Have To Talk About Timing: Maia Hirasawa’s “Fragile”

[youtube=”http://www.youtube.com/watch?v=Ws8SKpjvq2A”]

This one requires context. Maia Hirasawa, the Swedish singer who also spends extended periods of time in Japan, has become pretty darn popular in this country. Her single “It Doesn’t Stop” pops up on all sorts of radio stations…indie-approved and the sort of easy-listening stuff middle-aged people love to listen to during car pools…and in commercials. Her new album gets prime real estate at local music stores and I see plenty of other blogs talking about her too. She’s attained legitimate popularity here, becoming a sorta-Feist or Regina Spektor for the Japanese audience.

Now for the other vital piece of information – recent events in Japan. Though it seems simple enough to shoehorn the disasters in Japan into a discussion of a song called “Fragile” to make it seem more significant than it might actually be, Hirasawa’s back story actually demands it. She lived in Sendai for an extended period of time and even mentions this fact in “It Doesn’t Stop.” Now over the past few days she’s had to watch as the lovely city she lived in has turned into YouTube disaster-porn. I imagine it’s harrowing stuff. So here she is performing a song called “Fragile” in black and white in a video recorded on March 14 in Tokyo.

The song itself comes from her previously mentioned album so this isn’t a response to recent seismic disasters. Yet it’s a number that feels eerily linked to these events, opening with the stomach-punch line “I just got a call/from the hospital.” Things cheer up a bit following that lead-in, a few broken bones being the diagnosis, but “Fragile” turns into a rumination on, well, how fragile everything really is. (Not to mention, a line like “I just got a text/from the hospital” works wonderfully in a time where cell phone mails and status updates reach people faster than telephone calls.) The video adds an extra oomph, Hirasawa looking weary as she sits behind a piano and mic before pouring herself into the song. At the end of the clip a message reveals this is in fact dedicated to the victims of the earthquake and tsunami. And Hirasawa looks down, eyes shut.

Similar Posts

  • Pleasant Surprises: Lil’ Yukichi’s Ghetto Pop Idol

    私はちょっとした理由からJ-Popのリミックスにはあまり興味を持てません。というのも、本来のJ-Popのままで十分なのでリミックスは必要ないからです。あと、J-Popがジャンルとして劣っていると示唆していたり、それを直接的に伝えていたりするから、というのもありますね。中にはチョップド&スクリュードやテクノ・リミックスやらなんやらをしないと楽しめない音楽だと思ってる人もいるのでは? でも最近Ghetto Pop Idol を聴いた時は驚きました。この5曲入りの作品ではLil’諭吉というアーティストが、有名なJ-Popの曲をヒップホップ・ビートで奏でています。嬉しい事に、私の好きなきゃりーぱみゅぱみゅとPerfumeが使われています。これにはついつい惹かれてしまいました。ただ、それだけじゃないんですよ!きゃりーのキラキラしたトラック”ぎりぎりセーフ”も、Lil’諭吉が切り刻んで手を加えれば幻想的なビートに一新。他のプロデューサー達が単にテンポを遅くして満足しているのとは訳が違い、原曲の良さを残したまま新しいものを作り上げています。彼がリミックスした“Plastic Smile”も個性的。Perfumeのボーカルを1秒程の長さにカットして、それを上に重ねたり、連続させたり。更なる目玉はAira Mitsukiの”ニーハイガール”のリミックスなのですが、オリジナルに使われている多すぎる電子音を強調してみたり、逆にメローにしてみたりして、曲の中に強弱を付け、上手く展開させています。これがJ-Popの本当のリミックスの仕方です。試聴はこちらから。