist, but the YOLO reference feels dated and the 50’s soda shop-pop doesn’t feel fresh enough to be a classic, rather then just a hopeful, throwback. I’m on board for rolled up jean cuffs and ties under varsity jackets, but only if the angle is more than just earnest heartthrob: am I the only one who feels this is really more of an homage to the 80’s-referencing-the-50’s? It just screams 80’s teen flicks more than 50’s surf movies. I guess I just want to like the guy more than I do and will scale back my ire when it’s so hard to find good male solo artists.

And finally, here are some interesting newcomers to keep an eye out for: Maria’s “HURRICANE” is an adorable slice of “chame-rock” (playful/mischievous rock). I understand that after the perceived success of BABYMETAL et al., there’s a push for more rock/metal idols but even more hyper-specific, with just-that-little-bit-different angle, but this one seems a little more Blue Hearts than so many of the heavy metal idols coming out. Everyone’s Ramones bangs are a great backdrop for the song (a cover of Chanels/Rats & Star), even when the backpacks look like a pain to dance in. Cupitron and callme are both going for Perfume tributes here — callme even has the unoriginal primary colored square mod dresses going for them — but they’re both worth keeping an eye on. callme are Avex (yeah, there’s that) and are composed of former Dorothy Little Happy members. Cupitron’s outfits were designed by Tomoe Shinohara, which is enough to pique my interest. Ayumikurikamaki: This is just fun.

Special mentions

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Shout outs to the following fun records:

Hanae’s Jokyo Shoko
uchuu,’s HELLO, HELLO, HELLO, (token J-rock)
E-girls’ E.G. TIME
Sakurako Ohara’s HAPPY

For more great music I haven’t featured here, please browse the Notable Releases tag over at tumblr.

On the horizon

Here are a few things I’m looking forward to in the rest of 2015: Girls’ Generation’s new album (sometime in July?), more singles from TOKYO GIRLS’ STYLE (an album might not be imminent this year, but I guess anything’s possible), more stuff from Tomomi Itano (whose “Gimme Gimme Luv” will be a great summer single), Ayumi Hamasaki’s mini-album (August), CL’s debut (I don’t think this will necessarily make her a huge overseas contender, but I’m criminally curious what this will look and sound like), anything more that will or will not happen with f(x) this year, and finally, an honest to goodness fun Bollywood soundtrack, which has been seriously lacking this year.

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