'Exodus' at 10: A closer look at Utada Hikaru's English-language crossover album

[kinjiki]

Daebak...released 10 years ago today.

http://m.axs.com/exodus-at-10-a-closer-look-at-utada-hikaru-s-english-language-crossove-18960

Having conquered the Japanese music scene with massive sales, singer-songwriter Utada Hikaru refocused her sights on the U.S. with the release of Exodus on Sept. 8, 2004. The Japanese-American artist explored themes of emigration, loneliness and sexuality on the 14-track set. Her profound lyricism on those subjects were captivating in the sound scheme of experimental EDM mixed with elements of R&B and J-Pop music. Exodus was an escape into pop music with real emotion behind it.

Utada, a native of New York City, originally made a bid for success in the American music market in 1998 with the release of Precious under the name Cubic U. The record failed to make an impact so she turned to Japanese music instead. Her next album First Love went on to become the best-selling album of all-time in Japan. Future Japanese-language releases followed suit in terms of success. Years older since the Cubic U days, the then 21-year-old Utada found herself ready to try the U.S. again with Exodus. Hit-making producer Timbaland provided some work on the album but Utada handled almost all of the songwriting and production duties.

Exodus was first released in Japan on Sept. 8, 2004 and then in America the following month. To mark the start of a new journey, Utada time-stamped the title track as “

.†Mixing sounds of traditional Japanese music with an electro-R&B edge, she detailed leaving behind the picturesque scenes of her parents' homeland. “Daddy, don't be mad that I'm leaving / Please let me worry about me / Mama, don't you worry about me / This is my story,†she sings. The heartbreak of leaving behind familiarity for something new but unknown came through loud and clear.

As one of the few Asian artists making a break for the American music scene, Utada seemed to challenge the notion of the model minority throughout Exodus. The crippling stereotype assumes, in short, that Asian people are emotionless, faceless beings only set on pleasing and assimilating into the U.S. crowd once they arrive. “

,†a dark slice of thrilling electronica, says different. “Everybody wants me to be their angel / Everybody wants something they can cradle,†Utada sings. “Maybe there's a devil or something like it inside of me.†The Billboard Hot Dance Club Play no. 1 single was a bold statement on the album, adding that there is more to someone than meets the eye or antiquated mindset. She further explored her wild side on sexually-charged bangers like “The Workout†and “Let Me Give You My Love.â€

Tougher subjects Utada tackled on Exodus included her dissolving marriage to Kazuaki Kiriya on “

.†She turned her frustrations about gender roles in a relationship into a feminist message, singing, “I really want to tell you something but I can't / You make me want to be a man.†She definitely got her point across on the battle-born dance track. Effervescent in sound but extremely tragic in lyricism, “Hotel Lobby†is about the life of a woman who needs to sleep around for money. Instead of approaching the usual sunny themes of top 40 music, Utada brought forth the unfortunate reality that some people live day-to-day. “She goes out unprotected / She doesn't listen to her best friend / It's only for the money,†she coldly sings. “Hotel Lobby†is one of the album's more poignant songs.

As a producer, Utada crafted stunningly experimental tracks as well like “Animato†and “

.†She warped and bent synthesizers in all different directions with gorgeous results. “Kremlin,†especially, is a fine moment of virtuosity in electronica. The only goofy song on Exodus comes in the form of “

,†a kiss-off jam backed by a ringtone-like beat that seems like it came from an old Nokia phone.

Exodus peaked at no. 5 on Billboard's Heatseekers Albums chart but it remains a cult classic among her American fans. Utada later followed it up with This is the One in 2009. She is currently on a much-needed vacation to experience life, which started in 2010 after the release of a Japanese greatest hits album. Reports started circulating last year that Utada could possibly record a new theme for Kingdom Hearts III, a video game still in development. Previously, she soundtracked the last two games with the songs “Simple and Clean/Hikari†and “Sanctuary/Passion.â€

[Rabbit]

What a masterpiece. Devil Inside, Automatic Part II, Exodus 04, and Kremlin Dusk are my faves from the album.

[♔Nippon Girl♥]

 

Daebak.

 the japanese word for Daebak is sugoi   that is if you are interested 

 

their is also Kakkoii" means cool , Saikou means the best , Subarashii Meaning: splendid; glorious; excellent; superb. 

[kinjiki]

the japanese word for Daebak is sugoi  [/size] that is if you are interested 

I know?

