GO!GO! couldn’t have written a better album to mark their 10th anniversary. It is, in many ways, the perfect retrospective – yet it’s a “Best Of” consisting of entirely new songs. The rockabilly surf punk of Dasoku Hokou and Gyotaku; the psych-tinge of Tategami and Ryuuzetsuran; the pop glaze of PARADE and 569; and the random rock melange of ANTENNA… it’s all here in some way, with a production bias towards their earlier, harder rocking sound. And that’s definitely something you’re not going to be hearing any complaints about.

Mayakashi no Sekai

Everything about GO!!GO!GO!GO!! screams energy – the title, the cover art, and most importantly, the songs. If it wasn’t evident before, it should certainly be now: GO!GO! songs are written to be played live. Yet this the first time they’ve been so explicit about it – opener EOEOE begins with nothing less than a live crowd chanting the album’s title before the band “appear” to raucous applause with a tune whose riff must surely be a homage to the Rolling Stones’ Jumpin’ Jack Flash (and probably not the album’s the only Stones homage – check the cover art). From here on in, the band take us on a journey – in turn, though sometimes all at once – of the genres and styles they’ve dabbled with over the past decade. And with 13 tracks averaging between 4 and 6 minutes each, it’s a pretty hefty ride.

Saigo no Bansan and Mimitabu 2gou resurrect the surf twang that got lost somewhere after Gyotaku and this is personally one of the sounds I’m most happy about hearing again in their music. Mimitabu 2gou in particular might be my personal pick of the album but there’s plenty of others putting up a fight for that title… not least of which are its immediate neighbours, the ridiculously-titled Kutsushita no Ana ~Ashi no Ke Chanto Sotta noni~ and the wonderfully schizophrenic SUGAR & SPICE. Along with Ee Janai ka, which follows after SUGAR & SPICE, this run of songs forms the album’s crowded, hard rocking spiritual centre. To experience these tracks live would surely be a treat like none other. Videos obviously don’t do the real thing justice, but here’s a taste:

Ee Janai ka (Live)

The album’s actual centrepoint, however, falls on BALLAD and Rakuen no Ohanashi. The former is an old new song which has been floating around their live shows in very much the same form since at least the year 2000. Who knows what took them so long to put it to record, but I’m glad they finally did because it’s a great tune and yes, it is very much a ballad, complete with an outro consisting of lots of impassioned, yet thankfully listenable wailing by Yuu. The latter is the album’s slowest number – a wandering tale that takes the briefest of dips into psychadelia… though regrettably it doesn’t dive in as deep as it could have.

By the time the hard rocking course ends with Ee Janai ka, things return to pop-rock land with the upbeat Kyou no Uta and Nothing2 (one of the sunniest things they’ve ever recorded) and finishes off with the “extra track”, 365 Renkyuu BOOGIE (good lo-fi fun with Turkey on lead vocals).

I don’t know whether it’s the result of their move to a less iron-fisted label, or of some kind of mid-band-life crisis, but this album is one of the best that GO!GO! have ever put out. Almost everything that the band has been loved for is here – the varied songwriting, the deft mash of styles both old and new, Yuu and Akko’s harmonies, Turkey’s amazing, amazing drumming, throwaway riffs and hooks that lesser bands could form entire songs from, their overwhelming sense of presence… everything down to the bizarre song titles and lyrics is here. But perhaps the most telling and critical inclusion is the sense that you’re listening to a band with the youthful energy of one that just started yesterday, and, moreover, the talent to keep them burning bright for many more years to come.

Tracklist
GO!!GO!GO!GO!!
FlyingStar Records, 02/06/10

01. エオエオエ (EOEOE)
02. リフレイン　リフレイン (REFRAIN REFRAIN)
03. まやかしの世界 (Mayakashi no Sekai · Fake World)
04. 最後の晩餐 (Saigo no Bansan · Last Dinner)
05. 毒リンゴ (Doku RINGO · Poison Apple)
06. バラード (BALLAD)
07. 楽園のおはなし (Rakuen no Ohanashi · Story of Paradise)
08. くつしたの穴　～あしのけちゃんと剃ったのに～ (Kutsushita no Ana ~Ashi no Ke Chanto Sotta noni~ · Sock’s Hole ~Even Though I Shaved My Leg Hair~)
09. 耳たぶ２号 (Mimitabu 2gou · Earlobe #2)
10. シュガー＆スパイス (SUGAR & SPICE)
11. ええじゃないか (Ee Janai ka · Isn’t It Right?)
12. 今日の歌 (Kyou no Uta · Today’s Song)
13. Nothing2

Extra Track
14. 365連休ブギー (365 Renkyuu BOOGIE · 365 Consecutive Holidays BOOGIE)

Band

L-R:
野間亜紀子 / ノマ アキコ (Noma Akiko)* – Bass, Vocals
ターキー (TURKEY)** – Drums, Vocals
中島優美 (Nakashima Yumi)*** – Vocals, Guitar

* Nickname: アッコ (Akko); Maiden name/solo alias: 浜田亜紀子 (Hamada Akiko)
** Real name: 細川貴之(Hosokawa Takayuki)
*** Nickname/solo alias: ゆう (Yuu)

GO!GO!7188 – Official Website
GO!GO!7188 – MySpace

True, anyone who ranks being “progressive” highly on their list of criteria for admiring a band would have written this pop-rock trio off albums ago. Since their major label debut, Sakura Saku Machi Monogatari in 2007, their output has consisted almost entirely of the same material – if you’re not a fan of fist-clenching ballads, sunny pop tunes or catchy rock songs, then this group definitely isn’t for you. I suppose the only thing that has changed between albums is the scale of the production – the soaring orchestration and sweeping piano accompaniments seem to get more and more elaborate and layered each time around, to the point where one wonders if it really is still fair to attribute all the music heard on the record to just three people who are only ever seen playing guitars, the harmonica and singing. Whether or not this is due to an ever-increasing production budget (thanks to their skyrocketing popularity) or down their own musical initiative is something I’m not sure of. It’s probably a bit of both. But again, the question remains – if it’s just more of the same, why bother with it at all?

The answer, simply, is this: they write good songs. And if you’re a fan of this kind of pop, you could even say that they write great songs. It is perhaps the curse of the band that sets the bar so highly on their debut that the prospect of topping it appears improbable at best, and that to deviate from what they have already declared themselves to be may result in a sudden reversal of their initial successes. In light of this, it can then be argued that the act of maintaining the same high level of quality, as opposed to falling short of it, may not be such a bad way to handle things if going above and beyond appears too lofty a goal. And as generations of bands in the past have proven, coming up with consistently good, albeit familiar material is not always as easy as it sounds.

