Une brève histoire de la musique indépendante japonaise (Vol. 1)

I should rather have called this article a very brief history of Japanese independent music. The fact is that Japanese music is rarely mentioned, or even downright forgotten. Yet several artists from (around) the 1970s deserve worldwide recognition. Without going into a real analysis of the musical movements of the time, for which you would need to know Japanese culture far better than I do, this article aims to sketch a portrait through a few albums that it would be criminal never to have tried.

I exclude from this article all the cover bands that sang the classics of the day in English. And there are many of them. The arrival of the Beatles, for example, led to the creation of many groups. I also exclude the whole “harsh noise” movement, Keiji Haino & co… (listen, the reason is obvious). Note, finally, that this is a volume 1, with a pop/bedroom pop/experimental pop leaning. A second, more rock’n’roll volume will see the light of day. It will include stoner, kautrock (already) and psychedelic rock. Until then, welcome to the world of Japanese music.

Jacks

(Velvet Underground lovers)

The Jacks are one of the most legendary bands in the country’s history. Author of one single album, Vacant World, the band is a kind of answer to the experimental pop of the Velvet Underground.

“Mariane“, the first track, makes a grandiloquent entrance into the world of the Jacks. The band deconstructs its music with a consistency that commands respect. Then comes “Stop the Clock“, a lullaby that takes time to make your own. Ah, if only our neighbors could play this track instead of their è§(§çà)à*%$`ù. We tackle the magic trio with “Gloomy Flower“. This track lives up to its name magnificently. The Jacks’ two guitars answer each other endlessly and Yoshio Hayakawa sways between poetry and a snarlier beat. “Love Generation” raises the tone; the Jacks are more rock’n’roll than ever. This kind of song, absolutely inimitable, is necessarily a huge discovery for anyone hearing it for the first time. Listen to the guitar sound on its little escapes…

And then “Hara-Manji” closes this magnificent phase. This song, the best on the whole album, is a true demonstration that the most sophisticated music can also be instinctive. Yoshio Hayakawa’s screams only reinforce the impression of the impossible. It is a new experience you find in no other band. Make no mistake, the album still holds a few well-hidden secrets. “Where“, a surprisingly groovy song, comes for example to liven up our kimono dance parties. And then, let’s mention “Love“, a ballad that serves as the perfect transition to our next artist, Haruomi Hosono.

Happy End

(Neil Young lovers)

Happy End is the most folk band in this article, perhaps the most Neil Young. This band also showed quite remarkable pop mastery. Its first album came out in 1970. You quickly come across “はっぴいえんど” (which means.. ??!), a kind of folk military march that is already epic. The other masterpiece on this album is “朝“, the little last one. The band’s bedroom folk is all tenderness. In between, there are several ballads that recall American bluesy-pop, see “かくれんぼ“.

Its second album is less minimalist, and yet just as successful. Released in 1971 (and translated as Wind City Romance), it will remain one of the greatest concept albums in the country. Happy End depicts Tokyo before the 1964 Olympic Games. The songs tell a thriller in which a detective leads the investigation. Of note is “風をあつめて“, one of its most pop songs and also one of its most successful. “はいからはくち” experiments more freely before launching into classic rock’n’roll. “颱風” moves back into Neil Young country. Guitar solos abound.

The band’s third and last album came out in 1973. Less rock’n’roll, it is also less convincing. Its danceable aspects should not be overlooked, however, see “さよなら通り3番地“. There is “相合傘” (is it about fir trees?), a cheerful, upbeat track. “田舎道” goes in a similar direction, far from the country of its beginnings, but still tinged with American music.

Haruomi Hosono

(Nick Drake lovers)

Haruomi Hosono is an essential in any Japanese music library, definitely my favorite artist from the country. His first album, Hosono House (1973), is a true hit, a pop album like few others ever made. You find the same gentleness as on the Jacks’ album, a kind of romantic filter that tends to idealize that generation.

While every track on this album deserves your attention, a few nonetheless stand out. The first one, to start in order, is already a small feat in itself. “Rock-a-bye My Baby” has nothing rock’n’roll about it, but you understand for the first time that Haruomi Hosono has the grace of Nick Drake. “Boku wa chotto“, the little second one, is a more rhythmic track that resembles a kind of surf ballad, ultimately faithful to the bedroom pop of this LP.

With “Choo-choo gatagoto“, Haruomi Hosono delivers a more lighthearted track, proof, once again, that the greatest albums are those that take themselves least seriously. “Fuyu-goe” keeps the same mood. And then comes “Party“, a song that seems closer to folk than the previous ones. The studio work is remarkable. I would be curious to know what “Fuku wa uchi, oni wa soto” would give as the soundtrack to a dance floor with a thousand people. Finally, let’s note the excellence of “Bara to yaju“, a funk-folk song (yes).

Dance floor pleasures

This first pop volume deserves, all the same, a few more danceable tracks. Two artists will hold our attention. The first is Eiichi Ohtaki with an album from the early ’80s (A Long Vacation), where you find many kitsch scores (see “Velvet Motel“), a few pop tracks that are both danceable and dreamy (see “カナリア諸島にて“, I’ll let you translate), sketches of power pop (“我が心のピンボール”, the translation will be easier…)… And then the album also goes in for melodrama, “スピーチ・バルーン” style. It’s varied, it’s fun, it’s an album to listen to many times.

The second artist is Tatsuro Yamashita. His album Space came out in 1977 and you enter it with “素敵な午後は“. And then “Candy” shows us its best face. It is admittedly the least danceable song on this LP strictly speaking, but what a perfect score for a slow dance. “Dancer” has more fluorescent colors. Its funk airs and its brass make a little treat for anyone in need of some comfort. It’s kitsch, terribly kitsch, but also terribly good. Finally, it is curious to note that the best songs on this album are the most serene. “言えなかった言葉を“, for example, shines through the richness of its arrangements.

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