Since a shirt she wore inspired this blog’s name…
Happy Birthday to Miyabi Natsuyaki of Berryz Koubou and Buono!
She’s 16!
P.S. Hey, Miyabi, look who you share your birthday with! How badass is this?
No More ‘Dozing’ For Dir en grey?
Dir en grey are getting ready to start an American tour to promote their forthcoming album, [UROBOROS].
The punch line is, they don’t have an American record label backing that tour.
As of this writing (August 22, 2008), their official MySpace lists them as being “unsigned” in North America, while still having a deal with Freewill in their native Japan. This ominous sign presents a major problem with the group’s original intended plan to have [UROBOROS] be the group’s first release to see simultaneous worldwide release. Their official English-language MySpace pages gives links to order the Japanese import editions of [UROBOROS] and its advance single, “Glass Skin”, through Amazon.com, although at prices ridiculously inflated to most pockets compared to CDJapan and YesAsia.
Dir en grey’s last two studio albums, Withering To Death and The Marrow Of A Bone were issued in the United States, but at times long after the albums were available as imports. Withering To Death’s US issue came fourteen months after its Japanese release in March of 2005; a mere thirteen days separated the Japanese and American editions of The Marrow Of A Bone.
Now, however, there has been a split between the band and their former American label home, Warcon. Rumors are rampant that business differences between Warcon and Dir en grey’s manager, Dynamite Tommy, are to blame for the split, in spite of Warcon’s sincere determination to market the group as career artists.
Although Warcon had substantial distribution to American record outlets through Universal Music’s independent distribution arm, Fontana, that same distribution leaned towards spotty in some places. While Withering To Death was available in every record store I looked in at the time it was a new American release, The Marrow Of A Bone was curiously not to be found in my otherwise reliable independent record store, only at FYE. Make of that what you will.
So why would Dir en grey, the biggest J-Rock act on the planet, tour North America without having an American record deal? Sure, they have the fan base, and pre-orders for tickets are said to be quite promising.
Is it possible that Dir en grey are using this tour to attract a new American record deal? Odds of this being the main reason for the tour starting in North America are even – word is that the North American tour plans for the group were pushed forward primarily to attract a new label; had their Warcon deal still existed, their North American touring wouldn’t be happening until early 2009.
More importantly, what American record label would be the best fit for Dir en grey? And, keeping those aforementioned rampant rumors in mind, would those potential labels be willing to deal with Dynamite Tommy?
Some new scuttlebutt has also come to light of late that Freewill America may have been cut out of the picture entirely as far as managing Dir en grey’s non-Japanese business is concerned (although current merchandise deals may remain in place for contractual reasons), replaced with a yet-to-be-named American manager.
No answers or public clues are available as yet, but with the American tour and the forthcoming release of “Glass Skin” and [UROBOROS] in sight, most, if not all, will surely be revealed.
A Sidebar For The HaroMoni@ Discussion
One can only wonder how HaroMoni@ would have fared if the episodes had gone more along these lines:
It’s Only A TV Show, Don’t Panic.
It’s kind of lame that the first thing I post about regarding Morning Musume at my new blogging home is the cancellation of their TV show HaroMoni@. However, I’m not worried.
I didn’t see any full episodes, only clips (many of those having only Reina Tanaka in them, for reasons obvious only to longtime readers of MotokoAoyama.com (both versions) and SHSSF. From what I read of descriptions of the show, it seemed to get sillier and sillier with every episode. Didn’t bother me though.
It wasn’t the talent that was the problem with the show – Morning Musume still continue to sell records, having not missed the Oricon Top 10 in their entire history. It was the situations they found themselves in. Their previous program, Hello! Morning, had the group in a bigger variety of situations both in and out of the studio. HaroMoni@ had them stuck in a TV studio being bossed around by a puppet in a crown and a diaper.
Morning Musume and Up-Front Works will, no doubt, have a new TV outlet to replace HaroMoni@. With the band still a priority for UFW, that’s pretty much a given, and I wouldn’t be surprised if UFW had a contingency plan in place once they saw the writing on the wall. I would also not be surprised if an announcement on MoMusu’s replacement program came before HaroMoni@’s last episode airs at the end of September.
The only real disadvantage I can see, from my point of view, is that the end of HaroMoni@ also means the end of eyecandy of my favorite MoMusu wearing those rather sexy cat ears.
