Various Artists: Japan For Sale, Volume 3

The presence of Japan in Western society has resulted in a plethora of transcultural phenomenon; just think anime, sushi, the ephemeral electronic pets, and not forgetting the ubiquitous Hello Kitty. Surprisingly perhaps, contemporary Japanese music has not produced similar obsessive want-need-must have reactions.

The aptly named compilation series Japan For Sale is now into its third volume with the previous volume recording sales of over 5,000 copies to date. The original project behind this was the well-received non-retail Japan NOT for Sale compilation released in 1999. Presenting a slice of current musical endeavors in Japan, this series is a delectable tasting platter for curious ears, covering the spectrum of current Western musical styles from pop rock to hip-hop to electronica, all with an idiosyncratic Japanese-born entertainment flavor.

Wait, wait, wait. Before I am shot down with protests and accusations for what appears to be an intentionally stereotypical comment, let’s take a step back and examine the evidence. Firstly, Japan for Sale is a loaded title that carries with it implications of generalization and oversimplification, both of a culture and, in this case, of musical style. It is suggestive of characteristic traits that would identify these particular musical tracks as being “Japanese” and not only that, but that these traits are identifiable by Western audiences as being characteristic. Secondly, the cover, designed by Los Angeles-based artist Shag, depicts what appears to be a sumo warrior daintily holding a remote control between two fingers that is pointed to a stereo system. Am I the only person who hears “Toshiba and Sony”? Thirdly, listen to the music and you’ll hear what I mean by entertainment.

I have to admit that I was impressed on the first hearing. I was expecting bland, manufactured, perfectly coiffed tracks, but what I got instead were tracks that were fresh, energetic, and each in its own way was innovative and distinct with subtle hints of Western musical style influence that were in no way overpowering. The CD comprises a mix of artists, some with international acclaim, others presenting their debut singles. This is not necessarily an easy CD to listen to. There is some internal sense of track categorization by musical style, but since the only common theme linking the tracks is “Japan”, the wide-array of styles designed to show off what is contemporary Japanese music makes it almost impossible to settle into the mood to listen.

A particularly impressive track is the opener, “Time” by Goku featuring B.M.Q. (B.M.Q. is Goku’s self-produced unit Blue Monk Quartet), a fusion of acid jazz encapsulated in soft feminine vocals and haunting saxophone interlaced with hip-hop lyrics in both Japanese and English that creates an urban feel. The next track “The Lost Voices” by DJ Krush and featuring Sly & Robbie is one of the best on this compilation. DJ Krush is probably the most internationally renowned artist on this compilation and to see his name amongst those featured on this CD was definitely a positive selling point.

The band Polysics are veterans to the Japan for Sale compilations (they have appeared on all three) and here provide “Black Out Fall Out”. The band, reminiscent of Devo with a strict unity in appearance and in performance, features computer-generated synthesized effects that produce an altogether energetic pulsing sound that has, according to rumor, the ability to disrupt the forces of gravity during live performances. Polysics will be touring the States late May/June to accompany the release of their US version of Neu.

You have got to love Guitar Vader! From Toyko, this trio is one of Japan’s most prominent underground bands and their style is what I can only describe as catchy cutesy Japanese rock and roll. Described as Talking Heads and early B52s, their sound as exemplified on “Super Brothers” is blended together by distinctive vocals, fun and quirky melodies, heavy rock and roll guitar, and lyrics sung in heavily accented English. The ironic aspect of Guitar Vader is that they barely speak any English and have been quoted as saying, “We like music from overseas so it’s quite natural to sing in English. But we can’t speak English at all…. It doesn’t matter as long as it sounds good!”

Mai Hoshimura’s debut single “Stay with You” is a spunky performance of classical piano and bossa nova accompaniment. The lyrics, sung in Japanese, lend themselves to the fast-paced rhythmic melody with the added repetition of sounds/words that you can’t help but get caught up in. Coupled with Hoshimura’s stunningly clear vocals, this is a brilliant example of progressive artistry. Mayu Kitaki’s “Latata” is sweet, perfectly suited to Kitaki’s soft voice, and is a “genki” Japanese pop, aka J-pop, style song. Not exactly my cup of tea, but a warm touch to this compilation.

The CD ends with three dance mixes: Kyoto Jazz Massive’s “Substream”, “Gimme Some High Energy” by Takkyu Ishino, and “Spiral Never Before” by Yoshinori Sunahara. Both Ishino and Sunahara are members of the techno group Denki Groove. While “Gimme Some High Energy” is as its title suggests, “Spiral Never Before” is a slower, more atmospheric combination of electronic sound effects, chilled, more akin to lounge music.

I’m sold. While these tracks may not be convincing as exemplars of mainstream contemporary Japanese music promoted in Japan, they are nonetheless very appealing. As with most compilations, there are some tracks that will hold more interest than others, but collectively there is a pervading energy, a real sense of fun, and an apparent desire to push boundaries that I want to categorize as the Japanese-born entertainment flavor.