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Category Archives: Music

Nostalgia Ultra: FNCY And Pan Pacific Playa

Whether because current tastes veer towards long-gone times that were significantly better than the current state of the world or because we are stuck in a algorithmic-dictated dystopia of “remember the ’80s?” sales pitches, nostalgia pretty much dominates large chunks of music communities around the world — including (especially?) in Japan. The past week has seen two of the more interesting takes on the past, one playing for mainstream listeners and the other gunning for weirder corners…but both at least doing it better. Let’s go with the prior first. The trio of G.Rina, Zen-La-Rock and Chinza Dopeness found success last year with “Seventh Heaven,” a bit of late ’80s pop-rap strut. They’ve gone and formed a new group called FNCY, and debut number “Aoiyoru” pretty much doubles down on what they established last year — down to a video set in another Asian country, tapping into a larger trend of Japanese artists kinda exoticizing countries nearby. All sorts of landmines can present themselves when digging into the past — but if you can pull it off well, it usually doesn’t matter. And they do! It is propelled by a good beat, and they tag-team in and out just right, building up to a sweet hook provided by G.Rina. Maybe a touch too aware, but hits all the right marks. Listen above.

For those seeking a more warped take on nostalgia, long-running collective Pan Pacific Playa delivers with the wonky Fuku To Tomi https​:​/​/​pushap​.​theshop​.​jp/ compilation. They get tagged with the throwback term mostly because of artists like BTB (here, BTB Tookou), who lean in on the talk box for easy remember-the-past points. But they also incorporate far weirder and more interesting artists, here highlighted by the neon bounce of Nou’s “Japan Splash,” or the easy-going tropical vibe of Palmstreet’s contribution. And then you get some real curveballs, like a manic bit of juke from Paisley Parks, or the malfunctioning electronic of KES’ number. Splashes of yesteryear come up — but they get offset by something far stranger. Get it here, or listen below.

New Tatsuro Yamashita: “Theme Of Mirai”

Maybe the only way to write a song that’s upbeat about the future in 2018 is to approach it from a place of nostalgia. Tatsuro Yamashita might be one of the only artists today who could pull it off, partially because he’s not someone anyone expect to grapple with the present exhaustion of 2018 (nor would most Japanese listeners want that) but mostly because he’s just the best at creating upbeat snapshots of what’s around the bend — I’m sure his songs made people just as giddy for tomorrow when the actual economic heyday of Japan was steps away as listening to “Theme Of Mirai” today (with no such bubble on the horizon) does. Yamashita is Japanese pop’s premier tinkerer, so this number (written for a movie, which I can only hope resembles the “Line Rider” style art at the beginning of the above clip) features all the “gyu! gyu!” backing vocals and piano notes in just the right place, to make the twinge of excitement at what is to come all the more palpable. And that’s before the saxophone solo, or the surprisingly understated hook. “Theme Of Mirai” feels pulled away from any other contemporary music trends — I mean, even city-pop-ish groups that kinda take cues from Yamashita are just capturing a “now” centered around chilling — but maybe that’s the best perspective to try to sell optimism. Listen above.

New Mass Of The Fermenting Dregs: “New Order”

Mass Of The Fermenting Dregs No New World is as welcome a surprise as you could ask for in 2018. The band largely stopped putting out new material following 2010’s triumphant third full-length from the trio, an urgent and propulsive set of songs that shoved against the usual placid pace of Japanese rock music. They re-emerged last year, with a song that sounded more fitting for end credits than anything else. Wisely, that’s what “Slow Motion Replay” basically serves as on No New World, with “New Order” leading off and asserting that, no, Mass Of The Fermenting Dregs still bring that energy rush to their songs. Like their best numbers, the band waste no time, driving off with the vocals zooming into focus a second in. The mood feels a little more downcast on verses, not because of changes to tempo but just because of how the singing comes off as more reflective, a mood only doubled down for the hook. But even if a tinge of melancholy has snuck in, the rush remains, and few do it better. And from there, they barrel into a welcome highlight of 2018. Listen above.

New Firedrill: Dog House EP

The newest from Datafruits founder Tony Miller’s Firedrill starts off by going all in. “Aho House” ramps up the acid house elements from the start, but rather than settle down it keeps on stacking up, the song growing busier and scragglier as it moves along. But the groove remains, even as it Jengas itself up more and more. It’s an attitude that carries over to the other songs on Dog House, from the squiggly “The Jack Crystal” and the click-clacking “The Doos.” Get it here, or listen below.

Wavy: Tsudio Studio’s Port Island

A surefire way to grab this blog’s attention is to take familiar retro ideas — say, anything inspired by (or straight samples) from city pop — and put a new spin on it. Kobe’s Tsudio Studio does just that with the harbor-cruise-paced Port Island, one which embraces the slower side of the style to come up with something closer to what Hiroshi Sato might have actually thought up. The tracks here take their time going anywhere, and on numbers such as “Mikage” they let filtered vocals and cruise ship percussion marinate, creating melancholy trips that often burst open thanks to timely saxophone solos. Opener “Tor” balances out tropical woodwinds with fluttery synth lines that give the whole song the feeling of a mirage, while “Azur” reduces everything to syrup, at least until the song progresses to a point where Tsudio Studio can let the pace rev up again. This whole album is an experiment in actually embracing the breezy rather than just stripping pieces off of what was once breezy to make a meme. And the end result is chill and frequently world weary. Get it here, or listen below.