Still can’t crack the code: TOKYO GIRLS’ STYLE’s “Hikaru yo”

It doesn’t take a grand feat of hindsight to see where it all went wrong for TOKYO GIRLS’ STYLE, especially now that Avex is backtracking as fast as possible. When the members of the group grew up, their record label looked to be maturing them into more sophisticated “artists,” rather than idols with a big marketing ploy that involved declaring they would no longer be performing certain songs (“Onnaji Kimochi” and “Ganbatte Itsudatte Shinjiteru”), a transition out of their signature New Jack Swing sound into more electronic territory, and, eventually, the lose of a member. Avex was banking on the idea that after giving the market what it wanted (idols, more idols, just idols, all the time), it could take a loyal audience with them into territory where they were more comfortable, and leave the idol experimentation to sub-labels like iDOL Street. Unfortunately, this turned out to be a bit of a miscalculation.

This failure could be for any number of reasons, not least which is that the new material just didn’t live up to the old. While not horrible, it was jarringly different: musically speaking, TGS’s first four albums are near perfect at marrying peppy messages of positivity with idol what-have-yous to a classic 90’s TK, J-pop sound — it’s not an easy trick to pull off. But it seems that the team behind the group took it for granted, erroneously believing that, like many idol groups before them, the members themselves had established enough of a connection with fans that they would be followed anywhere they went, even into adulthood. But it seems that while fans primarily of idols and idol groups want to watch their biases grow, they don’t want them growing too much. Turns out there’s a line in the sand, when the unwritten contract between idols and their fans cease to exist regarding any number of expectations from behavior to lyrical content, that can cause a gradual erosion of loyalty. And when fans began to slowly abandon TGS after the abrupt set of changes, Avex didn’t necessarily try harder at marketing to a different audience — they just pushed forward and hoped for the best as the four women left in the group were forced to start from scratch. Yet now it seems an opportunity has presented itself.

First, two idol groups affiliated with Avex disbanded last year (GEM and X21). Second, none of Avex’s recently debuted non-idol groups (FAKY and Def Will) seem to have taken off. Though the group announced as early as 2017 that, just kidding, they’d like to be both “idols and artists”, it’s with the release of their new single, “Hikaru yo,” that it seems Avex is truly rethinking their strategy and steering TGS back into the services of full-on idol worship. The song and PV have no distinguishing features of which to name; instead, it is generic J-pop at its lowest common denominator, a song that could be sung by virtually any group, with a visual that includes an attempt to turn the clock back with a magical-girl transformation sequence that sees the members go metaphorically from very contempo-SPEED back to dolls. With neither the chunky beats present on their first four albums, nor the dance-heavy groove of their “post-idol/artist” era, the song is a blank canvas on which audiences can begin drawing, or re-drawing, their expectations (in case it isn’t clear enough, the B-side for this single is titled “Reborn”). Only a follow-up single just as formulaic and bereft of personality can confirm suspicions of the label’s intentions, but the prognosis doesn’t seem promising.

With so many of their all-girl idol groups folding and their dance groups not taking off, it looks like Avex still hasn’t quite figured out how to tackle the market in a musical environment where, despite predictions and best intentions, idols, rather than artists, still dominate. I am curious to see if TOKYO GIRLS’ STYLE will survive a second re-branding, but skeptical, and overall disappointed at what their failure at moving forward as artists and young women says about the current state of J-pop.

[ Photo credit ]

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Top ten pop/electronic albums of 2018

Pop music in 2018 wasn’t one for the history books, but it has delivered its fair share of healthy distractions, and in the current political and cultural climate, sometimes that’s all anyone is looking for. Below are ten of the best English-language and/or Western pop and electronic albums of the year — ten albums, in no particular order, that made the year just a bit less unbearable and proved there is no end to the styles and content that can be mined from such rich and broad genres across continents.

Ariana Grande: Sweetener
Ariana Grande has spent this year conducting herself with a poise and dignity beyond most pop stars’ capabilities. As proof, Sweetener showcases a notable maturation of Grande’s sound: the album trades most of the Max Martin tent-pole hits for slower, groovier numbers like “The Light is Coming” and “Everytime.” Fans of the pop-maestro need not worry, as commercial demands necessitate the inclusion of some of the album’s best tracks for radio singles, like the effervescent “God is a Woman” and “Breathin’.” But unlike past albums stitched together with equal parts Martin and Grande, Grande alone carries Sweetener with her singular vocal talent, a voice that blends a dizzying assortment of soars and coos and reverb, curated for maximum effect.

Allie X: Super Sunset
It has been a pleasure and a pain to watch Allie X grow as a pop star only to be denied widespread recognition. While it’s easy to write off the artist with a glance at her very Lady Gaga-like visuals, the content of her compositions belies any sense of mere copycat. It’s easy to feel overwhelmed with the sheer amount of music that is released each week, with Spotify and Bandcamp and YouTube all making grabs for ever-decreasing attention spans, though it does make it all the more magical when something brilliant like “Science” cues up, all twinkling synths and epic chorus breaking through the routine of sonic wallpaper. It’s both story and song, a 4D experience you can touch and feel, the wind hitting your face from top to bottom in degrees as Allie punctuates and draws out the win. dows. ro-o-o-o-o-o-lling down. It’s fresh, it’s fun, and it eschews half-measures for the big win; it’s the kind of serious pop music we haven’t heard in years outside of last year’s CollXtion II.

