Review Summary: From one of the most worthwhile Japanese artists.
When Shiina’s earlier release this year was an album of rearranged songs that she had previously written for other artists, resulting in a string of genre clashes with few highlights, you would be forgiven for worrying about the amount of effort going into Shiina’s new release, Hi Izuro Tokoro. However, half highlighted singles released over the past few years and half completely new material, Hi Izuro Tokoro does a good job of covering up the few flaws it does have while still presenting quality material.
Including previous singles Jiyu e Michizure and Nippon was a brave choice. In an album which can be otherwise summed up as experimental jazz pop, when the thumping rhythms and layers of distorted instruments crash in, these tracks can feel out of place. However having these tracks as the second and penultimate tracks respectively lessens the effect these tracks would have on the album as a whole by allowing a smoothly running mid-section that flows naturally from song to song, but also delivers the classic Shiina symmetry that she strives for in her albums.
This, however, is the only real misstep of this album. The rest is full of Shiina’s flair for pop sensibilities while combining it with the experimental. Take JL005-bin de, for example. Its Homogenic style beat and agitated strings grapple with each other in the second verse before giving way to harmony in the chorus, where clean guitar chords glue the arrangement together and Shiina’s brilliant, raspy voice is given space to take the lead. Even the weakest track on this album, Kodoku no Akatsuki, with its autotune and even cheesy lyrics (as Shiina decides to sing in English for this song), goes through a brilliant turn towards the end, where a strange violin melody interrupts and sprawls all over the electronics.
Like much of Shiina’s previous work, a lot of thought has been put into the arrangements and it definitely shows when listening to through this album. Hashire wa Number’s bass fills groove effortlessly under a layer of funk chords, and Shiina’s controlled, shifting tone of voice flirts along the higher ranges with a hyperactive flute. There are few moments in this album where the textures feel somehow incomplete or lacking, and sometimes the climaxes are brilliant. Take album highlight Irohanihoheto for example, in the breakdown where the sinister harpsichord relents and the echoing guitar spirals up like fireworks over a parade of powerful strings.
While some may be disappointed by the amount of new material on this album, it still works well as a string of well realised pop songs. Queen Shiina continues to prove herself to be one of the most worthwhile Japanese artists, and this album quite comfortable sits as one of the best pop releases this year.
