Top 20 Releases of 2017: No.1 – Miu Mau – Drawing

miu mau - drawing

CD/download, VYBE Records, 2017

A full-length collection from Kyushu indie supergroup Miu Mau to follow up 2008’s Design was always going to be a contender for album of the year, and Drawing really is excellent, exceeding its now long-distant predecessor in both the range and depth of its songwriting.

Followers of the band will quickly recognise most of the material on Drawing, with the core of the album made up of a trio of singles and EPs that the band have put out over the past few years. The only brand new material comes in the form of new songs Ryuukou-iro no Pallette and Mishiranai no Basho de, while Monochrome appears in a new, mostly Japanese language version as well as a new remix at the end of the album. All that is to say that if you have been following Miu Mau over the past few years, you’ll already know that basically everything on this album is beautiful, sparse, sophisticated, melancholy, synth-led new wave pop.

Of the new material, Ryuukou-iro no Pallette is the most immediately striking, with the stabs of noise that interrupt the song’s sparse, piano-led melody and harmonies, making explicit the note of dissonance that subtly underscores much of the material on Drawing. The source of that dissonance is most usually Hiromi Kajiwara’s guitar, which is delivered with a harsh, metallic reverb that contrasts with Masami Takashima’s lush washes of synth and pristeen vocals. On the new wave Asiatica of Future Classic / Mirai no Classic and the minimalistic dance-pop News, Kajiwara’s guitar cuts throught he songs, the strokes of her plectrum scratching percussively against the sweet melodies, while on songs like Iro wo Matou the guitar adding texture to the music like an additional voice wandering through the background of the song.

There’s a sparseness to Miu Mau’s music that it would have been tempting to try to fill out in pursuit of a more commercially pleasing sound. Similar bands like the now departed Merpeoples have tried something like that and lost something of their own identity in the process, so it’s to Miu Mau’s credit that over the years they have always kept the spindly, dissonant aspects of their music in play, all recognisably within what the three members can comfortably reproduce live together.

Of the Monochrome remix, it’s a decent take on the song, but unnecessary and largely out of step with the atmosphere of the album, but it also feels unnecessarily querulous to complain about being given too much. The remix is there if you want it, but if you don’t, you can be more than satisfied with the collection of nine immaculate avant-pop songs that remains. Album of the year without a doubt.

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