Top ten East Asian pop/rock albums of 2019

When Johnny Kitagawa passed away this summer, it was accompanied by a muted, collective sigh of relief, rather than the quiet, mournful sigh at the passing of a legend. I don’t know, maybe people loved this guy, but it seems as if in his last days, Kitagawa was more like the crusty, embarrassing grandpa nobody likes but everyone has to put up with, wielding the iron fist of tradition, opposed to any and all business strategies that might take him and his mega-successful company into the present, let alone the future. On July 9, you could practically see balloons being released into the sky: happy days were here again. Like dominoes, the country’s most successful producer of boy bands began falling into the warm embrace of social media. YouTube accounts sprung up, celebrities appeared on Instagram, wow, album covers weren’t immediately wiped off of the face of the Internet. Meanwhile, Arashi began their Olympic campaign in earnest, uploading videos to YouTube and singles onto the streaming platform Spotify and a member’s nuptials was announced with an eye-roll, merely confirming an open secret.

As far as defining the capabilities and limits of the last decade of J-pop, Johnny Kitagawa’s death is as momentous as any event; it’s sheer lucky coincidence that it happened around the same time the Heisei era ended and the new era, Reiwa, began. Two monoliths passing the torch, one in peace, one fighting the whole way down.

The rest of the musical year has been rather predictable, with the expansion of the 48/46 groups, Gesu no Kiwami no Otome.-clones riding the success of the group’s low-key J-rock, plenty of mediocre solos, and the demise of many more of your favorite idol groups (including E-girls in 2020, which I am not emotionally prepared to discuss at this time). Across the sea, tragedy returned to K-pop once again, claiming the life of more beloved performers, while at the same time, K-pop’s star continued to rise overseas, led by YouTube-trailblazers like BLACKPINK and TWICE, and Billboard-favorites BTS and NCT, while rookies continued to churn out tepid debuts and earnest comebacks. And yet, as always, there was so much music to wade through, that is wasn’t difficult to unearth hidden gems hidden among the tropical-house drops. Like a lot of music released in 2019, I would not necessarily say the year produced many J- or K-pop albums that we’ll still be talking about in a decade or two, but they kept things going moving along nicely, with a few that are worth examining in depth.

LOONA // [x x]
2019.02.19

LOONA could have been nothing more than one of the greatest K-pop marketing campaigns in history, but if so, nobody would be talking about anything more than the process, which isn’t the case. While I’ll never get over the disappointment of the phenomenal pre-debut singles never being collected into a single compilation, the group did release their first original EP, [++], in 2018, which was re-released in 2019 under the title [x x], and included six new songs, all which convey the singular, interstellar space in which LOONA lives, and it is indeed a mood. Unlike TWICE, LOONA comes off as a witchy and wise older sister: check new tracks “Butterfly,” “Curiosity,” and “Where you at,” which build on the older, faster-paced tracks. There’s a subtle brilliance to these songs, an ice-cold chill that benevolently provides as many goosebumps as it does ear worms. We’re all unworthy of a follow-up in 2020, but pray that LOONA chooses to bless us anyway.

Key // I Wanna Be
2019.03.04

SHINee just celebrated ten years since their debut last year, so it was only fitting that three of the four surviving members began prepping for their great military-service hiatus, while baby TAEMIN went off to pursue jopping with the other Korean Avengers on Ellen. Luckily, the group left behind treasures to enjoy during the break, including last year’s The Story of Light trilogy. But the greatest was Key’s solo album FACE, released in 2018, and re-packaged this past March as I Wanna Be. The re-package includes three additional tracks, among them the title track, featuring Soyeon of rookie group (G)I-DLE. This album feels like the true successor to 2015’s Married to the Music, an ode to K-pop boy bands and a testament to the pop aesthetic of SM Entertainment in a nutshell, both which are at their strongest together. The number of hooks on this record are stratospheric, and while I’m not convinced that Key is any better on his own than with his band mates, he brings the exact level of vocal enthusiasm these tracks deserve. It’s a hasty prediction, but this album should be enough to keep fans going for the next two years or so.