[♔Nippon Girl♥]

I know?

ok I thought you didn't know that why you used Korean word in Japanese thread !! I thought I could help 

[dvang]

easy breezy <3

you make me want to be a man <3

[kinjiki]

ok I thought you didn't know that why you used Korean word in Japanese thread !! I thought I could help 

Thanks babe x

[Owatari]

'Devil inside is such a powerful song. "You don't know I burn," Utada croons. Hinting that her potential lover is unaware she has gonorrhea. In this bold lyrical move Utada shows that no STD/STI can stop her. Utada shows her sexual prowess even further, exclaiming "you're missing all the action underneath my table" letting lessers know that she keeps her pussy game on lock and anyone would be lucky to have her. A truly powerful feminist anthem and great expression of sexuality.'

 

 

 

She was so mismanaged in the US. Like Britney Spears of Japan? What? 

Most awkward interview ever. But at least she is honest.

 

Since you are so well known in Japan, do you feel like it's a case of starting over again in England?

Utada: Yeah, but I think I needed it, its fun, definitely. I always like to be the person who is doing the weird thing or doing something that the typical person of my age or sex wouldn't be doing and I would just hate to become too comfortable or too accepted in anyplace. So in Japan, if I put something out and everyone is like 'oh this is wonderful because it's her' it gets to the point where I can't tell if it's good or not. So it's nice to have a new audience.

 

[SeeYaWithYou]

Exodus was a fantastic album in every way. Her best for sure.

I'm just sad that Tippy Toe was one of the few songs on the album that was not included in this article :(

[DocumentaLy]

Still one of my favorite albums ever.

 

 

'Devil inside is such a powerful song. "You don't know I burn," Utada croons. Hinting that her potential lover is unaware she has gonorrhea. In this bold lyrical move Utada shows that no STD/STI can stop her. Utada shows her sexual prowess even further, exclaiming "you're missing all the action underneath my table" letting lessers know that she keeps her pussy game on lock and anyone would be lucky to have her. A truly powerful feminist anthem and great expression of sexuality.'

 

 

 

She was so mismanaged in the US. Like Britney Spears of Japan? What? 

Most awkward interview ever. But at least she is honest.

 

Since you are so well known in Japan, do you feel like it's a case of starting over again in England?

Utada: Yeah, but I think I needed it, its fun, definitely. I always like to be the person who is doing the weird thing or doing something that the typical person of my age or sex wouldn't be doing and I would just hate to become too comfortable or too accepted in anyplace. So in Japan, if I put something out and everyone is like 'oh this is wonderful because it's her' it gets to the point where I can't tell if it's good or not. So it's nice to have a new audience.

 

People really need to stop with the Britney comparisons. If anyone is it, it's Kuu.

 

She always seemed so bored in her Western interviews.

 

 

And the most sexual song on the album:

 

https://www.youtube.com/watch?v=x8-bQKyAxi4

 

The kid next door dies and you want to have sex? 

[Owatari]

Still one of my favorite albums ever.

 

 

 

People really need to stop with the Britney comparisons. If anyone is it, it's Kuu.

 

She always seemed so bored in her Western interviews.

 

 

And the most sexual song on the album:

 

https://www.youtube.com/watch?v=x8-bQKyAxi4

 

The kid next door dies and you want to have sex? 

 

Kuu is definitely the Britney of Japan. I can't really thing of anyone in the West that would be a good Utada comparison. But comparing her to Britney in 04 and 09 was just really wtf

 

Yeah I've read past interviews especially when it came to TITO it comes of more forced than anything. But this part of an interview caught my eye. Like she straight up does not care for Def Jam.

 

You had so many challenges, didn’t you? Since that time, you’ve been doing most of the sound and programming yourself. It feels like individual work has come out to the forefront as the actual piece of music. Plus, you went to fight in America. Differently than a person who was raised and started music in Japan, you kinda have a local feeling. On top of all of the things that were tied together, do you feel like it was a challenge to you?

 

“Yeah, everything looks really objective to me. I don’t think that both people who are raised in Japan and do music in America, or people who are raised in America and do music in Japan, normally can’t understand the way to see the country they’re not used to. But I’m able to see both, like two mirrors lined up that you can see off into infinity. And, my sense of accomplishment is due to the fact that I was able to give off the thickest color of myself. When people who have worked in Japan and have made a name for themselves say, “All right, let’s do this in America!†They probably think that “This is a huge step, so I don’t want to fail†or “I am the face of Japan, so I need to produce results that show that!†but I’m the opposite. If I wanted to make music that would be accepted in the streets of America, I could do it based off of my connections, and my record company was basically like “Which producer do you wanna use?†Therefore, I think I could’ve taken the track that would sell a lot, a little R&Bish or featuring a rapper.

