Review Summary: Tokyo Jihen's Daihakken is a worthy follow-up to Sports, albeit a bit tried-and-true.
By this point in time, Tokyo Jihen have made quite a name for themselves. Originally a project by vocalist Shiina Ringo on (initial) retirement from her solo career ending in the monolithic Kalk Zamen Kuro no Hana, the band went through many different style changes and an initial lineup change after their debut album Kyouiku.
Since then, they have released albums to mixed reception. Older fans have been turned off by their choice of following the ways of Japanese pop and abandoning all signs of the earlier Ringo sound that they adore. However, this change has also introduced many new fans, some who prefer the hyper pop of Tokyo Jihen to the intricacies of the likes of Kalk Zamen Kuro no Hana.
So it should come as not surprise that Daihakken did not leave the now famous Jihen sound behind, and those looking for anything different or new will be sorely disappointed. To put it bluntly, if you did not like Jihen’s last album Sports, then steer clear of this latest effort. If you are in the boat of people that enjoyed Sports, then you are sure to find more of the same with perhaps a few slight surprises on the way.
So without further ado, here is my in depth, track by track breakdown
Tengoku e Youkoso For The Disc starts the album with earthy rhythms, and tribal drums. This is not the Tengoku that you knew (that version is also included as a bonus track at the end of the disc). This is Jihen punching out some of the most innovative sounds they have had since OSCA (without leaving that purely Jihen taste behind).
After the opening track fizzles out, in comes a big ass guitar blasting rocker by the name of Zettaichi tai Soutaichi. On initial listening, the vocals were somewhat off-putting, but eventually they grow into what is one of Jihen’s ‘heaviest’ tracks yet. The overdrive of the last 30 seconds really grasps for air and doesn’t let you go until the song has finished.
As if in giving the listener some relief, hyper poppy single Atarashii Bunmei-kaika tears in with it’s crowd pleasing melody and preppy chorus. This is definitely one of the highlights of the disc, and easily has the most memorable hooks on the album.
Things cool down momentarily with Kaitei ni Sukuu Otoko, a pleasant ballad in what seems to be a respectful homage to the fallen in 2011’s Tsunami disaster in Japan. Ringo handles the ballad perfectly with her voice matching the music quite well, and the bass line is nice and thick.
Next is the first real dud of the album, Kaitei ni Sukuu Otoko. With it’s jerky guitar lines and so-so vocal delivery, it is a song that you can ‘get’ the idea of, but unfortunately what could have been great has become quite forgettable and more or less irritating.
Kinjirareta Asobi follows next, and starts with a very strange vocal effect, suggesting something bizarre and new, however, it eventually manifests into a typical Jihen fun-a-thon, harking back to the likes of Sport's opening track Ikiru's ending.
Another previously released song, Dopamint! Is up next, however, like Tengoku e Yokuso, it is presented in a new version Dopamint! BPM103. This is quite a step up from the stock standard jazz rock song that was the original. Jihen have slowed this down a fair bit, and it works so well because of it. The instruments have also been stripped down so it turns into a sexy little ditty and has gone from one of the worst songs in the Jihen catalogue to one of the strongest.
Next up is the centrepiece of the album, Osorubeki Otona-tachi. This is what Jihen are the best at doing, making gorgeous, chocolaty lounge songs. Ringo sounds ridiculously sexy as the first lines “You roam the city..... free” kick in, the whole band work together on this to bring out a truly fresh sounding track right in the centre of the cacophony in the rest of album, much like the centre track of Ringo’s own album, Sanmon Gossip- the wonderful Shun.
Now, every Jihen album since Adult has had an extremely upbeat, sugary pop number, usually written by Kameda. Daihakken is no exception as 21 seiki Uchuu no Ko comes blasting from left field. Unfortunately, this one is a little stale compared to the likes of Superstar, Tomei Ningen and even Senko Shoujo and as it is immediately straight after the beautiful Osorubeki Otona-tachi, it’s like a little annoying person interrupting you with a phone call during sex. The second dud on the album.
Next up it’s Katsute wa Otoko to Onna, another nice chilled out lounge song, but do we really need this style again only a couple of tracks after the last one? Not only that, this one does not have anywhere near the amount of emotion or feeling that was felt earlier. It is such a light song after the last and before the next that it gets lost in the mix. However, taken stand alone, it is quite a nice song to just chill out with. Not a dud, but pretty forgettable.
As we approach the final run of the album, another single, Sora ga Natteiru comes on. This one is Jihen by the books, a solid and catchy pop rock song that is sure to please a lot of fans. Not far from the likes of Sports’ Noudouteki Sanpunkan, another classic Jihen sounding track.
Next up is the ball blazing Kaze ni Ayakatte Yuke/Ike. This ever-too-short piece is easily one of the strongest in the Jihen songbook. It’s layers of guitars and sound are extravagant to say the least, and one of the riffs plays a little like a bastardised version of Ringo’s song Gamble. The tune meanders in its rocking glory and builds to an amazingly powerful and abrupt ending. This could easily have been the ending of the disc, but...
Onna no Ko wa Dare demo hits. Don’t get me wrong, this is my favourite song on the album, it is my favourite style that Ringo puts out, but that’s exactly what makes it so bizarre- it should be a Ringo song, not a Jihen song, and so, it feels completely out of place and totally swerves the flow of the album. It’s a great song, but a weird choice of ending track.
The bonus track included is the already released original version of Tengoku e Yokuso (here titled the “For the Tube” version). It’s a nice sultry version with a heavily layered and distorted ‘build up’ ending. It’s quite nice, and a welcome bonus to the album.
Overall, Daihakken may not be the best album release under Tokyo Jihen’s belt, but it certainly delivers for fans of their Sports sound, and perhaps beats that album on certain levels. Unfortunately, it does sound rather murky and in-cohesive, the track order seems somewhat random and at times a little bit tacky. There are a few so-so tracks and a dud here and there, but overall it’s still one of the better Japanese pop albums released in 2011.
This is definitely not a starting point album nor is it going to win back any fans who are disillusioned with the current direction that Tokyo Jihen are pursuing. For better or worse, it’s a fairly strong album give or take a few tracks.
Recommended for more diehard Tokyo Jihen fans than outsiders, and definitely don’t expect a revelation. A nice addition to the Shiina Ringo collection.
