Shintaro Sakamoto Rar
Click to expand.I suppose it's not everyone's cup of tea. There are some fantastic pop girls in J-Pop that are just as good as any in the West and each brings something different to the table. Some of them have crazy intense release schedules where you could almost look to them to know what season it is.Ayumi Hamasaki is how I first started dabbling in J-Pop. When I first started listening to her in 2004, she'd just released her 32nd single from her 6th regular studio album and she was still experiencing her multi-album imperial phase. She released her first single in 1998 so that's an average of around 5 singles per year.
Her voice is pretty shrill, but she sings well enough, writes beautiful lyrics (even through translations) and her visuals are stunning.Utada Hikaru is another fave of mine, and she was billed Ayu's rival at the time in the press. I'd dare say that a lot of J-Pop fans would have first been introduced through her. She sang the Japanese and English theme songs to Kingdom Hearts and again, she's another fantastic songwriter that delivers beautiful visuals.Of course, J-Pop is incredibly diverse outside of their big pop girls, but personally I haven't really explored too much. It's hard enough keeping track of my Western faves. I'm pretty sure my fave, MiChi, is definitely retired for good.
She seems to be living in New York studying art. The closest we've gotten to new music from her recently is her posting short cover songs on her facebook.She did meet up with her production team a week or so ago though on Instagram, so I haven't completely given up hope. I can understand her retiring though, her sales figures were dreadful by the end - sometimes not even selling 1,000 copies of a song in a country of 130 million people must be quite disheartening, even if you claim you don't care about sales figures. What's really disheartening is that Japan never gave a chance to talented girls like MiChi and many others (MEG, JASMINE, ICONIQ or even ) all retired now. Female pop is pretty much dead unless you're an idol. The only exceptions are Namie, Kana Nishino, JUJU, Sheena Ringo and now Utada (is she really back though? I don't think so).The 'funny' thing is they still worship the western pop diva of the moment (Taylor Swift, Ariana Grande), but they stopped caring about their own.
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This is what I don't understand about them. I think the moment Japan well out of love with their big pop girls is when I fell out of love with J-Pop.
I don't really care for any of the idol groups, and a lot of the current pop girls are a bit dull to say the least. There was a time when J-Pop absolutely smashed through pop boundaries and made the weirdest, most wonderful things.
But now I can't help but feel like every release is a carefully constructed marketing decision. It's sad really.Perfume & Namie are pretty much the only active J-Pop act I actually check for regularly. I'm beyond excited for Utada's return though, even if it is in a more singer-songwriter lane than popstar per se. Yeah, J-pop is very 'meh' and has been for awhile. The thing with mainstream J-pop is that companies are just happy coasting along releasing the same old formula over and over. Obviously it is selling, how else would groups like SMAP have been able to continue for decades? How else would Kana Nishino be able to bring out the same old basic ballad every time?
Kyary suffers the same. From the industries perspective, if the consumer is happy with the same old shit why change the formula? That is why everything feels so stagnant.The peak of J-pop for me was probably late nineties/ early 00's. Former queens like Koda Kumi and Ayu have been coasting on support from their gays/hardcore fans for the past few years.
I used to be here for Kuu but she is really. Basic nowadays.She gets the reeeeally shitty bargain bin left over EDM or whatever. Like her last good album was Japonesque, which was what, almost 5 years ago now? Ayu is a mess as well, but I really developed love for her older, experimental stuff.
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Neither of them are given much of a budget these days tho and it is all a bit depressing to see.The idol groups might release something decent now and again, but most of it isn't to my taste. Like E-girls or J Soul Brothers have a basic bop or three, but nothing that hasn't been done infinitely better than their k-pop contemporaries.The only one I am really here for now is Namie.Hopefully the idol thing will see itself out in a year or two and we will have a new golden age, but I am wishful thinking here. Click to expand.Even when she stops being able to sell out yearly national tours it will still be impossible to group Kumi with the other 4.Along with Ayumi Hamasaki her sales are not what they used to be but both have done what must be the long term aim for most pop acts and gathered a core fanbase that allows them to tour with a budget given to bigger selling acts.BoA took on too much I think. You can't release in one territory, then ignore them to focus on another (Japan-Korea, Korea-Japan), then attempt an American breakthrough and go back to either Japan or Korea when it doesn't work.Rather than release in either Japan or Korea her labels should have worked to dual release her albums when she was at her peak rather than letting her go years between releases in either territory.
Those gaps allowed other artists to fill the gaps she left resulting in a vastly dwindling popularity each time she returned to either her Japanese or Korean market.sifow and mini remain the biggest travesties in regards to the Japanese public not picking up on what could have been great pop acts.At least sifow managed to get avex to fund 6 videos, 2 albums and a mini album whilst never charting higher than #293. Music and the bling Queen! You're right. Koda Kumi belongs to another league, but I'm afraid her career took quite a hit.She used to be a release-aholic.
But now she hasn't released a new album in more than a year and her last official single (I'm not counting the tour only one) was not one but two years ago. And avex already treats her like an, which is not fair.ayu still gets her mandatory annual album, but the budget isn't really there.P.S. I bought one of those 100 copies she sold (and it wasn't even counted by Oricon because it wasn't a local sale). Click to expand.Mika Nakashima - over the past three years she's only released one original single and it wasn't goodKoda Kumi - read aboveCrystal Kay - she singed with LDH and managed to get decent sales with a couple of singles, but the music is just. Dull; VIVID's sparkle is long gonehitomi - she's a mom nowBoA - she tried to find her way back, but it was too little too late; Kana Nishino filled her place (while Namie took back what was hers)Kyary - Japan no longer cares about her + Yasutaka Nakata's productions got staleMiChi - read aboveMEG - she has her own clothing line and lives in FranceJASMINE - droppedMiliyah Kato - not dropped, but her career sank; she desperately needs a hitothers like MISIA, MINMI, etc. Still release albums from time to time, but they usually are nothing to write home aboutAmi Suzuki - she's in the strawberry business or something like that; luckily she gave us before 'retiring'.What a depressing list to make.
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