YELL (3rd Single, with translations)

It should be clear by this stage that if you’re already a fan of ikimono-gakari, then Hajimari no Uta will do nothing to change that. The aforementioned fist-clenching ballads are present (YELL, Nakumonka, Futari), as are the sunny pop tunes (Yumemidai, Tenohira no Oto) and catchy rock songs (Joyful, HOTARU NO HIKARI, How to make it). And as they’ve done on a number of their previous albums, they’ve dusted off and included a re-recorded version of a song from their first indie release, the formidably-titled Makoto ni Senetsu Nagara First Album wo Koshiraemashita…, complete with all the fancy production that the modern-day ikimono-gakari listener expects. This time, it’s Akizakura that gets the makeover, and fortunately it doesn’t lose much of its original charm in the process. Hotaka’s searing harmonica remains intact and thankfully the song’s original bluesy urgency can still be felt under its shiny new coat. This, if anything, demonstrates the point made earlier about the consistent quality in their songwriting – here is a band that has been writing solid tunes since their indie days, back when they were little more than two guitars, a harmonica and a vocalist – all the expensive production that’s been added on since is merely the icing on what was already a very tasty cake.

HOTARU NO HIKARI (2nd Single)

But even the most well-formed songs with the most expert production can come off as unlistenable with a poor vocal track, and in that sense, the credit for much of ikimono-gakari’s success must lie squarely at the feet of its talented lead vocalist, Yoshioka Kiyoe. I still remember the first time I heard her sing – it was just over a year ago, a live performance on TV of their gorgeous breakthrough single Sakura. My initial impression was that of a high school girl giving it her all at a singing audition. Her voice lacked that easily-identifiable, professionally-trained warble – it was, in many regards, plain, but it was strong, very strong, and it really felt like the voice of someone, as clichéd as it may sound, singing their heart out. Her performance on this album is no less potent, though sometimes it’s potent to a fault – there are moments that would benefit from a more delicate voice, yet hers seems permanently stuck on maximum strength the whole way through even when she’s taking it slow. But I guess that kind of raw enthusiasm and unbridled feeling is part of what makes her singing so appealing… and a right pain to imitate at karaoke.

Futari (1st Single, Live)

Hajimari no Uta begins as most of its kind would end – with a lengthy, 6-minute title-track ballad that’s got enough emotion and sentimentality packed into it to make even the most hardened cynic recall some long lost memory of standing in the pouring rain, staring after an estranged lover, heartbroken, yet hopeful… or some other overly melodramatic scene like that which, in all likelihood, probably never happened, but for some reason or another, as you listen to the music, feels like it did. And that’s why, after four albums of the same stuff, the ikimono-gakari brand of pop still “works”. They’ve got a knack for weeding out emotions and images, even if it’s done with the subtlety of a blunt pitchfork. Those who don’t mind such blatant manipulation will relish in the well-crafted tales found on Hajimaru no Uta; everyone else, you have been warned.

Tracklist
ハジマリノウタ (Hajimari no Uta)
Epic Records (Sony Music Entertainment), 23/12/09

01. ハジマリノウタ ～遠い空澄んで～ (Hajimari no Uta ~Tōi Sora Sunde~ · The First Song ~Clearing the Faraway Sky~)
02. 夢見台 (Yumemidai · Dream Stage)
03. じょいふる (Joifuru · Joyful)
04. YELL
05. なくもんか (Nakumonka · I Won’t Cry)
06. 真昼の月 (Mahiru no Tsuki · Midday Moon)
07. ホタルノヒカリ (HOTARU NO HIKARI · Light of the Fireflies)
08. 秋桜 (Akizakura · Cosmos [Flower])
09. ふたり -Album Version- (Futari -Album Version- · The Two of Us -Album Version-)
10. てのひらの音 (Tenohira no Oto · Palm Sounds)
11. How to make it
12. 未来惑星 (Mirai Wakusei · Future Planet)
13. 明日へ向かう帰り道 (Ashita e Mukau Kaerimichi · The Return Path Facing Tomorrow)

Band

L-R:
水野 良樹 (Mizuno Yoshiki) – Guitar, Vocals
吉岡 聖恵 (Yoshioka Kiyoe) – Vocals
山下 穂尊 (Yamashita Hotaka) – Guitar, Harmonica

ikimono-gakari – Official Website

Anyone who has been to a run-of-the-mill izakaya will know what this beloved Japanese institution is all about about — cheap food, cheap drinks, a lively atmosphere and permission to forget about all of life’s problems for a few hours with friends and, if you’re at a more traditional establishment, the old lady / old man who runs the place. There are an uncountable number of izakaya in Japan and in this modern age one can find many variations on the basic theme that cater to all manner of budgets and occassions. Perched atop the 52nd floor of the triangular Shinjuku Sumitomo Building, Yuian is one of the ever-growing number of classier izakaya that’s not only equipped with a healthy respect for its humble origins, but also a keen eye for looking very, very sexy.

As you exit the elevator, one can peer into the central abyss of the Sumitomo Building. That’s 52 floors, straight down. Acrophobics might want to give this a miss.

Outside Yuian, you would be forgiven for thinking that this was the entrance to some posh nightclub, or at least somewhere far more expensive.

The genkan, where you take off your shoes before entering the main dining area. The staff take your shoes and stow them away while you dine, and bring them back out for you when you leave. And no, that’s not me. I can’t pose like that.

The modern, beautifully-lit interiors that combine traditional wooden and tatami textures with stone and glass are a joy to dine in.

The dining space is one long passage that wraps around the building’s triangular shape. We were seated in the first section, which accomodates a series of long tables set against tall windows overlooking Tokyo, and a counter bar area where you can watch the chefs slice and dice. Further along the passage are a kotatsu area and a number of decorated private rooms nestled into the corners.

We ordered the “Yuian Course”, as detailed above. Many izakaya automatically impose a small seating charge (Yuian’s clocks in at just over 500yen per person), but at Yuian, you can waive it by ordering a course meal like the one above instead of going à la carte. This one was one of the mid-range courses — the cheapest (excluding tax) was 3500yen and the most expensive, seafood and crab-laden one was somewhere around 7500yen. Prices are per head and there is a minimum 2 people per course and 1 course per table. A somewhat outdated menu, with relevant ballpark prices, can be found here.

So without further ado, the course in photos.

The appetizers.

Tuna and whelk sashimi. Whelk, as I was informed by my scientifically-minded friend, is a kind of sea snail.

Fried shrimp and vegetable chips.

A small fillet of grilled sweet soy sauce-marinated salmon.

Green tea tofu. Looks like green tea ice cream, but unfortunately it just tasted like tofu.

Our nabe (hot pot) simmering away.

Chicken and assorted vegetables stewing in one very tasty soup that, by virtue of it being a hot pot, got tastier by the second.

After we’d finished our hot pot, the same pot and leftover broth was used to cook these udon and spring onions.

To cap it all off, a small dollop of sorbet which tasted surprisingly like sake. It was good.

With our bellies full from the course meal, drinks and the complimentary hot green tea, we relaxed and enjoyed each other’s company in the presence of one of what was undoubtedly one of the best dining views in town.

If you’re lucky enough to be seated at the window edge of the table, as I was, this is literally what you see when you turn your head to look outside. A constellation of lights as far as the eye can see. Dazzling.

