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So, new pre-release Shiina rumors start spreading like a wildfire in Baidu and here we go with the source: http://tieba.baidu.com/p/3271318191 The person who "could predict" the release of Reimport-album and NIPPON before their actual releases informed that Shiina will release new album in November titled "Hiizurutokoro" (transl. "Land of the Rising Sun"), and it will be sold in 3 different versions. The jury is still out on the question whether the album is "purely original full-length" or another cover album. Shiina's /Universal's representative staff is yet quiet about this but by basing our assumptions on facts that her albums were usually informed about like ~2-3 months before the actual release, we could presume that the rumor is pretty legit (at least imho). Thanks 2 [email protected] for informing, btw.

Kalk Samen Kuri no Hana Welcome back to my back-to-the-past reviewing! This time I am going to give a spin to one of my biggest favorites from Ringo Shiina (and in music in general), "Kalk Samen Kuri no Hana" - or more familiarly along us, Ringo fanboys/girls, "KZK". The album itself was always used as a definitive introduction (for many, many years!) to anyone interested in giving lovely ms. Shiina a try - no matter what kind of music or culture you were into. Since new people here aren't really clueful about so-called "goals of reviewing" in MH, I can tell something: reviews aren't just "puny writing" - the rest is up to you to figure out. Rambling aside (again), ~lazy PRZ is getting lazy~ - so let's explore track-by-track-wise (I bolded my favorites, JIC): 1. Shuukyou People might get scared of the intro due to sudden strings climax, but everything after soothes and gets the listener along with an interesting, culture-clashing mix of avant-garde-ish instruments (something in the vein of John Zorn I think?) and orchestra. And of course I have to note Ringo's beautiful, almost requiem-y singing - gotta adore her moody vox during mellotron parts. You've gotta give it to Shiina if you want to make a good starting number for your concept album - or the hell, for your "definitive album". PS. those who bothered to try out mixtapes might have noticed Zess using this as an introductory song in his "first" mixtape - hope this entices you... 2. Doppelganger Imagine a decent orchestra-backed, french ballad-like number warping into d'n'b-like psychedelia in various parts - that's probably my best description for "Doppelganger" which belongs to one of the simplest pieces (yet still, quite weird to those not used to works outside mainstream music comfort). A decent piece - not much to say from my part. 3. Meisai Oriental noir meets gipsy-like number with various samples (the whole album is filled with interesting/odd samples/noises though - let's call this trait as "KZK-ing" for now), and ofc - Ringo's lovely, seductive singing supporting the absinthe & opium-scented mood. Got to admit that this feels like a fast-paced Klezmer piece to me, which is always welcomed when it comes to "far-out genres in Japanese music".I have a thing for songs with strong emphasis on themes and such, so yeah - definitely a fav! 4. Odaiji ni Calm, piano-driven ballad with Ringo's sensitive high-key singing - a good breather after a roller-coaster trio we had earlier. And all of this ofc supported by familiar, albeit vague "KZK-ing" - a la partial guitar soloing and radio speech etc. "Odaiji" works well in the context, but lacks much to be considered as a sole song or so - decent-ish, I think? 5. Yattsuke Shigoto Once we get over TV announcement sounds, radio-ish recording of intro and vacuum cleaner (yes, vacuum cleaner!), we get to the almost upbeat, orchestral version of something what was quite very fast-paced and grungey (ZCS version). Props to the rhythmic accompaniment and Shiina keeping up the spirit of the original, somewhat. Let's not forget the harpsichord either - since hey, it's always welcome! *cough*Malice Mizer*cough*. But either way, If you want a more "accessible" and less "weird" number off KZK, give this one try - it's not really avant-garde-y, but sure it is unique in one way or another. 6. Kuki Considered to be one of her classics - and probably even as one of her "definitive songs". Gloomy-ish, orchestral piece with memorizable, easy-to-hum-along melody - with its own climaxes and odd "culture clashes" instrument-wise (ever wanted to hear Koto and Klezmer fiddle in the same song? Here ya go), will be sure to get many people (no matter what kind of "musical orientation" you have) enjoying the song at its fullest. Kudos to greatness of classics! 7. Torikoshi Kurou One of the prime "KZK-ing" examples - beatboxing, cornet, kalimba, whistling, shamisen, melodica, comic horror-like "ooh" chants etc. This song is quite fun to jam along to, despite its otherwise very simple structure - and very short length (approx 2 and a half minutes, wow). 8. Okonomi De Those familiar with Shiina's work acknowledge the fact that she has a thing for "title symmetry" in her various albums - and KZK ain't an exception when it comes to this. What would be an otherwise "stroll around and sing in the rain"-like song, this has a lot more potential than its older counterparts (think of possible songs off 50s-60s, which fit my description) - "KZK-ing" almost everywhere, very beautiful climax...Unlike its symmetrical coupling, "Odaiji", "Okonomi" has much "it" to end up as a solid song outside KZK too! 9. Ishiki Didgeridoo and some bass notes leading up to jazz/blues-like number without much "stereotypical" emphasis on former-mentioned genres (thanks, bamboo flute). You've gotta give the drum/bass shred break a good listen, though - one of the KZK "tidbits", YES! I have not much to say about Ringo herself - the vocal melody is perhaps not amusing me that much, nor getting me along? I don't know. Arrangement saved the song though. 10. Poltergeist "Edith-Piaf-meets-haunted-waltz-dance-hall" - and yet still, my description still does no honor to gems of KZK. Title really fits the fleeting mood of this song, and Shiina helps to keep the mood thanks to her almost obvious French chanson-y influences. Apply my compliments towards "Meisai" to this as well. 11. Souretsu Grande finale of KZK, interestingly named "Souretsu" ("Funeral") carries on with certain traits we heard in Shuukyou (hurdy-gurdy, koto, sitar, emphasized orchestra backups), but freshness is still retained. Eerieness grows by each second - and minute, and thus - we end up in what we could actually call as "avant-garde" in KZK. Imagine if Shuukyou was followed up with a nightmare-like finale with organs and backup band causing audible havoc for almost a minute...yes, definitive example of a fantastic, earthshaking finale, YES!!!!!!!!/Pretsy going mad due to lack of sophisticated compliments/ | Pros: "intrepid experimentation" and "KZK-ing" , cons: "Odaiji" is not impressing much and "Torikoshi" is too short (that's all) Post-rating conclusion: some songs are hard to chew on - no matter whether they dwell inside or outside KZK's context, yes - but once you give it a proper, more "fearless" listen...you will realize that genre limitations are not going to stop you from at least admiring the album. Trust me - even if I might sound biased all the time - you will totally miss out, if you just let this classic (various music mags back from the day share my thought too) go. What about me? I am adoring - and in fact, thanking this album for making me pay proper attention to what I really enjoy, or enjoyed in my favorite music for many years - intrepid experimentation and honest ways of expressing yourself. As a last reminder, don't let my not-so-serious nitpicking distract you