The second update post about my (currently) favorite Japanese singer. The singer-songwriter/girl with an acoustic guitar shtick isn’t anything groundbreaking, as there are many artists like that in Japan (and in the Western side of things Joni Mitchell or Emmylou Harris have been doing that decades ago). Yet, while listening to Ayano Kaneko I get the feeling she’s a real talent, there’s something special about her music. Her releases continue to bring a smile on my face and the songs make me tap my feet, and that’s what counts, right? A week and a half ago 祝祭 (Shukusai – Festival) came out, which is Kaneko’s second full-length album, following 恋する惑星 (Koisuru Wakusei – Love Planet) from 2015. Continue reading →
Ever since I’ve heard 恋する惑星 (Koisuru Wakusei) in full, I’ve been hoarding any カネコアヤノ (Ayano Kaneko) CDs I could find. The thing which I decided to skip on was last year’s LP, 群れたち (Mure Tachi). I’m becoming more and more of a collector, but I still haven’t got round to purchasing a turntable, so I decided against ordering a vinyl recording, only for the sake of having it. The moment it sold out, I’ve already regretted my decision… Thankfully, Kaneko actually released the album again in February, this time in the CD format.
The lack of English information/news about this lovely artist, and purely depending on my extremely limited Japanese and Google Translate to find the info sucks, but I’m slowly getting hang of it. Continue reading →
I haven’t written about Shiina Ringo, my favorite Japanese female artist in a while. There wasn’t that much going on around her, and the recent years showed that cashing in on CM music is the thing she’s focused on the most. And that’s coming from a guy who thinks that Sunny (Hi Izuro Tokoro) was a decent album, Nippon is corny, but acceptable, and Ringo Expo ’14 was an enjoyable hot concert recording (a bit of a mess at times, but a hot one). 逆輸入 ～港湾局～ (Gyakuyunyū: Kōwankyoku, ‘Reimport: Ports and Harbours Bureau’), the self-covers CD, which came in 2014 was pretty cool as well. Finally, three years since the aforementioned Reimport and Sunny albums, we got a new record this December – and guess what, it’s the vol. 2 of Reimport. Continue reading →
I wrote about Lovely Summer Chan. I wrote about Kamin Shirahata. Now it’s time for Ayano Kaneko. And firstly I must say, it’s fucking amazing we’re living in times when I can find out about all these talented artists from the all over the world, even if they aren’t worldwide famous, promoted and mass-sold to us through all the means available. It’s actually possible to learn about this young girl singer who plays the guitar in Japan, and despite the fact that I don’t understand much, I know enough to decide whether someone rocks or not. Continue reading →
Even by itself, my recent trip to Japan had a very special meaning to me. But there were also several crucial objectives planned way beforehand to be ticked off from the bucket list – some were related to cuisine, others to culture, history, nature or entertainment. However, one of the places I visited had also spiritual significance of sorts. While the stopover there lasted maybe 20 minutes, it was a very emotional moment, and it left a powerful impression on me. Located relatively close to Shibuya Station, I paid a visit to a memorial plate of Yutaka Ozaki, late rebellious singer of the 1980s, whose music and charisma actually hugely contributed to my interest in Japan, and he was among the main reasons for my travel there. Continue reading →
Kamin Shirahata (白波多カミン) came back with a new album on March 23 and I didn’t even know it’s been in work until the very last moment. As it turns out, the indie singer I fell in love with when I first heard her mini-album Kudamono (くだもの), decided to rebrand herself. Shirahata’s newest music endeavor is entitled 空席のサーカス (Kuuseki no Circus) and it’s recorded together with a full rock band, Placebo Foxes. The artist has left that singer-songwriter/folksy lore and her latest effort truly packs a punch. Continue reading →