BAND-MAID // BAND-MAIKO
2019.04.03

Performers in the Japanese and South Korean music business (idols or otherwise) are some of the hardest working in the world, so you’ll have to excuse me if the constant mantra of Ariana Grande releasing two albums over two years doesn’t impress me much when it is has been de rigeur for a group like BAND-MAID to release a new album every year — and two in 2019. Obviously, the sort of work ethic that pushes K-pop idols to train and perform for 14 hours a day is by no means practical, safe, or just. With a group like BAND-MAID, there is also the possibility of not just physical and mental, but creative, burnout. Up until now, BAND-MAID’s releases have been on a strong, upward trajectory with each release topping the last: they have been featured in the top ten albums of the year list here for the last two years. But interestingly, it is not the late-entry CONQUEROR that makes this list, but the shorter EP released in April, BAND-MAIKO. CONQUEROR is a strong album, but it’s the first one that I haven’t been instantly taken by, and while I let that album continue to percolate and work its magic on me, I’ll let BAND-MAIKO speak for itself. As if to preempt a rut, the group changed things up for this special EP by giving a few of their signature metal hits a traditional Japanese sound, complete with taiko drums and shakuhachi flutes piping into every available space left in the production. This idea could have been a silly, ineffectual gimmick (perhaps like being forced to wear maid costumes?), more Wagakki Band-rip off than genuine novelty, but the melting of the two styles are perfect, offsetting, collaborating, and molding themselves into something just as hard and heavy, but with a unique texture. It also gives the band a chance to ditch the maid outfits and don traditional kimonos in music videos for “secret” and “Gion-cho” — I’m not sure they were any more comfortable to shoot in, but they certainly make for stunning visuals (women’s fashion  throughout history, I guess). So far, the EP has been a one-off, but I wouldn’t mind seeing this little side-experiment blossom into a regular gig. It’s a gorgeous, sweeping testament to how adaptable and open the metal genre is, and how hard BAND-MAID work every day to keep innovating and challenging expectations, while proving the band is anything but out of ideas.

Nao Toyama // Gunjou INFINITY
2019.04.03

Seiyuu solo albums are a hard sell when so many can sound nearly identical. This isn’t inherently a bad thing if that’s exactly what you’re looking for, but it can get difficult to distinguish between them all if you listen to a dozen or so a month. “All pop music sounds the same” is easily one of the laziest insults to hurl, but the older you get, the more you realize there’s nothing insulting about stating merely uninformed facts: after all, even the most manufactured idols can create alchemy with the right songwriters that produce potions that keep a cauldron bubbling throughout the year. Gunjou INFINITY seems to have hit upon that very wizardry, taking Toyama’s lithe vocals and peppy guitars to a level beyond what she hinted at on her debut album. There’s not going to be anything here for those who saw the word seiyuu and immediately turned heel, but for those still on the carousel, check the extra synths on “Action,” the traditional instrumentals woven throughout “Tomoshibi no Manimani,” and the frenetic one-two punch of “Living Dying Kissin’” that make an album like this, adrift in a sea of so many like it, stand out. Nao Toyama has been on my radar since Rainbow, but she hasn’t proven herself until now, a woman more than capable of keeping up with the Nana Muzukis of the world, if given half a chance in a fickle, over-saturated market…and several return trips for draughts of that elusive elixir.

The Dance for Philosophy // Excelsior
2019.04.05

The Dance for Philosophy have been one of the strongest indie idol-groups since their debut, releasing one quirky, vintage-inspired album after another since 2015. While it was easy to lump them in with the rest of the Tower Records-set alongside Michiru Hoshino, Negicco, and especia, The Dance for Philosophy songwriters took their inspiration from 70’s soul and funk, mixing in just a hint of City Pop for thematic relevance. The result has been adorable, dorky albums, almost too earnest for their own good. This year’s Excelsior tries its hardest to be just a but more slick, a bit more chill, but of course it’s a losing battle, and all the better for it. The group is at their best when they’re at their least cool, breaking out all the horns, cliche sparkle effects and almost-Mickey Mousing sound effects on tracks like “IT’S MY TURN,” and “FREE YOUR FESTA.” But it’s smoother tracks like “PARRHESIA” and “HEURISTIC CITY” that hit the sweet spot in-between, and luckily The Dance for Philosophy spend quite some time in this zone. It might not have all the idol bells-and-whistles of their previous albums, but it’s a more mature, albeit tiny, step forward for the group’s sound that I sincerely look forward to hearing evolve at a pace slower than evolution, all the longer to simmer and enjoy.

TWICE // Feel Special
2019.09.23

TWICE had a better year than any other K-pop girl group in 2019, and that includes Internet phenoms BLACKPINK. While the group has always been hit-or-miss for me, never achieving a level of consistency that precluded enthusiasm for comebacks, they scored three amazing releases this year, including two Korean EPs, and an original Japanese album that hit #1 on the Oricon the week of its release. It’s their second EP, Feel Special, that has stayed on heaviest rotation. From the title track on, it’s a burst of sparkling energy, with the dance-pop glitter parade hitting peak ticker-tape on the stomping triplet “Get Loud,” “Trick It,” and “Love Foolish.” The album winds down with “21:29,” the nostalgic missing piece from Seohyun’s 2017 Don’t Say No. It’s a perfect example of K-pop from a group that has released more than seven original Korean mini-albums since 2015, but who still bring enough innovation, enthusiasm, and need to prove themselves to feel like a rookie group.