Charlie Puth: Voicenotes
One year ago, anyone would have laughed at the idea of Puth being a viable contender for that elusive gap in our charts: the male pop star. Certainly no one is counting on Justin Timberlake or Nick Jonas any longer. Yes, Post Malone and Drake have massive chart presence where Puth has almost none, having taken grave missteps with his poor debut album and Meghan Trainor collabs, but Voicenotes portends a welcome change. Gone is a reliance on the retro, doo-wop of a youthful Michael Buble, the sort of music that passed through the ears of listeners quicker than a passing siren. Voicenotes shows Puth a bit older, a bit wiser, and most importantly, a bit more honest. Puth finally sounds like a real human being, a person with insecurities and skeletons finally spilling out of a closet previously packed tight with crisp shirts and shiny shoes, and it is only by finally revealing and owning his truths, with a dash of inspired Hall & Oates, that he can finally find a place among the cheesiest of pop stars and their fans, all just as uncool as the rest of us.

Dance with the Dead: Loved to Death
Just like your favorite mass market paperbacks, you can tell just by looking at some covers exactly what the contents will be like. Perhaps it’s the famous clinch, or the back of a shadowy, running figure, or even a a cover taken up entirely by the enormous font of an author’s name. Some of the best genre paperbacks were designed in the 70s and 80s for horror fiction, lovingly chronicled by super-fan Grady Hendrix in Paperbacks from Hell: The Twisted History of ’70s and ’80s Horror Fiction. Any one of these tales, from the one about Nazi Leprechauns, to Satanic nuns, to children with kinetic abilities look like they could be accompanied by one of Dance with the Dead’s albums. Their aesthetic, like the look of all darkwave, looks ripped from the pages of a Stephen King novel, and their latest, Loved to Death similarly leans in hard. Justin Pointer and Tony Kim, the duo behind these morbidly fun 80’s synth-horror tracks, expertly weave in all of their influences, from Justice to John Carpenter to Metallica to create instrumental sonic treats that brim with crunchy energy, like “Salem” and “Oracle,” and guitars, especially on tracks like “Into the Shadows.” Highly danceable, playfully creepy, and always entertaining, Dance with the Dead will fit in nicely with your Stranger Things viewing party next summer.

Janelle Monae: Dirty Computer
Sometimes an artist’s greatest album isn’t a personal favorite: certainly, Monae’s previous album The Electric Lady contained just as many, if not more, attention-grabbing songs and as much style. In fact, Dirty Computer seems a touch less effortless, maybe a bit too glossy, a tad obvious. But it is hyper-stylized for a reason: it’s the logical conclusion of experience, and of time spent in the presence of luminous mentors and the trenches of viral Internet warfare. Slapping a concept film on this album does little to enhance what is already Monae’s winning hand: ability, ambition, and personality. Natural talent puts all of these to work and an appreciative audience hungry for the gospel allows this star to finally come into her own — part cyborg, part human, all American.

5 Seconds of Summer: Youngblood
If you’ve spent five seconds in the electronics department of a Target, you’ve heard 5 Seconds of Summer, who’ve blared from the giant monitors every time I’ve set foot in one over the course of the summer. This relentless repetition makes it easy to forget how fun Youngblood is. Look, it’s hard out there for an English-speaking boy band. Just ask Why Don’t We. The boy band mini-revival rose and set in the shadows of One Direction, and its future is now being pulled into question. In response, 5SOS have released one of their most musically accessible albums, a triumph of synths and enormous pop hooks. Their third studio album sounds like a group that has finally embraced their place in the pop pantheon and taken it to its biggest, most obvious conclusion, whether it’s the lyrical staples of “Want You Back,” “Better Man,” and “Why Won’t You Love Me,” or blissful, windows-down jams like “Talk Fast” and “More.” Part of the ability to appreciate this album will hinge on how much someone is willing to concede that the world hates teenage girls and everything they touch, but once a person can come to terms with the idea that the things girls like and things that are great are not exclusive, we can all evolve as a species together.

Sarah Reeves: Easy Never Needed You
Contemporary Christian, Christian pop, “inspirational music,” or whatever you want to call it, has been mostly segregated to the outskirts of the mainstream. It’s a tough genre to define when it can sound just like anything else on the radio, but you’re not quite sure if it’s about a significant other, or actually Jesus. It’s a tough call to make, and Easy Never Needed You has a good time playing around with those perceptions and doubts. Sarah Reeve’s voice, as soft and pillowy as Ellie Goulding’s, also seems to be taking inspiration from the artist’s music, with fast-paced Top-40 pop like “Something About You” and “Right Where You Want Me.” The album’s more obvious references to faith, like “Nowhere,” and “Faithful,” never feel as preachy as they could; it’s a true crossover album, the kind that blurs the distinction between holy and secular, and when is the latter ever devoid of the former, in a non-religious sense? Music only ever means what you believe it does, and any proscribed interpretations are always presumptive. To whit, Sarah Reeves won’t be making any converts any time soon, but she has made one hell of a pop album.

Rita Ora: Phoenix
Rita Ora is a jack-of-all-trades: it’s been six years since she released an album, but in that time she’s managed to find time to act in mega-blockbusters, shill for major corporations like Skullcandy and DKNY, design clothes, and host reality television shows like America’s Next Top Model. It’s all in a day’s work for today’s young celebrities, but one thing you can’t say is that Ora hasn’t worked hard hitting up every medium, besides, like, podcasts, to remain as relevant as possible. Spreading oneself so thin usually results in poor work, a sign of scattered focus rather than deep dives into true passion projects, but Phoenix, its title a reference to Ora’s trouble with past record label Roc Nation, soars as high as any big-budget pop album in its class. Opener “Anywhere” sets the tone for the record’s trendy EDM hooks and functions as both a statement of intent and a litmus test: non-interested parties are invited to disembark immediately at the next stop. Ora doesn’t have the most versatile pipes, but she’s the perfect fit for an album that would have made more sense released in the summer, perfect for windows-down, volume-high cruising. This is not the type of album that can move mountains, but it can get you out of your chair, and that’s a lot more useful in the day-to-day banality of the average person’s life.

