Yamapi: An alternative greatest hits collection

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Last week on January 27, Tomohisa Yamashita released his first greatest hits collection. As one of the few male solo singers in J-pop getting it right, it’s a shame that the album is such a pitiful example of the best this guy has to offer. Caught between traditional Johnny’s-pop and more mature dance music, I’m surprised this greatest hits isn’t spread across two discs! Yet, somehow, despite the wealth of singles, styles, and sheer number of songs to his name, apparently his record company was only able to find ten songs that they thought exemplified the best he has to offer. That’s right. Ten.

In case you’re looking for a complete starter kit on Yamapi, here’s a better collection of songs to get you started (I did the best I could, but apologies in advance for the lack of samples – he’s Johnny’s, which means you won’t find any of his work easily on YouTube, if at all). Let’s start with singles, because there are a lot of them, and it’s important to filter out the duds upfront so we can be honest about where things went wrong.

First there’s “Daite SENORITA.” Arguably Yamapi’s most well-known song, “Daite SENORITA” was also his debut single released ten years ago. Yamapi was still a member of the boyband NEWS at this point — actually, he didn’t leave until 2011, which is perhaps why so many of his later releases started doing poorly. Without the added benefit of NEWS fans, it was hard for him to gain a whole new set of fans, which left him scrambling to find them while still providing for the old with his more signature Johnny’s sound. This double life basically defines this guy’s career, so get used to picking through the mess to find the songs that speak to you. It was hard to find any songs off of Loveless worth adding here; there’s six to choose from, and none of them are bad, but none of them became fan favorites. All of these songs signaled Yamapi’s desire for a more “mature” sound, where “mature” means R&B, I guess.

Finally, Yamapi struck gold with “One in a million.” This is pop music at its best: it’s a love song, it’s a dance song, it’s the beginning of songs in the vein of old-school teen heartthrob odes, but with an updated sound. You can’t not include this song: it’s almost genius, and the only thing that could improve this collection is adding the remix he performed in concert as a bonus track. Shortly after this, Yamapi embarked on an epic American road trip across Route 66 to find himself and brought back “Ai, TEXAS” as a souvenir. While that explains the nature of this somewhat gimmicky single, with its twangy Americana, it’s still a great song. The B-sides “Candy” and “PERFECT CRIME” are even better. But since we’re running out of room, we’ll have to leave them behind and tack on “LOVE CHASE” and “NOCTURNE” to represent the EDM-vibe we’ll be hearing more of in a second. I’ve left “Ke Sera Sera” for the purists instead of “Beating,” but let’s just admit it’s a way better song. And I put “ERO -2012 version-” on there, though I couldn’t tell you why. It’s not particularly interesting. I’ve also included the one-off single he did under the name The MONSTERS with Shingo Katori from SMAP. It’s not a bad song and it has genuine gravitas with Katori on it.

You’ll notice that five singles are already on YAMA-P, with the exclusion of “Hadakanbo” (seriously, screw this single, does anyone even remember this song?), anything off Loveless, “One in a million,” (WHAT WHY), and “Ai, TEXAS” (HOW). It’s inconceivable how “One in a million” wouldn’t make the cut; I honestly can’t even speculate upon this matter. If they couldn’t include the original, why not that amazing, unreleased remix that was featured on the 2013 -A NUDE- tour? The world will never know.

So we still have tons of space left now for some of the edgier cuts from his albums; I doubled down so we could fit it all onto one disc. This is where I’m sure everyone’s opinions will diverge. I promise you, this is just my personal preference, so when you put your own playlist together for a friend, you can substitute twelve of your own songs. I’ve chosen a collection of fan favorites, with a balance of standard J-pop and more dance-pop (with help from which songs get the most love during concerts).

Plus, in 2011, Yamapi was also featured on Namie Amuro’s Checkmate!, a collection of collaborations she’s done over the years. “UNUSUAL,” her duet with Yamashita, was one of the new songs used to promote the album. Reader, this song is amazing. I have no idea why they wouldn’t put this on here: you had an amazing veteran of J-pop paired with a talented up and coming male solo singer and struck gold. I would rather have eight more collabs like this than any of the treacle m-flo comes up with. Namie Amuro performs this a lot on tour (without her partner, sadly), Yamapi not so much. One way of looking at it might be that this is more Amuro’s song: he’s guesting on her song, not the other way around. Let’s change that. Let’s put it on the greatest hits album and officially mark this as one of the greatest in J-pop for both of them. And there you have it. A much, much more precise, yet expansive, greatest his collection that both fans and newer listeners deserve. Take note, Johnny.

