Album Review: Asian Kung-Fu Generation- Magic Disk

Album Rating: 7/10





The indie darlings of Japan can't be silenced. With three albums in as many years, Asian Kung-Fu Generation keeps proving again and again that catchy hooks and sweet pop melodies work every time. Not to mention some new instrumentation as can be heard on their latest album just released this summer, Magic Disk. Ajikan, as the band is affectionally referred to by their native fans, have made a career of staying close to their roots; power-pop comparable to the like of Weezer or Jimmy Eat World. And while this new album certainly has plenty of that, there's also some new surprises hidden inside.

The opener, Shinseki no Love Song, was also the first single released at the end of 2009, and a safe start to the album. The song begins kind of slow and trudges on, but once the disco beat of the drums kick in, vocalist Masafume Goto really comes to life as a classic Ajikan bass line thumps underneath. The song kind of just sneaks up on the listener, and you'll soon find yourself bobbing your head to the beat, as that sets the tone for the rest of the album. As the record continues, you can hear a lot of moments that would make you think a song would have been a previous candidate for an older album. The song Yes has some great lead guitar in the intro, and has a very similar feel to one of the band's earlier hits, Rewrite. Some great distortion is present here and drummer Kiyoshi Ijichi really shines here with excellent drum fills and cymbal crashes interwoven with an uplifting melody. The title track of the album feels like it could've been an outtake from the band's 2004 album Sol-fa. However, it can be seen why it would've been left off as the song could've been explored more. Goto teases us throughout the song, making the listener think he is about to bust into something spectacular, but the song stays at fairly the same energy level throughout.

The real high points of the album are where Ajikan step outside their box so to speak. Maigoinu to Ame no Beat marks the first time the band has ever incorporated a horn and brass section into one of their songs. And it doesn't feel forced or cheesy at all. The horns begin blaring in the intro to a tantalizing melody, which is then followed by a peppy, unique verse delivery by Goto. The guitar is infectious and the bass line rolls on. The song is so upbeat, it almost emits a Beatles like vibe. Also heard is a short guitar solo, something the band shouldn't be afraid to do more as it really shows their creative side. Later in the album, Rising Sun starts off pretty normal, but adds some nice synth as the song goes on; a little bit more than is usually heard on the regular Ajikan song. Goto's clean vocals during the verses are refreshing to hear without a second track, showing he can really be a good vocalist when he tries.

Other standouts on the album include Daidai, a basic song with some really great hooks. It has simple enough verses, but it's the chorus that really hits you in the face, and features some nice backing vocals. The Last Dance Bears the Sadness is a kind of contradiction. It defintiely makes you want to start dancing with a the frantic pace set by the go-go bells, but the sad lyrics are downplayed by the upbeat music. Goto's falsetto backing vocals make a nice return here, and they're not cheesy at all like they have been in previous albums.

The rest of the album is hit and miss with some pretty basic songs, but some nice hooks and melodies are mixed in. Ajikan once again produces a great, upbeat album, but it would've been nicer to hear more songs in the same vein as Maigoinu to Ame no Beat. There were too many moments were they played it safe and could've taken the songs to a different level. But it's a step in the right direction, and may leave the door open for more experimentation on the band's part in the years to come. But for now, the mix of new and old songs blends together nicely and puts another awesome release in the band's discography.

Album Review: Sawao Yamanaka- Discharge

Album Rating: 4.5/10



It looks like 2010 been a very busy year for Sawao Yamanaka, more commonly known as the front man for the pillows. January saw the release of a new single for the pillows called Rodeo Star Mate, and this was right after they celebrated their 20th anniversary on September 16th, 2009 with a few new songs, and then October's release of their latest album OOPARTS. Then Sawao decided to go back into the studio with Jiro from Glay and work on the next album for his side project The Predators entitled This World which drops this August. But sandwiched in between his two bands, Sawao still found a way to release even more music. However this time, it was as a solo artist, with the release of Discharge last week. Sawao received help from quite a few musicians in the studio, with his backing band including the pillows support bassist Jun Suzuki, Noodles guitarist Yoko, former Ellegarden drummer Hirotaka Takahashi, and appearances from other musicians from bands like The Birthday and Chatmonchy. In the grand scheme of things, it's not that surprising he's taking on all this work, seeing as in his 20+ year career as a musician, he's never been on hiatus. But still, that's a lot of material for just one year, and makes one wonder how much of it is filler.

