The J-Music Lovers' International Assembly

[Freakonomics]

I love this

https://www.youtube.com/watch?v=9he3nnwuVG8

 

You should look into Goto Tsugotoshi's other production with the other 80s idols. He has a unique production style that mixes oriental synths and a pulsating bass line that makes his songs stand out from other idol productions in the 80s.

 

E.g.

 

https://www.youtube.com/watch?v=V59G-KNxUDM

 

and

 

 

 

 

i am disappointed with the new arashi album y'all....

 

AYH was so much better.

 

Almost forgotten that they've released an album. Need to put that into my backlog.

 

Personally they haven't topped Japonism for me. Or maybe I'm too biased to Akatsuki.

[Freakonomics]

What are album you guys like this year?

 

Personally I've haven't listened to many of this year's albums. The only ones that stood out to me are Kuwata Keisuke's Garakuta and INABA/SALAS's CHUBBY GROOVE obviousbias/.

 

Most of my discoveries album wise were in the 80s and 90s. I think going through those albums strengthened my adoration to Yuming's music especially. I've never seen an almost flawless run of albums from those eras.

[Freakonomics]

Will Namie ever agree to appear on any of the other big year-end shows, now that Kouhaku is out of question? I feel like if it has to be one, it's probably going to be Music Station Super Live, if Tamori asks her personally.

 

If that happens. I see as it as similar to how Hikki was on Mste where it was a private filming with no studio audience. An entire episode dedicated to her with her chatting with Tamori one on one.

[Freakonomics]

So I'm officially heading off to Japan on the 4th of December. Well technically we are doing layover in Japan before we head off to Seoul for 4 days to with a very tight itinerary (including a DMZ Tour!). My sister managed to snag a ticket to see BTS she wanted to see really badly so I'm happy for her. 

 

On the japanese side of things I have a quite comprehensive concert schedule going for a good month as the following:

• The Yellow Monkey on 10 December in Tokyo Dome
• Kuwata Keisuke on 16 December in Kyocera Dome
• Eikichi Yazawa on 19 December in Nippon Budokan
• Big Bang on 21 December in Kyocera Dome
• B'z on 23 December in Fukuoka Yafuoka Dome
• UverWorld on News Year Eve in Marine Messe Arena
• Porno Graffitti on 11 January in Morioka Cultural Hall

Of course I would've loved to see Namie Amuro live but they would've required me to stay an extra month on top of applying for heavily contested tickets.

 

So I'm quite satisfied overall on how I managed to line this up. I'll definitely give an account of my trip and concert experience once I get back so watch this space.

[Freakonomics]

I hope you have fun!

Haha thanks!

 

How did you manage to get all these tickets?

It takes a lot of pre planning. A good way to scan for potential tickets is to go on the major intermediary ticket sellers (They’re also known as play guides) such as Lawson, Eplus and ticket-pia. Look up any artists that you’re interested to see if they play on the days you’re there. The hard part is to apply through the lottery process since it’s luck based and the odds of winning depend on supply and demand. Some of the concerts also have general sales which are basically sales for leftover tickets after the lottery rounds.

 

For my case it’s was a mixture of both and I’ve been relatively fortunate in landing those tickets even if I don’t have any control over where I’ll be sitting,you can only influence it by how type of seats e.g s class tickets are closer to the stage than a class tickets.

[Freakonomics]

I'm back from Japan and Korea!

 

Overall a terrific experience and managed to operate within the country decently despite my horrendously rudimentary Japanese. Did a lot of touristy stuff you'd expect from a tourist.

 

In terms of the J-pop side of things, I've engaged with it from various channels including hearing various forms of Japanese music depending on the area you're at, participating in karaoke and not managing to embarrass in front of locals when they pick their typical karaoke favourites. Of course, 9 concerts later I'm really grateful to have attended them. Every single one of them a great experience and markedly different in terms of fan-culture such as the fan choreography during a particular song are quite elaborate.

 

It's interesting to witness what you've been hearing about on the internet in terms ofwhat constitutes as popular in Japan. Let's just say there is an evident fragmentation of Jpop into two distinct markets; the one that caters to a dedicated fandom and another that appeals to the general public. 

 

Dancing Hero by Oginome Yoko in particular was played very frequently in most of the places I've been.

Little cultural tid-bits like visiting an EXILE professional gym in Nagoya, the various ad-buses featuring whatever local act ,the local 48G theatres and visiting the gigantic Tower Records in Shibuya were highlights.

 

Will definitely go back for a second bout in the future.

[Freakonomics]

Been so out of the J-pop loop lately. There hasn't been many releases that impressed me (except Suchmos' 808) so I feel like I'm a bit of a musical rut.

 

But in light the recent developments there some stuff I'd like to comment on:

 

1. Looking forward to Shiina Ringo's tribute album. The list of artists contributing is quite interesting and diverse, I'm particularly anticipating's Inoue Yosui's cover of carnation.