Neon Nox: Syndicate Shadow
What happens when you have the capabilities of a sonic storyteller, but no contract with a film studio? Johnny Jewel and his label mates over at Italians Do It Better are sure to steer you in the right direction, but there is no shortage of artists outside that particular milieu who have their own original Drives and Blade Runners to score. If Dead Can Dance’s specialty is horror, than Neon Nox’s is the 80’s action flick — except few 80’s action flicks in the U.S. were heavy on these particular massive synths, culled from all the best glittering gems on the italo-disco circuit, like Vincenzo Salvia on steroids. There is no shortage of these kinds of synthwave artists (many featured on this list!), and a quick visit to NewRetroWave’s page gives you an assorted menu from appetizers to these kinds of full courses that do everything but hand you a script. Rather, the opening track recalls TRON: Legacy‘s “The Grid” in setting the scene and then inviting you to use the song titles as prompts and the limits of your own imagination, like a sonic storybook. The unique perspective each person will bring to “the score” in the interactive nature of the genre  is part of what makes this particular sub genre so compelling, and Syndicate Shadow so fun.

Troye Sivan: Bloom
Troye Sivan has had a whirlwind year, least of which is collaborating with Charli XCX on one of the year’s most fun singles, “1999.” Like Rita Ora, when he’s not discoursing upon Justin Timberlake’s “inspiring” ‘N Sync ‘do, he’s working on any number of side hustles, including acting (no big deal, just critically acclaimed flicks like Boy Erased). This year also saw the follow-up to his debut album, Blue Neighbourhood, and like “1999,” it’s a bit of a throwaway, with playful tributes to the dawning of 90’s teen-pop, down to that Michael Jackson and Naomi Campbell 2-tone vibe in single “My My My,” haunting each catchy, hook-laden corner. It’s never more apparent than on the stand-out titular track “Bloom,” and “Lucky Strike,” which meld funky tempos with finger-snapping beats. While I’m not entirely sold on the album’s more introspective moments, when Sivan is at his most confessional, it proves the album is more than just surface: a deep heart beats beneath Sivan, a dual nature that captures life’s black and white, its good, its bad, its highs, its lows, and the beautiful moments in between.

Honorable Mentions

Robert Parker: End of the Night
Kimbra: Primal Heart
Midnight Danger: Malignant Force
Wild Moccasins: Look Together
Annalisa: Bye Bye

Top ten debut albums of 2018

Debut albums are opportunities to establish a voice, a sound, and a vision — a promise of what’s to come. Sometimes this long-labored effort is never replicated again, and what we’re left with is one great moment, no less worthy because of its singularity. Who will be the unlucky few not to make it? That debate is fun, but not nearly as much as watching someone, against all odds, succeed and grow as an artist. If all of us have at least one great work of art within us, these are ten, in no particular order.

Ella Mai: Ella Mai
Ella Mai is the logical love-child of SZA’s breakthrough last year and the lingering chart run of the magical Khalid & Normani duet “Love Lies.” Ella Mai could do without all the cheesy talking (personal pet peeve) and I’m not sure why anyone is still letting Chris Brown be a thing, but this album’s cool evocation of 90’s R&B styles (see “Boo’d Up”) is a lovely addendum to a year full of them.

NINA: Sleepwalking
Italo-disco inspired, heavy retro-pop done expertly, with all the best intentions, from cited influences Depeche Mode and Kavinsky. Don’t expect the latter’s heavier electro bits: this isn’t Drive. It’s more delicate than a lot of the usual from the synth-wave/Bandcamp set, but no less evocative (“It Kills Me”), and no less rich in wistful affection for the kind of dreamy 1980s you can only find in music (“Beyond Memory,” “80’s Girl“).

fromis_9: To. Heart
Melissa Johnson does a phenomenal job tracking all the rookie groups in a given year, and brace yourself: there are dozens. It’s hard to bank on any when so many come and go quicker than mouse clicks, so it’s no use predicting if fromis_9 have any staying power. But they have released two EPs this year, and like many of the recent girl groups before them, expertly re-imagine the best parts of early Girls’ Generation (SNSD): fluffy pop confections lighter than meringue and just as sweet.

Chloe x Halle: The Kids Are Alright
Their 2016 EP and 2017 “not really a mixtape” hinted at what this duo could achieve, but the two young sisters, Chloe and Halle, surpassed expectations with their first studio album The Kids Are Alright. In what is becoming the new-traditional, the girls were discovered on YouTube, but prove they are more than their origin story on this electrifying debut that’s so good you can forgive the typo.

Hayley Kiyoko: Expectations
This personal collection of songs is less specific than it is general, a gift to anyone looking for direction, or even just company. It is wonderful having a person in the mainstream whom someone confused or overwhelmed can look up to, and not only is Kiyoko happy to represent, but like peers Dua Lipa, Kehlani, and Kali Uchis, she shows great potential as a pop artist.

Fickle Friends: You Are Someone Else
This British synth-pop duo have carved a commendable niche for themselves in a genre brimming with second-rate hacks and overindulgent copycats. Perhaps this is because the group is committed to relatable dance-pop gems like “Glue” and “Hard To Be Myself” that express a realness often glossed over as inconsequential, laying bare even the smallest anxieties and truths of the everyday mundane by spinning them into noble anthems that make even the tiniest doubts worth chiseling in stone.

Black Honey: Black Honey
The reissue of Garbage’s Version 2.0 has exposed a void left behind by Shirley Manson’s lithe vocals and industrial-sized rock. Black Honey might not fill that hole perfectly, but they could, and lead single, “Midnight Honey” off of this debut album tells you exactly why. Without losing a sense of fun, Black Honey rocks as hard as any mainstream album released this year.

Laurel: Dogviolet
Bedroom singer-songwriters are a dime a dozen, so it takes a lot to stand out from a crowd of pushy opportunists. But Laurel has an ear for melody, one that takes the form of lingering drums and rich piano, of raw guitars pillowed by scratchy vocals. All of these elements come together on Dogviolet, a promising debut album that proves there’s still plenty of room for anyone willing to put in the work to make cliches sound oh so new again.