Lately the consensus around the internet lately is that the pillows have been dipping a little bit in terms of quality songwriting (which is solely done by Sawao) with their past few albums. It's sad to say this decline is still apparent on Discharge. The album is very short, just under 30 minutes, and some of it just seems half-baked. It opens up with a short little number called Music Creature, and was probably the worst possible track to open the album. The song is very slow paced and features some of the worst "Engrish" possibly ever recorded. The problem is, it doesn't get much better. The entire album is sung by Sawao in English, and somehow, his English singing has gotten worse as time went on. If you were to look back on some of the pillows song such as Subhuman or Gazelle City, in the early to mid-2000's, you'll see solidly enunciated English and grammar. Recently, can't say the same. Now 9 times out of ten, language makes no difference when it comes to music, but when the singing is so off balance, and the grammatical mistakes so erroneous, it really starts to take away from the music and has the listener focusing too much on the gibberish. For example, the chorus for the song Purple Moonlight is "I won't listen to rock tonight/I told such falsehood/I may be high." One would think it wouldn't be too hard to find someone to proofread the lyrics so listeners wouldn't think Sawao actually is high.

However, there are some highlights on the album that show Sawao's tendency to write catchy hooks and riffs to keep the listener entertained. Dawn Speech is a very mellow song which is accentuated by the velvety back up singing of Yoko, giving a very interesting dynamic to the song alongside Sawao's vocals. The chorus is simple, yet very engaging. We also get to see a bit more of Sawao's guitar chops in this song, as well as the rest of the album as he plays all the guitar solos; a job usually relegated to Yoshiaki Manabe when playing with the pillows. The songs Angel and The Burn Bread in My Clear Sea have some powerful choruses, almost seeming to ask to be sung along too. Purple Moonlight is another mellow song with some very interesting effects being used. The bass line rolls throughout the whole song, almost entrancing the listener, followed by a distorted guitar and Sawao's vocals masked in a tremolo effect, which works well for the song.

What's weird though is it seems that Sawao was running out of ideas for the album, and maybe his creative juices reached a road block due to overwork in the past year. The last two tracks are essentially repeats. Birthday is a song Sawao released under his name back in the early 2000's on a compilation for his label, and there are virtually no changes to the arrangement at all. And then is the album closer Silver Moonlight, which is very strange. It's essentially a more up-tempo, "rocked-out" version of Purple Moonlight, and decidedly inferior to it. It's nice to see the different directions the song could be taken in, but wouldn't it be better to only put one on the album instead of making it seem one of the songs was tacked on just for filler purposes?

All in all, the album is pretty mediocre compared to the standards Sawao set with the pillows during the late 90's and beyond. However, there are some real diamonds buried in the rough on this album, and if some of the songs were fleshed out more, they could've been real gems. If your a fan of the pillows, this is still a must listen. One can only hope that Sawao slows down a bit and really thinks about what made his music so identifiable in the past, and tries to reconnect with those creative instincts.

Album Review: Luminous Orange- Songs of Innocence

Album Rating: 9/10



In the early 1990's, alternative rock was at it's peak with several different styles and musicians going out over the airways. Grunge, post-punk, noise rock, shoegaze. It feels like a lot of these styles came and went from the general public's eye after a few years, as did the musicians performing them. Nowadays most of the bands in these genres are found in underground circles. There's at least one band that hasn't lost their spirit yet, and still continue to tour the world and make good music, if not better music than yesteryear. Luminous Orange has been a huge part of Japan's underground shoegaze scene since they were formed by Rie Takeuchi in 1992. Although the band has essentially become a solo project of Takeuchi, Luminous Orange has been dazzling fans for almost two decades with their glittering dream pop punctuated by layers upon layers of distorted guitars and beautiful melodies.