Singles:
“Daite SENORITA”
“One in a million”
“Ai, TEXAS”
“LOVE CHASE”
“NOCTURNE”
“Ke Sera Sera”
‘”ERO -2012 version-”
“MONSTERS”

SUPERGOOD, SUPERBAD
“Crazy You”
“Hadakanbou (Album ver.)”
“Saigo no LOVE SONG”
“PARTY DON’T STOP (feat. DJ DASK)”

ERO
“Hit the Wall”
“Baby Baby”

A NUDE
“SING FOR YOU”

YOU
“Birthday Suit”
“Konya ga Kakumei Zenya”

ASOBI
“HELLO”
“LET IT GO”

“UNUSUAL (with Namie Amuro)”

There it is. 20 tracks. The closest we can get to summarizing Yamapi’s career in one hour seventeen minutes and forty-three seconds.

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Top Ten Albums of 2014

apptop1010. Kyary Pamyu Pamyu: PIKAPIKA Fantajin

I’m under the impression that this is not the best Kyary Pamyu Pamyu has to offer; depending on who you ask that would be her debut Moshi Moshi Harajuku or Nanda Collection and let’s just say I didn’t care for Nanda Collection. Kyary can sometimes be a mixed bag of sounds, but we can aways expect producer Yasutaka Nakata to sprinkle her songs with child-like xylophones, even when her latest conceit is turning 20 and becoming an adult. Kyary represents the child in all of her fans, even when she’s clearly moving forward in “Yume no Hajima Ring Ring,” – only three albums old, and she can’t help nostalgically looking back before moving on. There’s beauty in that kind of hesitation, a gentle reminder that who we are comes directly from who we were. Kyary Pamyu Pamyu was and, until he takes someone else under his wing, always will be Nakata’s most divisive project, the kind you’re either upset to see occasionally sprouting in his other work like ugly weeds or happy to find expanding like interesting fauna.

apptop909. 2NE1: Crush

Too little, too late? Well maybe, but you almost can’t help but continue to love any project CL is attached to. For a while the promises of an American takeover derailed the group to the point of obscurity, releasing half-hearted singles like the Instagram filtered “Do You Love Me?” I certainly don’t think 2NE1 will ever surpass the highs they reached with 2011’s “Naega Jeil Jal Naga” (think about how it’s still hitting the shores of the West in commercials as if it’s brand-new while the rest of us yawn and try not let the hangover dilute its magic). Still 2NE1 tried their best with this one, and there are still remnants of what made the group a trailblazer: CL’s “Menbung” solo, for one, a song produced almost exclusively to be played loudly in a car with the windows rolled down. The one glaring omission is “I Love You,” replaced by a Korean version of Japanese single “SCREAM.” Even though 2NE1 was left behind in the great K-pop races, it’s nice to see them still soldiering on, despite how much it seems their hearts are no longer in it.

apptop808. Tomohisa Yamashita: Asobi

Yamapi is famous for his dual career aspirations: forever chained to focusing on the Johnny’s pop music that won over his diehard group of fans, he’s consistently dabbling in dance music, particularly in the songs he composes on his own: is Asobi Yamashita’s reward for playing by the rules? A bit of indulgence in a passion that satisfies him musically so he will continue to put out albums like YOU? While I think YOU isn’t necessarily a terrible album, it is safe, a lot more safe that his collaboration with house producers Shinichi Osawa and Yasutaka Nakata. Asobi is the perfect antidote for fans who prefer songs like “Hit the Wall” and “Turn Off the Lights” to “Daite SENIORITA,” and as a dance album, it holds its own against the EDM-heavy banquet that Top 40 still feasts on, years after the genre hit its mainstream peak.