BABYMETAL // METAL GALAXY
2019.10.11

BABYMETAL were mired in a bit of controversy this year, the type only surprising to those unfamiliar with the Japanese entertainment industry, but enough to derail the group’s international momentum. When Yuimetal was reported mysteriously missing from live shows, conspiracies abounded until a press release confirmed the usual story: Yui Mizuno would not be returning due to poor health. Betrayed fans punished the withholding of information by insta-damning their newer singles as inferior, lacking in the same quality and depth of their early releases. It seemed the group was doomed to the same recycle bin and sudden irrelevance as other Japanese crossovers. So imagine my surprise when I tuned in to the new album and found myself charmed and impressed. METAL GALAXY, five years removed from the group’s debut album, is their poppiest to date, relying on metal as a production style, rather than a genre. The album still soars with riffs and earnest vocals, but it’s softer, a bit more diffused around the edges, with the endearing addition of a ballad and what can only be aptly described as soaring choruses. Rest assured, there are plenty of cheeky moments sprinkled throughout, like the bubbly rap-interlude on “DA DA DANCE.” There’s a reason this album is wedged into this category and not metal: it’s as laser-focused as any idol group on this list, just with a heart worn on a spikier sleeve than most.

TAEYEON // Purpose
2019.10.28

The slow demise of Girls’ Generation, from down-one-member, to down-a-couple-members, to let’s-just-give-them-all-solos, to hmm-how-about-this-pointless-subunit is one of K-pop’s saddest horror stories. This is not to say anything of the solo releases, which for those who have opted to stay with SM Entertainment, are as top-quality as ever, and some, in fact, being astonishingly good. TAEYEON, as one of the three biggest vocal powerhouses of the group, and now the highest-selling female artist in K-pop, has been given solo opportunities since 2010, and official solo albums since 2015, when the albums started to come in earnest. Of all of these, 2017’s Voice has been the strongest collection, but Purpose has blown that album out of the water. While it doesn’t necessarily showcase TAEYEON’s vocals so much as use them in the best, and holiest, way possible, it’s a chance for TAEYEON to get some great pop songs under her belt, by way of the usual overseas heavy-weights like LDN Noise, and Dsign Music who have been behind your favorite East Asian pop songs since 2013. As usual, the music is a mix of glossy R&B influences coating sultry pop (“Ha Ha Ha (LOL)“), and the type of sad song you play on the way home from a long day of work after your exhaustion has got you brooding (“Wine“). TAEYEON is an expert at this point, ringing emotion out of every last note, and so the album feels effortless. TAEYEON might be portrayed as a bit of an ice-queen in the media, but Purpose, both cool and confident, is surprisingly warm.

Hey! Say! JUMP // PARADE
2019.10.30

It will be interesting to see how Johnny’s entertainment will grow, mature, and respond to their musical competition, now that Kitagawa has passed and the handcuffs have come off. As mentioned above, there are already massive steps being taken to join the rest of the entertainment industry in 2020, and it bodes well for the years ahead. There will surely be many great, successful, working things the company will want to hold on to as it moves forward, and one only hopes that one of those things is a rich musical history. It has taken me nearly all of the last decade to truly appreciate the particular style of J-pop that Johnny’s produces, and though I would not call myself a super-fan, and remain skeptical of most of their performing groups, it’s been a wild ride to slow down, and carefully study, understand, and appreciate what these groups offer to the genre. At its worst, they indulge in the sort of outdated, saccharine idol-pop you’d find as filler content on a CD produced in 1978 from the clearance section of Half-Price Books. At its best, it fuses vintage styles with modern production to create something fizzier and more nuanced than the individual pieces, as do one of Johnny’s most successful modern groups Hey! Say! JUMP, whose name alone now endearingly dates them. They’re all set to take over once Arashi vacates the top spot, and aside from drama with a former member who was swiftly and quietly put to sleep like a rabid dog, they seem more than capable of carrying the torch. PARADE is Johnny’s at its best: long, winding choruses, slightly-awkward rap breaks tempered by pleasing disco strings, Western-pop and EDM pop-ups, individual vocals twining into the distinctively joyous group singalongs. It can’t possibly be less-than-average compared to the intellectual records littering year-end lists over at The Ringer or Pitchfork, and it won’t win any awards for bringing anything innovative to the table, but in that way, it’s like Johnny’s itself, leaning so heavily on the personality and charisma of its stars. Perhaps that’s why so many continue to draw from this particular well, year after year, and who’s comparing it to those stuffy lists anyway?