The band's sixth studio album, Songs of Innocence was released earlier this month after nearly two years of recording. The album is, simply put, a sonic masterpiece. Takeuchi composes beautiful melodies and makes great use of layering the guitars to achieve the desired sound. Her shimmering vocals only add to the beauty. Most times, her voice is nearly indecipherable behind the wall of sound, but the melodies and harmonies still break through, making the vocals an instrument in and of itself. The rhythm section on this album can't be forgotten either. Many of the drums on the album were contributed by former Number Girl and Zazen Boys drummer, Ahito Inazawa. Wherever there's an opportunity for a drum fill, it's taken advantage of and meshes superbly with the rest of the elements, never taking away from the sweet melodies and harmonies going on.

Lots of great bass going on as well, especially in stand-out track Blaze of Light. The bass line throughout is absolutely mesmerizing, and once the chorus goes back into the verse, the bass takes on a new life and holds it own in a duel with the myriad of guitars. It seems more often than not in modern day mixing, the bass is usually forgotten and buried so deep you have to strain yourself to hear it. You think it would be the same with Luminous Orange, due to the massive layering of guitars. Despite that, the bass comes through during the entire album in perfect clarity. It never fights with the guitar or vocals, or overpowers it. It simply complements it adding even more for the listener to pick out during the auditory onslaught.




From the beginning of the album, the listener will be sucked in from the soft melody of the title track. Synth and a whistle solo add to the upbeat atmosphere of the song, but once it ends, the album really starts to take off. Untold gets to that classic Luminous Orange level, the sound that defines them: roaring guitars and feedback... vocals that will make you absolutely melt... a melody that you just can't forget. It's also amazing how much of a visual you can get in your mind's eye while listening to the album. Sea of Lights, for example, starts off ominously, as if you find yourself floating down a river with the only source of light coming from far down the shoreline. Once the buzzing guitar line kicks in during the chorus, you'd think you were listening to a 90's college rock anthem outside in the school parking lot.

Even stripped down, to the most basic level, the melodies still resonate on the same level. Autumn Song and Dusk, Train, and the Bridge have noticeable acoustic guitar. At some points, the acoustic guitar is the only guitar track present, and here we see that Takeuchi's is not afraid to put her vocals at the forefront for a few lines. In these few moments we hear her pristine voice disproving any small doubts anyone may have had that she was trying to hide her voice. The rest of the album has a multitude of uplifting melodies that hearken back to other 90's shoegazers such as Lush and Pale Saints, the downpour of guitars swirling and wrapping the listener in a blanket of enchantment.

Songs of Innocence stands up to the rest of Luminous Orange's discography, solid through and through. It very well may be the best record put out by the band in the past decade, which makes this a perfect way to open this one. One listen cannot suffice with this album. And it's not that this album is a grower. It's because there is just so much going on in each and every song, it's impossible to fully grasp the entire album in one listen. A good pair of headphones will be the best tool in picking out every musical nuance that Takeuchi has poured into the album. More and more is brought to light with each subsequent listen. It's as if you're peeling back one more guitar layer with each listen, revealing the nature to each song.

Concert Review: Delicious Bump Show 2010 featuring the pillows

Never before have I traveled so far to see a concert, but then, the pillows aren't just any other band. the pillows have a sound that is somehow able to brighten your day no matter what kind of mood you're in. You could be sad, angry, depressed, and still somehow, the pillows are able to break the language barrier, and uplift the soul with their music.

My journey took me from Chicago to the city of Pomona at The Glass House, which is about two hours east of LA. You wouldn't think much would be going on here in this city, but the pillows and their friends were able to make quite a statement. This was the band's fourth tour in North America, however it was their shortest. Only two shows were played, both in the state of California, and it didn't help their bassist Jun Suzuki was unable to make it due to passport issues. However, front man Sawao Yamanaka brought three bands from his label, Delicious Label, to give the US a taste of some truly great alternative rock.