 

That’s true, you’re working with “Def Jam Recordings†in America.

 

“Yeah yeah. But if you asked me if I wanted to do that, I would’ve said no, and I didn’t think there was any meaning to doing that. When you put out your first recording, that’s your “first impression,†right? If my first impression was along that track, then people would be like “another kid like that has come along.†If that’s the case, then not me, but wouldn’t it be more productive to get someone who can dance or who likes fashion, and is all cute to do it? Not only that, I can’t feel sympathetic to an artist on that track. It’s not that I’m looking down on them or anything, but I think our genres are completely different. That’s why I do what I want, even if people who like top-ranking music think that my music is weird, and don’t understand it, or think it’s unusual. I wanted to make music where people would see that “this is who I am.†But I wasn’t really thinking beyond that. With that now, the American record company keeps asking me “When are you gonna do the next one?†and while I’m being all vague and like “Well…†this and that are coming out in Japan, and for the time being, I’m saying “Once my stuff in Japan settles down.â€

-----

Here's how I'd rank the album. Although it changes

 

Hotel Lobby

Devil Inside

Exodus '04 / Tippy Toe

You Make Me Want to Be A Man / Kremlin Dusk

Animato/ About Me

Wonder 'Bout

Easy Breezy

Let Me Give You My Love

The Workout

[ryusan2113]

Kuu is definitely the Britney of Japan. I can't really thing of anyone in the West that would be a good Utada comparison. But comparing her to Britney in 04 and 09 was just really wtf

 

Yeah I've read past interviews especially when it came to TITO it comes of more forced than anything. But this part of an interview caught my eye. Like she straight up does not care for Def Jam.

 

You had so many challenges, didn’t you? Since that time, you’ve been doing most of the sound and programming yourself. It feels like individual work has come out to the forefront as the actual piece of music. Plus, you went to fight in America. Differently than a person who was raised and started music in Japan, you kinda have a local feeling. On top of all of the things that were tied together, do you feel like it was a challenge to you?

 

“Yeah, everything looks really objective to me. I don’t think that both people who are raised in Japan and do music in America, or people who are raised in America and do music in Japan, normally can’t understand the way to see the country they’re not used to. But I’m able to see both, like two mirrors lined up that you can see off into infinity. And, my sense of accomplishment is due to the fact that I was able to give off the thickest color of myself. When people who have worked in Japan and have made a name for themselves say, “All right, let’s do this in America!†They probably think that “This is a huge step, so I don’t want to fail†or “I am the face of Japan, so I need to produce results that show that!†but I’m the opposite. If I wanted to make music that would be accepted in the streets of America, I could do it based off of my connections, and my record company was basically like “Which producer do you wanna use?†Therefore, I think I could’ve taken the track that would sell a lot, a little R&Bish or featuring a rapper.

 

That’s true, you’re working with “Def Jam Recordings†in America.

 

“Yeah yeah. But if you asked me if I wanted to do that, I would’ve said no, and I didn’t think there was any meaning to doing that. When you put out your first recording, that’s your “first impression,†right? If my first impression was along that track, then people would be like “another kid like that has come along.†If that’s the case, then not me, but wouldn’t it be more productive to get someone who can dance or who likes fashion, and is all cute to do it? Not only that, I can’t feel sympathetic to an artist on that track. It’s not that I’m looking down on them or anything, but I think our genres are completely different. That’s why I do what I want, even if people who like top-ranking music think that my music is weird, and don’t understand it, or think it’s unusual. I wanted to make music where people would see that “this is who I am.†But I wasn’t really thinking beyond that. With that now, the American record company keeps asking me “When are you gonna do the next one?†and while I’m being all vague and like “Well…†this and that are coming out in Japan, and for the time being, I’m saying “Once my stuff in Japan settles down.â€

-----

Here's how I'd rank the album. Although it changes

 

Hotel Lobby

Devil Inside

Exodus '04 / Tippy Toe

You Make Me Want to Be A Man / Kremlin Dusk

Animato/ About Me

Wonder 'Bout

Easy Breezy

Let Me Give You My Love

The Workout

Yeah that's why I like utada. Her music was so different from what everyone was putting out at the time. She is really great! I wished she herself back out there!!! T_T