Cosmic Girls (WJSN) // As You Wish
2019.11.19

Like TWICE, Cosmic Girls had two above-average EPs to choose from this year: the frothy soap bubbles of For the summer, a giant, shimmering, sunshine-in-a-bag collection of K-pop, tailor-made for what is still the one season of the year most likely to have you throwing caution to the wind and, if you are unlucky enough to work a 9-to-5 like the rest of us, playing hooky or gazing out the window, wishing you had the guts to do so. But it is As You Wish, their autumn entry, that brings a bit of levity to the songs that showcase how great WJSN is when they are less gimmicky, and focus on what makes them work so well as a group. Some of the same songwriters appear on these tracks, such as FULL8LOOM, but the addition of newcomers KZ, Nthonius, and B.O. add some much-needed gravity to the parade of hooks on tracks like “Iruri (As Your Wish),” “Luckitty-Cat,” and the album’s strongest banger “Badaboom,” which veers into beloved T-ara territory with its catchy, repetition of “Badabing-badabing-badaboom-yeah.” WJSN and TWICE have had a similar musical evolution, and both groups have released work this year that reflects their status as worthy contenders beyond their beginning as SNSD-clones, but WJSN has the added benefit of being the type of group you can always count on to deliver consistency in great songs and great visuals.

Honorable Mentions


Wa-suta: Cat’ch The World
TAEMIN: FAMOUS
OH MY GIRL: Fall in Love
Flower: F
SUPER☆DRAGON: 3rd Identity

Top ten debut albums of 2019

After the dumpster-fires that keep erupting around news of K-pop trainees, from grueling schedules to crash-diets to the lack of resources for mental health care, I am continually surprised (and, shamefully, grateful) that anyone still chooses to sign contracts and put themselves through the ringer for a chance at fame and fortune. After all, where would we all be without entertainment companies continuing to debut groups, with rookies taking on the burden of sometimes broken systems to hone an incredible array of talents, with artists continually mixing and matching influences past and present to create new music we’re all just blessed to hear?

We’ve had both disappointing and promising K-pop debuts this year, from the stale tropical and electro house drops that dominated lead singles, to yet another company hoping to hit on the same supernatural alchemy that generated hometown heroes Girls’ Generation and overseas warriors like BTS. On that front we had groups like Cherry Bullet, repping for the Red Velvet-lovers and TXT (TOMORROW x TOGETHER), the latter who in their youthful ear-worms released not one, but two enchantingly sweet takes on pop, channeling all the BTS-but-twice-as-earnest charm they could muster, with a similar look and vibe, too, as if spawned from the very rib of their big brothers (both groups are under Big Hit Entertainment). And it was nice being swept away by the joyful ambition of a group like ARIAZ, whose Grand Opera proved that the staple girl-group sound still has the ability to work new melodies into the same old bottles. I’m not sure any of these groups, from BVNDIT to Purple Beck to Bz-Boys, will have any staying power (especially the last two), but they deliver on everything K-pop promised back in 2009, when the future was a bright horizon promising fresh sounds you’d never heard before in beautiful, unblemished packages. Listening to something like “Drama” or “Dream Line,” you can almost believe that’s how it all turned out.

One of the most interesting things in music this year, previously only hinted at in bits and pieces, has been the mainstream emergence of the late 90’s and early 00’s aesthetic. It’s been done before (actually, as with any recent trend, I can almost always confidently say f(x) did it first), but with the 20th anniversary of Y2K looming, we’ve gotten two albums that solidified their dedication to the Western girl-group boom that gave us such gems as Dream’s “He Loves You Not” and “Hit Me Baby One More Time“-Britney Spears in LIZ’s super fun Planet Y2K and Slayyyter’s eponymous mixtape, the latter whose vocals embrace the same uncanny coo that Max Martin coaxed out of the young Spears, taken to its more gratuitous ends. The former boasts hyper-pop like the ooey-gooey-cheewy “Bubblegum,” Dream-esque “Intuition,” and Ace of Base-lite “Lost U 2 The Boys.” It’s one big celebration of and homage to kitsch Millennium, an early 00’s Kylie Minogue-music video brought to life, with all the glorious, nostalgic elements safely intact. Slayyyter fast-forwards a few years to the MySpace-era, but is no less dedicated to authenticity — it’s more sleazy, more skeptical of what happens when you’ve grown up on a steady diet of plastic backpacks, Von Dutch hats, leaked sex videos, and a wall of carefully curated glitter .gifs. They provide the same time-machine experience, but two very different perspectives, and it’s hard not to find a guilty pleasure in both, and hope to see more from these promising curistas.

J-pop is usually a genre that doesn’t get much representation in this category: it’s harder to get a sense of promise from a genre that has trouble generating hype without making you meet it halfway, and the more time passes, the more difficult the hard sell is. And then there are the logistics. Here are two prime examples of groups that caught my eye in 2019: the first, BBHF, who released two EPs this year (the second one, Family, being the one that piqued my interest when it hit the Oricon top 50), but they are, unfortunately, an old band under a new name, and don’t technically qualify. The second is another indie-rock group, GENIE HIGH, who released their debut studio album GENIE HIGH STORY at the tail-end of November. I was under the impression that they were operating under the obvious influences of Gesu no Kiwami Otome., before learning that Enon Kawatani, the front man of Gesu is actually in this band. Of course! It has all of the Kawatani hallmarks: dandy, ragtime pianos, thin, peppy drums, and vocals that have been coached into constant falsetto icecapades. GENIE HIGH STORY is incredibly fun, interlaced with quirky bits and skits that propel the album along at a crisp speed, and though it is largely inconsequential, it is remarkable for a debut album. Then again, Kawatani is a veteran at this point, and its similarity to Gesu makes it seems like cheating to land in this category. I mean, is SuperM a true debut group for that matter either? I make exceptions, but at the busiest time of the year, I don’t have time to play around with these kinds of logistics. In the end, these lists are as inconsequential as this album will be to the history of J-rock, and in the same sense of amusement, and anticipation of more from this group, I’ll allow it.