Everything we were served went down well. Almost all of it was Japanese-style comfort food — very simple and undeniably satisfying. After all, despite what the fine dining-esque surroundings may lead you to believe, Yuian is still an izakaya at heart.

Service was polite and friendly enough. Our smiling young waitress was attentive and patient with our group’s combined lack of Japanese ability, although she didn’t seem to be aware of a few of the restaurant’s basic ordering rules — such as the “one course per table” rule — until after we’d finished placing our carefully selected individual course orders. Either that, or one of her introductory menu explanations went completely over our heads (quite likely).

English-only speakers will be pleased to know that there is, to my knowledge, at least one English-speaking staff member on hand (a wonderful thing when placing reservations over the phone), and furthermore, the menu is also conveniently available in English. I suppose they must get their fair share of foreigners, or at least locals entertaining foreigners.

And rightly so. Yuian is a top contender for anyone without a bubble-era budget wanting to impress for a special occassion. The stunning views are undoubtedly the restaurant’s biggest draw, but even without them, the sophisticated interiors really do elevate the ambience above that of the average izakaya. In fact, when we first arrived, the windows were all big panels of fogged-up grey due to the recent rain… but that didn’t stop us from gushing at how nice the place looked on the inside. As for the food, our course consisted of largely familiar fare but sometimes that’s all one needs to wind down and forget about all the troubles, headaches and pressures left behind in the world far, far below.

Yuian
52F Shinjuku Sumitomo Bldg.
2-6-1 Nishi-Shinjuku
Shinjuku-ku
Tokyo
東京都新宿区西新宿2-6-1 新宿住友ビル52F

I’m not even sure where to begin with describing what’s wrong with this film. So I guess I’ll try starting with what was done right. Firstly, the special effects were very nice. But how many big budget films these days, especially ones bearing the Terminator name, can you honestly say have bad special effects?  Yeah, that’s right. Second of all, um, well… that’s it. Sorry. I tried.

Now, the bad. The direction by McG has no… direction. Even the action is a bore (this is bad for a Terminator film). The story, which in hindsight had enough meat on it to make it worthwhile, instead plays out as if the writers were making it up as they went along. Most characters exist with literally no purpose whatsoever, unless they were written in to please fans who know more about the Terminator universe than the cinemagoer like myself who has only seen the films. Every single plot turn is so predictable that the accompanying flashbacks that are supposed to help the audience connect the dots will seem nothing less than patronising to anyone who hadn’t fallen asleep from the start of the film.

And there’s too many “new” Terminators. In my opinion the previous films worked so well (okay, maybe not so much the third one) partly because there was only one menace, one threat, one hunter that was so fearsomely powerful, so thoughtlessly determined and seemingly unstoppable that you couldn’t help but get a thrill out of watching the Connors try and outrun and outsmart such a nightmarish foe. The despair and fear was concentrated in one villain, one symbol of a horrifying future. Now that the film puts us in the future, there’s all sorts of Terminators — massive ones as tall as skyscrapers, smaller “scout” ones, silly motorbike ones and even fish ones that live underwater — and we are no longer scared, because now it’s just a bad videogame where every enemy has a weak point and where destroying them is more of a chore than an something bordering on the impossible. And since nearly all the characters — human and machine — are so one-dimensional, we no longer care who “wins the war”, either (not that we’d ever expect Hollywood to let the machines win).

And if that wasn’t bad enough, the film’s ending does nothing to save you from feeling like you just wasted your time. In fact, it more or less tells you that you have.

This is going to be one of those series’ that I’m sure will get a “reboot” a bit further down the line, if any more even get made after this, though I’m not sure how successful any re-imagining of the series could be without transporting us all back to the 80s and 90s when Arnie was still fit and legally able to fill what is essentially his role, and when the idea of a vast, world wide computer network was still new enough to frighten a population who hadn’t yet warmed to it thanks to fun things like social networking and watching videos on YouTube. But it’s 2009 now, and The Matrix has already done a fine job of updating this cautionary tale of man vs. machine for modern audiences. It may very well be time to terminate this saga before it gets any more stale.

Now to the “Sony Building” part of this article’s title. I caught this film showing there this afternoon. For those unaware, the Sony Building is located in Ginza, Tokyo, and exhibits all the latest Sony gear from cameras to laptops to videogames to music players, and so on and so forth, most of which you can get hands-on with. On Level 8 of this spiralling building, however, is the “Communication Zone OPUS”, which is used to showcase the company’s latest audio and visual technology. It presently boasts a colossal 200 inch “4K” screen (4,096 x 2,160 resolution, four times higher than full HD) and 7.1 channel surround sound speakers. But the best thing about it are the free shows that Sony puts on to demonstrate its power, such as the Terminator Salvation Blu-Ray they’d been screening until today (the last day for this particular movie). That’s right, they’re free! Simply check the theatre schedule outside and turn up on time. Though be warned that seats are limited, not only in number but in terms of the amount of comfort and back support they provide, and the room and seating itself is set up in such a way that anyone who is not in the first row will most likely have some bottom part of the screen obscured by the people in front of them. This will be of particular concern to you if you are bringing a Japanese friend who cannot understand English, as getting a bad seat will mean that they probably won’t be able to read the subtitles. I suppose the opposite will also be true for non-Japanese speakers if the show is in Japanese with English subtitles…

And because you all probably just ignored what I wrote and scrolled down to see if there were any pictures, here are some photos of a big T-600 that was on display on the ground floor.

No high-fives? Aw.

Say cheese!

OPUS – Sony Building

I heard about this festival purely by chance. Teaching as usual one early Saturday afternoon, the bread-and-butter question of English conversation teaching — “So what are you doing this weekend?” — prompted one of my students to mention that she was going to her daughter’s university festival later in the day. Incidentally, I had just been to my first Japanese university festival not one week earlier at Bunka University in Shinjuku (which, amongst other fun things, put on some great fashion shows). After extracting more information, I discovered that my student’s daughter attended Waseda University, which so happened to be a short bicycle ride from my house. Furthermore, celebrities like singer/actress Mika Nakashima and gravure idol Aki Hoshino were scheduled to make appearances, so, having nothing better to do after work, I quickly penciled it in.

As fate would have it, certain things came up that prevented me from going later that day. Fortunately, though, the festival was running over the whole weekend, so I managed to catch a full day on Sunday. For one reason or another, it didn’t even cross my mind to write a post about it later, so I didn’t take many great photos to document it. Apologies. The best of what I’ve got is here, but I almost wrote this without including them because there’s just so much I didn’t capture.

There were lots of people.

There was an eating competition.

There was a big stage out at the front of the Okuma Memorial Hall, named after the university’s founder (a statue of whom can be seen in this article’s cover image).

There was cosplay.

There were shows that made no sense to me.

And there was music.

To say that I was blown away is an understatement. From what I gather, the festival is largely organised by the students themselves. They construct the food stalls, and later, after it’s over, they tear it all down. They cook the food and prepare the drinks. They decorate the campus and paint the signage. They create the printed festival guide. They hang their own artwork on the walls. They bring their own flotsam to sell at the flea market (which was labelled, misleadingly, though probably unintentionally, as the “Free Market”). And they put on their own shows.

