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Blotto
Singles Collection 2004-2007 |
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Tracklist |
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01 - リリー (Lily)
02 - 五つの夜まで (Itsutsu no Yoru made)
03 - モネラ氏の庭園 (Monera-shi no Teien)
04 - アーチ、越えて (Arch, Koete)
05 - 黄色い道 (Kiiroi Michi)
06 - うろこのない魚 (Uroko no nai Sakana)
07 - カリントボンボン (Karinto Bonbon)
08 - 甘い種の不思議 (Amai Tane no Fushigi)
09 - またたく合図 (Matataku Aizu)
10 - キューティーフォン (Cutiephone)
11 - 午後5時の追随画 (Ato 5ji no Tsuizuika)
12 - それは秘密 (Sore ha Himitsu) |
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Review |
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Nothing really breaks my faith in the indie scene any more than seeing a showcase of mediocre guitar pop bands. A bunch of misfits onstage earnestly trying to make their way in the music world, but just a few calories shy of turning up the heat on the audience and leaving a lasting impression. Every time, my only recourse is to beat a hasty retreat and toss something on the stereo before I become a nonbeliever (or worse, a born-again). That's why, every time I hear about another guitar pop band like Anatakikou, I can barely bring myself to give them a shot. Is anyone out there desperate for another letdown, more songs filled with almost-but-not-quite hooks and melodies? Not me. But with the law of averages as perhaps my one ally, I took the plunge with Anatakikou anyway.
As much as a band can't live without its instruments, the vocals make or break the kind of pop music on Gradation'12. And to that end, this band owes it big to Houjoh Masaki. Dead-fish vocals flush indie hopes down the toilet fastest, but Houjoh single-handedly puts the plug on the drain. His voice is clear, steady and demonstrates a well-developed vocal range, though he very rarely ventures into falsetto territory. While this may not appear to be the most electrifying performance to come out of Japan's underground, his understated power sells the melody well enough to keep songs like "Lily" and "Arch Koete" hum-worthy after just one spin.
The rest of the band is, unfortunately, slightly less exciting. The bass and drums, easily overshadowed by Houjoh's vocals, do little more than push the steady pulse of the songs onward. The frontman's simple, unobtrusive R.E.M.-inspired jangly guitar lines even command more presence than the remaining two members. Two songs into Gradation'12, Houjoh's voice, more than enough to hold the listener's attention, keeps this from being a problem. But eight or nine tracks in, what was once pleasant begins falling into repetition and monotony. There's no major change-up in style, and the instruments never assert themselves melodically over the vocals.
With Anatakikou moving on to a major label, Gradation'12, which serves as a compilation of the band's indie period, is proof of a successful career thus far. With a major label budget to back studio work and the opportunity to reach out to a larger audience, hopefully Anatakikou will take the opportunity to beef up their instrumental sound to complement Houjoh's vocals, rather than simply supplement. Until then, Anatakikou is still sweet medicine for the ears after another so-so night of indie rock. |
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