The debuts wrap up with two outstanding angles: two metal albums from musicians who, with the power of studio wizardry, turn their one-man acts into the sonic equivalents of group therapy. Discovering that Sermon’s Birth of the Marvellous and Ethereal Darkness’s Smoke and Shadows were essentially the products of a single mind was quite lovely: neither of these albums are seamless at hiding the flaws inherent in attempting to be their own islands, but they are achievements nonetheless, and as debuts, they promise future improvement with a little extra experience and resources at their disposable. Now contrast this with the technical proficiency of a group like Paladin: any band would be lucky to release Ascension as a second or third album, but these guys pulled off a nearly-flawless debut. In some ways this could be a handicap, as it will be hard to top this thrilling mix of thrash and power metal. But I look forward to the attempt and encourage everyone to keep an eye on this group.

Keep an eye on all of these people: the excitement of debut albums is the herald of new voices, new sounds, of getting to be a part of an artist’s journey from day one. They’re all at different stages of their evolution on that day, but Summer Walker, Mabel, Runaway June, and all the artists who didn’t quite make this list, have one thing in common: the ability to blow you away, now or in the future.

Summer Walker: Over It // GENIE HIGH: GENIE HIGH STORY

Ethereal Darkness: Smoke and Shadows // Sermon: Birth of the Marvellous

ARIAZ: Grand Opera // Slayyyter: Slayyyter

TXT: THE DREAM CHAPTER: STAR // LIZ: Planet Y2K

Paladin: Ascension // Sigrid: Sucker Punch

Honorable Mentions

Cherry Bullet: Let’s Play Cherry Bullet
Mabel: High Expectations
Felivers: Felivers
Runaway June: Blue Roses
Dreamchaser: Heart

Top ten remastered/reissued albums of 2018

Every year the new releases keep piling up, and not far behind them is a long stretch of music history, staying fresh in memories with the sheer number of remasters and re-releases that grace our ears each year. With glossy new packaging and technological studio wizardry polishing up those dusty old master tapes, it’s easy to make the old look and sound just as fresh and exciting as any debut artist, with an added bonus: there’s no work involved in learning to love what is already familiar and comfortable, just a chance to re-appreciate a classic. Here are ten albums, in no particular order, that were remastered and/or re-released this year, across genre and language, that sound just as good as we remember, and now, even better.

Metallica: …And Justice for All [1988]
Metallica has been busy remastering their back catalog in chronological order, and in several formats that range from bank-breaking deluxe LP boxes to gate-fold digipaks sold for $5 apiece at Walmart. …And Justice for All is their latest, though anyone hoping for a louder bass line in the mix will be disappointed. However, …And Justice for All‘s infamous sound mixing is part of band lore, and to tinker with it to the extent that the entire soundscape would have changed would have fundamentally stripped the album of everything it is: the story of a band in turmoil, working through grief the only way they knew how; the last of an era. Of course, these backstory bits are fun, but unnecessary for enjoyment. What you’ll get here is the album exactly as it was released in 1988, just cleaner, louder, and with none of the surprises. Let’s hope we get a stateside remaster of the Black Album next.

Various Artists: Katamari Damacy (Original Video Game Soundtrack) [2004]
One of the most delightful video game soundtracks of its time, Katamari Damacy remains a beloved favorite of both gamers and J-pop enthusiasts alike. All of the jazzy, J-pop numbers, as well as iconic theme music are present on this gorgeous re-release, pressed onto vinyl by Mondo for the U.S. for the first time. First pressings that came in a glossy gate-fold on colored and swirled vinyl sold out quickly, but alternate second pressings continue to breathe new life into this masterpiece of game music.

Garbage: Version 2.0 [1998]
One of the definitive bands of the 90s finally got their due this year in a 20th anniversary remaster of their Grammy-nominated second album Version 2.0. Containing the band’s most popular songs, the album was an instant classic that catapulted the band into stratospheric fame beyond what even their debut effort could have foretold. Everything from “I’m Paranoid” to “Push It” sounds crisp on this 2-disk/3-LP set that also contains all of the era’s B-sides.

