ReListen #1: Shiina Ringo - Karuki Zamen Kuri no Hana
In a previous review
of what is regarded by many as Shiina Ringo’s career highpoint, the third album
Karuki Zamen Kuri no Hana, we described it as a rather dark and impenetrable
album despite its greatness. Listening to it for this series of reappraisals we’re
verging on a slight revision of that opinion.
In the catalogue of
Shiina Ringo the benchmark for quality almost always lays at Karuki Zamen Kuri
no Hana – her third album. For many reasons it’s cited as her best and for many
reasons it’s hard to disagree with its quality. With a sound that focuses less
on the in your face production of its predecessor Shoso Strip and more on
quietly seducing you with the sound of off kilter rhythms from traditional
Japanese instruments and occasional found sound elements.
And it’s largely the
delightfully realised melodies that bring the album into the band that it’s
currently elevated to. Whilst its predecessor sought to deafen you into
submission (in the nicest possible way) this album takes a more stealthy
approach and there’s much to gain as we see Shiina Ringo stop to let the music
breathe for the first time on an album thus far. The results are well worth the
patience – KSK, as it’s been christened by the artist herself – is a slow
burner, with an intricate production.
It takes a few
listens to penetrate the aural shell of the album but once you do the little
touches start to become more obvious, from the vacuum cleaner that opens Yattsuke
Shigoto (trans. Rush Job) to the
opening flush of the electric orchestra on Shuukyou (trans. Religion) and the occasional flash of engaging harpsichord in
the background throughout the whole album it’s a joy to repeat listen this
album. That perhaps is why it retains a certain mystery – there are so many
layers here and meanings to decipher from Ringo’s use of old kanji characters
throughout the lyrics that it keeps you enthralled for many educational hours.
This sonic complexity
is wrapped up in one simple but very effective album jacket, displaying (if you
hold the physical copy, always the best, in the prescribed manner of books in
Japan – the front being what in the back in Western publications) a simple
china tea cup on a black background. But what lies behind it is all to guess –
there is always meaning in Ringo’s album artwork and also in the order of
songs. There is a pattern in the number of characters in the song titles and
the whole album runs at exactly 44:44. Such attention to detail may seem
trivial but it surely adds to the listening experience to know that the artist
cares that much about the project they included all the tiny details to
discover.
Those keen to explore
further are advised to seek out a copy of the film Hyaku Iro Megane, a short
movie made to accompany the album featuring a playful musing on the themes of
the album.
The title: Karuki
(Chlorinated Lime) Zamen (Semen) Kuri no Hana (Chestnut Flower) – All similar smells!
Highlights: Meisai (trans. Camouflage) Kuki (trans. Stem)
Reviewed
by Sebastian Gahan.