apptop707. Ai Otsuka: LOVE FANTASTIC

As the Oricon charts become increasingly irrelevant, their reflection of both the everyday musical tastes of the common Japanese person, and the quality of music remain at odds. And though Avex Trax had an incredible year, they seem to have less luck with their roster of seasoned professionals than they do with newcomers and girl groups (often the same thing). LOVE FANTASTIC is not the best album Ai Otsuka has come up with, but it it the most complete. It illustrates the warmth and grace she brings to love songs (“Gomen ne.,” “Mawari Mawaru Mawareba Mawaro”) and the fun she has with upbeat pop/rock numbers that sound like indie circuit-approved staples (“LUCKY☆STAR” and “9”). She may not have had the sales numbers, but Ai Otsuka can still have it both ways when albums come packaged in such understated elegance.

apptop606. TaeTiSeo: Holler

TaeTiSeo is Girls’ Generation’s vocal powerhouse subunit, consisting of three of the group’s strongest singers: Taeyeon, Tiffany, and Seohyun. In their second mini album, they have ample room to show off their technical skills and range, though lead single “Holler” sometimes veers a little too close to K-pop’s fascination with endlessly recreating Beyonce’s “Crazy in Love.” My vote for favorite track goes to “Adrenaline,” a song whose drums double down with each escalating vocal track, truly capturing the thrill and excitement inherent with encountering a crush. Holler is a far step up from the poppy Twinkle, a showcase to SM Entertainment’s progress in action.

apptop505. f(x): Red Light

No, it’s not Pink Tape, but SM Entertainment’s answer to one of the best pop albums of all time was more of the same, with surprisingly efficient results. I can understand how some might see Red Light, and K-pop in general, too clinical, with too much emphasis on production, order, and reliability, but I believe that is K-pop at its best. And Red Light has plenty to offer in terms of novelty: rare instrumentation, deliciously catchy choruses, and the right vocalist for every line, utilized for maximum synergy. Read more about this album here.

apptop404. Michiru Hoshino: E・I・E・N Voyage

There’s no shortage of idol groups reaching back into the Golden Age of Idols to resurrect the nostalgia and vivacity of an era that still marked the beginning of a brilliant future rather than the beginning of the end. Ever since idols and idol groups made a comeback in the 00’s after the 90s’ “artist” boom, it only made sense that producers and composers would look backward to see what worked. Mostly, that seems to be cute girls in mid-century fashion, back when we could still glamorize airplanes and stewardesses, those ever beautiful, slim, neatly pressed, highly-coiffed women who existed solely to bring us an extra pillow and refill our whiskey. There’s no shortage of this motif, from Girls’ Generation’s second album, to Vanilla Beans, to the group PASSPO☆ that banks its entire existence upon the concept. This goes hand in hand with the reemergence of shibuya-kei, which largely lagged behind when Perfume came along, now quickly catching up to help struggling idols like Negicco. So it makes sense that former AKB48 member Michiru Hoshino would embrace the concept as well, tackling the shibuya-kei aesthetic for her solo career. The album E・I・E・N Voyage is largely successful, for what it lacks in famous brands like Konishi Yasuharu or Yasutaka Nakata, it makes up for in pinning the atmosphere down to a science. You couldn’t hear greater horns or steel drums on an authentic bossa nova compilation, while the sparse production, sounding largely like it was made out of Hoshino’s bedroom on a budget computer program, adds the modern, 21st century touch (I’m thinking paricularly of “Hanshite…” or “Seikan Renraku-sen ~Night Voyage~.”). In that way, this isn’t shibuya-kei in the sense of nostalgia or a blatant recreation of 60’s jet set pastiche, but in the sense of aligning herself outside of the mainstream idol scene as if getting as far away from her recent past as possible. Many other idols would do well to follow this example, not because the mainstream is horrible, but because it really is just different, slower, anti-AKB pop music that reminds you, for a moment, what it was like when possibilities were more abundant than the number of girls in your super group. Natsukashiii~.

