Quick reviews: April

You know the deal by now: another month, another batch of short reviews of my standout listens of the month!

Band Ja Naimon! MAXX NAKAYOSHI — NO LIMIT(2019)

Band Ja Naimon’s albums have always felt like a fun challenge to the idol status quo, and this one is no exception. Tied to the fact that it features no previously released singles, NO LIMIT spends a good part of its length away from the hyper-dynamic pop sound associated to the group’s name, showcasing instead a more polished side of the group, one that’s not afraid to experiment with new sounds like funk or harder flavors of rock. A pretty enjoyable listen on its own merits, this record also stands out by virtue of being such a successful attempt at expanding what could be described as the group’s trademark not-idol-neither-band sound.

KOSMO KAT — ROSE (2018)

While my experience with KOSMO KAT was more focused on the tracks he produced for the (now defunct) virtual idol group Trillion Starlights, I still liked first solo releases enough to give this one an in-depth listen. Along its six tracks, ROSE’s aim seems to be to replicate the ready for the dancefloor sound that made up most of the producer’s previous releases. Straightforward to the point of feeling a bit too straightforward, the EP’s main strengths come in the form of more refined and harmonic synth loops, and in the interesting usage of guest vocals (most of which were provided by Yeule).

OOHYO —Far From the Madding City (2019)

Combining dynamic synths with melodies that can range from fun and catchy to dramatic and almost somber, OOHYO’s second full-length finds the Korean singer the subject of lyrics that deal with personal growth, a desire to belong, or a (rather alarming) loss of appetite for pizza. Featuring an impeccable production that makes the entire album feel equally lush and melancholic (with its only weakness being that it sometimes feels a bit too long), Far From the Madding City succeeds at being both a great exercise in lyrical introspection and a capturing listen from start to finish.

Playa Gótica — Amigurumi (2017)

Conceived by the Playa Gótica members as an attempt to bring together different personal experiences into a cohesive musical narrative, Amigurumi can be described as a pretty cool combination of sounds that include punk, noise, and psychedelic post-punk with more straightforward pop song structures. All this results in a pretty satisfying (even if a bit violent) pop offering. While the idea of “breaking boundaries between music genres” often falls at risk of sounding pretentious, this album really pulls it off, showing its listeners there’s more than one way to make music that’s aggressively fun.

Terashima Yufu — Last Cinderella (2019)

B-side to Ii Onna wo Yoroshiku (covered on my previous Quick Reviews entry), Last Cinderella trades off the usual Showa sound in favor of subtler, city pop-influenced approach, which ends up working wonderfully for Yuffy. Built upon a fairly simple melody (that gradually grows in dynamism through the incorporation of guitars, strings, and soft synths), and backed by Yufu’s soft — almost whispery — vocal delivery, the resulting track has a pretty refined, retro feeling to it. All of this makes the song not only a pretty solid showcase of Yufu’s more adult side, but it also makes it feel like a bit of an unexpected addition to her discography.