DIAMANTE: Coming in Hot
Although there’s no shortage of female vocalists in hard rock and metal, most of these powerhouses tend to be found in bands. Very few have made it on the strength of a solo career in the genre. Whether or not DIAMANTE ticks past her fifteen minutes remains to be seen, but Coming in Hot is an especial treat given its draw: there have been many interesting debut albums this years, but none as arresting as this dichotomy — a blue-haired siren delivering tough-as-nails vocals ripped from the throat, straight to your gut. But these are not just the gripes of a teenage brat with a recording contract (and really, it would sill work if it was): DIAMANTE has steel here, in songs like “Bullet Proof,” “War Cry,” and the gritty “Haunted.” It’s the unexpected violence that fascinates, the frustrations of young womanhood given an aggressive, super-melodic outlet with a willingness to fall just a touch too far outside the acceptable, classically-trained, pretty-angry zone that makes it so honest, and so important.

Eves Karydas: Summerskin
When Eves Karydas disappeared to hone her songwriting skills, no one expected her to come back with such razor-sharp precision. Melancholy like Lana Del Rey (“There for You” sounds particularly reminiscent), moody like Lorde, but as charming as Baby One More Time-Britney, Karydas’s debut album is a promising addition in pop’s new emphasis on authenticity and the realities of first-person, lived experience. Summerskin has all of it, and gorgeous melodies on top.

Honorable Mentions

Shannon Shaw: Shannon in Nashville
Frozen Land: Frozen Land
VHS Collection: Retrofuturism
RIRI: RIRI
Party Nails: Past Lives & Paychecks

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]

Top ten albums of 2017

When NPR posted their 150 Greatest Albums Made By Women list earlier this year, Ann Powers summed up the struggle to create “definitive” lists of anything:

In music, lists are what comes after an experiment — the experiment of listening itself, alone and then together, of sharing music and arguing about it and realizing how an artists’ personal expression might be a listener’s personal (and political) one too. A list says no to the possibility that any other list on the same subject might be valid. It forces authority. Or does it? Another way to look at a list is as the beginning of new conversation.

Because it can be difficult to assert authority, I prefer to think of my own lists as the “beginning of a new conversation,” specifically, the state of East Asian pop music today, the trends and future-coming of both J-pop and K-pop, and where it will all take us next year. As usual, this isn’t so much a definitive list of the ten best East Asian pop albums of 2017, open to a vigorous debate I can fight to the death, but a discussion, one that shares ideas rather than forces them down spoonful.

And also, one whose length I hope makes up somewhat for my absence around here this year. As usual, it’s a watering down of the tremendous amount of listening I do all year, a distillation of full-length albums that don’t always represent the year with its many excellent singles, or songs contained on just-okay or bad records. It’s a sort of crude snapshot, but not without its own special kind of joy. Without further ado.

10 Arashi: untitled / w-inds.: INVISIBLE

It’s a topsy-turvy world we live in when Arashi has made their second consecutive top-ten appearance on a year-end list at appears. So what is it that keeps a Johnny’s group like Arashi rising above all other J-pop albums? Despite its sometimes cookie-cutter, personality-void vocals, untitled is full of the cozy J-pop melodies that Arashi has been so adept at since Japonism. And “cozy” is really the right term: like warm updrafts and fuzzy blankets, these songs are perfect comfort-tunes: positive, uplifting, inoffensive, but unapologetically fun. Despite the appearance of a few faster dance songs, untitled continues Arashi’s new image as the fathers of J-pop: serious, nurturing, stern, and mellow, but good for a laugh or two.

As the ultimate symbol of a broad segment of Japanese popular culture, “Arashi” is a heavy burden for the five men of this group to shoulder, but untitled shows how flexible and game they are to adapt and humbly preserve an audience hungry for tradition and time-worn institutions in a fast-paced, unpredictable world that can feel overwhelming.

There are two visible splits within the overall hierarchy of Japanese boy bands: the traditional J-pop groups that fall more along the lines of the well-perfected Johnny’s sound, with their extended song lengths and major keys (see above), and the more Western/K-pop-influenced groups that incorporate everything from hip-hop to EDM to dubstep, condensed into crunchy 3-minute YouTube-approved chunks. The newer groups struggle with these two styles, often establishing themselves in the former while including sprinkles of the latter onto album cuts and B-sides to give them something of an edge (Hey! Say! JUMP is one of the only groups who manage to balance this fairly successfully). In rare cases, the K-pop/Western style is used as a tool for reinvention, a way to evolve a group beyond what has sustained them thus far. This trick seems to have worked for w-inds., who have probably been waiting something like eight years to release INVISIBLE — or at least it seems to have taken that long for w-inds. to find a solid mix of pop and dance and grit worth writing about. I can’t hand out gold stars for potential, but I can for the group most impressively improved, for an album that doesn’t even contain some of the group’s best songs of the year despite including “Come Back to Bed.”

9 Monari Wakita: I am ONLY

The loss of J-pop group especia hit fans hard, but the debut of ex-member Monari Wakita was a cause for celebration, particularly when it was announced that she would be working with VIVID SOUND and Hase Hajimu, Michiru Hoshino’s label and producer. Her debut single “IN THE CITY” gave especia fans even more reason to rejoice: her sound takes only the best elements of especia’s retro city-pop style, and the glee of what is quickly becoming my favorite Tower Records stamp of authenticity: 70’s funk and what Wakita herself calls “danceable rhythmical disco.” Not unlike Michiru Hoshino’s own solo work in general and idol group The Dance for Philosophy in particular (a criminally underrated group that often gets mistaken for 80’s pop revivalists), Wakita’s album is able to juggle both a level of maturity and wide-eyed youthfulness beyond what contemporary idol groups are capable of (despite churning out desperate singles at a rate almost impossible to keep up with). No one would accuse Wakita of being too cool; in fact, her image is largely predicated on being quirky and purposely uncool. As such, I am ONLY is like making a new friend who seems weirdly, but not unpleasantly, familiar and comfortable.

