Ah, another year, another comp from Sony Japan. Every year for the past four or so, Sony Japan has delivered a compilation that samples the label's acts. Each comp has about 90 percent of the same bands/artists on it, which does allow one to track the evolution of an act through a yearly single. With this one, the stylistic focus has narrowed to a handful of rock tracks, a few hip-hop/rap tracks, and a plethora of dance/clubby/techno dross to fill out the album. Most of the selections this time are pretty mediocre, with ...
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Ah, another year, another comp from Sony Japan. Every year for the past four or so, Sony Japan has delivered a compilation that samples the label's acts. Each comp has about 90 percent of the same bands/artists on it, which does allow one to track the evolution of an act through a yearly single. With this one, the stylistic focus has narrowed to a handful of rock tracks, a few hip-hop/rap tracks, and a plethora of dance/clubby/techno dross to fill out the album. Most of the selections this time are pretty mediocre, with only minor differences separating the styles. Oh, look, here's a jungle track, and here's a trip-hop track, and here's some techno-pop. Even a band such as Supercar, usually reliable for providing some of the best tracks on previous comps, has turned in a song that's so directly intended for dance club use that no trace of its formerly signature guitar or shoegazer sound is to be found. Fortunately, the comp is not a complete loss, as three consecutive tracks at the end of the album make it all worthwhile. Takkyu Ishino, the half of Denki Groove that didn't shoot himself, has a superb synth pop song that nearly glitters in its pristine prettiness. The always personal Puffy (Yumi Yoshimura and Ami Onuki) does a perfect new wave/power pop track that makes one happier with each additional listen. And the Polysics have another great song of keyboard, guitars, and Devo-fights-with-Mr. Bungle rock weirdness. Worth a listen for those three tracks alone. ~ Jeremy Salmon, Rovi
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