Megadeth: Killing Is My Business… and Business Is Good!: The Final Kill [1985]
This is not the first time Killing Is My Business has been remastered — most of Megadeth’s albums were re-released in 2004, along with a couple of anniversary editions following. The original remastered Killing, ca. 2002, censored the cover of “These Boots Are Made for Walking,” due to copyright claims, but it reappears here with rerecorded vocals and its original lyrics intact. In fact, many of the songs have parts that seem rerecorded. Purists claims this sullies the original release, and the whole point of remasters in general, but the trade-off is that it allows Mark Lewis to massage an impeccably modern, crystal-clear sheen out of what once sounded closer to a description Patricia Lockwood made about her own father’s guitar playing: “like a whole band dying in a plane crash in 1972.” Whether or not Killing was ever meant to sound so clean or if that messiness was part of its charm, and no matter which side you fall on the loudness wars, the spirit of Megadeth’s debut studio album has been preserved. One hopes this is as truly “final” as the subtitle implies and Mustaine can rest satisfied with this mix that includes several bonus live tracks and demos.

Red Velvet: The Perfect Red Velvet – The 2nd Album Repackage [2017]
The Perfect Red was an appears Top Ten Album last year, and like most K-pop albums, quickly received a re-release two months later to make a couple of extra bucks with the addition of new songs “Bad Boy,” and “All Right.” But just because the new songs and hyperbolic title don’t do much to enhance an already seamless record, you shouldn’t pass up the opportunity to enjoy this K-pop gem all over again.

Alan Menken: Walt Disney Records The Legacy Collection: Beauty and the Beast [1991]
Walt Disney’s Legacy Collection had been re-releasing soundtracks on an anniversary schedule, but have slowed down considerably since 2015, with only one release in 2017 and one for 2018, this gorgeously reproduced 2-disk edition of the 1991 film soundtrack to Beauty and the Beast. Unlike the 2001 special edition, this one also includes previously unreleased material and demos from masterminds Alan Menken and Howard Ashman that provide a window into how subtle changes in lyrics, vocalists, and tempos can change a piece entirely. I’m not sure how “remastered” these tracks are, since many of them don’t sound too much different than those included on the 2001 edition, (though I am assured by experts more knowledgeable than me, that it is indeed much better) all of the original cues remain as sumptuous and sweeping as they first appeared, and anyone familiar with the film can clearly envisage the visuals with the album’s chronological track-sequencing. While Beauty and the Beast is not my personal favorite Menken/Disney soundtrack, it is without a doubt one of the finest, most timeless pieces of music set to a Disney film ever, and can now be fully appreciated with additional liner notes, nicely thick packaging, and stunning gouache artwork by Lorelay Bove that mimics that of the great Retta Scott Worcester. Aladdin next?

The Beatles: The Beatles [1968]
There is no new ground to cover here, considering this is one of the most iconic rock albums of all time, famous not just for its music but for the story of a legendary band on its last legs. Cracks and all, this album is track-for-track the definitive distillation of two of the Western world’s best songwriters, and their equally talented friends (what were their names again?). This 50th anniversary remaster, a further expansion of the Beatles’ 2009 re-release series, comes in several iterations with varying degrees of bonus material that will leave fans occupied for weeks.

Alan Silvestri: The Mummy Returns (Original Motion Picture Soundtrack) [2001]
Intrada continues to do the Lord’s work with their remastering of the action-adventure saga The Mummy Returns, starring Brendan Fraser and Rachel Weisz, the sequel to The Mummy. While Jerry Goldsmith laid fine groundwork with the original (also remastered by Intrada this year), Silvestri’s score really gives a sense of power, with varying tempos, obligatory swelling violins, and rollicking percussion, working within the film’s very smart ode to classic action-adventure films like Raiders of the Lost Ark. Silvestri’s work is in its own league, and though opinions on this will vary, his continuation and expansion of Goldsmith’s score is, in a sense, closer in spirit to the thematic elements of the swashbuckling visuals. Both soundtracks were remastered from the original sessions, and include bonus material left out on the hasty original releases.

BAND-MAID: MAID IN JAPAN [2014]
MAID IN JAPAN is the J-rock group’s debut album that made all the impact of a forcefully lobbed cotton ball. Due to the limited press of its initial run, the album sold out quickly, leaving a legion of new fans without access to it. The album was re-released in new packaging this year alongside their new album WORLD DOMINATION. This coincided release really emphasized how much the band has evolved and grown in as little as four years, with the sophistication and ease of WD contrasting nicely with the simpler, but no less passionate MIJ. It’s a nice little time capsule of a band on the verge of figuring out just what kind of band they wanted to be.

Iron Maiden: The Number of the Beast [1982]
Iron Maiden are going a second round with remasters, the first being in 1998 (although these digital remasters are the same as those available on the vinyl editions released in 2015). For all the purists who hated the edits of the 1998 versions, these have preserved the mixes of the original vinyl releases. So far, their first four albums have been released, and you can take your pick at any one of these foundational NWOBHM releases, though I’m partial to The Number of the Beast, which includes the band’s first appearance with Bruce Dickinson on vocals, and a personal favorite song. Though there’s no new bonus material here (unless you’re into Eddie figurines), it’s never a bad time to get a louder Maiden CD into your collection.

