Tag Archives: Suiyoubi no Campanella

Best of 2017 – More great sounds (3) – What does the rest of the internet say?

This site isn’t the only place on the internet that attempts to rank the best Japanese music of the year, and depending on where you look, you can get a very different picture of the music scene. This is of course very right and proper, because the Japanese music scene is broad and diverse, covering every genre you know and dozens you don’t. I’m not going to include any J-Pop-focused sites here, since I don’t really follow any of them, or even know if any of them made year-end rankings, but here are what a few other writers have come up with.

Beehype (top 20)
Beehype gathers new music releases from all over the globe, but it has a discrete Japanese ranking covering the top 20 Japanese music releases of the year. Beehype is probably the best place to go to get a general sense of the kinds of Japanese music the Japanese music consensus is gathering around, with artists like Satoko Shibata, Oomori Seiko and Tricot all making an appearance, although it deviates into a few interesting oddities of its own, like the recent album by Osaka jazz-skronk trio Oshiripenpenz.

Make Believe Melodies (top 50)
part 1 | part 2 | part 3 | part 4 | part 5
Make Believe Melodies, written by Japan Times writer Patrick St. Michel, tends towards soft-edged dance music and the gentler strains of indiepop and singer-songwriter music, but as the most extensive list among all the Japanese music countdowns here, there’s a fair variety on display around that theme. This list touches on indie-branded idols Maison Book Girl, rapper Zombie-Chang, the manic synth-pop funk of Chai and the pachinko machine noise of Pachinko Machine Music, along with MBM regulars like Taquwami and LLLL.

Muso Japan (best shoegaze and dreampop)
This does exactly what it says on the tin, focusing on shoegaze and dreampop, and while these genres in Japan can encompass slightly different material to what they do in the West, Muso Japan doesn’t stray far from its remit. Having such a narrow focus means that they can dig a little deeper than another site might, singling out material by lo-fi acts like FogPark, and Nurse alongside shoegaze scene veterans like Cruyff in the Bedroom, Shelling and Caucus.

Tokyo Dross (unranked list of 16)
Another list by a Japan Times contributor, this time James Hadfield, whose preferences lean towards more experimental rock and electronic music. There are more crossovers with my list creeping in here, partly because as the Listing Season drew in, we spent some time frantically sharing and picking over each other’s recommendations in private. His decision to include Phew’s Voice Hardcore despite it not being officially released until 2018 is legitimised perhaps by The Wire’s earlier decision to do the same.

Zach Reinhardt
Top 10 EPs & mini-albums

Top 20 albums (20-11)

Top 20 albums (10-1)

Zach’s lists also tend to have a lot of crossover with mine, as I think we both have very similar biases towards skronky art-punk and oddball avant-pop. One key difference is in the appearance of a lot of Call And Response stuff in Zach’s list (P-iPLE, Tropical Death, Looprider and the Throw Away Your CDs… compilation, all of which were disqualified from mine), and perhaps a little more washed-out indiepop/dreampop. Basically, though, if I missed something, it’s highly likely Zach caught it, and vice-versa.

Summary:
For anyone looking for areas of consensus, the crossovers between these various lists throw up a few recurring names. Cornelius’ Mellow Waves appears several times, topping the  Beehype list and getting honourable mentions in a few others, while Ryuichi Sakamoto’s Async, Phew’s Light Sleep, Endon’s Through The Mirror and For Tracy Hyde’s He(r)art were all rated very highly in more than one list. Miu Mau’s Drawing made appearances in most of the lists, while the Throw Away Your CDs Go Out To A Show compilation that I produced made an appearance in every list except my own (disqualified because I made it) and the Muso Japan list (wrong genre), so I feel validated in saying that’s a great record. Elsewhere, She Talks Silence, Crunch, BLONDnewHALF, Hikashu, Tofubeats, Oshiripenpenz, Sapphire Slows, Suiyobi no Campanella, Mondo Grosso, Tricot, Oomori Seiko and Satellite Young all made multiple appearances.

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Suiyoubi no Campanella: Mitsuko

As you might hope from a group who named a song on their first album Hikashu, Suiyoubi no Campanella seem to exist permanently at an angle slightly askew from the rest of the music scene in Japan. Other groups whose backing tracks were composed of similarly tastefully produced electronic pop would most likely do something wistful and dreamy with just a hint of weary disaffection over the top, while for groups with similarly charismatic vocal delivery (I’m not going to lie: I get a little thrill whenever vocalist Komuai says the words “call and response”) the default musical setting would these days most likely be something far more gaudy and brash.

So the combination of credibly sophisticated trackmaking and the offhand, offbeat half-rapping of the vocal performance is unusual and demands our further attention. Now don’t get me wrong, it’s still cute — the Abe administration recently introduced prison sentences of up to ten years for any Japanese female-led vocal music that doesn’t meet at least a minimal standard of “Cool Japan”-approved kawaii — but the important thing is that it’s not idol-cute. Beneath the hood it conforms and then some to the standard “girls group” formula of pretty girl out up front and anonymous guys not only hidden at the back but fully locked away in a room somewhere making all the music. This is really only correct, since if there’s one thing worse than some dreary looking dude in a trucker cap directing all the music behind the scenes, it’s a dreary looking dude in a trucker cap up there onstage, pretending to rock out from behind his MacBook. The physical disconnect between the performance and production aspects of the group then mirrors the awkward way the vocals hang over the track, both conceptually in their subtly contrasting styles, and technically in the flat, weirdly close-sounding way the vocals are pasted over the richer, more spacious synth and rhythm backdrop.

If this sounds like a criticism, it isn’t meant to be. With Mitsuko, Suiyoubi no Campanella manage to do two subtly contrasting things at once with the psychic abrasion they work on each other not only leaving both intact but also creating a playful dynamic of its own that lifts the track into becoming more than the sum of its already rather charming parts. 

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