| Uemarasan |
27th May 2010 08:11 PM |
Quote:
Originally Posted by SunshineSlayer
(Post 2369040)
In general I agree. Many songs these days seem to lack the "timeless" feel that many songs had in the past. I think that is also what is contributing to the downward spiraling sales of artists in general.
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I also think it can be traced to the continuous stagnation of the Japanese economy. When people are less willing to spend, then there is less of an incentive to take risks, and I think that kind of attitude lends itself to all aspects of a society, including its art and culture. It's unfortunate, but Japanese popular music has been flattened to the point that it is only produced if it can sell. Case in point: all those boy groups that are interchangeable with one other, lacking any sort of distinct musical identity. Wonderful music is made once in a while, of course, (Superfly, somehow you're here) but I believe that most of the best music is not even being marketed or put out by the major record companies. Or, worse, invested in. The Japanese people seem to want to put their money only on sure bets and formulas: Johnny's groups, Studio Ghibli films, Hikaru Utada, so-called Japanese institutions, whatever is safe and familiar.
Nowadays, I can't imagine something like the shibuya-kei movement or unique artists like Chitose Hajime or Ua flourishing in this kind of environment. Why does an interesting and potentially great artist such as ICONIQ barely make an impression on the Japanese public? Back in the day, they had room for everybody. But now, only so much space can be spared. Unfortunately, Japanese popular music seems to be losing its best and most distinct characteristic: novelty.
That's why I prefer Namie during her transitional phase, up to Style and a bit of Queen of Hip-pop. Now she's going the way of Ayu before Rock n' Roll Circus. She's found a winning formula, and she's sticking by it.
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