8 Cosmic Girls (WJSN): Happy Moment

Cosmic Girls (WJSN) was my favorite K-pop rookie group last year; their debut Would You Like? and follow-up The Secret both provided all the magical-girl fantasy aesthetic you could ask for. In 2017, galactic backdrops were huge testaments to the very make-believe quality inherent in K-pop, from EXO, to Brave Girls, to G-Friend, but only Cosmic Girls have a logical reason to do so. With their first release of the year amping up the incongruous outer-space rainbows, shooting stars, and unicorns with the very reality-based fantasies of emojis and outdated technology, “Neoege Dahgireul (I Wish)” was as deliberately incredible in the original sense of the word as it was unsubtle. But Happy Moment, their first full-length, pulls back on what we’ve come to associate with the group, giving listeners more of a greatest-hits of girl-pop in the New Millennium. While this might seem counterproductive to all of the groundwork WJSN has laid, it instead elevates them into the higher rank of contemporary K-pop groups by deftly executing every modern style from R&B to hyper disco-pop. While nothing that the album offers is particularly novel, it possesses all the joy, fun, and technical power that the genre is known for — not something that a lot of groups can pull off in a full-length album. While I’m not sure any current K-pop group has the potential to pick up where the major groups have left off — certainly, we’ve had other really great copycats like OH MY GIRL and April — this is the year we all suffered the inevitable end or might-as-well be of groups as beloved as 2NE1, T-ara, and SNSD. The future of K-pop seems littered with earnest attempts to regain the magic and mystery of the first generation phenomenons; I hope they all continue to sound this good.

7 EXO: The Power Of Music

The big K-pop success story this year was BTS, who, against all of the increasing odds and barriers stacked against them, somehow landed performances on both the American Music Awards and Ellen. Despite having only one fluent English speaker, the group presented themselves as both charming and adorably overwhelmed. The incongruity of the group was downplayed in their best attempts to recreate K-pop music shows both in stage and with the addition of screaming ARMYs. Despite the massive fun of a song like “DNA,” the performances felt just a bit jarring, not unlike SNSD’s appearance on late night a few years ago. Even more surprising is that the group hasn’t struck me thus far as anything but an interesting rookie-level group worth keeping an eye on, whereas a group like EXO, who are well-established and have released one of the year’s most casually-brilliant pop albums of the year, won’t be lucky enough to get an opportunity like that when the group is geared towards the overseas Chinese market instead. And frankly, The Power Of Music blows BTS’s mini-album out of the water.

Every year SM Entertainment pulls out all the stops for one of their boy bands, and this repackaged version of THE WAR, which has an additional three cuts tacked onto the front, is the year’s flagship. The tracks range from YG-bangers, the kind we haven’t seen actually come out of YG all year, like “Sweet Lies,” to the slick-pop SM is famous for, like “Power” and “What U do?,” to the languid reggae in single “Ko Ko Bop.” Fans might hand out awards for potential, but I prefer doling out accolades in moments of genuine triumph, and The Power Of Music is an assured follow-up to a string of hit-or-misses that see the group finally catching up to their label mates SHINee.

6 Red Velvet: Perfect Velvet

Cool is, by definition, a word that constantly mutates, adapting to its time and place with surprising accuracy, even as it stays exactly the same. Ever elusive, it’s not a concept that can be obtained deliberately; on the contrary, aiming to be cool seems to be just the thing that makes something or someone uncool. Yet the entire enterprise of K-pop is built on coolness, a cultural coleslaw of style, trend, and depeche mode with turnover rates only slightly faster than Internet memes. Still, there are few groups who can pull off actual, unintended coolness, and Red Velvet seems to be one of them. Aside from their debut, the group has had very few missteps, releasing a serious of dual-concept mini-albums that are both frothy fun and sophisticated cool. July’s Red Summer leans toward the former while Perfect Velvet encompasses the latter.

Beginning with the poppy “Peek-a-Boo,” the album surges through retro synth hooks and casually elegant disco-pop, culminating in the sort of chillingly simple R&B that makes “Perfect 10” almost ethereal. SM Entertainment has been on a role this year, with a similarly flawless, easy elegance on Seohyun’s mini-album Don’t Say No. Despite a sound that hints at a peak, and the fact that Red Velvet has been around for almost four years, the group still feels refreshingly novel, more like eager rookies than jaded veterans. Perfect Velvet is more than another successful album from SM’s SNSD/f(x)-offspring: they’re a group freed from the constraints of their label-sisters, with a sound that is wholly and effortlessly cool.

5 Kumi Koda’s W FACE ~outside~

There’s something irresistible about an album that’s been boiled down to its barest, naked self. Last year, Bruno Mars released one of the greatest pop albums of the decade and like the best of his pre-90’s predecessors, managed to keep the scant 9 tracks under a tight 35 minutes: the perfect length for two sides of an LP. The music world is now split on these two methods: those that cut mercilessly to showcase the very cream on today’s unforgiving, but preferred listening medium for music enthusiasts, the vinyl record (Miley Cyrus’s Younger Now, Beth Ditto’s Fake Sugar, Danielle Bradbery’s I Don’t Believe We’ve Met), and those (still) tied to the endless possibilities of the twice-as-able CD, where double the length can mean either creative possibilities and more to love, or a license to bloat (Ellie Goulding’s Delirium, Dua Lipa’s Dua Lipa, Katy Perry’s Witness). This year, Kumi Koda opted for both and neither.

Instead of cramming as many styles and tracks as possible on her new album, Koda released two separate albums in two different styles: W FACE ~inside~, the “ballad” album, and W FACE ~outside~, the “pop” album. It was no question that the latter would appeal more to me, even as Koda and her team crafted one of the least subtle albums of the year without compunction. Aside from one painless slow song, every track is a crack-whizz-pow banger, from the title track on down to the brevity-is-the-soul-of “Cupcake.” I couldn’t have been more surprised, or delighted, to have stuck with Koda’s albums over the years, and finally found one that impressed me from start to finish. More of my thoughts on the album here.