And what shows they were. Everyday university life may be a drag, but clearly these students make the most of their extra-curricular time, joining any number of the staggering 400 or more uni clubs on offer, and at the festival, they put their talents on show for all to see. Students showing off their skills in a-capella singing, beatboxing, traditional dancing, martial arts, stage shows, cheerleading and street performance could be found entertaining crowds of peers and visitors alike. Crazies dressed (and cross-dressed) in all manner of costumes added dashes of humour to the already vibrant scene. There was even a nunchaku battle. Don’t believe me? Behold!

My personal highlight, however, was unquestionably the discovery of “Building #7″, or “the music building” as it were on that day. This was a building, perhaps 4 or 5 floors high, with no distinguishing external features, packed with student bands performing in almost every second room all day. Rooms that ordinarily existed as dull classrooms were transformed into colourful disco dancehalls and insulated concert venues, complete with appropriate ambient lighting and hand-made decorations, each with a full day’s lineup of student musicians ready to have some fun.

Perhaps more than the sheer number of bands was the number of styles to choose from. Each room typically catered to a particular musical genre, whether it be rock, soul, pop, jazz, classical, punk, ska, heavy metal, or, more often than not, delightful combinations of these. I felt like I was in some kind of fantastic music factory, running up and down the corridors past rockers in their leather jackets, ragtime girls with ukeleles and grungy guys in 90s flannel as an eclectic melange of sounds pounded at and seeped through the walls on both sides. It was quite a surreal experience, and very dream-like, opening each of the nondescript doors to discover what new musical worlds lay behind them. The rooms were arenas; and backstage was in the hallways. I couldn’t believe that such a marvellous place could exist, and despite being thrilled at the find, was saddened by the fact that it would only last for a little more than the afternoon I was there. After stumbling upon this place, I didn’t leave until it was all over, many hours later.

Bands typically played 20 minute sets before hastily unplugging for the next band to set up, so overstayed welcomes were nonexistant. After a tour of the entire building, I settled on a room on the ground floor that played host to, as I later found out, “The Naleio”, otherwise known as “The Waseda University Official Circle”. This isn’t one band, but a group of bands that I suppose are “good enough” to represent the university under such an official-sounding banner. They’re billed as purveyors of soul, blues, funk and R&B, which is more or less right up my alley. All the bands that I saw put on great shows.

One particularly memorable performance was by a band called “The Fenders”, fronted by a sweaty fellow who did a mighty fine chanelling of James Brown. He was supported by a drummer, guitarist, bassist, keyboardist, two backup singers and three brass players (yes, a bit more fleshed out than your average student garage band). The talent was undeniable. I caught up with him after the show, as his English on stage was excellent to the point that I (and other Japanese in the crowd) thought he was actually an international student, and I was curious to find out where he was from. Turns out he was Japanese and had never lived abroad, despite what his English skills suggested.

I asked him what he was studying, and he replied “political science and economics”. Then, something disheartening occurred to me. All the office drones I see on the trains and streets every day, grinding away like robots, all the wearied salarymen and decorative OLs (office ladies) settled into the most predictable lifestyle in Japan… a good deal of them were probably once part of energetic bands just like this guys’, or talented performance troupes like the one that was entertaining the masses outside. They may even have shed an emotional tear as their audiences begged them for an encore performance after their last song, as did one girl I saw at the day’s end. Well, that’s life, I thought, but it was also sad to think how such vibrant colours should flourish for such short periods of time before being muted and packed away.

Which leads me to the point of this article, if there ever was one, for those still reading. Do get along to one of these university festivals if you can. Before these kids go on to become the next political leaders, or the founders of obscenely successful companies, or famous entertainers or sports figures, or even something humble and anonymous, this is your fleeting chance to see them at play. I obviously can’t vouch that every university festival will be on the scale of Waseda-sai — certainly, Bunka-sai the week before was nowhere near as mammoth — and such events might not make it into every festival listing and tourist calendar, but in my opinion they all exist in a plane of their own. Whereas “traditional” Japanese festivals often have deep cultural roots that stretch back for hundreds of years, these university festivals are very much rooted in the now and offer a unique glimpse into the lives and talent of the modern youth of Japan. There is a certain appeal, especially to the under-30s I’d imagine, of attending a festival that is more or less like a giant cross-campus university party (in this case the festivities also extended to the nearby Toyama campus). And it is giant — here is a quick scene from the closing party at the end of the day:

Shortly afterwards, a number of giant blue balloon balls were deployed into the crowd. Then, shortly after that, a man in a Winnie the Pooh outfit came on stage, with a rather large bright blue bazooka, and after some moments of dancing, fired a huge volley of golden streamers into the air. It was a fittingly oddball end to a raucous weekend, but it also signalled the beginning of what lies at the end of all great parties — the big, big clean-up.

Waseda-sai — Official Website (Japanese Only)
Waseda University – Wikipedia
The Naleio – Official Website

If the cover video above was your first encounter with Mameshiba, you’ll no doubt still be wondering what on earth is going on (understanding the Japanese doesn’t really help). But that’s just an introduction. The meat of the Mameshiba… thing (for want of a better word) are the following 30-second animated shorts, complete with annotated English translations. Watch them and see if you’re any wiser by the end.

I first encountered these videos playing at variety stores like Tokyu Hands early on in the year. Surrounded by Mameshiba plush toys, keychains and other such products bearing the image of the cute critters, it appeared to be simply another set of promotional videos for yet another range of wacky characters vying for the attention of a population who must surely be long de-sensitised to this kind of thing by now. At the time, I didn’t understand the majority of what was being said, but it soon became clear that whatever news these cute creatures were imparting in their impossibly sweet voices were (literally) casting dark shadows on the activities of their hapless human acquaintances. I’m not sure whether it was the simple, hand-drawn presentation, or the hilarious heavenly music that marked each character’s appearance, or merely the sheer bizareness of the entire concept that sucked me in. It was probably all of those things. In any case, it wasn’t long until I found myself watching them at every opportunity, even when I’d already seen them all an embarassing number of times before.

But it’s moot to point out that Japan is no stranger to cute characters, armies of which have been created to promote nigh-on everything under the sun – material and abstract – for decades. So what makes Mameshiba any different?

Well, what I didn’t find out until much later was that the bulk of these promotional videos came out before any of the now-ubiquitous merchandise was even conceived. That’s why it’s impossible to tell what they’re trying to sell, because at the time of their release, there weren’t any products to sell. The only thing being promoted (quite heavily, and across a wide spectrum of media) was the Mameshiba brand itself.

The company behind the campaign is Dentsu, the largest advertising agency in Japan and one of the biggest in the world. Their idea, which I find fascinating, was simple. Instead of creating a brand around an existing product, they reversed the paradigm and created the brand first, blanketed the media with it and then waited for other companies – those that would actually manufacture the yet-to-be-decided products – to approach them. And if you’ve ever set foot into a Japanese toy or novelty store this year, you’d be hard pressed to deny that the idea paid off. Big time. (How big? Have a skip through the following video by a fellow Mameshiba fan taken at a Mameshiba event in Odaiba and you’ll soon get an idea of how many products this brand has spawned).