The first band to perform that night was all girl band Pop Chocolat. Consisting of the standard three piece band and a keyboardist, the band got the show off to a bit of a rocky start. The guitarist's amp went out immediately after the first song started, and made for an awkward moment as the tech guys tried to fix it. The band seemed to be a bit shaken up from it, but during their short set were able to show some signs of life. The band was pretty unique in that their was no clear lead singer. One song would be the guitarist, the next the bassist, and all throughout the girls would make some lovely harmonies underneath. Even the drummer was able to get in on it, and definitely seemed like she was having fun doing so.

After their quick set, the next band, Monokuro came up. Now the lead singer/guitarist was wearing a Sonic Youth shirt, so I knew what was in store. The trio was very loud, abrasive, and used plenty of distortion... a perfect combination. Excellent melodies were inside the walls of fuzz that came through the speakers, and the singer/guitarist was very showy, and was able to really get the crowd moving. He played at a frantic pace, as if his life depended on getting through the song.



With the first two openers done, one of the bigger names came to the stage, an all-girl alt-rock outfit named Noodles. One can compare the Noodles to a Japanese version of The Breeders. There's plenty of quirks in the band's music, written almost solely by vocalist/guitarist Yoko. Her silvery vocals sync up perfectly to her poppy hooks blended with fuzzy guitars and bass, making many interesting melodies. The band did seem to put out better material before their lead guitarist left the band several years ago, however. The band never reached out for a replacement, leading to more simple structure songs; it was most of these songs that were played. Still, there was plenty of great material being played at this show from different parts of their catalogue. The song Traditional Case was played early in the set, and hearing its blaring guitar was really amazing, especially during the short little guitar solo that followed. The crowd began getting into the show more at this point as the Noodles have also toured the US several times, with many people yelling out random song titles. Another stand out track from the set with bubbly pop rocker Ingrid Said, with the lyrics seemingly asking the audience "What do you want?" If the people wanted some alternative rock with inventive melodies, well they got it. It wasn't long after that song was played that the people really got what they wanted... the pillows.

Yamanaka and the rest of the band walked out to the crowd amidst plenty of cheers and fanfare, and he wasted no time giving in to the people's desires. The band led of the set with fan favorite I Think I Can. Right away, lead guitarist Yoshiaki Manabe ripped into the song. Having seen the pillows two times prior to this, I've come to realize that when Manabe plays his guitar live, he does it effortlessly. It's almost as if he doesn't need to try, it comes naturally. During the solo he'll be swaying from side to side, or walking up to someone near the edge if the stage and showing off his technical prowess. While the band played mainly songs from the TV anime FLCL, some new songs were peppered in, including a couple songs from the band's latest album released last October, OOPARTS. Yamanaka prefaced it saying these were band new songs (not to some fans however) and began playing the dynamic album opener, Dance With God. While the song was somewhat lacking in feeling on the studio version, playing it live brought out the emotion tenfold as Yamanaka wailed during the lyrics to the roaring guitar during the chours, and then becoming more pensive during the quieter verse segments, which were punctuated by dueling guitars, something that Yamanaka has dabbled in on past albums. Drummer Shinichiro Sato, though quite in demeanor, had some excellent licks and fills going on in the song as well, showing off his own cunning.

The band continued to go through a number of classics such as the anthemic Little Busters, bass-heavy number Funny Bunny, and of course the classic theme from FLCL, Ride on shooting star. While it was great hearing all these songs again, the performance could've been a bit tighter had Suzuki made it out to play bass. Instead, the bassist from Monokuro filled in for the night, making the set list very static. When chants erupted to play golden classic Swanky Street off of 1997's Please Mr. Lostman, all Yamanaka could do was smile and shake his finger as the interm bassist didn't know how to play the song. Having a band with such a large discography totaling over 200 songs, it'd be great to hear more variety, especially this being the band's 4th tour in the US. But with the situation the way it was, the pillows were still able to cater to the majority of the crowd, and put on a performance full of energy during their 12 song set.

the pillows eventually came back for a two song encore, leading off with as close to a ballad as you can get with the band, One Life. Manabe hit his parts perfectly and you could tell every single person's eyes were focused right on him as he drove into the lifting guitar solo, swaying from side to side as if in a trance. Yamanaka then announced the final song, one everyone knew was coming, Last Dinosaur, a song one can't help but jump around too. The entire floor seemed to begin shaking as the audience couldn't contain themselves to one spot on the dance floor. Yamanaka's vocals, though getting tired, were full of life, as Manabe went into his solo with a blistering pace; a perfect way to end the night.