apptop303. YUKI: FLY

Having never been a YUKI fan, I was pleasantly surprised by the unexpected wonder of her seventh studio album. FLY is for the YUKI fans who loved the single “JOY” and wondered where the rest of the songs from that recording session ended up. The first few tracks of the album are light dance-pop at their most simple and effective, with the middle portion are reserved for more standard YUKI tracks with rock and jazzy influences. Unfortunately, the album isn’t given any space to breathe, and so is forced to take on more than it can handle: everything after around track ten might as well not exist, bringing the album’s momentum to a jarring stop in order to re-live the early 00’s worst production sin: just because you can fit up to 80 minutes of music on a CD doesn’t mean you have to.

apptop202. Far East Mention Mannequins (FEMM): Femm-Isation

Far East Mention Mannequins are not from this planet. We’re not exactly sure which planet in which galaxy would have the proper elements to nurture the lives of mannequins but astrophysicists are presumably working on it. Until then, we should just be glad they’ve managed to travel all the way out here and manage to assemble such a talented team of visionaries including LiKi inc., HIDALI, GM Atelier, maximum 10, EPOCH, OKNACK Films, and Avex Trax. While so many J-pop groups in the last half decade are cookie cutter girl and boy groups with little to offer outside of the usual, FEMM is one of the few innovative, truly experimental groups outside of the indie scene (technically Avex Trax is an indepenent label, but their business practices make them all but major label in theory): not only did they eschew physical CD sales to shack up with YouTube (a union that would make every other Japanese major label queasy just to consider), releasing singles in full, each accompanied by bright, splashy music videos that challenge the alliance between movement and music, fashion and the human body. Though I’m not sure how comfortable I am with women essentially posing as living dolls, with all the inevitable objectifying that comes with it, and the novelty of the genre — largely eletcro-pop with a heavy, trendy EDM influence — wears off, it doesn’t diminish how much it stands out from other popular Japanese music in the mainstream. Maybe like Lady Gaga, it’s not about how most of the music is just Euro-fluff the Swedes have been doing for decades, but about how we challenge norms (“Fxxk Boyz Get Money“), question the quotidian and illustrate how little you have to stretch to stand out when every other #1 Oricon single is an Arashi song. It helps if you’re meme-ready. By 2014 we were all dying to buy into the narrative of a pair of beautiful mannequins even if they could never take us home to their leader.

apptop101. Jolin Tsai: Play

Up until this point, the closest Jolin Tsai has come to impressing me with an entire album was 2012’s MUSE, which unfortunately  contained one too many fillers that weakened the glue that made so much of the album’s wink-wink pop pretensions so fun. Without necessarily being able to articulate why, Play, which boasts equal number of ballads as it does dance-pop, feels like an almost perfect approximation of pop in 2014. First, there’s the delightful music video, one of my favorite of the year. While many of Tsai’s videos focus on magnifying pop trends to the point of satire, “Play” focuses on critiquing the image each one of us projects to the world: regardless of whether you’re a pop princess, a rich snob, or a frugal hipster, we’re all subconsciously competing for the scarce resources of attention, and the ultimate self-congratulations of surpassing our peers. Except, that is, for Jolin, who rises above it all, the incomparable, original superstar who can poke fun at herself and her career without missing a dance step. From the album’s cover art and packaging, to the ballads on the album, everything is big and everything is about how we present and look at women as objects, clothes hangers, lovers, and even, as actual people. Only skimming the surface would give the impression that Tsai is a lot more dense than she lets on, merely a puppet to be paraded about in couture. In response, Tsai collaborates with #1 Japanese diva Namie Amuro to say, “I don’t need you anymore / I’m not your girl.” Not to mention the truth bombs she drops all over “Play” and the graceful self-preservation of “Zi Ai Zi Shou“: “My moments of sweet happiness and lonely sadness are not someone else’s novel / Concerning the matter of my most private life, please do not listen to hearsay.” There’s also heartbreaking comfort in the album’s closer, “Bu Yiyang You Zenme Yang,” a tribute to the beauty, surrender, and courage of falling in love. This is an album concerned with more than just the surface, rewarding the effort it takes to unwrap and understand what lies beneath what only appears to be another pop star bending to the power of pornographic imagery to sell albums.

