Among contemporary music makers writing their own material in Japan, あいみょん (born as Morii Aimi [森井愛美]) is probably the most beloved right now. After a stunning debut around 2018 due to her song マリーゴールド [Marigold], an amazing piece of lyrical pop/rock deserving every bit of the attention it attracted, the young female artist has been releasing a ton of singles as well as a new album in 2019. Yet, at this point it is only fair to say Aimyon has been consistently talented from the very start, and she'll be for some years to come at least. Her eclectic style (borrowing from rock, punk, pop and even funk to a degree), androgyn approach to stardom (from her lyrics, deemed too masculine for a female pop artist according to some, to her wearing amazing suits quite frequently), and fresh enthusiasm have all ensued an Aimyon fervor yet to vanish. Yet, all these elements would be mere PR and null if not for her being a truly talented singer and guitar player, which she is for sure. Therefore, let us speak a bit about Aimyon, and review her 2017 album 青春のエキサイトメント [Juvenile or Youthful Excitement], just one year prior her media breakthrough.
Born in 1995, Aimyon was daughter to a audio engineer, and as it's widely known, her grandmother (who in her heyday had aspired to be a singer) inspired her to play music and also trained her voice since very young. After renouncing learning to play guitar at first (not accommodating to her first electric guitar, a gift from her father), she ended up learning during her middle school period by using the acoustic guitar an ALT English teacher left behind. It was during those middle school years she began composing her own songs, although she also devoted energy to make covers of her favorite artists such as Yutaka Ozaki [尾崎豊] or the band Spitz [スピッツ]. These early influences are relevant, being male solo songwriters and rock/indie bands; there are no doubt elements in common with her current musical style and themes.
If her family had been her first great impulse towards music, and her ALT teacher the second one, her friends were no doubt the ones ultimately responsable for her career path. A friend of her same age invited her to perform on his small musical platform, uploading her tracks on Youtube; some time after she performed the tracks live on her school and was recorded. Without her knowledge nor permission, her friends submitted the video as part of the application process of Lastrum Music Entertainment, and she reached the finals. As soon as she graduated the company contacted her via twitter, offering her a contract. Thus, Aimyon can be said to have been blessed three times. Also, this accounts as to why she did not perform live or in the streets before becoming a professional, label-bounded musician. As for her recording history, she decided to remain for a time within the Warner subsidiary unBORDE, willfully delaying her debut, recording indie songs and eagerly training to avoid ''becoming an artist just loved for a second and then forgotten''. At first promising to compose at least 50 songs before her debut, she came up with almost 130.
If her family had been her first great impulse towards music, and her ALT teacher the second one, her friends were no doubt the ones ultimately responsable for her career path. A friend of her same age invited her to perform on his small musical platform, uploading her tracks on Youtube; some time after she performed the tracks live on her school and was recorded. Without her knowledge nor permission, her friends submitted the video as part of the application process of Lastrum Music Entertainment, and she reached the finals. As soon as she graduated the company contacted her via twitter, offering her a contract. Thus, Aimyon can be said to have been blessed three times. Also, this accounts as to why she did not perform live or in the streets before becoming a professional, label-bounded musician. As for her recording history, she decided to remain for a time within the Warner subsidiary unBORDE, willfully delaying her debut, recording indie songs and eagerly training to avoid ''becoming an artist just loved for a second and then forgotten''. At first promising to compose at least 50 songs before her debut, she came up with almost 130.
Aimyon's themes are most typical of indie rock than pop; she openly asks to not label her albums under any genre tag, nevertheless. Some of them are death (eminently so, pointing out a change of sensibility within contemporary Japanese youth), time, sex and intergenerational relationships. Also, both these themes and her language in lyrics suggest an unabridged assertiveness often deemed as 'masculine' in tone for a female 'pop' artists (often expected to offer not only assuring, soft and gentle images but also equally decaffeinated themes). In this respect, Aimyon's style is polar opposite of Japanese mass media idol culture, such as the portrayed in -as an example- the saccarine Keyakizaka46's song ハッピーオーラ. On the contrary, she resembles indie female rock bands such as Regal Lily [ リーガルリリー] or Hump Back. However, the recent mainstream success of some solo artists and bands in line with Aimyon's fresh approach indicates a slow change of preferences with hunger for stronger themes, deemed taboo for previous generations; lyrics about, let's take, mental illness, abusive relationships and suicide are no longer tributary to peripheral bands but now become transformative around the entire country. The edge slowly moves towards the center.