All in all, the pillows put on exactly the kind of show their fans have become used to, full of energy, intensity, and spirit. Even with the band all in their 40's they show no sign of slowing down. Yamanaka addressed the crowd halfway through the set saying that even though the band was old, they were still young at heart, and will keep on making new music. This was of course greeted to a raucous applause. With 20 years and 16 studio albums under the belt, you'd think they would slow down, but this band never does, so all we can do is expect more great music from them in the future. Yamanaka expressed hope that they'd be back in the United States again someday. If and when that day comes, as the band isn't getting any younger unfortunately, it's a show that simply can't be put off. To see great music and one of the most lively performances from a band in any country, the pillows top the lists of must-see live bands.

Album Review: Sambomaster- I Want To Become Strong For You (きみのためにつよくなりたい, Kimi no Tame ni Tsuyoku Naritai)

Album Rating: 7.5/10


If it's one thing I've learned while listening to Sambomaster over the years, it's that they're a band that truly has "soul". When I talk about the language barrier not mattering when it comes to music, this band is the epitome of that notion. Lead singer and guitarist Takashi Yamaguchi sings with more emotion in a single verse than other vocalists can convey during the course of an entire album. The unique vocals are a main drawing point to Sambomaster, one moment gentle, the next raspy and abrasive, but still in perfect harmony. And equally good is the fervent guitar playing on each of their releases. This was both something that was missing on the band's last record, 2008's All You Musical Kids, Sing! Sambomaster's first couple albums are nearly flawless all the way through. The guitars soar, you can hear Yamaguchi's voice getting hoarse as songs progress due to the emotion outpouring, and the melodies he wrote left you hitting the rewind button for more. But their 2008 album seemed to lose grasp of those attributes. Part of it may have been to not as many songs having layered guitars like previous albums... that "soul" was lacking. But on their 5th studio album, 2010's I Want to Become Strong for You, just released at the end of April, the layered guitars make a more prominent return, and in addition to that, a lot of new quirks for the band which made this record infinitely more interesting.

The album starts of with a slow number, aptly called Love Song. The entire album seems to be focused around young love in general, just look at the cover. But there's also a lot of moments across the album where Yamaguchi sings tenderly to a woman he's been longing for, such as when he repeats "Love, yes love" over the piano. This opener is truly in stark contrast to previous album openers that start off with high energy, but there's no need to worry. The following three tracks delve right into the high octane Sambomaster we all know and love. The second song, Anata to Ikitai, could've easily opened the album too, but then the tone wouldn't have been set for the album as a whole. But it's great to hear the band rocking out in true form with finger-blistering guitar solos, up-beat melodies, and superb vocals.

The album also featured some things I didn't expect at all from the band. Quick and peppy song Seki Wa Kaesasete Okureyo features for the first time a duet, with a mystery female vocalist. Reminded me a lot of Tomoko Kawase from The Brilliant Green. Unfortunately I haven't been able to figure out who she is, but it was interesting to hear Yamaguchi trade off verses with her. Then as one gets deeper in the album, Sambomaster starts to lay out some synth. Yes, synth. It's something I always thought was foreign to the band, and was quite surprised to hear it in back-to-back-to-back songs. But it worked well. On the lead single I Love You, I Protect You (see video below), a sweet synth line permeates through the bubbly verses and into a really catchy chorus that really gets you toe-tapping. The next song, I Want You, totally caught me off guard though. Electric drum beats open the song, followed by a heavily distorted guitar riff, with an almost metallic ring to it. It was really quite odd for Sambomaster I thought, but after about a minute, the bass line kicks in, the drums change and we're hearing some classic sounds. The thing is though, the band is branching out a little bit more, but not while being too drastic. Hearing these new sounds mixed in is kind of refreshing really.

