Japan Record Store Day Release Review Round Up

Record Store Day has been going strong in Japan for a few years now. First, they were content to only carry imports of the UK and US releases, but more recently Japanese artists have started to release their own RSD titles as well. I was able to get a few of them, as well as some other recent re-releases of note, and I thought I’d run through them here for those curious but hesitant to pay the import fees without knowing a bit more first.

Mioko Yamaguchi – Anju

When Mioko Yamaguchi’s studio albums were finally given a CD release a few months back, her “greatest hits” compilation Anju didn’t make the cut. This 7″ single collects the two songs that were recorded for that compilation, and thankfully also includes a CD with them as well.

My favorite album of Yamaguchi’s is Moonlight Princess, and these tracks seem like continuation of the synth-heavy sound found on that album. The title track especially is a wonderful piece of Moroder-influenced frantic sequencer-based dance music. If you hunted down the CD re-issues of her albums proper, then you’re probably going to want to score this too. It’s a very safe bet that you’ll find it worth the money. It’s also the cheapest Mioko Yamaguchi vinyl you’ll ever see (the original LPs still go for a damn fortune). You can buy this now at the Logic Store.

 

Hideki Matsutake – Nemumeru Yoru

So this…this is weird.

Quick primer, Hideki Matsutake is a composer and programmer. He worked with YMO in the late 70s and early 80s, and with many other Japanese artists as well. In addition, he’s released several solo albums under the name Logic System.

I don’t know much about the origins of this aside from the fact that it was originally a promo release for something back in the early 80s. The A-side is a man counting sheep while some soothing ambient music plays in the background. The B-side is an extended instrumental of the A-side, presumably so you can count your own sheep.

Yeah, I don’t know either. It’s certainly something! If you want an analog cure for insomnia, it’s also available at the Logic Store.

 

Electro Keyboard Orchestra – s/t

I’ve said it before, J-funk is the secret best funk, and this album certainly helps to prove my claim. Originally released in 1975, this album features eight(!!!) jazz/funk keyboards flexing their muscles on various organs and keyboards with both original tunes and covers. While the most recognizable name on the album is Yuji Ohno (of Lupin the Third fame) many of the other keyboardists present here are also accomplished composers and performers in their own right, including Masahiko Satoh and Kentaro Haneda.

Not all of the album is funk, it does occasionally step into jazz and even experimental/ambient areas at times, but when it does go funk it goes full-force, with amazing covers of “Mother Of Nature” and the theme to “Ironside” being two stand-out examples. 

The only downside to this release is that it doesn’t include a digital copy of some sort, but if you have the means to listen to this and at all fancy yourself a fan of the funk, you need this one in your collection ASAP. International retailers don’t seem to be carrying this one, so Discogs might be your best bet.

 

Akira Ishikawa/Jiro Inagaki & Soul Media 7″ Singles

Continuing the J-funk/jazz release train are these two bangers featuring cuts from well-known Japanese musicians from the 1970s. Both of these releases are marvelous examples of how to do fusion right, featuring seamless combinations of jazz, funk, and other genres while never descending into the wankery and doodling that fusion is typically known for.

Of the two, I prefer drummer Ishikawa’s tracks more, simply because they’re more energetic and upbeat. His take on Fela Kuti’s “Let’s Start” is a percussive powerhouse while “Bongo Rock” falunts some bongo rhythms just begging to be sampled by a drum ‘n’ bass DJ.

Inagaki’s stuff is a bit more low-key, but definitely still funky. Think of Ishikawa’s numbers as what you’d hear during the chase scene of a 1970s crime movie, while Inagaki’s tracks, especially the groovetastic “Breeze,” serve better as the background music when the hero is chilling at home and getting ready to get it on. 

I hope these releases mean that the actual albums from which they came from are being re-released soon. I’d love to hear more from these guys. I feel they’re begging to be re-discovered. If you’re interested in grabbing these, try Discogs.

 

Shiho Yabuki – The Body Is a Message of the Universe

Not a Japanese RSD per say, but a RSD relaese featuring a Japanese artist, so I’m going to say that’s close enough for me.

This is a re-release of an ambient album from 1987. And I’m not talking Aphex Twin/The Orb ambient, this is ambient-ass new age ambient music. Windham Hill would’ve put this out, had they the chance. No beats to be found, just simple melodies that accompany ultra-soothing sonic textures and nothing else. 

I feel as if that should be enough to tell you if you’re even remotely interested in this release. I dig ambient music as a means to relax or focus, but this is a bit mellow even for me. Also, the album (while on beautiful pink vinyl) is a bit on the noisy side, which is a problem considering how quiet the music can get. Sometimes the background noise became foreground noise. 

If you think you might dig this, the album is available on iTunes, with some bonus tracks thrown in. That might be a better way to go. If you do want the vinyl, again, you’ll have to head over to Discogs.

 

Hiroshi Sato – Orient 

I’m going to bend the rules again as this was not a RSD release. However, it came out just a week prior and I feel that a lot of people interested in the Japanese RSD releases will probably be interested in this too.

The late Hiroshi Sato was a very prolific musician in the late 70s and 80s, releasing 11 albums in just 14 years. For many, this 1979 release is the pinnacle of his work, thanks to its (at the time) revolutionary use of synthesizers.

I’ve seen this album described as funk, disco, soul, and synthpop. But to be honest, none are accurate. This is firmly a “city pop” record. It’s jazzy and breezy, fun and upbeat, as well as super-slick and polished.

Of course, that doesn’t mean it’s bad. It’s actually great, and is one of the few city pop albums that I’ve been able to really get into. It’s well-produced and ultra-mellow like most city pop records (city pop is basically Japan’s version of 70s yacht rock) but the extensive use of synths does make it just off-kilter enough to give it more personality. It’s a kooky record, I think that’s the best way to describe it.

A re-release of it is certainly welcome too, as original pressings have recently skyrocketed to over $100. And it comes with a download code! Get it now, it’s the perfect soundtrack to the summer. You can buy it new at We Want Sounds’ Bandcamp page, where a CD version is also available.