J-Pop Write-Up

Toward the end of 2009, the band Ikimonogakari released the song “Yell” for the Junior High division of the NHK Nationwide School Music Contest.  It’s clear that Yoshiki Mizuno (the band’s lead guitarist) wished to create a song that would be simple enough for a child to sing, but powerful enough to relate to everyone.  As it turned out, he produced the right formula to take “Yell” to the covetous number one position on the Oricon charts.  After an appearance on the widely-seen New Years Eve entertainment concert, Kohaku Uta Gassen, a number one album, “Hajimari no Uta,” and a slew of anime and television main theme contracts, Ikimonogakari has quickly attained mainstream success.’

You want my take? I think Yoshiki Mizuno is a smart person. With YELL (as well as with 「なくもんか」), He captures the simplicity of early 90’s dance hit J-Pop writing, along with several nods to the pop-folk sound of current artists such as Yuki and ayaka.  I’m a total sap for harmonic sequences of all kinds, and the opening with its descending minor scale strikes me as quite touching.

The song is sentimental, but also hopeful.  The most cheerful section appears toward the end of the song, leading to a climax of emotional intensity on “ひとりひとつ道を選んだ” (“hitori, hitotsu, michi wo eranda.” (poss. “everyone alone chooses a path.”)). Unfortunately, the brief excursion to the relative major, following a modulatory string instrumental, is not nearly as compelling as the theme.

Oshioka Kiyoe’s singing bears moments of pure bliss. Like ayaka, she does not shy away from the power of the female voice. She executes the simple words with painstaking attention to emotion. The second vocalist definitely lets Ms. Kiyoe’s voice shine, but gives enough juice for us to fall in love with her part as well.  Constantly leaping above Kiyoe’s line, it seems difficult. Still, she performs Mr. Mizuno’s part with flair.

All of the pieces fall into place: the texture is applicable, the context is simple, the instrumentation is suitable, the group sounds great. But, doesn’t this seem a little too simple? While Ikimonogakari could be criticized for overusing the sequence, I really enjoy how the progression diverts our expectations at the third chord of the chorus, giving the chorus considerable emotional leverage. And, Kiyoe’s style fits this idea perfectly. Mizuno’s subtle craft ties together the whole package, the whole hermetically-sealed, top-hit-guaranteed packaged.

Score: ♡♡♡♡