Any year-end list is relevant only in context, with the strongest and weakest albums only as good as their release date-companions, and 2016 proves the rule more than ever. There were a lot of good releases, and a few really solid pop albums, but nothing great enough to be called the best of anything, (not, for example, like last year, where I dithered for weeks on which albums to cut out, or something like K-pop in 2011) except the best in a year full of other pretty good albums. Here are ten of them, in no particular order.
GEM: Girls Entertainment Mixture: I’m a sucker for Avex’s dance-groups, and GEM fits in nicely where Fairies went on some kind of unspoken hiatus (only one single release the entire year) TOKYO GIRLS’ STYLE is spiraling out of control (one member quit, and their aesthetic quickly devolving into a stale, throwback-90s tribute act since abandoning their idol status) and FAKY? was, more or less, a failed experiment. Overall, Avex Trax’s dance groups aren’t doing nearly as well as they should this year, mostly because they keep trying to create markets that don’t need to exist right now – lol anyone? While E-girls are still doing the all-female dance group better than anyone right now, GEM are more than capable of holding their own with this collection of loud dance-pop hits. Plus, I’m not in the habit of handing out awards to best-of collections, so while E-girls killed it this year (“Pink Champagne” was a very strong contender for track of the year), since their next original album is due this coming January, I’ll save a spot on next year’s list and let GEM have their well-deserved moment now. Listen: “Do You Believe?” “Baby, Love Me!” “Star Shine Story“
Sumire Uesaka: 20 Seiki no Gyakushuu: Definitely the winner in this year’s bat-shit crazy, hard rock album of the year category. As usual, we’re dealing with a hyper-kawaii female idol with an angle (she loves Russia and Russian things?), contrasting those high-pitched, delicate vocals against music the likes of which would find a comfortable home on a Metallica album. You either love it, hate it, or are slowly getting sick of the sheer number of albums that come out in Japan like this in hopes of both appealing to otaku and breaking through that niche market. Still, Uesaka’s stab at it is quite fun, a 22-track almost-rock opera of Russian space-age miscellany. Junk culture at its most entertaining. Listen: “PARALLAX VIEW” “Inner Urge“
Arashi: Are You Happy?: 2016 was the year J-pop boy bands in general, and Arashi in particular, finally managed to chip away at my icy, stone-cold heart. Only a time machine could correct the mistake of keeping Japonism off the top 10, and I’m determined not to let any mistakes like that happy this year. Though lacking the bold brushstrokes and concept of Japonism, Are You Happy? is a decent follow-up, with enough cheery disco-pop to keep even the most die-hard haters closer than arm’s length. Plus it contains the best pop song of the year, a ballad that isn’t just pandering (“Miles away”), and, most importantly, with the demise of SMAP, the evidence of Arashi’s evolution from a run-of-the-mill Johnny’s group, to the new de facto face of Japanese boy bands. No pressure.
BABYMETAL: METAL RESISTANCE: There’s a lot to process here in my top ten East Asian pop albums list, namely the inclusions of groups and styles of J-pop that I have been historically averse to (idols, I mean idols). But with the challenge to myself to be more open to embracing the ubiquitous new styles of J-pop, comes the freedom to enjoy even the most media-saturated groups that top the Oricon chart to the chagrin of “true” music fans. 2015 saw no lack of effort in my attempt to study and begin to understand what, in 2016, I was able to reconcile: the gap between what I always traditionally associated “J-pop” with and what “J-pop” has become today. And J-pop, if nothing, is more idol-centric and divided on lines of gender than ever before. “AKB48-sounding” and “Johnny’s-sounding” is too simple a description, reducing the genre to its most base definition, but it is also, whether we like or not, as fairly accurate a summary as any outside of indie and critical circles. BABYMETAL don’t exactly fall outside of this circle — their brand of cute young girls as the conduit to some of the heaviest metal you’ll hear out of Japan this year isn’t original, or even the best example, but with a bit of expert marketing, they’ve managed to capture the eye of the public overseas, making just the tiniest dent in the West. In this case, the album isn’t all just talk: it’s a dynamic piece of constantly moving chess pieces, each square an opportunity to showcase a rock style, a drawn-out solo, or an instrumental exercise in long-form musical discourse. While I still believe other groups are more deserving of the fame (I used to think it was a group more like PASSPO☆, but with their move to a major label, the group has crumbled like a house of ancient LEGOs, bearing little resemblance, sonic or otherwise, to the group they started out as), BABYMETAL is an interesting piece of performance art meats genuinely good music. You can read more of my thoughts on the phenomenon here. Listen: “KARATE” “THE ONE“
Tomomi Itano: Get Ready: And quite possibly, my favorite album covers of the year, as well. I was a late-comer to Itano’s brand of pop, unsure and slightly uncomfortable with what angle they were getting at with 2014’s SxWxAxG. Get Ready is a bit too mixed-bag to be a cohesive original album, with teen house-party dance (“COME PARTY!“) mixed with some genuinely interesting creep-factor pop (“Hide & Seek“) and hard-hitting EDM (“You Should Try HARDer,” of course), but the parts that don’t make up any kind of logical whole are fun, if a bit questionable. Perhaps if they stopped pushing Itano in four different directions and gave her sound and image more focus, with the capability of filling in some kind of needed gap in J-pop, we’d get something that resembles a bit more of the solo singer she is capable of becoming. Listen: “COME PARTY!” “Hide & Seek” “Gimme Gimme Luv“
