![]() ![]() Pizzicato Five throw all taste and class out the window and just go “Kimono” and “Sukiyaki Song” until you want to burn every album in their entire catalog. ![]() By taking Japan as a theme, Konishi produces a recursive error, like the scene where John Malkovich goes into his own head. I could maybe extract some good quotes from the lyrics of “Fashion People” (Nigo!) for a nonfiction book, and I am partial to the mambo-beats of 1960s cover “In America” but the rest is beyond cheesy - like a “JAPAN COOL” poster hanging in a provincial gift shop selling salty green tea. This record is really, really, really, really terrible. (A) - The groovy, moogy Pizzicato Five we should all remember Other interesting sound experiments include the mega-blown out mixes of “Weekend” and “The Great Invitations,” the Austin Powers trend convergence of “Playboy Playgirl,” and minimal stutter snare of “Such a Beautiful Girl Like You.” If you remove the skits, this is one of the more consistently good efforts and a sound for the ages. The band recovers with “A New Song,” P5’s best use of the moog synthesizer in a bright and shiny Hugo Montenegro pastiche. And then we get to Konishi’s great weakness in sequencing his own albums, forcing the least exciting song into the prime #2 spot in this case, the boring “Rolls Royce” goes on for eight full minutes. The album starts with the excellent “La Dépression” - a cheery joke about Japan’s own economic despair. Here we begin the final, mature years of Pizzicato Five, a period in which the band finds a unique, yet timeless sound rooted in 1960s analog with the speed of late 1990s electronic music. ![]()
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