Honorable mentions under the cut. Continue reading

Tomohisa Yamashita’s “YOU”

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Tomohisa Yamashita / YOU / October 08, 2014

Tomohisa Yamashita is either the greatest or worst experiment in current J-pop history. He’s one of those superstars that Johnny & Associates aren’t quite sure what to do with: on one hand, they want him to be the ideal J-pop heart throb, crooning mellow, buttery pop songs and indulging his fan club members (“Sweeties”) at every opportunity, whether by packaging his CDs with undergarments, or seductively unbuttoning his clothes on concert tours. On the other hand, he’s given the opportunity to release some of the most interesting electronic dance songs in J-pop, gems that are hidden away as B-sides that never see the light of an album release; yet we know the management company is aware of the treasure they’ve got, or else they wouldn’t be performed at every concert as if they were hit singles. Because of this, you can literally split Yamashita’s songs into two categories: typical Japanese pop, with a few R&B or Latin-inspired numbers, or heavily Western-influenced electropop. This has been the strategy since day one, when he released his first album, SUPERGOOD, SUPERBAD, a two disc set with the first featuring the former, and the second disc featuring the latter.

While I’m not too keen on the typical Johnny’s numbers, I will say they have grown on me, in the way that once you’ve decided you like somebody, you tend to be a lot more forgiving of his shortcomings. And I do like Yamapi, as he’s known to his fans — he doesn’t have the greatest voice or even a unique stage presence (a lot of his recent concepts, especially the 2013 A NUDE tour, have been inspired by/blatantly copied off of Michael Jackson, Johnny’s current obsession), but he is an incredible dancer and, whether or not he has much say in it, he is making a lot of bold choices in his discography. Are there really any genuinely popular, young male solo artists in Japan right now? And ones who, spur of the moment, apropos of nothing, release a limited edition dance EP with tracks produced by artists like Yasutaka Nakata and Shinichi Osawa? And then, as if remembering this is a member of Johnny’s, quickly following up with an album with zero trace of numbers like “Nocturne,” the amazing B-side to 2013’s meh SUMMER NUDE ’13? There really isn’t. Yamashita is the exception that underscores the rule that sticking to the playbook is what Japan believes is best.

And yet there’s an audible struggle here, between trying to please the young girls and their moms who spent years supporting Yamapi when he was in NEWS and appearing in countless dramas, and a performance artist trying to appeal to a wider, less niche audience. YOU, as almost all of Yamashita’s full-length albums, is a case of the former. Yamashita dedicated this album to his fans and the album is fittingly full of appeals and petty declarations to pretty girls in his more suave avatar (“Birthday Suit,” “Issho,” and “BRODIAEA”). There’s also a couple of rock and upbeat pop numbers, but overall, YOU is catchy and safe, the type of album with melodies so simple, you can start humming them after a single listen.

It appears as though Yamashita’s team will continue to release two types of music for the artist, either perpetually testing out the waters, or else just letting their star indulge in something he wants to do once in a while. It’s fairly doubtful that he would be willing to let go of his steady fan base for less lucrative, but perhaps more self-fulfilling, career choices, but it’ll never hurt to keep one eye on this guy at all times. Depending on which Yamapi camp you spend nights roasting your fantasy marshmallows in, this could be your new favorite album, or one you’ll find a lot more interesting once you see it performed live; it’ll certainly carry the less apologetic fans over until the next “LOVE CHASE” or Asobi. For those of us, it can’t come fast enough.

The next great male J-pop artist will not be Keita Tachibana

Keita SIDE BY SIDE

It’s great when male idols escape their group for a while and go solo, especially when those efforts resemble something like Tomohisa Yamashita’s trajectory. He’s one of the few male idols being given a chance to do something with all that talent he’s got without fear of compromising his bland Johnny’s image (I’m thinking of all the stuff he gets to explore image-wise now, mostly, and not that entrance on a giant pair of lips wearing a full-length white coat on his Ero-P tour). Sure, the audience still has to endure those Johnny’s back-up dancers, the gimmicky underwear packaged with his latest album, and questionable collabs like “Monster,” but they also get to experience his nascent composition skills, such as awesome, ridiculous dance songs like “Hit the Wall” that couldn’t possibly come out of the hands of a person with such little experience. And yet.