I’m not an advertising guru by any stretch, so I’m not sure if this kind of thing has been done before. If you know of any similar campaigns, please share them in the comments below. Otherwise, good luck getting that Mameshiba theme tune out of your head.

Mameshiba – Curiosite
mameshibavideo’s Channel – YouTube
Dentsu – Wikipedia
Mameshiba – Official Website (Japanese)

It’s either been a frustrating or relaxing few months for Yuu (guitar, vocals), Akko (bass, vocals) and Turkey (drums, vocals), whose 31-date Hentena tour, which began on the 6th of March this year, was originally slated to wrap up on the 31st of May. However, as they entered the home stretch, Akko fell victim to, of all things, complications arising from treatment for a detached retina, and the last four shows of the tour had to be postponed by three months to allow time for her to recover. That pushed the final show I was supposed to attend on the 31st of May back to last Monday, the 31st of August. Which, as further misfortune would have it, was also the day an aforementioned tropical storm decided to amble its way through the city.

As the rains fell and winds wheezed through the tight-knit cul-de-sac leading to my house, I stood with my raincoat (and stylin’ rainpants) at my front door and re-calculated the risks. I had ridden out on my bicycle to JCB Hall, the concert venue, many times before, and in fact much further past it, since I arrived in Tokyo late last year. Situated at one corner of Tokyo Dome City, the same grounds that house the monstrous and titular Tokyo Dome, and a short distance away from the cultural hotspots of Akihabara and Ueno, it was on a familiar and straightforward route and only about a 30 minute ride from where I was standing. I looked at the sky. It was getting dark. I looked at my watch. 5:15pm. Doors opened at 6pm. I looked at my trusty bicycle, and then at the sky again, and then at the rain, which truth be told, wasn’t nearly as strong or frightful as the sort I thought a tropical storm ought to bring. After a further moment’s contemplation, I made up my mind, relished the feeling of warm, comfortable dryness in my soon-to-be-soaked shoes by wriggling my toes a bit, and stepped out into the storm with the exhilarating feeling you can only get from doing something you know is (probably) stupid.

Thirty minutes and one uneventful bicycle ride later, I had arrived safely at JCB Hall, mostly dry save for my exposed shoes, hands and face, and in a queue of fans that stretched around the block. Young, eager faces – check. A sea of GO!GO!-branded tees and towels – check. The occasional middle-aged person you’d never otherwise think of as being into this kind of music – check. The foreign-looking foreigner – check. All the usual suspects.

I should probably get this following part out of the way early. It is with deep sadness that I write this live report without having one single photo of the band in action to accompany it. Yes, that’s right – not one, single, lousy photo. Not even a blurry, over-exposed one that I could pass off as an “arty” shot. There is no build up. There’s no big “reveal” like last time. The following incidental photos are IT. I’m sorry. But rest assured that save for their getups, the scene on stage was more or less identical to the photo I took during their PARABOLA NIGHT gig back in March.

With that said, and your expectations sufficiently lowered (is anyone still reading?), here’s what everything except the band looked like on the night.

As is customary, a giant, congratulatory floral bouquet to the band. This one’s from their record label.

JCB Hall is a modern, multi-purpose, multi-level performance hall that’s equipped with food counters and TV monitors – like the one above – on almost every floor. I walked past this particular monitor broadcasting the scene around the stage on the way in, and immediately regretted eating dinner in lieu of getting there earlier. In the words of a fellow passerby, “Eh, yabai…” (Oh, crap…). It looked packed.

But as they say, don’t believe everything you see on TV! With around half an hour to go before kick-off time at 7pm, the scene on the ground wasn’t nearly as bad as the cropped monitor image made it out to be. There wasn’t much hope of getting to the front rows anymore, but the back half of the arena floor was still very breezy. With regards to the stage configuration, the only thing that differed from the PARABOLA NIGHT setup was a collection of hanging light bulbs at varying depths and of differing sizes. If you squint really hard, and use a fair bit of your imagination, you can see them in the photo.

The hall itself isn’t large, especially when compared to the Tokyo Dome nearby (but then again, what is?), but it’s a very comfortable space with some nice futuristic touches in the lighting department. At this point, there were still many empty seats in the balconies but they would soon all be filled by the time the band came on stage.

After the show, those who hadn’t yet lightened their wallets at the merchandise stands did so with gusto (patiently, in an orderly queue, of course). Tees, posters, stickers, wristbands, CDs and DVDs flew off the table as fans rode high on the wave of euphoria after a great gig (yes, I’m getting to that bit).

And lastly, a photo of a photo of the band in action. From another concert. Yes, this really is the closest I got to a photo of them. Again, I apologise.

The reason I didn’t get any juicy shots this time was because I decided that, for once, I would throw myself right into the middle of the pit at the front of the stage. I’d only ever experienced a GO!GO! concert from somewhere near the back, where the crowds were so subdued you could enjoy an unhurried game of chess whilst watching the band and not have to worry about anyone knocking over the pieces. This time, I wanted to see what kind of crazy the crazy Japanese GO!GO! fans had in them.

As I soon found out, the answer was – a surprisingly energetic kind of crazy. After the initial rush and compression of people to the front as the lights went out and the band appeared, it felt like I was being tossed about in a giant washing machine. All the towels that people were twirling above their heads only added to the effect, as did the thorough soaking I got from other people’s sweat. More or less like any other moshpit in the world, then, I guess, though the core of the spin was largely radiating out from a small group of over-enthusiastic (annoying) people (jerks) who had thought it a good idea to form their own “mosh ring” within the pit, jumping around in circles and crashing into everyone around them. Not prime photo taking conditions.

The band started with an instrumental jam, which initially sounded like a cover of The Beatles’ Come Together, but which quickly descended into an all-out rock-out as Yuu wailed on her guitar and reminded me of precisely the kind of GO!GO! I wished they would one day return to.

The main setlist was a modified version of what was played at the PARABOLA NIGHT with one of the weakest tracks omitted (Kataomoi FIGHTER) and bolstered by a number of very welcome additions from the band’s early (and some might say “glory”) days. Among them were classics like THUNDER GIRL, Nukarumi and Tokage 3gou, the latter of which is a personal favourite and one that I’ve been keen to hear live for a long time.

During the handful of breaks the band took to address the audience, the trio sincerely apologised for the show’s postponement, and thanked everyone for sticking with the rescheduled date and coming out despite the presence of a darned typhoon (though long-time fans should be used to this by now, if recordings of previous concerts are anything to go by). Akko delved into the details of her medical drama, which elicited much ehh-ing from the captive crowd which hung on her every word. Unfortunately, my sub-kindergartener level of Japanese meant that most of what she said went completely over my head. Other bits of banter centred around their upcoming shows later in the year and the obligatory pimping of official merchandise.

