Review Summary: Blending pop, jazz and orchestral into dramatic and cinematic flavours.
Shiina Ringo’s collaboration with Saito Neko is one of the most overlooked records in her discography. Heisei Fuuzoko was made as the soundtrack for the 2007 live-action film adaptation of the manga series Sakuran, and as such isn’t often recognised when discussing Shiina Ringo’s main LP releases. However, given this album has its own title separate to Sakuran, and the fact that this album has the structure of any typical modern pop release, it’s clear that Heisei is an album that Shiina intends to stand on its own merits.
Fans of Shiina might be quick to notice that there are several songs on Heisei that appear to be big band jazz versions of tracks that appear on Ringo’s previous two albums. While most of these tracks do offer something interesting in their own right on Heisei, a few of these tracks end up being slightly inferior to the versions that appear on other albums. Take Meisai for example. While Shiina’s vocals are raspier and more involved on the Heisei version, and the violin spiralling into complete chaos at the end of the track is a worthy spectacle in its own right, the version of the song that appeared on Kalk Zamen Kuri no Hana reached a niche between small band jazz and alternative rock topped off with a dizzying violin solo that made it such an outstanding cut on that album. That aside, there are some rearrangements on Heisei that thoroughly deserve their slot. Yoku***su takes the noisy, distortion synth-pop highlight from Shiina's sophomore album and slowly weaves in orchestral stabs, culminating into an intensely cinematic mid-point to the album.
Stylistically, this album takes most of its cues from big band jazz, but this doesn’t stop Shiina from throwing in her own touches of experimentation. For an album so solidly centred around orchestral elements, two highlights come in the form of tracks that have a strong electronic presence. Hatsukoi Shoujo layers in woodwind and strings spiralling around each other, while Shiina’s electronically modified and haunting vocal lines climb over each other creating a hypnotically sinister four and a half minutes. Oiran contrasts heavily electronic and rhythmic verses, with an orchestral pop chorus that ranks among Shiina’s catchiest material.
While most of the album is sung in Japanese, Shiina does sing some songs in English. Her lyrics in these songs are often amorous. Tracks like Sakuran and Oiran depict fantastical, romanticised relationships. Other songs are more daringly flirtatious, such as Karisome Otome, a song exploring how women playfully manipulate men or most notably Papaya Mango, a show tune in which Shiina teases the listener ‘If you like the way I cook, and if you like the way I look, then step inside my shady nook and you’ll find mangos and papayas, anything your heart desires.’ The sense of humour with which it’s sung and the backdrop of lush strings, piano flourishes and relaxed brass chords make for an enjoyably indulgent moment.
On other songs, Shiina demonstrates her talent for constructing narratives through her arrangements and intense vocal delivery. Album opener Gamble is laced with anguished vocals over a rough sea of guitar, strings, woodwind and brass, paced at a stern march to give the listener the feeling that an intense, world-changing life event is happening. Yume no Ato starts as a delicate lullaby, but crescendos over its five minute runtime, ending with Shiina shouting dissonantly over luxurious orchestral blares, signalling a bittersweet conclusion to the main story of the album.
Ultimately, Shiina’s vibrant and dramatic songwriting shines through on this album which makes it both a compelling listen in its own right as well as a suitable film soundtrack. If you’re willing to look past some reused material, you will discover an album that is a successful blend of pop, jazz and orchestral music, boasting good highlights and little weak material.