Honorable Mentions

Guns ‘N Roses: Appetite for Destruction [1987]
John Willians: Harry Potter: The John Williams Soundtrack Collection [2001-2004]
Ramones: Rocket to Russia [1977]
Pet Shop Boys: Please [1986]
Def Leppard: The Collection: Volume One [1980-1987]

A different level of rock star: The Yoshiki Show rolls on with documentary film We Are X

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By now, everyone has heard about We Are X, the documentary film about one of Japan’s most legendary rock bands, X Japan. The film already won the World Cinema Documentary Special Jury Award for Best Editing by the Sundance Institute, and extra buzz picked up speed when it was announced that the movie would be screened at this year’s SXSW music festival in Austin, Texas last week. SXSW describes the movie as “the arc of X – from phenomenal origins through tumultuous super-stardom and premature dissolution up to present day, as the band prepares to reunite for a show at the legendary Madison Square Garden while struggling to reconcile a past haunted by suicide, injury and cultish extremism with the insatiable thirst for perfection.” It’s the stuff of high drama and theatrics, just the kind band leader, drummer, and pianist Yoshiki lives for.

Here’s what I knew about X Japan by the time I purchased their first CD over a decade ago: hide was the most interesting, Yoshiki was the most tortured, and almost none of it mattered because the band had already broken up. hide was dead. Toshi was in a religious cult. And Heath and Pata were scrambling to cobble together new projects.

xjapanapp1The band cited few reasons for breaking up, but it was obvious that even before the release of their last studio album, DAHLIA, most of the members were unhappy. hide achieved the most success in his solo project, combining a different, less serious and more blithe aspect into his work, which incorporated more and more progressive and industrial sounds into the mix (he was a big fan of Garbage); in fact, hide’s signature loud and fun colors and style were the only remaining “visuals” in X Japan as the years wore on — pink hair and neon green latex suits were hard to miss standing next to everyone else in black. Toshi had started to second guess his fame and fortune, struggling with his identity and place in the world. And Yoshiki was too busy controlling every aspect of every facet of every second of every piece of song that made the cut; “perfectionist” might be one way to describe him. Control-freak would be another. Domineering, also a good one. Hogging the spotlight wouldn’t be too far-fetched either.

Before long, the credits on the track lists stopped featuring all the members and only Yoshiki’s name appeared. The other members stopped getting solos. Their songs were cut or heavily edited. Yoshiki, a classically trained pianist, dropped the others’ songs out to make room for more of his signature ballads. The band’s last album, featured two songs written by hide, one written by Heath and Pata, and seven songs written by Yoshiki. It’s not hard to see where disagreements and artistic differences started to crop up.

xjapanapp2Watching the trailer for We Are X is like seeing the evidence come to life all over again two decades later: I’m not sure what the movie actually features since I haven’t seen it yet, but the trailer is nothing short of the Memoirs of Yoshiki. His voice, or rather, his story and his point of view, narrates the entire time: like the last five minutes of all of his ballads, it is a creation of his mind, a rehearsed poem, with special attention paid to the darkest nights of his soul, and the highest peaks of success — which are now, naturally, even though they haven’t released an album of new material in almost 20 years (despite Yoshiki promising said album for nearly as long). “Why am I here? Why am I in this world?” he asks as the trailer starts, and we strap ourselves in to find out why Yoshiki’s existence alone matters in a movie about a band of five.

His ego knows no bounds: his talking head crops up countless times, while the other members don’t speak at all (the language barrier shouldn’t be a  problem when other voices get subtitles). Understandably, X was a band Yoshiki started with his childhood friend, but to take all the credit is nearly sacrilegious. This is not a movie about one of the greatest rock bands of all time, this is a movie about Yoshiki: Yoshiki the musical genuis, Yoshiki the frail, injured victim who seeks the medical help of doctors for tragic plot development (as already frequently chronicled on his Instagram and Facebook — cue the far away, searching look in his eyes as he delicately cradles his arm and looks out the hospital’s window for his staged photo), and Yoshiki the actor, taking his role in the spotlight once again, playing the part he’s been rehearsing since the days of Vanishing Vision.

