There’s been no shortage of words spilled over Negicco’s origin story: to sum up, they’re often painted as the humiliated local ambassadors of onions who gained critical appeal after a few strategic collaborations with Yasuharu Konishi and other indie-approved creatives. Their early singles were simple at best, utilizing the resurging idol boom without any particular focus on what made Nao, Megu, and Kaede different. Initially, there wasn’t much, and even today, it’s a scramble to identify what makes any of the three girls unique. What makes Negicco, as a unit, stand out, has very little to do with the three girls themselves, and almost everything to do with their roster of producers who have created an airtight homage to the girls’ roots (snow and rice being hometown Niigata’s main exports). In fact, the central marketing technique involves pushing these names to the forefront; as Memories of Shibuya writes: “Far from the usual idol-group scenario of songwriters being kept behind the scenes as the girls take center stage, the press for Rice&Snow loudly trumpets the assortment of Shibuya-kei luminaries handling composition duties on the album.”
And Rice & Snow is indeed all very shibuya-kei, with its hallmark array of genres and sounds. Sparkling pop standard “TRIPLE! Wonderland” opens the album followed by respites in bossa nova (“CREAM SODA Love”), 80’s synth (“Futari no Yuugi”, Hiroyasu Yano in a clear nod to Haruomi Hasono), drum n’ bass (“BLUE, GREEN, RED AND GONE”), and atmospheric electronica “(Space Nekojaracy”). There’s at least two songs that utilize hand claps, and a few more that capture the same sing-along spirit. The magic is that you don’t actually have to care why that makes this album more “hip” than say, E-girls’ E.G. TIME. They’re light, sentimental pop songs you can enjoy without any of the baggage that comes with every other idol group, and as long as they keep a tight line-up of producers, the girls might stand a chance at a lifespan just a bit longer than them, too.