"It shouldn't be much of a surprise that techno pop took hold in Japan. Electronically based, allowing pop and experimentation in equal measure, it was fertile ground indeed for the unique Japanese musical sensibility of the late 70s. It didn't hurt, of course, that Yellow Magic Orchestra played a major role in taking the genesis of the genre, Kraftwerk, and putting a uniquely Japanese spin on it with the aesthetics of their self titled debut. That album was released the year before P-Model's debut, "In A Model Room," and while the P-Model's effort is much more pop based (and less nostalgic) than the YMO album, the blips and bonks present owe it no small debt.
But let's not get too wrapped up in that. Where YMO's debut was a weird, neon throwback to the 30s and 40s music over which YMO member Haruomi Hosono had been obsessing in previous years, "In A Model Room" is prime late 70s aggressive electro-weirdness. Like much of Japan's 80s new wave output (Plastics, Lizard, etc) it clearly fits into the cold, artificial approach of Western contemporaries like pre "Are We Not Men?" Devo, or "White Music" era XTC. However, closer inspection reveals elements that can't be explained by comparison, and that's where the real interest lies.
To be fair, that's not exactly obvious from the first listen. Opening track "Art Mania" [Bijutsukan De Atta Hito Daro] could be put right into XTC's debut with nary a raised eyebrow. Everything, from the Barry Andrews keyboards, to the Andy Partridge vocals and guitar, fits. Until the keyboard solo, that is, which sounds like "Popcorn" on a triple espresso. Then there's the low, ominous vocals that pop up when you least expect them. Whatever the elements, it's a great pop song, the kind of track that was called "jerky" back in the day. There's also "For Kids," [Kodomotachi Domo] which manages to sound like Elvis Costello covering XTC's "Cross Wires," with weird, atonal backing vocals. Another great pop song. They go full on Kraftwerk with the robotic beats of "Kameari Pop," but a hushed, gently uplifting chorus brings in a layer of atmosphere that the German band never so much as hinted at. None of the above influences explain "Sophisticated," [Sofisuteikeiteddo] however. Creeping guitar and sinister electronic bubbling underscore vocalist Susumu Hirasawa as he reads of a list of "sophisticated" things (Japanese boys, Japanese girls, masturbation, supermarkets, fried chicken, etc.) It's the closest the album gets to unsettling, although it's overall disposition is one of positive, if screwed up, vibes.
P-Model became big stars, and their influence on current Japanese electro pop is a given (Polysics in particular, who even went so far as to wear matching jumpsuits with a "P" on them.) Their ability to mix what was then bizarre sounds and styles into an immediately accessible pop format is what makes them stand out, and they never bested their debut. Good stuff." - jrawk.com
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artist: P-Model
title: In A Model Room
type: album
label: Warner Pioneer
release date: 1979
length: 33:08
genre: new wave
country: Japan
language: Japanese
format: mp3
bitrate: 256kbps
credits:
Written by Susumu Hirasawa (tracks 1, 4-6, 8-11), Yasumi Tanaka (tracks 2, 3, 7), Yuichi Hirasawa (tracks 5, 7)
Susumu Hirasawa - vocals, guitar, synthesizer
Katsuhiko Akiyama - bass, synthesizer, backing vocals
Yasumi Tanaka - organ, synthesizer, backing vocals
Sadatoshi Tainaka - drums
tracklist:
1. 美術館で会った人だろ [Bijutsukan De Atta Hito Daro]
2. ヘルス・エンジェル [Herusu Enjieru]
3. ルームランナー [Ruumurannaa]
4. ソフィスティケイテッド [Sofisuteikeiteddo]
5. 子供たちどうも [Kodomotachi Domo]
6. Kameari Pop
7. サンシャインシティー [Sanshainshiteii]
8. 偉大なる頭脳 [Idai Naru Zunou]
9. ホワイト・シガレット [Howaito Shigaretto]
10. MOMO色トリック [Momoiro Torikku]
11. アート・ブラインド [Aato Buraindo]
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But let's not get too wrapped up in that. Where YMO's debut was a weird, neon throwback to the 30s and 40s music over which YMO member Haruomi Hosono had been obsessing in previous years, "In A Model Room" is prime late 70s aggressive electro-weirdness. Like much of Japan's 80s new wave output (Plastics, Lizard, etc) it clearly fits into the cold, artificial approach of Western contemporaries like pre "Are We Not Men?" Devo, or "White Music" era XTC. However, closer inspection reveals elements that can't be explained by comparison, and that's where the real interest lies.
To be fair, that's not exactly obvious from the first listen. Opening track "Art Mania" [Bijutsukan De Atta Hito Daro] could be put right into XTC's debut with nary a raised eyebrow. Everything, from the Barry Andrews keyboards, to the Andy Partridge vocals and guitar, fits. Until the keyboard solo, that is, which sounds like "Popcorn" on a triple espresso. Then there's the low, ominous vocals that pop up when you least expect them. Whatever the elements, it's a great pop song, the kind of track that was called "jerky" back in the day. There's also "For Kids," [Kodomotachi Domo] which manages to sound like Elvis Costello covering XTC's "Cross Wires," with weird, atonal backing vocals. Another great pop song. They go full on Kraftwerk with the robotic beats of "Kameari Pop," but a hushed, gently uplifting chorus brings in a layer of atmosphere that the German band never so much as hinted at. None of the above influences explain "Sophisticated," [Sofisuteikeiteddo] however. Creeping guitar and sinister electronic bubbling underscore vocalist Susumu Hirasawa as he reads of a list of "sophisticated" things (Japanese boys, Japanese girls, masturbation, supermarkets, fried chicken, etc.) It's the closest the album gets to unsettling, although it's overall disposition is one of positive, if screwed up, vibes.
P-Model became big stars, and their influence on current Japanese electro pop is a given (Polysics in particular, who even went so far as to wear matching jumpsuits with a "P" on them.) Their ability to mix what was then bizarre sounds and styles into an immediately accessible pop format is what makes them stand out, and they never bested their debut. Good stuff." - jrawk.com
artist: P-Model
title: In A Model Room
type: album
label: Warner Pioneer
release date: 1979
length: 33:08
genre: new wave
country: Japan
language: Japanese
format: mp3
bitrate: 256kbps
credits:
Written by Susumu Hirasawa (tracks 1, 4-6, 8-11), Yasumi Tanaka (tracks 2, 3, 7), Yuichi Hirasawa (tracks 5, 7)
Susumu Hirasawa - vocals, guitar, synthesizer
Katsuhiko Akiyama - bass, synthesizer, backing vocals
Yasumi Tanaka - organ, synthesizer, backing vocals
Sadatoshi Tainaka - drums
tracklist:
1. 美術館で会った人だろ [Bijutsukan De Atta Hito Daro]
2. ヘルス・エンジェル [Herusu Enjieru]
3. ルームランナー [Ruumurannaa]
4. ソフィスティケイテッド [Sofisuteikeiteddo]
5. 子供たちどうも [Kodomotachi Domo]
6. Kameari Pop
7. サンシャインシティー [Sanshainshiteii]
8. 偉大なる頭脳 [Idai Naru Zunou]
9. ホワイト・シガレット [Howaito Shigaretto]
10. MOMO色トリック [Momoiro Torikku]
11. アート・ブラインド [Aato Buraindo]