Getting back into the music, Akko’s retinal woes served as inspiration for a modified version of Me Mimi Hana Kuchi (Eyes, Ears, Nose, Mouth) which was lyrically reworked into the obvious Me Me Me Me Me Me Me (Eyes Eyes Eyes Eyes Eyes Eyes Eyes). Anyone familiar with the song can imagine that this resulted in a rather amusing chorus. Manten no Hoshi Haru no Niwa saw the stage transformed into a dream-like starry night, as the suspended light bulbs glowed and diffused through a cloud of fog onto a temporarily subdued audience entranced by the ballad inspired by the band’s hometown of Kagoshima.

They ended the set with Ame no Hi Dake no Koi, written, perhaps, for the express purpose of ending sets, what with all three members chiming in on vocal duties and its irresistibly upbeat la-la-la sing-along conclusion.

Not long after they left the stage did the audience, naturally, demand an encore. Five minutes or so later, the band acquiesced to the chants from the crowd and delivered a knockout two song encore. The first song, I believe, is a new one. Whether or not it was the first time they’d played it live, however, is something I’m not sure of. There was a bit of chat as they introduced it, but again, my poor Japanese. The tone of the song does little, if anything, to stray from their current direction – it’s cheery, it’s poppy, heck, it’s even got another la-la-la bit in it. Razor-sharp it ain’t, but hearing a new song debut live is always exciting. The second song, however, was definitely not new, but still retains an edge that cuts like nothing else they’ve done so far. The first reverb-heavy strums that heralded the start of Ukifune set the crowd into a frenzy, as friends locked hands and looked at each other with wide-eyed excitement (I’m not kidding) as the band unfolded one of their most popular and well-known tunes to date. It was a treat to watch, and I’m now one step closer to dying a happy man.

After the last rai-rai-rai had faded to raucous applause, the band left the stage for what seemed like the last time. Many made a beeline for the exits, convinced that an encore consisting of an all new song and Ukifune couldn’t possibly be followed, but the joke was on them as the band ran back out to deliver their classic closer, Bungu. It’s fast on record, but it’s even faster live, and every time I hear it at the end of one of their concerts, I’m awed that they still have the energy to perform it in such a way without suffering a collective heart attack.

And with that one song second encore, they were done.

Outside, the storm had subsided. People were either lined up at the merchandise stand, or busily scribbling pictures and filling out a short questionnaire on photocopied, hand-drawn forms, the purpose of which escaped me, but whose doodles I’m sure will turn up on a website or DVD sometime in the future.

As for me, I hopped on my bike, made a leisurely trip back home through the cool, fresh, typhoon-cleaned air, all the while replaying their blistering performances of ANTENNA and Ukifune and everything else and wondered, not for the first time, just how awesome it would be to rock out like that for a living.

Setlist
GO!GO!7188
ヘンテナツアー (HENTENA TOUR)
Live @ JCB Hall, 31/08/09

00. Intro
01. 地球最後の日 (Chikyuu Saigo no Hi · The Earth’s Last Day)
02. ちんとんしゃん (Chintonshan)
03. 脳内トラベラー (Nounai TRAVELLER · Intracerebral Traveller)
04. 食わずギライ (KuwazuGIRAI · Food Aversion)
05. 飛び跳ねマーチ (Tobihane MARCH · Hopping March)
06. サンダーガール (THUNDER GIRL)
07. YOMEとして2008 (YOME toshite 2008· As a Daughter-in-Law 2008)
08. on the まゆ毛 ～切りすぎて～ (on the Mayuge ~Kirisugite~ · on the Eyebrows ~Overcut Hair~)
09. あしのけ (Ashi no Ke · Leg Hair)
10. ぬかるみ (Nukarumi · Mud)
11. めみみはなくち (Me Mimi Hana Kuchi · Eyes Ears Nose Mouth)
12. ハモリエヴリデイ (HARMONY EVERYDAY)
13. 満天の星　春の庭 (Manten no Hoshi Haru no Niwa · The Whole Sky’s Stars, Spring’s Garden)
14. ふたしかたしか (Futashika Tashika · Uncertain Certain)
15. ばりぶり (Bariburi)
16. コミュニケーションギャップ (COMMUNICATION GAP)
17. とかげ3号 (Tokage 3gou · Lizard #3)
18. アンテナ (ANTENNA)
19. 雨の日だけの恋 (Ame no Hi Dake no Koi · Rainy Day Only Love)

Encore 1

20. New Song
21. 浮舟 (Ukifune · Floating Boat)

Encore 2

22. 文具 (Bungu· Stationery)

GO!GO!7188 – HENTENA TOUR 09 Information Page

Shakey’s Pizza can be found in 8 different locations around Tokyo, with a handful more in other areas of the country. Personally, we’ve been to the branches in Shinjuku, Kichijōji, Harajuku and Takadanobaba (pictured above. The photos in this article were taken from a variety of locations around Tokyo). They all present the same kitschy 50s American pizza parlour ambience and endless (and I mean endless) ragtime soundtrack which will, if you remain there long enough, kill you (or at least the part of your brain that controls your sanity).

We’ve only ever gone at lunch time. Why? Because of their famous all-you-can-eat lunch buffet. Every weekday from 11am to 4pm (though sometimes til 5pm), a mere ¥850* will get you, students and other folk who survive on cheap feeds an untimed run at…

Japanese curry!

Thick-cut fried potatoes! These aren’t too salty but they’ll fill you up quick.

Pasta! The sauces are incredibly lightweight but not entirely devoid of flavour.

And lastly, the star attraction… the pizza! They’re all thin crust and what’s available on the counter at any one time can and will often change during the course of your time at the restaurant.

There’s also a selection of alcoholic and non-alcoholic drinks, but they’ll cost you extra. You should also ignore those heartily-topped pizzas shown on the flags above… what you get – at lunch time at least – is far less generous.

The most easily recognisable local addition to the menu is lean on the ingredients and difficult to distinguish from the instant variety. Not a critical part of the experience by any means, but a welcome addition for Japanese curry lovers nonetheless.

A representative plate from the buffet covering all the major Shakey’s food groups. The idea here, given the variety on rotation, is to sample.

On the whole, the pizzas taste alright, but this isn’t gourmet fare by any stretch. The quality appears to vary from store to store, but connoisseurs will no doubt leave thoroughly unconvinced and perhaps even a little indiginified no matter which one they visit. Easily the best thing about this place, then, is the ever-changing selection of pizzas on offer and the imagination that goes into their sometimes questionable choice of toppings. Though these toppings can sometimes be sparsely administered, all the usual suspects are covered – you’ve got your pepperoni, capsicum, onion, bacon, mushroom, mince beef, tomato and yes, even seafood pizzas in the form of tuna, prawn and calamari. Eyes start narrowing, however, when you first encounter things like seaweed, corn, kimchi and, well, it’s not quite this (yet), but conservative consumers of pizza should consider themselves warned – there will be surprises.