“After my father died, my mother bought me a drum set. Instead of breaking things, I started banging drums,” Yoshiki begins, and we’re immediately transported to one of his “Tears” sagas: a carefully practiced tale of sadness and woe. When the band segues into hide’s suicide, we get a shot of sad-Yoshiki, looking forlorn into a mirror while the facts are smeared to aid in the drama (hide was not a member of X Japan at the time of his suicide on May 2, 1998, as the band had already officially broken up in December of 1997). When we hear him say “X Japan’s era was over,” we get a cinematic shot of Yoshiki, walking alone down a crowded street. Pata who? That bassist guy, what was his name again? Even when Marilyn Manson chimes in with an informative soundbite, we see pictures of Yoshiki, pretty odd when hide was the known Manson fan. It’s not until about 1:50 in that we even see a single shot of any of the other surviving and current members.

xjapanapp3There is no doubt in my mind that X Japan was one of the best and most influential Japanese rock bands of all time, and this movie is a long-overdue recognition of the talent, skill, hard work, luck, and perseverance that are all hallmarks of the greatest bands since the dawn of time. Perhaps that’s one of the reasons a comment like Gene Simmons rankles so much: “If those guys were born in America, they might be the biggest band in the world.” But they weren’t. They were born in Japan, into a very unique time in history where their style of music and dress were able to resonate: influenced by KISS, they started out as a speed metal band  dressed in flamboyant hair and makeup, at a time when equivalent “hair metal” bands were already going out of style in America and the simplicity and dressed-down nature of grunge was gaining popularity. This creation of what would come to be called “visual-kei” would go on to influence countless number of Japanese bands from Dir en grey to Due le Quartz to Malice Mizer. America was already over it, trading in one type of cool for another. If they were born in America they wouldn’t be X. They wouldn’t be X Japan. And in the end, it’s a shame that particular pride is missing, when so much of the movie seems to concentrate on Yoshiki’s very personal emotional journey and comeback. In that sense, the movie seems like it’s going to be less factual documentary, than a curated collection of highlights that seek a predestined agenda and work off a script, one that clearly paints Yoshiki as the hero and savior of the band. One wonders why Yoshiki didn’t just drop the humble brags and false modesty, call the movie I Am X, and have done with it.

Top ten albums of 2015, #7: PASSPO☆’s Beef or Chicken?

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passpobeefappPASSPO☆: Beef or Chicken?

We reached peak-idol a few years ago, so why are we still clinging to groups who keep shuffling members, graduating them off, or sparking sub units in the hopes they’ll branch out into worthy successors? There’s no shortage of them, and the number only grows: they become more niche, more esoteric, and more attention-grabbing — it doesn’t get any worse than a group like LADYBABY, who combine the now-banal dichotomy of cute girls singing hard rock or metal songs, but with the added eye-sore of a masculine, bearded-wrestler wearing the same outfits and pigtails as his group mates warbling out signature death metal growls. It’s maybe why I’d like to take the time to luxuriate in Beef or Chicken?, the very-likely last great PASSPO☆ album (the first being One World). The album title is another push in the gimmicky air-hostess direction, but the songs are as hard and fun as ever. And there’s nothing so fun as lead single “HONEY DISH,” a combo hard rock-and-girl-pop number whose overwhelming sweet tooth is balanced out by the heavy guitars. The rest of the album is classic PASSPO☆: gritty rock and make-no-mistakes-about-it metal. The group is signed to a major label, so skilled session musicians and writers are at their disposal to conjure the retro Americana diner of the album jackets without sacrificing the sound we’re used to. It offers something of a varied menu, like the touch of Southern rock in “Itazura Rock n’ Roll,” grungy metal in “Not in theory,” and a softer glow on “Shiny Road.” All the signature speed and energy of the group is there, despite this being the shortest PASSPO☆ album to date. Following this amazing release in May, the group took a (relatively) long hiatus, after which they announced both a graduation and a label change to Nippon Crown at the end of the year. So long and goodnight PASSPO☆?

Top ten albums of 2015, #10: Suiyoubi no CAMPANELLA’s ZIPANG

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best201510bSuiyoubi no CAMPANELLA: ZIPANG

How can you sum up an album with such an eclectic mix of styles and sounds without falling into the trap of hammering out an indictment against the evils of major labels and the freedom that indies give you to experiment with more oddball ventures? You shouldn’t, because Suiyoubi is the exception, not the rule, the elegant fissure in a landscape of low-budget, bedroom-produced ideals of what “art” and “authenticity” is and how pop music presumably can’t come close. But ZIPANG is a pop record: it’s also a rap record, a house record, and a collection of sound effects put to rhythm. It’s polished enough to have dizzying highs (“Chohakkai,” “MEDUSA“) and confused enough for impossible lows (“TWIGGY”). It’s not a group at their peak, but rather, a group still scaling the mountain, still in search of a defining genre, but capable of churning out dazzling aesthetic set pieces in the ascent. The group itself also has a hard time tackling their identity: singer Komuai concedes that yeah, sure, they’re a hip hop group, but that also “there’s like, an idol world over here, and the J-rock scene over here, and off in the corner is the programmed beats place. I think we are sort of in the middle of all that.” That’s where you’ll find ZIPANG: smack dab in the middle of the Japanese music Venn diagram.