2. There's been talk about Kuu's new album being bleh as usual, so I'm not really leaping myself to go listen to it after consecutive disappointments from her past few albums.

3. Yonezu Kenshi is really taking off right now, I heard Peace Sign and Hanabi Uchiage played quite frequently when I was in Japan. He's incredibly popular with the youth (under 25) from my observation. Personally, he's a hit and miss artist but Lemon is quite promising. 

4. Kyary is finally doing away with her shtick but she's lost all the momentum to register on Japanese' cultural consensus. I don't think anyone is expecting a huge comeback since it's incredibly hard to regain lost momentum once you lose it.

5. Still waiting on that Sakanaction studio album. Kageroh is lovely, and I guess it'll hold me over for a while.

 

What's the consensus on Gen's Doraemon? I like it, but it feels like a bit of a rehash of Koi.

[Freakonomics]

Random thought:

 

I've always heard about how hierarchical the jimushos' are but this video really says it all how seniority has the clout to push all factional squabbling aside.

 

 

https://www.youtube.com/watch?v=aMNlVpZDTHo

 

That being said, it's incredibly eerie how Matchy's position in JE was so powerful so that the Ijima and Julie factions are actually compelled appear together to celebrate his 35th anniversary. Of course now it's a moot point now since Julie's faction won after Ijima left and SMAP disbanding. But it's definitely food for thought on how internal agency politics have an effect on the activities of their artists.

[Freakonomics]

TBH I'm still confuse with these fighting. Can you elaborate it again? Is Ijima the one with the family or is that Julie? And do you think with Ijima leaving, that left Johnny to be usurp by other Japanese male groups?

 

I'm probably not the most knowledgeable on the inner workings of the Jimushos but my understanding is that for JE's case, there was some tensions around succession of the company once Johhny Kitagawa passes away. Julie and Ijima informally carved up their respective factions with SMAP leading Ijima's faction and Arashi leading Julie's. 

 

Ijima left because Mary Kitagawa (Johnny's sister and Julie's mother) basically forced Ijima's hand to either renounce any claims of succession or quit. Ijima did the latter which is part of the reason SMAP disbanded since Ijima was their manager since debut. So it seems Julie is now the heir apparent with her taking over the management of Ijima's groups e.g. Sexy Zone, Kis-My-Ft2 etc...

 

As for the future state of JE. They're evolving but incredibly slowly but they make this up through their existing networks and influence in the entertainment industry. There's always going to be a threat from other companies but I think their position is safe for a while. I really can't foresee an upheaval in tastes for male idols in Japan. LDH doesn't really threaten their position since they have different niches. As long as their artists continues to get hit dramas, films, variety shows they'll be fine. It's a self-perpetuating system really, why else does JE still exist since the 1960s?

Edited April 15, 2018 by Freakonomics

[Freakonomics]

https://www.youtube.com/watch?v=LwmnVFwdQ7Q

 

I'm obsess with this Akina song right now.

 

Great taste! Are you a fan as well? Honestly her 80s material is near perfect! 

 

Fun Fact: BLONDE was composed and arranged by BIDDU who was famous for producing Ku-Fu Fighting.

 

Not to knock anyone success, but it always tickle my stomach how easily kpop idols get Domes and Arena tours. While actual J-artist have to wait years. 

 

I don't really pay attention to numbers, but do they legitimately be selling out these concerts. I know Japan is full of concert goers. 

 

I think a lot of it was a posturing exercise by the k-pop industry. I still remember an article about 2PM having some "sakuras" to fill in the empty seats to give off the impression that they're popular in Japan than they actually are.

 

Anecdotally, I actually went to a Big Bang concert in Kyocera Dome Osaka back in December last year which happens to be one of the biggest venues in Japan. The venue was only half-full with only the arena and 1st level being relatively filled out. The second level and balcony seats were unused and covered. Which leaves me thinking why they couldn't have gone for a smaller venue if they knew they didn't have the demand to fill the venue. 

In the same month, I went to a Kuwata Keisuke's tour in the same venue and the whole dome was filled to capacity. Concert attendance is a pretty good proxy for measuring an artist's popularity in Japan. It goes without saying that Kuwata-san has a significantly bigger pulling power than Big Bang. 

[Freakonomics]

While we're on an Akina buzz. Her recent work is just as sublime!

 

https://www.youtube.com/watch?v=jov7EvzhmpY

 

On a slightly different topic. This video was on my feed:

https://www.youtube.com/watch?v=ndWSWli3dMw

 

I was kinda laughing at Tsunku being there with Sharam Q. That VTR showcasing TK biggest hits must've made him realise that there was more money for him in production and creating an stable of acts centralised to a single producer. You can totally sense the utter envy! And Lo and behold, it eventually spawned the juggernaut that became Hello! Project  .

Edited July 10, 2018 by Freakonomics

[Freakonomics]

What a jam!!

 

 

 

The greatest has-been collab of all time

This bops! They might as well add LISA into the mix for good measure to make a true J-R&B throwback collab.