As the album progresses, it starts to peter out a bit toward the end with some songs seeming a little filler-ish. A song or two could have been cut to bring down the total from 13 songs and make the album more cohesive. There's a couple points where the album kind of drags due to poor track selection, like putting a 5-plus minute, solely acoustic guitar song in between two rockers. But it closes on a high note with Atarashiku Hikare. Strong guitars, with a really amazing bass line that's almost hidden underneath. Kind of reminds me of the song I Love You from their previous album. The song has some nice build to it, but would've been nice if it ended with a bigger bang. Still though, a satisfying way to end the album.

Overall, this album hearkens back to the band's earlier days with abrasive, yet at times, almost soothing vocals and spectacular lead guitar lines, while maintaining a balance with new influences like the synth in a number of songs. Probably wouldn't be the first Sambomaster album I'd start out with, but a solid album nonetheless, and fans of the band will be happy to see Yamaguchi and the gang getting back to the roots of their first couple albums.





Also a quick note. While I won't be putting up links or MP3's of albums, I'll always put up a video or two to showcase a band's work. The best way to get these artists recognitions is to support them by way of their CD's and DVD's. There are a number of places on-line where you can purchase music from Japanese artists, just check out these links: CD Japan, YesAsia, Otaku.com

The First Post!

Welcome... to anyone seeing this! I guess I should start off with a little introduction. My name is Nick and I've hosted a weekly radio show at Columbia College Chicago, also called Rock of the Rising Sun. I'm a fan of music from all around the world. US, UK, Korea, France, Mexico, Sweeden, Germany, and of course Japan. A wise musician once said, "Good music knows no race, and knows no borders." That statement couldn't be anymore true. Too often, people from the English speaking parts of the Western world think for some reason those artists from North America and the UK have a monopoly on music; that since they can't understand what is being sung, they cannot enjoy it. That simply isn't the case. Aren't there many songs by English-speakers where the lyrics or so indecipherable, one must browse through a myriad of websites to find the right transcript of the lyrics? The music is still being enjoyed, isn't it? Music is about emotion. Music is about connecting to something or someone. Music is about the feeling it gives to the listener every time they put on their headphones. In short, music transcends language. One doesn't need to necessarily know what is being said to understand the point that the artist is trying to get across. The vocals themselves can set the tone... a fervid bass line... a soulful and wailing guitar solo... All that matters is that one enjoys the music, and this world is full of many different musicians of many languages and cultures.

Base Ball Bear

Now in this blog, I will specifically be discussing and reviewing music from the land to the Far East, Japan. Some of my favorite artists come from Japan, and as they were my first experience listening to foreign music (besides the occasional Spanish language crossover heard on the radio), it opened my mind up to the rest of the world, and I began listening to music from all over the world, finding diamonds hidden in the rough many Westerners haven't heard of or choose to ignore. The Japanese have a music scene every bit as diverse, if not more so, than the Western music scene. Now, you won't be finding many reviews here of visual kei bands, or more heavy sounding bands on this blog. What you will find are bands that have been a part of the alternative scene, maybe even more underground artists you could say. But you can also be sure to find some of the great musicians on here that have mastered the pop/rock format. You'll pretty much find everything on here from AnalogFish to Zazen Boys, the pillows to Asian Kung-Fu Generation. Hopefully when you read about the bands you haven't been too familiar with, you'll give them a chance to check them out. And when you find something interesting on bands you are familiar with, hopefully you'll take something new from it, and find a deeper appreciation for them. You'll find mainly album reviews on here, but don't be surprised to find the occasional concert report or artist profile.

GO!GO!7188

That all being said, I welcome you to the Rock of the Rising Sun blog. Keep looking back every so often for new posts, to get a fresh opinion on rock music from Japan. And hopefully in the process, you'll even find some new artists to delve into. So coming soon, my first review on the latest album from Sambomaster, I Want to Become Strong For You. Until next time...

the pillows