It’s just as exciting to see Keita Tachibana of w-inds. get another chance at going solo, as he’s easily the most charismatic member of w-inds. (also the best looking, natch). Unfortunately, SIDE BY SIDE is less than memorable. Listening to this album is like being tricked into another w-inds. album: things are going great until all of a sudden they aren’t. There’s all those songs that would sound just fine if they weren’t so desperate to remake him into some kind of soulful, heartsick crooner. More importantly, it’s frustrating to see a Japanese pop album refuse to go all-in on a sound. The best moments are the common-denominator dance tracks that give some of the great K-pop numbers something to think about (that’s you “Shame on me”, rife with putting your hands up in the air like you just don’t care cliche, oont-oont minimalism), rather than almost everything after the mid-point, when the safer pop numbers kill the rest of SIDE BY SIDE‘s momentum.

I’m thinking now of somebody like Daichi Miura, a man with all kinds of technical ability, but maybe without the push of a team like Tachibana’s. This music video for “Right Now,” for example, is the greatest thing I’ve seen in a long, long time re: male solo singers. The choreography is amazing and Miura’s voice is so sharp when it needs to be, and softer when the lights go down, and then smooth, and then jazzy, and then he hits that falsetto and draws it out until there isn’t any air left in the song. It’s like he has eight different voices inside of him and knows the right time to use each of them. Yet this song barely cracked the Top Ten of the Oricon before it slid way, way down into obscurity, making nary a year end list.

There is room for male pop singers like Miura, Yamashita and even Tachibana. I only hope there’s more songs like “Shame on me” and “Thinking of you” in Tachibana’s future, probably two of the strongest tracks on an album named for one of the weakest. In a year where a lot of great singles are shadowed by unnecessary full-lengths, I’m hoping to see more hard-earned, quality competition for the next great male artist in Japan.

Welcome back appears

The state of East Asian pop music can now be summed up in three words: South Korean. Dubstep. What once seemed a sort of hip novelty has quickly become the most irritating trend that refuses to die softly. It’s greatest example, Hyuna’s “Bubble Pop!” is a prime example of what can make it so difficult to care about: unlike miss A’s expert weave of electro house in album Touch, “Bubble Pop!” strives for at least three different genres without providing any glue. But I’m getting ahead of myself. I’ve missed a lot. And I’m going to make up for it by talking about three or four of my favorite, least favorite, and most interesting musical moments of 2011, April onwards; blink and you’ll miss the Cut Copy reference.

Yasutaka Nakata, etc.

There are a couple of different ways to approach some of the best music that was released in 2011, and Yasutaka Nakata’s work is as good a place as any to start. Yes, Perfume’s JPN was annoying in all the ways it was the best: as long as you didn’t think too much about how it was mostly a singles collection with very little original material (and everyone did), it’s really a generous serving of everything Nakata does so well, without all the annoying self-involved navel-gazing that can happen on albums like STEREO WORXXX.

Kyary Pamyu Pamyu also happened this year, in case you didn’t know. And though it’s a shame one of her songs ended up on JPN, she still brings something quintessentially Japanese to the mix. I guess I’d like to believe that everything she does is tongue-in-cheek, which makes what she has to say about being Harajuku’s fun house mirror that much more worthwhile. But even if it wasn’t, there is nothing ambiguous about what she, or Perfume are doing. The titles of the albums (JPN and Moshi Moshi Harajuku) are homages in themselves, proud labels that no Korean pop star wants to stick on themselves. Yes, Perfume is on a major label now and Kyary seems to have made some kind of inconsequential mark on Scandinavia, but these aren’t artists trying to do or be anything different than they already are. This is Japan. This is our pop music. Irrashaimase.

South Korean Pop Music

K-pop is everywhere: it’s on The Singles Jukebox, it’s being championed by rock critic Frank Kogan, it’s on David Letterman, it’s being analyzed and dissected in really awesome, really smart ways all around the web. And that 2NE1 video! Best pop song of the year? You don’t say! It’s amazing how much effort has been put into making K-pop a thing and how quickly it’s caught on when compared to the months and years and decades that Japanese pop/rock has tried to crawl into the market (J-pop could take a note here and there). Then again, it’s also amazing how long Korean pop music has actually been around, and how little anyone seems to think it existed pre-2NE1.