AKB48 Alumnae 2016 Debuts: Misaki Iwasa: Misaki Meguri ~Dai 1-sho~/Minami Takahashi: Aishite mo Ii Desu ka?/Atsuko Maeda: Selfish: Three former AKB48 members released debut albums this year, with Maeda and Takahashi cornering the pop/rock market and Iwasa making inroads with a somewhat poppier, mainstream-friendly enka in the vein of a Yuko Nakazawa. They’re all fun albums without anything in particular to say, though the lead track off of Selfish definitely offers the best of the three, with the album coming in as a respectable mirror image of AKB48’s 2015 album Koko ga Rhodes da, Koko de Tobe! And I rather like Iwasa’s album, even though I’m not very interested in enka, and even though I think, in terms of what the genre demands, she has a long way to go to produce the necessary vocals it requires. Still, since this list is basically turning into a run-down of J-pop at its most J-pop, you can choose any one of these three for this spot while discarding the others and I’d be okay with whichever decision you’d make. They’re really that interchangeable. Listen: “Gomen ne Tokyo” “Selfish“
TAEMIN: Press It: SHINee is one of the best boy bands in East Asia right now: they had an incredible 2015 with Married to the Music, an album that I’ve returned to far too much this year, and while this year’s follow-up, 1 of 1, was a cute, but somewhat gimmicky pastiche, the effort was appreciated: commitment is releasing a cassette-tape version to go with your primary-colored suits and Nick Carter bowl cuts. But TAEMIN’s solo was really SM Entertainment’s stand-out release this year. The group’s most skilled dancer, all fluid lines and calculated movement was a joy to witness, whether on “Press Your Number” or his Japanese solo debut “Sayonara Hitori.” SM Entertainment’s work with SHINee and its solo members (minus Jong Hyun’s Joha (She Is)) is the only group with the most successful attempts at carrying on the legacy of Michael Jackson — and if Michael Jackson is the epitome of pop music (agree or disagree, but recognition is in order), then SHINee is one of the only groups bothering to acknowledge the realms it is possible to take pop with the benefit of his influence every step of the way. Listen: “Press Your Number“
callme: This is callme: You can argue that Perfume’s COSMIC EXPLORER had better singles (“FLASH” is pretty good, “Miracle Worker” is even better), but overall, I think This is callme works better as a package. COSMIC EXPLORER is disappointing: while the trio might be gaining popularity overseas, with stops in more and more major cities on their tour, their producer Yasutaka Nakata has checked out creatively years ago, ensuring that this is a group whose fire will go out gradually, rather than suddenly. It’s too much to hope for a comeback and I’m content re-living the glory days spinning GAME and Triangle (can you believe I once named it one of the most disappointing albums of the year? What a difference time and perspective makes) while keeping an eye out for a worthy successor in the J-electro market. I’m not entirely convinced it’s going to be callme; for one, their songs lack a certain strength and pep, even while indulging in some of the most elegant melodies you’ll find on an Avex release this year. And secondly, their members (three former members of idol-group Dorothy Little Happy) lack the personality of a group like Perfume, whose earnest and formidable members are really one of the only reasons to continue supporting them. Since This is callme is a direct answer to their debut album Who is callme? as neither a derivative slide, nor envelope-pusher, and could, by all logical means, be the conclusion of this somewhat-experimental project, it will be interesting to see what a potential third album would sound like. Listen: “Confession” “Can not change nothing“
G-Friend: LOL: LOL was chosen, in part, for all the similar-sounding K-pop albums it represents then on the strength of just itself. Alone, it’s a great album, but is it really any better than all of the other girl groups re-creating SNSD’s debut? Not really. Fortunately, SNSD had one of the greatest K-pop debuts years of all time, and their most ardent imitators, OH MY GIRL, G-Friend, Lovelyz, and WJSN (Cosmic Girls), have their work cut out for them tirelessly working to soothe the broken hearts of S♥NEs official and casual alike. Though there will never be a group just like Girls’ Generation for a long time, I’m happy taking the scrappy-seconds of groups like G-Friend; all criticism aside, it’s really quite a fantastic album. Listen: “Neo Geurigo Na (NAVILLERA)”
Nicole: bliss: Despite the number of great K-pop EPs and mini-albums to come out during the course of the year, their Japanese-release equivalents can and do often surpass their Korean offerings. AFTERSCHOOL was one such group, and now ex-KARA vocalist NICOLE can be added to the list, with her Japanese-debut album bliss, a quaint, mellow take on the most common-denominator pop known to the genre. Despite this critique, it’s nowhere near as tedious as it might sound: there is still ample space to add hints of something special on an album that is the very median of pop music in the 2010s, and NICOLE’s producers make the most of this stab at inoffensive, disco-lite, average groove, the very opposite of the lengths K-pop will sometimes go to churn out louder-than-the-last trendy hit singles. Both have their place on my list. Listen: “Don’t Stop“
APink: Pink Revolution
Ayumikurikamaki: Ayumikurikamaki ga Yattekuru! KUMAA! KUMAA! KUMAA!
Cheeky Parade: Cheeky Parade II
Gesu no Kiwami Otome.: Ryouseibai
LUNA: Free Somebody
predia: Byakuya no VIOLA ni Idakarete
Wa-suta: The World Standard
Tiffany: I Just Wanna Dance