Review: Miyavi - This Iz The Japanese Kabuki Rock

You should have seen this coming after I reviewed Super Hero.

Something happened that made me want to revisit Miyavi's music. I used to be an avid listener of Miyavi a few years back, so much so that I scraped together his entire discography off of LimeWire as digital proof. Eventually I got bored. My fandom in Miyavi slowly waned, reaching an all time low around the end of 2008 - early 2009. I still have no idea why, but if I had to guess it's because I had to take a break from Miyavi's music until I forgot what it all sounded like.

It's all because of Super Hero (which I shall do a proper review of next month) that I decided to return to the realm of the Meevers and listen some more. Two tracks off this album later combined with some lyrics courtesy of MasaKarasu and the birth of this review was born.

I'm ambivalent when it comes to this album. On one hand, I hated this portion of the Neo Visualizm era and a part of me is glad it's all done. On the other, more fan-biased hand, what he did here challenged both genres and cultures which is something so completely badass most artists don't even think of attempting such an innovative step in their musical careers. My opinion is that Neo Visualizm lasted too long and even Miyavi himself was tired of the entire movement and just wanted to release an album to signal the end of it.

It shows...

NOTE: If you are new to Miyavi's music this is the last place I would start. Start somewhere like Gagaku, or Miyavizm, or even MYV POPS. Just not here.

Limited Edition

Regular Edition

1. JPN PRIDE
2. 21st Century Blues
3. 歌舞伎男子-KAVKI BOIZ- (Kabuki Danshi-KAVKI BOIZ)
4. BOOM-HAH-BOOM-HAH-HAH
5. Memories of BUSHIDO (Instrumental)
6. NOWHEREGOD
7. 陽の光さえ届かないこの場所で featuring SUGIZO (Hi no Hikari Sae Todokanai Kono Basho de featuring SUGIZO)
8. 咲き誇る華の様に-Neo Visualizm-
9. 素晴らしきかな，この世界 -What A Wonderful World- (Subarashiki Kana, Kono Sekai -What A Wonderful World-)
10. Tsurezure Naru Hibi Naredo
11. Thanx Givin’ Day

