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Blotto
Singles Collection 2004-2007 |
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Tracklist |
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01 - Dan Dan (だんだん)
02 - To Tama Bushi (とぅたま節)
03 - Nakimushi (泣き虫)
04 - Hi ~Taiyou no Shima~ (Hi～太陽の島～)
05 - Beach Party (ビーチ・パーティー)
06 - Hana (チブミ花)
07 - Ningyo (人魚)
08 - Hare (晴れ)
09 - Birara (美らら)
10 - PAN!PAN!PAN! ~Taiyou no Onna (Hito)~ (PAN!PAN!PAN!～太陽の女（ひと）～) |
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Review |
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Let's face it: it's really tough to mix musical genres and make it sound cool, let alone mix in sounds that aren't the foremost in people's minds when they think "modern" or even "cool." But somehow Panali, an album by Okinawan native PANA, manages to do all this with its unique blend of traditional folk music, deep dance beats, and vocals bearing R&B panache. This makes for a listening experience that couldn't have come from anywhere but Japan—something all too rare in a day and age when the United States stands as the epicenter of modern music.
Panali, at its heart, is a dance album hidden under a traditional exterior. Or maybe it's the other way around? There are many qualities that bring associations with enka, a traditional form of Japanese music that's popular with older audiences. Most prevalent is the sanshin, a traditional Okinawan instrument that's sort of like a three-stringed banjo. However, sanshin player Kawajo Masahiko handles the instrument with rock sensibility, switching between rhythm and lead duties, and can really rip when given the opportunity. Kawajo also mans the shime daiko (a smaller type of taiko drum), and a traditional folk orchestra prevails throughout the later part of the album.
However, it's the blending of these qualities with non-traditional elements that really sets PANA's work apart from other artists, both from the enka and popular music circuits. Besides Kawajo's aforementioned rock sensibility, breakbeats abound in several occasions like "Beach Party" and "Nakimushi," giving songs a modern dance flair. The dance element is further encouraged by the seamless nature of the album. Despite songs rarely crossing over the four minute mark, the tracks flow into one another quite well, making the album seem like one large session. Furthermore, insanely energetic yelps and hullaballoo litter each song much to the same effect as Lil Jon's ridiculous diatribe; both mean to pump up the listener and get them to move. PANA's smooth vocal style could easily fit within the R&B mold, and seems very similar to Nakasone Izumi from the popular Okinawan band HY. Both women have a definite soul quality that puts them a step well beyond what pop territory can accomplish.
Panali may not be an album for everyone—meaning those who don't care for dance music—but it breaks far more ground than the typical pop or dance album, therefore deserving at least one unbiased listen. However, that one listen may evolve into regular play time as the hooks are catchy, energetic and simply fun. Each of the various parts work fine on their own, but the fact that they fit so well together is quite an accomplishment. It's a wonder that there aren't more Japanese artists like PANA or the Yoshida Brothers attempting these kinds of traditional/modern fusions. |
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