青春のエキサイトメント can be said to be an assement on the first half of Aimyon's career (as it stands today). That is, after she had polished her sound and production (still very raw in her first two indie albums, tamago and 憎まれっ子世に憚る) but right before her overtaking the media with マリーゴールド. Thus, it also predicts to some degree her further performance, given the fact that groundbreaking tracks do not come one after another. If we were to grant this for a moment, Aimyon's future is indeed bright, for this album is totally above average in many respects. Its first track, 憧れてきたんだ [I was yearning] is essential Aimyon from the get to. A slightly radio-muffled track, her singing gives you an idea of the lungs on this person; from the nostalgic to the desperate, Aimyon's natural voice (without the high-pitch inflexions other artists may use) storms down always on tune, and never once exhausts its strenght even after extremely long releases. The lyrics deal with stardom and the passing of time. The solid and loud acostic playing is also a signature of hers, and so is the drum track, pretty punk at all effects. Next track, 生きていたんだよな [You used to be alive, isn't it?] had already been a hit back in 2016, as she released it in single format. The song's structure is representative of Aimyon's earned reputation as a careful and heartfelt songwriter; the lyrics are considerably long for its running time (3:22), as they comprise a series of descriptions in the life of a young schoolgirl after and before her suicide. Therefore, half of the song consist of fast spoken speech, and the rest is to be sung. As Japanese is (along with Spanish) one of the fastest delivers of complex information among most natural languages, witnessing Aimyon's voice skillfully hitting all syllables on tempo is a thing of beauty. Along with the melodious chorus, this song also speaks tones to Aimyon's vocal prowess, especially when played at live recordings.
君はロックを聴かない [You don't listen to rock] is perhaps the most pop-ish song at this point of the album, a lighthearted romance song. Still, both electric guitar and drums ensure a heavy track, including the first guitar riffs of the album. The lyrics are also somewhat unusual, twisting many conventions widely held regarding these type of songs. Also, the chorus's exit is really catchy. マトリョーシカ [Matrioska] includes a somewhat funky guitar riff all the way, and wood percussion. Aimyon's register dramatically changes to a more chill-out style, monotone at verse and exhalted at chorus. I particularly like its sonority at the very start, skillfully using the し syllable repeatedly on various words, almost rhythmically. The next song, ふたりの世界 [A world of only two] is among my favorites of the album. Uplifting and playful, it has the most contagious tune of the entire album. Here Aimyon easily oscilates between almost whispered speech to rock singing with seemingly easiness. The bass discretely holds the song together, and gives the track a soft, bouncing vibe. Next song is いつまでも [Forever], a guitar ballad in full acoustic fashion; it also incluides a beautiful strings work, with a poignant violin. Lyrics also reflect on death, and social expectations.
We move onto 愛を伝えたいだとか [Wanting to convey love, or something], also very much in a funky vibe just like マトリョーシカ, but this time including air instrumentals such a saxophone, and some synth work. Aimyon also moves fast on this song, conveying various singing styles at the same time. Even though the song's tempo is quite up there, her voice does not take a break not in studio nor live. 風のささやき [The whistling of the wind] follows soon after, a beautiful track exploring a slower rock ballad tempo, and allowing for more inflexions (of which Aimyon is quite fond of, willfully changing octave register in live performances, avoiding sounding exactly the same). The instrumentals are beautiful, including a post-rock distortion pedal on the guitar and its arpeggios. The next track is RING DING, which is just such a happy song; it features the second significant piano arrangements of the album, since 生きていたんだよな. The toy piano soundfont, and hand clapping as percussion make for a soft, uplifting song which nevertheless relies on both a strong acoustic guitar and later a distorted one. The chorus is actually quite virtuoso, and the farewell vocals at the very end are actually amazing to listen to. Pretty catchy too. Now we approach the end with ジェニファー [Jenniffer], which starts quite strong. The combination of an epic 80s pad along with electric guitar riffs is always welcomed, and the short opening phrase which reappears between verses is actually pretty. A love song of remembrance, the lyrics are quite poetic here. The guitar work is actually pretty heavy, and features an amazing bridge towards the end. Fully enjoyable and rythmic, its the kind of track which just blasts it live. Then we reach the end of the album with 漂白 [Bleach], a song about teenage love which best reflects the album's title. Comparatively long when compared to the rest, the song features a slow build-up from beginning to end. Yet, it is a relaxed track overall, featuring some dreamy, long vibratos in its guitar riffs. It greatest virtue is its chorus in my opinion, featuring limpid, strong, transparent vocals on Aimyon's high register. Then, we rewind the album; that's how good it actually is.
A couple years after this album Aimyon striked again with 瞬間的シックスセンス [Instantaneous 6th sense] (2019) afer a series of glorious singles. It is her latest release as of today, and matches (or perhaps even surpasses) this solid-ass record. Therefore, and including her first two indie albums, I can honestly assess Aimyon has not released a bad album in her entire life, and being comfortable with this statement. It is for her to decide the time when she will be done dominating the musical market in Japan; because she for sure can. Wishing here for a long and shining trajectory.
Comments
Post a Comment