REVIEW: THE HUSKY “Husky”
THE HUSKY
Husky
(Chockyu)
Availablilty: CD EP
Rating: 
While the rest of Whiteberry has been, for the most part, idle and out of the limelight since their final concerts in March of 2004, lead singer Yuki Maeda has not. In 2006, with fellow ex-Whiteberry, bassist Yukari Hasegawa briefly in tow, Yuki Madea reemerged on the Japanese independent label Deadgirls with an eponymous CD EP from her first post-Whiteberry band, a four-piece all-female unit dubbed yukki. The existence of the new group was something I wasn’t aware of until Zush at Kakko-ii.com wrote about her new band’s project in late 2006. Thankfully, I got a hold of a copy of the CD in time for it to make my list of the Top Albums Of 2006 on MotokoAoyama.com v1.0. yukki (the band and the EP) found Yuki Maeda not only singing, but playing guitar and writing all of the material. It is a great EP – imagine Whiteberry without the keyboards.
Unfortunately, yukki the band never followed up yukki the EP. Yukari Hasegawa disappeared again (presumably to return to college), and the band continued for several months before quietly disappearing. No one who followed Whiteberry and yukki knew what was up until the group’s homepage presented a link to another site – the homepage for a new band fronted by Ms. Maeda called The Husky.
With their sort-of-eponymous debut CD EP, again an independent release (this time on a label called Chockyu), Yuki Maeda seems to be slowly progressing away from her Whiteberry past. While her distinctive vocals remain, with the existence of The Husky, Yuki Maeda finds herself, for the first time in her professional career, to be the only female member of the group. Joining her in the lineup are former La’cryma Christi drummer Levin and newcomers Yasuaki Miyaji on guitar and Sunao Nakamura on bass and baritone guitar. Like with her previous post-Whiteberry band, Yuki Maeda continues to rely on her own material, having penned all of the songs on the album, save for two songs where her lyrics are set to music composed by Miyaji.
“Story”, the EP’s highlighted track (a PV exists, Yuki’s first since “Shinjiri Chikara” – yukki never made any) opens the proceedings in fine form. Initially, the song retains the Whiteberry-minus-keyboards punk sound from yukki, only to be interrupted first by a baritone guitar riff from Nakamura and then by a tinny acoustic-sounding guitar (actually an unplugged electric recorded with a microphone) initially underpinning Yuki’s vocals before veering back into Whiteberry-style punk.
“Hitori Botsuchi” follows with a slightly slower rock tempo and an arrangement and chord sequence that recalls some of Living Colour’s minor-key material from Time’s Up. Miyavi does some rather interesting guitar work in the recording’s left channel that sounds more like a synthesizer than a guitar, while a creepy-sounding string synthesizer (played by an uncredited keyboardist) intrudes on the song’s atmosphere.
“not control” (the song title isn’t capitalized), one of two songs co-written by Miyaji, takes the band and the EP on a left-field turn by bringing some ZZ Top-meets-George Thorogood blues riffing into the mix for much of the song. A false ending suddenly takes the band into a jazz-rock vein for the song’s coda.
“Tsuchi” keeps the band within blues/classic rock territory by way of Elvis Costello, slowing down the tempo and giving them a 12/8 time signature to contend with. A slightly anarchic Theremin (or at least Miyaji making some Theremin-like sounds with his guitar and effects) interrupts things as the band goes from the song’s B-section to its chorus. The third time the B-section around, Levin changes things around by throwing in some tribal-sounding drumming before shifting back into gear for the final choruses.
“Ime” sounds like its going to veer into early Chili Pepper-esque funk at first, but Levin’s Motown-esque drum beat nips that in the bud, while Yuki’s lead vocal obliterates further Motown comparisons and Miyaji tosses in some modern rock guitar noises for additional texture.
“Mekumori”, the second of the Maeda/Miyaji songwriting collaborations, returns the band to mid-tempo 12/8 time, but with songwriting and playing that sounds both familiar and new at the same time. While not a fast rocker, the song itself is quite anthemic, and allows Miyaji to take flight with a tasteful extended guitar solo.
It’s safe to suggest that The Husky’s EP represents a considerable and major musical progression for Yuki Maeda. The EP allows her to come further out of her old shell, forging a new musical background that compliments her distinctive and instantly recognizable vocals. Hopefully, the next recordings we hear from Yuki Maeda will be a follow-up release from The Husky rather from yet another new band. Unless Whiteberry reunites, of course.
Five out of five stars.
REVIEW: SCANDAL “Yah! Yah! Yah! Hello Scandal” EP
SCANDAL
Yah! Yah! Yah! Hello Scandal
(Kitty Inc.)
