I honestly don’t know what to make of this. In a way, it’s a dream come true and a thrilling, joyous example of the kind of thing idol music, at least in its more nominally alternative fringes should be doing, but on another level, it’s just yet another in a long line of examples, from Dempagumi Inc. doing The Beastie Boys to Negicco working with Yasuharu Konishi, of alternative or alternative-ish music (and in particular alternative culture nostalgia) being co-opted by the idol marketing format.
Because for all the undoubted fun there is to be had with BiS, despite their superficial sheen of trance and metal influences, their every move is so transparently calculated that one can’t help feeling a bit dirtied by contact with it. Which of course then loops back into part of what makes them so interesting: what they reveal about the process of idol manufacture and their shamelessness about wearing it on their sleeves — not so much heavy metal as heavy meta (thanks, I’m here all week).
So what is this that we’re looking at? Well, basically it’s idol quintet BiS shrieking along in their heavily autotuned voices to an old Jun Togawa song while legendary noiseniks and all-round bodily fluid fans Hijokaidan create the most horrendous sounds they possibly can around it. These elements together should basically be a good thing. In my blog earlier in the year where I picked apart the influence of idol music on the alternative and underground scenes, I pointed out that any truly subversive idol would look more like Jun Togawa than any of the stuff currently on display, although the fact that BiS have even gone as far as to dress up as Togawa in the video suggests that they may be missing the point a little.BiS-kaidan: Suki Suki Daisuki
More than that, I think what we’re seeing here is the application of otaku “database” principles to music. Each of these three elements — the idol group, the noise band, the off-kilter pop artist — are combined here in a basically two-dimensional database fashion, like an otaku fan-product mixing and matching fetish elements to create a new character for maximum moé appeal.
The result of this is that each element exists independently within the work: there is no sum of the parts that is greater than its individual elements. Hijokaidan bring the sense of danger and violence, Togawa brings a fucking great song (both bring a bunch of old punk/new wave dudes going, “Wow, that’s so coooool!”), and BiS bring… well, they bring five young girls and the marketing power of a major label.
So what does it mean? Well, I’m still not convinced BiS mean anything apart from making money for Avex. As a pop group, they can always retort with, “It’s pop music: it’s not supposed to mean anything!” but the more they adopt the external trappings of alternative music, the more questions like that start to matter, not just for idol music but for the alternative scene that seems so happy to have been suddenly colonised by all these sweet, charming and pliant young girls. When the sounds of underground and alternative music can be so easily co-opted by idol production machines, what is it that alternative music offers that actually makes it an alternative? Is it really just a sound that can be picked up and used by anyone, or is there still an ethos that runs deeper than that?
So to go back to my opening remarks, I still don’t know what to make of this. It’s doing something extreme within idol music, for which I applaud it, but it’s doing so by applying quite a superficial, otaku-ish “combine-the-elements” approach and playing off the back of a certain type of punk/new wave nostalgia, which is a scene whose ethos has perhaps fossilised to the point where I suspect it might have more in common with idol music these days than any kind of living, breathing underground/alternative scene. Perhaps a metaphor I used back in my post in February is the closest to describing the effect this track has on me: It’s a thrill, but it’s the thrill you get from a sugar rush and gone in a second. I enjoy the fact of its existence, but it also makes me uncomfortable, and i think it leaves both the idol and underground scenes with a lot of unanswered questions.Jun Togawa: Suki Suki Daisuki