Yet I love how exuberant and free of burden all of the songs seem to be: they are unfettered by turmoil or angst or the general day to day shitstorm of life. In some ways, this creates quintessential pop narratives, even when it’s bizarre and sometimes tasteless. It’s the type of sound that practically begs you to feel guilty, and if I believed in guilty pleasures, I might feel somewhat paranoid about my enthusiasm for stuff that still kind of makes me cringe sometimes.

Still, for every Big Bang and 2NE1 and “Hot Summer” and “Oh! Honey,” we get “Bubble Pop!” and “FACE” and a neverending series of Japanese language crossovers. I like Korean pop, and as anything I really like, I want to see it grow and evolve and stop resorting to dubstep breakdowns or cliche representations of gender. I want to see it go beyond crafting brilliant dance singles to craft one, just one, slow song that doesn’t sound like it was written for Toni Braxton in 1994. One of my top ten albums of the year was a Korean pop album, but it wasn’t one you’ve probably heard much about: it’s Neon Bunny’s Seoulight and it was not performed on Inkigayo or accompanied by a career-defining music video. It has no trademark single easily recognizable by a syllable or phrase: it’s just a great album, made up of more than mostly filler. There’s a lot of debate about K-pop’s longevity, it’s ability to really go anywhere, but whether or not it continues to crop up on Pitchfork or simply recede into its own home field niche market, is irrelevant: we’ll always have 2011.

Group Therapy

2011 was also pretty great for EDM of any kind: if at some point you considered yourself a music fan this year, you probably heard it somewhere, even if what you heard was just pop music’s appropriation. My favorite song of the year was probably Above & Beyond’s “Sun & Moon.” But the most disappointing album of the year (besides Cut Copy’s Zonoscope) was Group Therapy, the album on which it was released. When you coin a defining phrase for a genre, practically renaming that genre in the process, there’s a type of pressure so immense it threatens to collapse on itself. Group Therapy wasn’t a terrible album, it just wasn’t as epic as it should have been. Or rather, it wasn’t as therapeutic as its live component was meant to be — enough that speaking about seeing the group live on the North American leg of their “Group Therapy Tour” makes me a bit uncomfortable.

There were a lot of albums this year that seemed to be just a little less ambitious than advertised: Shonen Knife’s Osaka Ramones was supposed to be a fun covers album, instead it was just another useless, mediocre version of songs that don’t need any improving, remixing, or alternate versions. Ayumi Hamasaki’s FIVE, “BRILLANTE” aside, is now that mini-album sandwiched between what are now two really interesting albums (whether they are conventionally bad or good is irrelevant). I liked Hunx and His Punx’s Too Young to Be in Love and Mind Spiders’ self-titled debut, but these are not albums I have given much thought to since the year ended. Yet I still think about Hamasaki’s impromptu marriage and her sincere belief in its grit, this album, Love songs, that is so clearly written for and about it, and then, last month, Party queen, and how quickly we are able to change our minds, and not bother to suffer over it.

In a way, trance music is the best place to tread this territory, as it’s probably some of the saddest music you’ll hear. There’s a lot of crossover between electro and prog right now, a lot of stuff like BT & Adam K’s “Tomahawk” that illuminates whole new corners that EDM has forgotten to scavenge, but there is still the “Never Let Me Go“s next to the “Let Go“s and the “Never Go Back“s with the “Start Again“s. It’s in this frame where it becomes visible that sometimes Group Therapy tries so hard to make a statement that it forgets to say anything. It also forgets its own purpose in the process: trance music is meant to be played to massive crowds and a sea of bodies so dense, one’s life is threatened by an enthusiastic groover’s elbow. For an album summing up what makes the genre so unique, so all-encompassing, there’s a lot of shuffling self-reflection, a lot of time spent alone among the aural equivalent, with minimal instrumentation and lyrics that sometimes border on the nonsensical. Though it succeeds in avoiding the sometimes too-literal weakness of vocal trance, it fails to capture what the lead singles so simply summed up in a few lines: I’m sorry. I’ll never get over you. I won’t forget about the people I love. This song is going to help me. That’s what music does.