Perhaps the most pleasant of these surprises are the dessert pizzas. Despite their somewhat oxymoronic nature, they are by far my personal favourites here. Never tasted a sweet pizza? You should. Or at least, you should taste one like the monstrosity above, which is topped with banana slices, choc chips and melted marshmallows all drizzled with chocolate syrup and icing sugar on a custard sauce base. I also fondly recall encountering one based on peaches and crumblings of chocolate cake. There was also a strawberry version but I only came across that delight once, in February, and haven’t seen it anywhere since. It’s a testament to Japan’s signature practice of importing foreign ideas and contorting them until they can no longer be called anything other than “Japanese” – I doubt these kinds of pizzas were ever sold at a Shakey’s restaurant in America – but nevermind that. The important thing is that they work. Deliciously.

So you keep going back for more, and more, and more, and by your fifth or sixth plate piled with all manner of pizzas sweet and savoury, you’re starting to feel a little ill. But the ragtime music keeps going, and, almost hypnotically, so do you. The hardness of breath and the general slowing of movement indicate that you perhaps ought to cool it for a while, but the chefs have just cheerily announced to that a fresh dessert pizza has just come out of the oven…

And then, when you’ve barely the faculties left to stumble out without passing out, you stop. You pass a sign like this on the way, with its proudly nonsensical Japanese-English (“Viking” somehow refers to “buffet”) and bi-lingual, foreigner-friendly notice telling you that the weird pizza you tried with the thin, red, hair-like strands was actually a “Pork and Kimchi” pizza, and that next month’s speciality is going to be a mind-bending “Burger Pizza”. But you can’t look at it, or any other food for that matter, until at least the following day, for fear of invoking the gag-reflex.

But soon enough, you’re back for more.

* Some branches (such as Shinjuku and Kichijōji) and have increased the lunch time buffet price from ¥850 to ¥1020, but this includes access to a salad bar with salad, fruit and jelly.

Shakey’s Pizza
Various locations, check website for details.

This is the third and final part of a three part series. Click here for Part 1, which looks at an early stage in the construction process, and click here for Part 2 which shows the completed statue before the official opening.

We visited on a sticky summer Sunday afternoon to catch the day/night transition, and we were certainly not alone. What was once a lush, green park has now been thoroughly trampled into a giant dust field by thousands of delighted visitors… which is ironic, given that not only is the statue the centrepiece of the Gundam series’ 30th anniversary celebrations, but also that of the Tokyo Metropolitan Government’s “Green Tokyo” project, aimed at promoting a greener, more ecologically aware and sound future for the city.

But never mind that. Look, it moves!

See for yourself.

The statue puts on a show once every hour involving flashing lights, sprays of mist and a moving head all choreographed to music and timed with various robotic sound effects. The whole spectacle lasts for only a few minutes, but it from all the intermittent ooh’s and aah’s and approving applause from the onlookers at the end, it certainly succeeds as a crowd pleaser nonetheless.

And, although I say this everytime I upload a video from my camera, apologies for the very un-2009 quality of the videos in this article. My old camera can only take 30 seconds of low-resolution video at a time, which is especially unfortunate here as it was typically longer than 30 seconds between each separate display (turning its head, lifting its head, spraying mist, etc.), making it difficult to capture everything in one clip. Anyhow, moving on…

The construction barrier that once hid the Gundam’s lower legs has finally been removed, revealing its very hefty pair of red shoes.

I’d say that each foot was roughly equivalent in size to that of a small to medium sized car. I’ve said it before, but I’ll say it again – this thing is huge.

And you get to walk between its legs!

Not surprisingly, there was a sizeable queue, but thankfully the staff on hand managed to efficiently muster the herd through at a reasonable pace so I didn’t have to wait more than about 10 minutes to pass between the Gundam’s mighty feet…

… take the obligatory crotch shot…

… and TOUCH it. Yes, that is my gangly hand right there, next to some decals that demonstrate that random numbers and acronyms are all you really need to sound “technical”.

And now, for some pictures featuring people who aren’t me, posing around the right ankle joint. One thing I appreciate about Japan is that people from all walks of life get into this kind of stuff, not just the nerdy otaku types, and it’s completely normal and accepted. For example:

A) Housewives.

B) Men who look like they like this stuff.

C) Men who look like they beat up on men who like this stuff.

Wouldn’t want to be here if that booster back pack turned on!

Gawking at a giant robot and capturing the spectacle from every possible angle is bound to take a physical toll on the body. Or so thought the organisers of the event, who kindly set up an array of food stalls along the outskirts of the field. Looks like they were right.

Gawking at a giant robot and capturing the spectacle from every possible angle is also bound to make you want a giant robot of your own. Those who feel frustrated at not being able to take away the real thing can find small relief at a Gundam merchandise stall like the one above.

An event as big as this based on a character from an anime series wouldn’t be complete without cosplayers! Here are two official-looking characters moments after being interviewed by the press…

… and what would have been a very sweaty fan inside a very cute Zaku (?) costume. Somehow I don’t think this little guy would have stood much of a chance against Mr. RX78-2 across the field.

But that didn’t stop him from getting an interview! Being smaller makes him all the more approachable, you see. And that claw? Adorable!

A cosplaying couple. By this stage, it was approaching sunset.

But the crowds saw no sign of relenting.

And who could blame them? This was undoubtedly the most breathtaking time to see the statue.

For once, the Gundam had to share the limelight.

The dramatically-scored “powering up” sequence.

Looking up.

Looking around.

Looking menacing.

The fleeting, very pretty colours at twilight.

And before we knew it, it was night.

Gazing skyward gives the impression of the Gundam placed where it belongs – in space, and in the future.

Please don’t go.

It’s difficult to imagine how they’re going to top this once (and if) the Gundam’s 50th anniversary rolls around. What could they possibly add to it? Moving arms? Working legs for a truly “mobile” Mobile Suit Gundam? A booster back pack that spits fire? An internal elevator that goes up through its body and into an observatory deck in its head? With a restaurant inside? I suppose it’s all possible, if they rake in an absurd amount of money over the next 20 years and the cost of public liability insurance plummets by a similar amount. But for now, consider this the coolest tribute that any pop-culture robot could, in this day and age, possibly hope for.

Giant Gundam in Odaiba – Part 1 – if90
Giant Gundam in Odaiba – Part 2 – if90

Gundam 30th Anniversary Event – Official Website (Japanese only)
Green Tokyo Gundam – Official Website (Japanese only)

The album’s official English titles have been used here for ease of readability. See the Tracklist at the end of the article for the official Japanese titles.

After converting her legions of fans (and then some) into raving, lifelong zealots with her self-proclaimed final solo album, 2003′s brilliant Karuki Zāmen Kuri no Hana, Ringo ditched the reins to her career as a solo artist and embraced what she said had once only been a dream – to relinquish sole creative control and be part of a band that not only performs, but writes their songs together. The result – Tokyo Jihen – has to date released three albums and toured the country to much success. Now, 11 years after their founder made her electrifying solo debut with the modern-day classic Muzai Moratorium in 1999, it’s their turn to sit on the sidelines as she once again resumes producing new, original work under her own name.

