 I'm
all for retro. Maybe that's why I like Japan as much as I
do...when people decide they like something, they revel in it,
scrutinize it, pull it apart to see what makes it tick and succeed more
often than one would think. There have been many accusations of mimicry
lodged against the Japanese media (which have been around a lot longer
then you might think...Donald Keene refers to a tendency to view the
Japanese as a "race of imitators" in his book "Japanese Literature,"
first published in the mid 50s.) Admittedly, when
you you discover that there are bands out there with names like "Tokyo
Beatles," "Tokyo Cramps," and the Ramones "inspired" Romanes, it can
seem a bit...shallow.
This criticism overlooks two important things. One, there are cover
bands/copycat bands everywhere, the Japanese are just willing to admit
it. I refuse to see this as a shortcoming. Two, there's a difference,
often overlooked by musical pundits, between copying and continuing.
The implication that someone is "stuck" in the past simply because they
work in an idiom that had its heyday in a different time goes against
the entire idea of creative work.
It's what you do, not what you choose to dress it in. Which, finally,
brings us to Dexide The Eamons. A list of influences would tell you who
they draw inspiration from...The Beatles, The Kinks, The Zombies, and a
bunch of other "The" bands...but that list wouldn't tell you if they
were any good: lord knows there are plenty of crap records, and bands,
with nearly identical lists.
Dexide The Eamons aren't just good, they're really
good, and their second album is an amazingly well crafted bit of retro
pop. They don't just capture the sound, they capture the studio as
playground spirit of post "Sgt. Pepper" experimentation with an energy
and fundamental grasp that is nothing short of breathtaking. The ideas
come thick and fast, with a clarity both artistic and sonic that makes
"II" both immediate and seemingly limitless. The songs are incredibly
complex constructions with devastatingly simple hooks, a creative feat
that is impressive in any idiom, but especially one as easy to overdo
as psychedelic pop.
"てるてる" ("Teru Teru") is a good example: starting with a bouncy Fab Four
stomp, the track weaves simple harmonies, Keith Moon like breakdowns,
and multi layered sonic trickery, then wraps it up in a simple, catchy
tune. "なんでもない" ("Harmless") could be an outtake from The Zombies'
"Odessey And Oracle" (sic) with a piano straight out of "A Rose For
Emily." The whole album goes on like this, quickly shifting from one
nifty (and immediately familiar) sound to another, but never losing
sight of the tune.
Yet it never comes off as mere pastiche or emulation. Everything works
in service of the song, and it's far too seamless to describe in terms
of its jumble of influences. "デイ" ("Day") is a wonder: wobbly vocals,
cutely flanged guitar, lazily chugging beats and a surprising, weird
bridge fit together so beautifully that it's easy to miss the fact that
there are more ideas in this one three minute song than most entire
albums. It's somehow not overstuffed, instead working as a kaleidoscope
of nifty tricks that work in harmony, rather than calling attention to
themselves. It's also impressive technically, with a careful mix that
lets all the ideas merge into a strong, clean sound that doesn't insist
on itself, but which allows the listener to pick any one element out
with ease. The cover says "STEREO" in big letters, and you'd better
believe they make use of stereo separation as often as they can.
"II" never wears out its welcome, clocking in at a lean 39 minutes and
deftly avoiding any mid album drag. Dexide The Eamons would go on to
great success, signing to a major with their next album, "Something
Dew." They never quite recaptured the balance, though, of this effort.
Great stuff, and a strong an argument for "revival" as you're likely to
find.
---
Available at Amazon Japan.
|