 

I didn't know DOUBLE had a comeback. Is she just back to releasing once in a blue moon now?

Edited August 5, 2018 by Freakonomics

[Freakonomics]

I can understand why this song becomes MISIA's new (moderate) hit.

 

 

 

This sounds more like a GreeeN song than a MISIA song which explains the featuring. GreeeeN tends to have a habit of writing dorama fodder which I'm usually lukewarm to at best, but I can see why Japan would eat it up. I know R&B is dead in Japan but I hope MISIA revisits it someday.

 

And as usual, Onitsuka Chihiro's new song is giving me all sorts of nostalgia...

 

 

 

Chihiro is also known for her dorama theme songs so her new track sticks with what she does best. I'm a sucker for her music so this is definitely a welcome comeback from her.

 

 

In other news Pocket Biscuits had a one-night reunion yesterday. If anyone is not familiar with them they're a trio of comedians-turned-rock band with a strange blend of music. I think pop rock with electronica/industrial music probably best describes them. They were really popular in the late 1990s as well.

 

https://www.youtube.com/watch?v=GT4WtsR_IEw

Edited August 26, 2018 by Freakonomics

[Freakonomics]

I fell in love with that song, famous JAL CM, sing by my favorite 80 singer Kiyotaka Sugiyama

 

Sugiyama Kiyotaka - Boku no Ude no Naka de

https://www.youtube.com/watch?v=-Ek8QHtCaOU

 

can't believe this song is 30 years ago and was write by Aki-p.

 

Great taste! It's a rare sight for anyone who talks about 1980s AOR here. My personal favourite songs from him are Sayonara Ocean and Glass no Palm Tree.

 

 

On another note, need to put the new Mr.Children album on my listening backlog. Does anyone have commentary on it?

[Freakonomics]

^

Thanks, I'm personally not the biggest fan of their "cabaret-rock" style, but that's my personal taste. But hey, they can't always please me  .

 

 

I can comment on it a bit (shockingly) if you'd like an idea of what you're getting into.  To give some context, I would say that this is probably their most guitar-forward album since 2000's "Q"; the band set is front and center in just about every song, though they haven't eschewed everything they've learned about arrangement in the years since.  Atmospherically, "Juuryoku to Kokyuu" is probably closer to "Versus" than "Q" or "DISCOVERY" though, as it's not as dark as either of the latter two can get at moments (especially "DISCOVERY").  However, that doesn't mean it lacks weight, since I think there is a very distinct narrative arc to the release, despite Sakurai talking about how they focused more on the sounds than the lyrics this go-round.  On that note, they also seem to take a bit of outside influence, both from British rock and from younger Japanese bands as well.  Still very distinctly them overall, but it's obvious that they're trying something a little bit different (there are three songs on the album that run 3:30 or less timewise, which is definitely not typical for Mr.Children).

 

Based on interviews, the band are treating this record as a kind of interest check to see what direction their fans would like them to move in going forward.  As such, it's definitely a bit more divisive among the fanbase than "REFLECTION" was, as the latter had something for just about everyone that liked them.  Personally, I like it though.  Not exactly sure where I rank it in the canon yet, but I've come to really appreciate it for what it is.  As a note, however, "Juuryoku to Kokyuu" is definitely a grower - you will like it more on repeated listens than you do on your first (as a bit of advice, try listening to the first song right after the last one at some point).  Fortunately, the record's only 48 minutes long, so it's probably the easiest of Mr.Children's recent albums to spin.

 

That's what I'd call my general primer on the album, though if you have any more specific questions, I'd be happy to have a go at those as well.

Thanks, admittedly I'm not the most well versed with their albums. I have only gone through REFLECTION thus far and planning to trawl through their entire discography at some stage. I'll PM you in thoughts once I get to it (I mean Juurokyu to Kokyuu of course).

 

Incidentally, I'd imagine your excitement with BOC's triple A side single. If Sirius is anything to go by, I know I'll enjoy the other two tracks as well.

Edited October 13, 2018 by Freakonomics

[Freakonomics]

Hi everyone! I just finished day 4 of my 16 day Japan trip. I've done so much while I've been here! So much so that people over I've met here are shocked! Halloween in Shibuya, galleries, museums, the Tokyo Ramen Show, dinner with my Japan Times colleagues, the Shiina Ringo concert! It's all been great! The Ringo concert was surreal. After all these years, she wasn't on a screen, but real.

 

By the way, Ayase Haruka is everywhere. I also heard "U.S.A." 6 times in half an hour in Osaka.

Glad you're having the time of your life! Ditto, the feeling of seeing your favourites in the flesh in definitely a surreal experience. 

 

Did you end up seeing Sakanaction or it has yet to happen?

[Freakonomics]

Does anyone here listen to base ball bear? They are probably my favourite discoveries this year. Their standouts songs like yoakemae and Sorette for Dare? Part 1 are just the type of pick-me-up whenever I'm in a sour/bad mood. It's a shame they are on hiatus, they're a really high-calibre band.