Firstly, some trivia.

Superficial Gossip is, in true Ringo style, a production with an idiosyncratic fondness for symmetry. Like her sophomore effort Shōso Strip and its follow-up Karuki Zāmen Kuri no Hana before it, the album’s 13 tracks proper are symmetrically arranged, meaning that each song, bar the “axis” (track 7, in this case), has a “partner” on the exact opposite side of the record that has precisely the same number of Japanese characters in its name, a similar theme (lyrically and musically) and in some cases, even the same arranger. There may even be other things being reflected, which are not immediately obvious to me, but I’m sure that someone else out there, with the time and the inclination, is on to it.

And although it can easily be dismissed and forgotten as a gimmick – albeit a structurally fundamental and rather poetic one – once you know such parallels exist in the album, it really does change the way you listen to it and what you listen out for.

Except for temporary virgin (DEATH JAZZ ver.) and bonus track Marunouchi Sadistic (EXPO Ver.), all the songs here are new and written almost exclusively by Ringo. As with most of her past releases, she’s enlisted the help of a number of talented groups and individuals to assist with the arrangements – among others, Hiizumi Masayuki (“HZM” of the instrumental jazz group PE’Z and one-time Tokyo Jihen keyboardist), film and videogame soundtrack composer Takayuki Hattori (son of the renowned composer Katsuhisa Hattori), club jazz group Soil & “Pimp” Sessions and the big-band conductor Saitō Neko, an old friend with whom she had most prominently collaborated with for 2007′s lushly orchestrated Heisei Fūzoku.

The “no concept” concept communicated in nude tones. The Gibson “SG” guitar was the inspiration behind the album’s title

Musically speaking, it doesn’t take many spins of Superficial Gossip to realise that although she’s taken up the name “Shiina Ringo” once again, she certainly hasn’t taken up the eclectic edge that her previous solo albums wielded to so effectively to cut a swathe through the formidable mass of mediocre Japanese pop/rock acts to a bask in a clear, hallowed plain of their own. Largely composed of immaculately produced jazz-rock and big-band numbers, it can be argued that fans who have been following her recent (and some not-so-recent) flirtations with such genres should have seen it coming. It is, by Ringo’s standards, a very safe album.

It opens with the jazz-rock of vogue and a rap by MummyD (from the hip-hop groups Rhymester and Maboroshi). So far, so good. The nasal Ringo wail is back, and frankly if you’re not sure if you’re going to be able to take it, you’ll surely know by the end of track 2, the bluesy soul rocker, blue collar. This is followed by clandestine, an English language track which, with its exuberant brass, fruity flute flourishes, wah-wah guitar and xylophone solo, sounds like the theme to a madcap 70s secret agent anime. After an altogether upbeat start, things slow right down for the acoustic electropop of original intention. This, along with its partner song sharp practice over at track 10, are my personal highlights of the album, if only for the fact that they echo what once was and tease at what could have been…

The next track, temporary virgin, was originally featured on Heisei Fūzoku and the “DEATH JAZZ” version here (arranged by Soul & “Pimp” Sessions) was previously an iTunes-only release. It’s a big-band number, but a little lacklustre for all its pomp. It’s followed similarly by yet another big-band tune, the leading hitter, this time arranged by Saitō Neko. It’s beautifully put together, but all in all it’s just a bit too detailed, a bit too much – at times it seems like Ringo and the instruments are both competing for the same limited space in your eardrums, with Ringo ultimately losing out as her voice trembles under the clear strain of outputting something that can be heard over all the blasting brass and frantic strings.

And then, suddenly, the maelstrom ends, and there’s season.

The axis of the album, and it’s like an oasis. An orchestrated, yet comparatively stripped-back ballad which gives a welcome moment to rest your ears, before…

just the two of us whisks you back to a 50s dancehall with its campy showtune melody and tap-dancing breaks (yes, tap-dancing). This is followed by the jazzy urgency of fake fellow (the album’s second English language track) and the aforementioned goodness and futuristic imagery of sharp practice, where MummyD makes another appearance for the outro. It’s a shame that one of the highlights of the album is succeeded by what has to be the album’s most easily forgettable piece – the perky yet ultimately boring (and ironically titled) excitement.

Then, things start to wind up with ordinary ability, the most sonically naked track on the album with Ringo’s dramatic croons (which seem to span the extremes of her range here) accompanied only by Yasuhiro Kobayashi’s skilled accordian. The last track proper, alone, is perhaps the closest thing Superficial Gossip has to a straightforward rock song and sounds like something she might have written back when she was a teen and penning the tracks that would one day end up on Muzai Moratorium and Shōso Strip.

The bonus track, a bi-lingual reinterpretation of her early classic, Marunouchi Sadistic, is a bit of an awkward addition to the set. Besides ruining the album’s carefully considered symmetry, it’s soulful arrangement by current Tokyo Jihen guitarist, Ukigumo, is at musical odds with the rest of the album’s sound. That, and it doesn’t lift a finger to the original.

Superficial Gossip certainly had a lot to live up to. The “Shiina Ringo” name once evoked images of a wildly talented young singer-songwriter whose brain was an eclectic melting pot of genres, both old and contemporary from around the world. Now, Shiina Ringo is 30 and all grown up; she’s seemingly put her wild days of bedding a different musical style every few minutes behind her and settled down (permanently?) with the sophisticated yet wholly unoffensive Mr. Jazz. She also fancies herself a bit of a postwar crooner, though the jury is still out on whether she’s any good at it.

Once upon a time, Ringo was musically mature for her years. Now, she’s acting precisely her age.

Tracklist
三文ゴシップ (Sanmon Gossip · Superficial Gossip)
EMI Music Japan / Virgin Music, 24/07/09

01. 流行 (Ryūkou · vogue)
02. 労働者 (Rōdōsha · blue collar)
03. 密偵物語 (Mittei Monogatari · clandestine)
04. 〇地点から (〇 Chiten kara · original intention)
05. カリソメ乙女 (DEATH JAZZ ver.) (Karisome Otome (DEATH JAZZ ver.) · temporary virgin)
06. 都合の好い身体 (Tsugou no ii Karada · the leading hitter)
07. 旬 (Shun · season)
08. 二人ぼっち時間 (Futaribocchi Jikan · just the two of us)
09. マヤカシ優男 (Mayakashi Yasaotoko · fake fellow)
10. 尖った手口 (Togatta Teguchi · sharp practice)
11. 色恋沙汰 (Irokoizata · excitement)
12. 凡才肌 (Bonsai Hada · ordinary ability)
13. 余興 (Yokyou · alone)
14. 丸の内サディスティック (EXPO Ver.) (Marunouchi Sadistic (EXPO Ver.))

Note: The official English titles above are often not direct translations of the Japanese titles.

Band

椎名 林檎 (Shiina Ringo)

Shiina Ringo – Official Website
Shiina Ringo – Superficial Gossip Official Website (EMI)