4 PASSPO☆ : Cinema Trip

Ever since PASSPO☆ switched labels, the group has stopped releasing at such a clipped pace, leaving us with a two year gap between their last album Beef or Chicken? (a 2015 top ten album) and this year’s Cinema Trip. Leading with the cheeky zombie-rock singlePlayGround,” the album contains all of the new Nippon Crown singles, including “Mr. Wednesday” and “BACHELORETTE wa Owaranai,” songs that rely on PASSPO☆’s upbeat, fast-paced, breezy hard rock. While the album doesn’t reach the overall brilliance of a classic like One World, there are some really great chances for opulent guitar solos and thick riffs like “NASA! ~Nande Aitsu Suki nan da~” and “Fukutsu no RESISTANCE.” Cinema Trip isn’t as panoramic or colorful as the title would suggest, but it’s another strong offering from one of the few idol groups in Japan that seem to genuinely understand how to craft a brilliant variety of rock styles as opposed to watered down idol rehashes.

3 BAND-MAID: Just Bring It

BAND-MAID is a group I should hate on principle. We are now living in a state of J-pop that forces even the most talented, musically adept young women to dress in maid costumes. The idea, which sprung from one of the members’ personal experience working in a maid cafe, is one of those gimmicks that seems less a statement about anything the band stands for than a combination of J-pop’s current practice of marketing idols to young men and otaku with the kind of music that might best appeal to them and the ever encroaching cultural practices that corner women in roles of service — maids are the most obvious, but flight attendants are right up there next to them. There might be “anti-idols” and musicians who subvert these images, but to get any enjoyment out of Japanese music, it’s often necessary to separate what you see from what you hear. In BAND-MAID’s case, it is absolutely necessary, as their costuming is an unnecessary holdover best left abandoned.

Their 2017 album Just Bring It showcases just how little of their success should have to do with gimmicks at all: the album, which is written almost entirely by the members themselves, is a raw, energetic, rage-blizzard expressing hostility, anxiety, grudges, and remorse in a tidy package of chunky chords and monster melodies. Miku Kobato’s vocals might seem thin at times with none of the guttural growls that distinguish the hard rock and metal genres, but they are not without passion and a dizzying mix of both self-righteousness and apology. Akane Hirose’s drums are a personal highlight, but all the members contribute meaning and pathos to a genre that can sometimes seem singularly focused on speed and strength when hesitation and vulnerability can do the trick. Just Bring It does both, and pretty much backwards and in heels.

2 Satellite Young: Satellite Young

The 80’s have made yet another comeback, with Netflix-hit Stranger Things leading the pack, but this isn’t the first time we’ve heard hits as decadent and nihilistic as the synth-driven fingering of Satellite Young. The group is young enough to be influenced more by Tommy february6 than Strawberry Switchblade, but they seem to have combined both to create a flawless hybrid of 80’s-tribute and 80’s-tribute-of-80’s-tributes on their self-titled debut album.

From their VHS-scrambled music videos to the imposing wall of synths behind them on the cover of the album, members Emi Kusano, Bellemaison Seikine, and self-proclaimed cyborg Tele Hideo have crafted not only a delicately accurate time-capsule, but also a love letter to nostalgia itself. Like the frenzied, but carefully curated collections that pepper tumblr, the band’s image is a hodge-podge of images of dead technologies and by-gone fashion, imbued with the myth-making worship that only happens when looking back to a time you never actually experienced firsthand, or experienced when young enough to be capable of retaining only half-memories (they sum this up nicely on “Fake Memory“). It’s a sort of hiccup, when everything is imbued with the sense and feeling of the first time, and what the Duffer Brothers in using Walkie-Talkies on Stranger Things called “practically magic” to a child. This is most obvious in the group’s latest release, “Modern Romance,” where touches of 90s and early 00s props are definite party crashers of their signature era, yet still retain that feeling of almost talismanic power that old objects gain when they’ve been replaced by newer models and we haven’t seen them in a long while. Yet while it might seem the group is based largely on look and style over substance, Satellite Young successfully kidnaps all the best moments from the Pet Shop Boys, italo-disco, and waves of twinkling glissandos (my favorite is in “Sniper Rouge“) to create an authentic experience aurally too. Even if it’s nothing but nostalgia, the album, like the sci-fi-homage Netflix show, is a pitch-perfect example of it, drawing upon retro resources without just spitting them out into a formulaic mold, instead using it as a framework to create something new and altogether magical.

1 E-girls: E.G. CRAZY

It’s something of an anomaly that E-girl’s best album is also their last as the large super-unit we’ve come to know and love them as. E.G. CRAZY was released at the very top of the year back in January, and was proceeded four months later by a flurry of announcements that has shaken the group loose of its core conceit. Fan-favorite Ami was leaving to pursue a solo career; Dream, the subunit she was a member of, disbanded, taking the rest of the members with it; new sub units were created; and several members from sub units Flower and Happiness left E-girls exclusively.

After hearing the group’s output since the changes (singles “LOVE QUEEEN” and “Kitakaze to Taiyou“), it’s not a stretch to say that the group will never again have an album as bold and expansive as E.G. CRAZY. The group’s ethos, which rested on the idea of nurturing the talent of several incredible singers and dancers for an audience of women and young girls in stark contrast to the country’s reigning system of idols, might not have been anything new for Avex Trax, the group’s label, but remained a consistent and fortifying breath of fresh air with the debuts of each subsequent AKB-sister group. The album showcases the group at their peak, collecting a long stretch of dance-heavy pop hits across two discs of non-stop celebrations of the life and times of the modern Japanese woman. From the fist-pumping solidarity in “All Day Long Lady” (you can read more about my thoughts on the song here), to the amuse-club-hopping of “Pink Champagne” and “DANCE WITH ME NOW,” the songs pay tribute to an array of iconic pioneers on Disc 2 — the “give me a beat!” sandwiched in “Dance Dance Dance” is still one of the album’s highlights for me — without sacrificing what makes listeners return time and again to the uniqueness, joy, and fun of J-pop at its very, very best on Disc 1.