JPN PRIDE	It comes in slowly and it ends on the same notes, supported by bass, drums, tap dancers, a human beatboxer, and Miyavi himself. It’s got a distinct Asian flair that fits alongside the general message that the Japanese populace needs to remain Japanese in the face of adversity. Miyavi has a habit of using words and terms that shouldn’t exist, and along with his intentional corruption of words to create double-entendres and deeper meanings, most people don’t care to dig deep enough to get the deeper message of what he’s singing about. I still can’t excuse the silliness of the “Sukiyaki teriyaki harakiri geisha sushi soba tenpura Fujiyama ninja” at the beginning though. Even if you’re American, the song universally applies about not selling out to seem popular, or in, or whatever it is that you think is better than what you are currently. It’s the whole “you are what you are, so embrace it” mentality. The solo halfway in fits perfectly with the traditional Japanese instruments in the background and it’s not overbearing in the slightest. Most of the time, TYKO’s rap portions are hideous but this is one of the few times throughout the CD where it fits in rather well. I’d venture to say that this is one of the few songs that had some thought put into it. A good way to start off the CD.	9/10
21st Century Tokyo Blues	It’s opening with some distorted English words that appear to make no sense unless you have the lyrics. If I were to connect the two, I believe it has to do with how everyone in Japan is too pre-occupied with the end of the world and the negatives life throws us to realize how to live life happily in the meantime. I know he brings up the Y2K scare of 1999 and the false reporting of news broadcasters in there as well. The serious nature of these lyrics balanced with the fun atmosphere of the song creates a uniquely Miyavi piece where it’s “shut up and enjoy life, fool” instead of “shit sucks in life so kill yourself/lose all hope”. It’s still one of these songs that’s universally adaptable even though he aims it at a small group of people. Miyavi’s rougher singing is great (as usual) and TYKO’s rapping takes up a bigger portion of the track but it’s listenable in this one due to all the elements of the track going. The whole Miyavi ad-lib thing going on while TYKO’s rapping is evident does get a little tiresome. The funky bass is the glue to this track and really holds everything together, which is unusual since Miyavi usually relies on guitar. There is a guitar solo, but it’s uncharacteristically low in the mix and if you’re not paying attention you can miss it easily. It’s one of the better tracks we are getting out of this Neo Visualizm deal.	8/10
Kabuki Danshi	A piece straight out of the olden days of Neo Visualizm, where things were more experimental and the Kavki Boiz felt the need to introduce themselves before every piece of music started. Kabuki Danshi is heavy on acoustic guitar and features a small solo that’s nothing special but it is a little different. The entire atmosphere of the song is upbeat and should get anyone moving. If you need a Miyavi track to put you in a good mood, this is it. In contrast to the later stages of Neo Visualizm, Miyavi raps alongside TYKO and it doesn’t sound right. TYKO also gets a larger portion of the track, which annoys me to no end. The lyrics are about self-acceptance and the acceptance of others, because that’s the only way that you’re going to end up happy with who you are. The lyrics and the atmosphere net this song a few more points than normal. Combine that with the bias I have towards it because this got me interested in the Neo Visualizm era more than normal and we have a song that’s actually OK.	8/10
BOOM-HAH-BOOM-HAH-HAH	It’s the funkiest song on the album, but it doesn’t help it any. I also am not too fond of the lyrics, although I do support the message he eventually got to. The entire arrangements of the instruments are also bland and it doesn’t pick up that much steam throughout. The beginning was creative but quickly wore out because of TYKO’s constant repetition of it and the song fails to grab my attention up until the end. That’s the best part and nets the song a few points because that’s when Miyavi injects some soul into his singing. Overall, it’s too much of an exercise in patience to get that far. Needs some work in every department.	4/10
Memories of BUSHIDO	Somewhere along the line I believed Miyavi and the Kavki Boiz realized that the album transitioning the way it does between the previous track and the next track sounds a bit awkward and that something needed to be placed in between. This track could have been a promising instrumental if they had decided to do more than stand around and simulate air conditioners. It has this entire ominous feel about it and you’re anticipating something epic to happen at the beginning of it. Once you notice that the runtime is a little over a minute and the track isn’t expounding at an exponential rate, the only thing you’ll grow to anticipate is the track ending. If this track had built upon the ominous, foreboding feeling, incorporated some more instruments alongside the khoomii, and found direction it would have been decent filler. The way it stands is that it isn’t. Skip.	2/10
NOWHEREGOD	Some good, old-fashioned Miyavi rock influenced the right amount by Neo Visualizm. TYKO’s inclusion is comfortable here, and he isn’t the least bit distracting in the overall atmosphere of the song. Some more funk elements are displayed throughout the song, and that’s included in the unneeded solo at the end of the song, the judicious use of hip-hop elements throughout, and the basslines that run throughout this track. The lyrics are also a bit controversial, depending on how religious you may be (personally I agree with them, but to each his own). Another song on this album that sounds like he put a good amount of thought into the song and executed it well.	10/10
Hi no Hikari Sae Todokanai Kono Basho De	What sets this song head and shoulders above everything else on this album is the handiwork that fellow S.K.I.N. guitarist Sugizo had in it. I would bet Sugizo is the one that reined in the chaos that Miyavi and the fellow Kavki Boiz have had in the last few tracks and creates a transcendental, ethereal air of sophistication throughout. His influence proved to be wise indeed and if that’s not enough, Sugizo plays some guitar as well. Even though the first minute is rather subdued, there are still traces of the guitar here and there that build up subtly until the big entrance where everyone comes in. The Kavki Boiz somehow manage not to have too much facetime in this track and it’s the only Miyavi single on this album that actually features Miyavi. Some people complain about how the track ends but I actually find it effective, as it ends the track without too much grandeur. The most refined example of Neo Visualizm on this album.	10/10
Sakihokoru Hana no You ni – Neo Visualizm	The beginning was slow and decent but then it busts out into the proto-Neo Visualizm style that was expressive and experimental. I find it on the wrong side of experimental and if it weren’t for the fact that it shares a similar vibe to Kabuki Danshi I would have never gotten into this song. Miyavi raps way too much in this one but its offset by the relative exclusion of the Kavki Boiz taking a verse or two. The song is about the destruction of what music really is and how it needs to be taken back to the drawing board and re-done from the beginning. Miyavi applies it to Visual Kei and how stagnant the scene has become. It’s among the deepest lyrics here.	7/10
Subarashikikana, Kono Sekai – WHAT A WONDERFUL WORLD	Miyavi’s singing is annoying in this track, and TYKO’s rapping even more so, especially since he gets a nice chunk in this one too. The ooh’s and aah’s are scattered throughout behind a funky bass and some nice guitar lines and if I put it too loud it gives me a deep migraine. Despite that, it all comes together in such a way that even though I find it so annoying it is that very quality that keeps it entertaining. Miyavi’s got a message here that everyone suffering from overactive hormones needs to hear (namely, if you’re feeling down don’t give up. Keep moving). It’s OK, but it’s not the best here.	7/10
Tsurezure Naru Hibi Naredo	Everyone proclaims this song as so beautiful and indicative of his maturity. I personally find the instrumentation to be nice and the lyrics to be thought provoking, but Miyavi’s delivery feels dead. I believe he was going for a fragile atmosphere but it comes across as withheld. It can’t stand up to some of the older soft tracks he’s delivered because he injects emotion into his work. What this song does have going for it is a jazzy solo and the absence of the Kavki Boiz, but that’s really it. I can see that he put a lot of thought into it and the little touches like the tinkling and the oddly placed but welcome drum beats, but it’s missing the most important aspect of a Miyavi song and that’s Miyavi. If he had sung as if his life depended on it, this song would have been great. As it stands, it’s just aesthetically pretty.	6/10
Thanx Givin’ Day	It’s an ode to his parents, and pardoning the cheesy spelling it has what I wanted from the last track, and that’s some emotion. This already puts it above the last track. It too is void of the Boiz and it’s just Miyavi and the acoustic. He chose to take a minimalist approach to this song and it’s a pretty ending song but in comparison to some of the other things we’ve gotten this far it’s a little quiet, and this makes it stand out in an odd fashion to everything else. Despite that it’s the best track to end the album with.	7/10

Despite the commercial failure this album turned out to be, a good portion of it is quite listenable given time to grow on you. Some fans of Miyavi may call this song too gaijin-oriented and a "sellout" but they've missed the whole point of this album. It's definitely a different sound from Miyavi but Miyavi's all about genrebending and experimentation. It is the best work from him throughout the entire Neo Visualizm movement and is a good way to set this phase of his musical career behind him.

Recommended:

JPN PRIDE
21st Century Tokyo Blues
NOWHEREGOD
Hi no Hikari Sae Todokanai Kono Basho de

Score: 70%