Availability: CD EP, iTunes US & Japan
Rating:
SCANDAL – vocalist/guitarist Haruna Ono, vocalist/lead guitarist Mami Sasasaki, vocalist/bassist Tomomi Ogawa, and drummer Rina Suzuki – have left quite the impression on American J-Pop fans since they toured as part of the Japan Nite package tour this past spring. The group was the smash hit of the entire tour by all accounts, and copies of their first single Space Ranger were selling out at every tour stop. So it is no surprise that anticipation for a full-length SCANDAL album was high.
Well, it looks like anticipation will still be high for a full-length SCANDAL album. Yah! Yah! Yah! Hello Scandal is a four-song EP and three of the songs have already been released as their first three singles. Fortunately, it makes sense to include all three singles on this EP, given how quickly they have sold and how hard they are to obtain as physical CDs outside of Japan.
The “new” track which opens the EP, “Koi No Kaijitsu”, starts with a powerpop introduction a-la The Raspberries before the band shifts into old-school ska/rock-steady for the verses. The introduction and verse are repeated before the band shifts gear again with a Beatleesque pre-chorus and refrain. After the intro/verse/prechorus/refrain sequence is given a second go-round, an instrumental bridge with an R.E.M.-esque chord sequence, but played Beatles-style and flavored with some conservative use of phase-shifting – adds a further dimension to the proceedings. The three-part harmonies by Haruna, Tomomi and Mami are more than pleasant to listen to.
For those that never got the singles and didn’t choose to download them from iTunes, they all follow on the EP in their original order of release, and benefit from an even better mastering job than the original singles. For the curious and uninitiated, here’s what early American adopters of SCANDAL have been enjoying for the past few months:
“Space Ranger” starts with some ominous synthesizer drones before the rhythm section kicks in. The two guitars follow, along with an uncredited organist supplementing the guitar riffs, with the end result being a very catchy song very reminiscent of ZONE.
“Koi Moyo” is my personal favorite of the three original singles. Instead of emulating ZONE, SCANDAL seem to have found a sound almost entirely of their own making. The production recalls Husker Du circa Flip Your Wig and Candy Apple Grey – indeed, the song itself sounds like how the Huskers would have sounded had Grant Hart played a straighter, more Tommy Lee-esque drum beat instead of his swinging style. Tomomi plays a very interesting, cliche-free bass line in the song’s introduction and instrumental tags, laying back to play only half-notes and whole notes during the verses and straight eighth-notes during the chorus. There’s no keyboards to be found, the three-part harmonies are tight, and Rina’s drums have a great wooden-room sound around them.
The EP’s closer, “Kagarou” kicks off with some Wire-sounding powerchords before a single-note synth line akin to early Devo adds its own icing to the rest of the introduction, with the rest of the song sounding like a guitar-heavy Elvis Costello & The Attractions (any keyboards beyond the occasional synth icing are pretty much obliterated by Haruna and Mami’s Stratocasters) and some of the lead vocals, especially during the first verse, recalling W.
Even if you already have the singles – either physically or from iTunes – Yah! Yah! Yah! Hello Scandal is a worthwhile purchase, especially as a physical CD, which I highly recommend as the packaging is pretty cool: An emulation of the Beatles’ Let It Be cover, with the CD packaged in a miniature gatefold album cover, complete with a Japanese-style plastic inner sleeve for the CD itself. (Yet another current CD that I would love to see come out as a 180-gram vinyl record! – Matador, Merge, and Saddle Creek, are you paying attention?) The girls of SCANDAL are apparently just as enamored of their American fanbase as the entire inner gatefold collage is dominated by live picks of the band from the same tour. Hopefully this will be a nice tideover until a true full-length LP from the quartet emerges.
Five out of five stars.
AKB48 Minus One
Major news breaking this morning as AKB48, the outsized J-pop unit that even has its own theater in Tokyo, has fired Ayaka Kikuchi from their lineup. I’m not a fan (actually, I’ve never heard a note of their music and I’m sure some folks would say I’m missing out) but this news still made me say whoa (as did the fact that Tokyograph, a frequent news source for J-Pop bloggers, actually linked to IntlWota and one of its member sites – nice job, guys!).