Due to the length and variety of pop styles, it makes little sense to limit a listening to once or twice — I have been spinning this album regularly since it was released and still haven’t found a reason to let go of the comfort it provided two days before the very world we live in ceased to make any sense whatsoever. Escape is rarely the answer and girls don’t always just want to have fun, but E-girls make it so easy to indulge in tiny escape-bubbles, perfectly formed at the just the moment before they pop.

predia’s “Kindan no MASQUERADE”

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It’s hard to compete with E-girls, who are one of the best J-pop groups we have right now (that the biggest influence on E.G. CRAZY/”E.G. COOL” is 1990’s Janet Jackson, makes it all the better), but I’m slowly warming to predia. They’re striving to have the same kind of edge without the benefit of distinctive and well-known individuals in their group — and the word individual is important here; we can instantly pick out faces and personalities like Ami, Reina Washio, and YURINO (or at least, personalities as they’ve been sold to us), but does a casual fan know any of the members of predia? The latter functions more like a collective unit than E-girls does, and its telling that an inability to connect with the group on any level other than superficial is mostly because none of the members stands out as more talented, or particularly interesting, than any other. I’m sure more enthusiastic fans beg to differ. Furthermore, because predia doesn’t have the advantage of sub units, like E-girls’s conjoining of dream, Happiness, Flower, etc., there’s less chance to see different sides of any of the members in other iterations.

Still, predia functions along much of the same ideology: a tougher, more-than–just-idols group (Avex would call them a “dance group,” I guess) that is built to increasingly appeal to female fans rather than male ones. It’s part of what I like about them so much. The other part is their music, which in a bid to compete against a group like E-girls, increases the chances that they’ll come out with something I like. Their new single “Kindan no MASQUERADE” is a great example of the type of aggressive pop that has become their hallmark. It’s nowhere in the realm of the funky-dance and cool that a group like E-girls now pulls off backwards and in heels, but there’s a studied skill and sharp attention to detail in the choreography, and the absence of a make-believe coyness, the sugar-coma levels of cute of a group and song like, say, Country Girls’ new “Peanut Butter Jelly Love.” They’re essentially incomparable, is what I’m saying, an instant plus.

I doubt that any one member of predia will eventually make inroads like former label-mates PASSPO☆ did, but it’s an appreciated alternative, and if their producers can break through the business-as-usual pop songs to release something that transcends their niche among the more mature sounds of groups like Da-iCE (say, a “Pink Champagne” or “E.G. Anthem“), they might prove some staying power beyond what anyone could easily estimate as their shelf-life. And hey, E-girls aren’t perfect either: they could take some tips on ways to fit all the girls on a jacket sleeve without resorting to terrible Photoshop templates.

2016’s song of the year: Arashi’s “Fukkatsu LOVE”

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It’s hard to believe we used to live in a time before Arashi: Arashi on variety programs, Arashi playing over the closing credits of dramas, Arashi acting in dramas,  Arashi making headlines for the perceived injustice of seeking out romantic relationships in their private lives, Arashi selling mascara and phones and cooking oil, Arashi’s promoting their new single, new concert, new album, and on and on. But when exactly did Arashi become the elder statesmen of Japanese boy bands? Is it just the logical conclusion to aging, to the company’s new marketing image that imbues the members with an impossibly smooth image of playful sophistication and wisdom, the kind that comes when you’ve seen it all and mastered each and every task the record label has thrown at you, from complicated dance moves, the proper time and way to tell jokes, to mentoring your juniors, and dressing up in giant foam popcorn hats?

Maybe it was LOVE or THE DIGITALIAN, but it seems as if Japonism was something of a turning point, as the group’s post-Tohoku album seems to have solidified their status as representatives of the nation, as torchbearers, as a solid and comforting definition of a nation and a pop culture in a time when people are happy to bond over comforting assurances of greatness in the same way generations have during the uncertainty and fear that follows natural disaster. The pride and unity worked, and not just because of the underlying message — even as months passed, it was hard not to return to the album time and again this year, to its Johnny’s-typical melodies and carefully interwoven traditional elements (taiko, shamisen, etc.) blasting through the same old sludge any Johnny’s album can often be. I never would have believed it myself, but here we are. Can I take back its honorary mention in last year’s list to include it in my top ten? It’s an album I keep finding new things to love about.

apptatsuroEven more than Japonism, was the group’s follow-up single “Fukkatsu LOVE,” which already promised to be amazing upon the announcement of its producer Tatsuro Yamashita’s involvement. Yamashita was a beast in the 80’s, the type of king who lorded over his tiny City Pop kingdom as a benevolent, jovial ruler who took the time to nurture his craft and give his songs the care and attention they deserved. Like the best pop music, his songs are deceiving. They’re simple: simple bars, simple melodies. The lyrics? We’re talking Japanese 101, the stuff you can translate after a few days of relaxing with the Oricon Top 10 and a couple lessons of survival phrases. So then why are they so addictive? How do they manage to so perfectly encapsulate their time and place in the canon? How do you resist snapping your fingers and tapping your toes when something like “Love Talkin’ (Honey It’s You)” comes on? And good luck not being bewitched by his work on “Fukkatsu LOVE.” There’s nothing even the most ardent indie-kid who eschews commercial pop for the dreck that Pitchfork sometimes hoists out of the nowhere-deep can do about the fact that despite City Pop’s long comeback on the fringes of independent and hipsters’ record players, it took a group like Arashi to make it more than just a trend in name.