Speaking of the Power of Music

Ayumi Hamasaki’s concerts haven’t exactly been the stuff of legend lately. They’ve just been a lot like what everyone else is doing with more useless dance interludes (really, it doesn’t take that long to change an outfit). But after the earthquake in March, she decided to nix the “~HOTEL Love songs~” thing (a full-blown concept based around the idea of her and at-the-time husband Manny, I’m guessing) and bring it back to the one thing she seems to be forgetting about lately: her music. The “POWER of MUSIC” live is Hamasaki at some of her finest diva moments (even though her vocals aren’t always up to the challenge). There’s a simple stage set up in what alternately resembles a roulette wheel and a giant record player with some moving pieces here and there, but that’s about it. Songs get whole new arrangements or take their cues from classical versions we’ve heard from previous remixes. There’s minimal monologuing, which is always appreciated. The song choice is a little dubious, but it’s more a chance to show off how lasting and epic Hamasaki’s back catalog is: it’s a huge pay-off for long-time fans who have context and experience to witness how thrilling it still is to hear “Boys & Girls” live or how huge “A Song is born”‘s leap can be from one continent’s tragedy to another. There were rumors a while back that this might be turned into a live album, and for Hamasaki’s first and only live album, I don’t think Avex could go with a better choice. It’s pretty seminal in its own way, complete without being overwhelming, stripped down without losing its lushness. And also, she looks like a goddess, so there’s that.

It’s the opposite from my other favorite concert released in 2011, Tomohisa Yamasahita’s “Asia Tour 2011 SUPER GOOD, SUPER BAD.” Where Hamasaki brings herself and the crowd to tears, choking up lyrics like they’re repressed memories, I’m fairly certain there is not a single song Yamashita actually sings live. It’s two hours of really incredible Japanese pop music, bereft of audience banter and any kind of actual emotion. I don’t know why this concert happens to work, but Yamashita is actually a fairly superb performer. No, not exactly the type of guy who will happily run through all the concert gimmicks while refusing a paycheck for the encore, but certainly a professional entertainer. The outfits are a bit Justin Timberlake circa N’Sync, yet I am still all about feeling this man in his jewelry or whatever the hell that line in that amazing song that has yet to have a studio release is (seriously, help me out): but he had an incredible dual album of the same name, a duet with Namie Amuro, and hasn’t been around for two decades, so he’s someone to look out for.

Finally, “Perfume Live @ Tokyo Dome” was more a victory lap, but it was still super fun. There’s some cool lasers and minimal fireworks at the end during “POLYRHYTHM” (which, if this doesn’t provoke some sort of welling up of emotions, either because you are a huge fan and seeing Perfume play the Dome is a sort of triumph you can share in, or because they hit those ‘works at just the right moment, when you’re exhausted from just watching all three of them sweat it out in dance routine after dance routine, and you’re forgetting how many songs there are in their discography but damn, “POLYRYTHM” is still one of the greatest pop songs ever put to sound system and it’s just so lovely), but it’s Perfume, and it’s still pretty amazing how far they have come and how far they can still go.

Oh and one more thing

“Born This Way” is a great album. Even after all that squawking about herself during endless concert monologues, and that annoying title track, there is something fundamentally wonderful about Lady Gaga’s album. There are open roads, confessional bar stools, heavy metal lovers, and a sheisse on top of it. Juggling Christian metaphors, big Broadway numbers, and teenage punks running around with their parents’ hard-earned money is almost more than one album can take, but Born This Way‘s single failure of trying on too many things at once is like saying that human beings are failures for doing the same. This is Gaga’s statement album, and beneath the ode to an ex-boyfriend that seems to choke every song, there is also some pretty fallible, ugly, and beautiful music.

Without further ado, here are my “best of” lists for 2011.

Top Ten Albums of 2011

01. Perfume: JPN
02. Lady Gaga: Born This Way
03. Neon Bunny: Seoulight
04. Kyary Pamyu Pamyu: Moshi Moshi Harajuku
05. Yelle: Safari Disco Club
06. Tomohisa Yamashita: SUPERGOOD, SUPERBAD
07. Cults: Cults
08. Escort: Escort
09. Kaskade: Fire & Ice
10. Hunx and His Punx: Too Young to Be in Love

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