With such a large lineup (albeit often split into three smaller groups), I have to wonder if the departure, forced or otherwise (six members have already graduated from the group), actually affects the makeup of the band in any way. When someone graduates from Morning Musume, the effect is obvious at first with the next single to come out after the member’s departure, but the band adapts relatively quickly and continues to make high-quality music. I wonder if someone separating from AKB48 would be as noticeable as a member or two leaving a symphony orchestra – again, though, I’m not familiar with AKB48′s music so I personally don’t know for sure. I am sure, however, that like with Morning Musume, when a favorite member departs it’s a sad day for their fans. I’m sure that Cat at the AKB48 blog Aitakatta! is taking it hard – the news that Kikuchi had been caught had already upset her before today’s news broke. Being a longtime MoMusu fan, I can’t help but sympathize with AKB48 fans in an instance such as this.
Whether AKB48′s handlers are looking to be more hardcore than Up-Front Works regarding the personal lives of their contracted talent is up for debate – members have already stated in interviews long before today’s news broke that having boyfriends while being a member of the band is prohibited. It will be interesting to see if (god forbid) any of the older members gets in worse trouble for following an Aibon-esque path in their offstage lives.
ETA: Ouch. They sure moved fast. Her picture’s been ripped off of the wall at their theatre (thanks to Julia for the pic):
Dawning Of A New Era
So, what exactly led to me starting over after two and a quarter years at Stuck In A Pagoda?
Well, one of the biggest reasons is the name itself. Stuck In A Pagoda With Motoko Aoyama is a cool title. I used it for a mix CD of traditional Japanese music that I posted at Art of the Mix several years ago, it was the title I semi-facetiously gave my LiveJournal when I started to use it regularly, and it was, for me anyway, a combination of my two biggest musical loves – punk rock and Japanese pop. (The old blog’s title is a parody of a Dickies song from their second LP, replacing the original’s titular heroine [a real-life Los Angeles newscaster] with my favorite Love Hina character.)
But the title has really restricted me of late. There is a lot more music that I want to comment on, and while I have done so in the past (an account of a Bon Jovi stadium concert I was dragged to in 2006 comes to mind), writing about other mainstream music didn’t completely jibe with my loving scrawls about the latest Morning Musume single, my anticipation for the Stooges’ first American tour since 1974, or anything else I normally covered at Stuck In A Pagoda.
In short, I needed to do my usual insanity and then some under a less restrictive name – but for weeks, couldn’t think of any.
And that is when my pre-ordered copy of Berryz Koubou’s Yuke Yuke Monkey Dance arrived and I saw what was written on Miyabi Natsuyaki’s T-shirt. I ran to GoDaddy.com and registered thegroovemusiclife.com before someone else beat me to it. That took five minutes.
Deciding on a design for the blog took longer. It wasn’t until the other day that I found a theme that I liked – so much so that I may be using the design for another new blog that I will debut next week (one even more specific than So Hot She Shits Fire, which will never change as in that case, you can’t really mess with perfection) as well as for the static version of Stuck In A Pagoda sometime later.
So, here’s the basic mission behind The Groove Music Life:
- I’m still going to write about Japanese pop.
- I’m still going to write about punk and alternative rock.
But I’m also going to:
- Write about any other pop or rock music that I choose.
- Continue my exploration of older Japanese musics. (Simply put, The Vinyl Pagoda Project is going to continue, name and all – I’m even going to port the older entries from Stuck In A Pagoda, dates and all, when the next installment goes up late Thursday or early Friday.)
Some other changes:
- Pagoda Video and The Pagoda Five will become Groove Music Video and The Groove Music Five
- No more picking on the Spice Girls and/or Miley Cyrus. I’ve already proved my point.
- There will be more reviews. As a matter of fact, I want to have at least three up before the end of next week.
Some things that will continue on from Stuck In A Pagoda:
- The Morning Musume/J-Pop In America series. I have been plotting further installments in this series since March; other writing activities, including the completion of Here Is The Wonderland, have been taking precedence (and that novel is still a top priority, as is making writing my sole source of income.)
- The LolIdols series, I Can Has J-Pop? (And I welcome ideas for that as well from readers).
…and one thing that might not continue.
- The Pagoda Podcast.
Obviously, the name won’t fit in with this new blog’s expanded vision. But the other, more important reason is, I don’t have the time right now. Putting a podcast together is a pain in the fucking ass, and even though I have a talent for audio editing, I’d rather be using that time to write. I also got no feedback from that second episode, and even though I started to put playlists for two more episodes together, I decided to put the idea of a podcast on hold. Maybe someday I’ll do a new podcast, but as of this writing I don’t see it happening.
So, in short, this little black duck needed a reboot, and this is it.
Now let’s have some fun – I sure intend to.