You can break it down, from the first guitar riffs, to the call and responses, to the jazzy breakdowns, to the countless climaxes the song ascends to, all the way down to the lyrics. The lyrics! They contain not one, but two of the most quintessential lyrics in Japanese pop songs of all time. If you have listened to five J-pop songs, you will have heard “yume no naka e” or “ame no naka,” and the best ones will make these cliches sound not like the stale drivel that keeps the Oricon chart floating year after bloated year, but like actual narrative. The disco strings help. The disco strings are everything. Yamashita produced this tribute to his own craft with his first great single of 2016 (the second was “CHEER UP! THE SUMMER“), with subtle tweaks (the speed, for one, is just that bit faster than what he probably first envisioned). It’s both commentary on J-pop and celebration of it: the story of a wounded heart, a lost love, the pain and romance of longing, and the triumph of reunion. Tale as old as time, etc., but from the master of nostalgia, loneliness has never sounded so aspirational.

The B-side, “Ai no COLLECTION” is so successful at its attempt at stealing glory, it’s a wonder they didn’t save the song as a future single (or maybe they did that with “I seek“?); in fact, you can hear a few other songs that must have been composed around these session on their new album Are You Happy?: triple openers “DRIVE,” “I seek,” and “Ups and Downs,” which all feature the same kind of tasteful disco-pop before the album hits a comfortable groove with more of what we’re used to hearing from Arashi (“Bad boy,” “Mata Kyou to Onaji Ashita ga Kuru,” and that ballad that’s actually, really now, great). It’s a successful follow-up to Japonism, though nowhere in the same realm.

apploveforsalWe can argue and complain about how the past decade or so has seen a swift decline in the quality and variety of music that used to define modern Japanese pop music, largely due to groups just like Arashi and their female-idol counterparts in Akimoto-driven AKB-sister groups, even as we praise them for contributing to some of the most fun singles of the year (we all know “LOVE TRIP” was pretty fun). Pop music is nothing if not the definition of fast-paced change, with songs jumping in and out of relevance before we’ve even finished downloading them. Because of this, it’s sometimes easy to dismiss every big K-pop single as just the next song to tide you over until tomorrow’s rookie group debuts, or SM Entertainment unleashes SHINee’s tenth comeback. In Love for Sale: Pop Music in America, David Hajdu recalls how

“[P]eople of mid-century America talked about the body of songs that were currently popular as “the hit parade,” a phrase that vividly captured the fleeting nature of hits. They pass by, one after another. To experience hits is very much like watching a parade, and our impression of a song is like a moment impressed on the eyelids during a blink. Open your eyes, and a new part of the parade is in front of you. The things that caught your attention for one moment — the twirl of a baton, the turn of a melody — is gone, and something else — a decorated float, a pounding dance tune — has replaced it.” (pg 71)

So, too, in Japan, generations removed from 1940, we still live in a world constantly pining for what we don’t have just yet. And still, nothing else released after February 24 of this year has stayed with and impressed me as much as “Fukkatsu LOVE” and its B-side. There have been good songs, some great songs, and some really, really great songs, but none that have tugged at me so persistently that I’ve been forced to re-consider, recall and realize all over again what J-pop is, what makes it different and special, and so amazing, and what drew me to it in the first place.

J-pop needs a group like Arashi, now more than ever. With the demise of SMAP, and the schizophrenic nature of a group like Hey! Say! JUMP (are they standard Johnny’s? Are they K-pop Johnny’s? They have really great songs followed by okay-ish to not-so-okay pop that makes them seem a little hectic. A.B.C.-Z. and Johnny’s WEST might be terrible, but at least they’re consistent). Johnny’s is desperate to pass the torch with swift and silent fanfare to distract from the fact that their longest running, and arguably most successful Japanese boy band of all time has suddenly decided to call it quits because reasons, shaking the foundation of J-pop as we know it — even if you don’t care for SMAP, their ubiquitous presence has touched just about every corner of Japanese pop culture, an impressive feat not worth ignoring.

apparashiareyouHow much of Arashi’s popularity is real versus the careful manufacture of the  company’s almost dynastic, but slowly ebbing monopoly over media? (Think about their resistance to the Internet and its inherent power to equalize and neutralize and divide pop culture, while providing alternatives and putting the nature of its dissemination in the hands of fans and fandoms and ah, yes, I see your point Japanese entertainment companies, but the capitulation is inevitable and you’d be wise to find ways to make it work rather than sulk and refuse to find ways to make it work). I’m not talking about the members’ inherent talent, charisma, and good looks, which they have all so obviously spent years and millions making sure they have or appear to have. But what other boy band had Tatsuro Yamashita? SMAP did have Yasutaka Nakata, once, long ago now, but it was clearly one of his chopping-block singles. It might seem sinister or oddly disconcerting that pop greats like Yamashita would “deign” to work with just another idol group, but on the contrary, history has shown us that only the greats had the privilege of doing so. Perhaps we’re living in an age where the well-respected have decided to join ’em, rather than beat ’em, but maybe there’s something worth examining here. Let’s put it another way: will it be AKB48 or Perfume or Arashi performing at the 2020 Olympics?

Perhaps Hajdu is right and “[i]mpermanence is a necessity of the pop culture ecosystem” (77), and next year we’ll have forgotten about all of this year’s hits, as most of us did 1997’s and 2009’s. Maybe “Fukkatsu LOVE” was not meant to be enduring in any way beyond the space between when it was released and then usurped by its predecessor. But I can’t help but think that the greatest hit makers, Max Martin, TK, Yamashita, Ohtaki, and Nakata among them, somehow managed to crack the code of the medium, without compromising their approach from a place of love and respect for the form and its possibilities. The greatest pop songs last two minutes and fifty seconds with the capability of landing on many arbitrary lists, but the greatest ones linger on and on, longer than anyone ever planned.