#pizzicato five Tumblr posts

  • gilgamis
    01.05.2022 - 3 weeks ago

    This Year’s Girl - Pizzicato Five (1991)

    #1991 #this year's girl #pizzicato five
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  • gilgamis
    30.04.2022 - 3 weeks ago

    Overdose - Pizzicato Five (1994)

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  • useyourimagination2020
    30.04.2022 - 3 weeks ago

    Pizzicato Five “Five By Five” vinyl release(1994)

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  • foolsparadise1986
    30.04.2022 - 3 weeks ago

    Pizzicato Five

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  • appears
    30.04.2022 - 3 weeks ago
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  • grrl-beetle
    02.04.2022 - 1 mont ago

    Pizzicato Five – Bossa Nova 2001

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  • dazetop
    22.03.2022 - 2 monts ago
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  • kamoi
    22.03.2022 - 2 monts ago

    spotify stop recommending me ichiko aoba when i'm trying to make a 70s playlist challenge

    #and lamp and pizzicato five #it's not the current vibe!!!!!
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  • pie-bean
    22.03.2022 - 2 monts ago

    It's not marketed as such but Animal Crossing is primarily a music franchise

    #kidding of course but it has probably shaped my music taste a lot #i remember being 14 and hearing my baby portable rock by pizzicato five and being like 'that's the hourly music from gc animal crossing' #and in new horizons a lot of the hourly music happened to sound like the dad music i listen to as an adult lol #city folk made me love fender rhodes #acnh#acnh blog#animal crossing#mine
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  • johnkatsmc5
    05.03.2022 - 2 monts ago

    Pizzicato Five "Happy End Of The World" 1997 Japan Alternative Pop (100 greatest Japanese albums Rolling Stone) double LP

    A Japanese masterpiece. The album opens with "The World's Spinning at 45 R.P.M", which is one of my favourite pop song titles ever. The song begins as a pseudo-psychedelic and Beatlesque pop track, before becoming a typically irresistible P5 number. The vibe has been set. "The Earth Goes Around" is just as nice, though different, while "Trailer Music" and "Love's Prelude" are nothing but interludes – however, very interesting ones. "My Baby Portable Player Sound" is a real smash, followed by "Mon Amour Tokyo" which sounds very international in its adult contemporary pop schlager tripping. Now and then I am not so fond of this track. "Collision and Improvisation" is one of those numbers which simply sound wonderful, however inappropriate they may seem. "Arigato We Love You" sounds like a classic immediately; while most of this album's content reminds me of Saint Etienne, I wonder if Saint Etienne has ever made anything this catchy. "Happy Ending" leaves me quite happy, perhaps except for the ending of the song which typically consists of a long pause and a few tens of seconds of something quite non-musical. Beside that, "Porno 3003" (the title possibly inspired by the Sushi 3003 compilation?) is the only filler on the disc. All the other stuff is more or less fascinating: soundtrack to a reality film I would feel superb acting in....fairyeee.....~

    Happy End of the World is the first album of entirely new material that the Pizzicato Five released in the United States, but it doesn't necessarily represent a great leap forward for the dance-lounge duo. Pizzicato Five continue to blend light '60s pop, '70s disco, and '80s dance with an ironic flair on Happy End of the World, but the energy level is turned down a bit. It's a surprisingly laid-back album, but that's not necessarily a bad thing -- the lush arrangements have an engaging, low-key charm, and the beats are nice and subtle. Happy End of the World runs a little too long, and no song stands out as a single, but it's an engaging record that suggests there may be more to the Pizzicato Five than kitsch....... by Stephen Thomas Erlewine......~ A Japanese pop group active from 1986 to 2001, Pizzicato Five (known in a beginning as "Pizzicato V" and often known simply by the initials P5) was best known to audiences in the West in their later incarnation as a duo of Maki Nomiya and Yasuharu Konishi. The group, widely credited (along with Flipper's Guitar) with spearheading the Shibuya-kei movement of Tokyo in the 1990s, was influenced by genres as distinct as Bossa Nova, Soul, Yé-Yé, Chanson, Funk and 60's English pop music......~ When I was in school and the cool kids were all about Nirvana and RATM and The Manics and... well, I don't really remember, I was scrabbling around record shops looking for Pizzicato Five and Melt-Banana albums. Why this happened to me I've never been entirely clear, and it never won me any friends, but for better or for worse, Happy End Of The World ended up being one of the defining albums of my youth, and pretty much everything about it has influenced pretty much everything I'm done, musically or otherwise, for the past 12 years. Maybe having hunted around for it so long, it could never be anything other than gold, but years later, the sweet demented vocals and the slick élan and the cut-up drums like bloody cannons are just about all I want from music. Without P5, I'd probably think the Blood Brothers were a sack of crap, and where would we be then?.....Fotzepolitic......~ there's something special to be said about an album that feels so separate from me. to know that i was never the audience in mind for an album, to know that the process of its creation is so isolated from anything happening around me right now, to be able to take a glimpse into something i'm so unaffiliated with-- it's exciting. and in some cases, it can quickly become a gateway to what seems like a whole new world. happy end of the world finds itself right in this position for me and makes the process feel all the more whimsical....cardboardalpaca.....~ (A Review in the Form of Stream-of-Consciousness Notes) Track 1: Keyboards and vaguely distorted, unclear vocals. All sortsa cool synth swirls flowing about! Radio-style distortions crackle. Is this what they call “retrofuturism”? Anyway then it picks up into a properly-recorded song and her voice is revealed to be regal, authoritative and confident without being overbearing as a refined, New Wave-ish (but less sonically prominent) bassline appears. The other instrumentation is provided mostly by piano (fairly buried in the mix) and cool percussion, which – and it’s difficult to notice this at first – is actually still buried under radio-distortion. This track is really fascinating, actually. Oh, did I mention how lovely the melody is? This is the second foreign-language album I’ve reviewed in a row for this game. It’s also the second one that sounds completely cool and in control – gee, are all foreignese people like this? Track 2: Segues right into it: Wobbly-sounding keyboard stuff and Drill & Bass-ish drums. She sings lyrics that sound like they’re meant to be nonsense in any language (“la la la la la la la la”) while the piano gets even more minimalist. I gotta say, for an album that’s making such sparing use of its instrumentation, and burying most of it so far in the mix, it manages to come across as bafflingly fulsome. Maybe that’s just her voice. The bass in this is interesting – I’m pretty sure it’s an electric bass guitar doing its best to imitate an electronically-generated bass sound, and it’s cool. Track 3: Sub 2 minutes and opens sounding like a parody of an old Disney movie. Then it develops into, possibly, a parody of advertising! A man talks over oldschool advert-style instrumental music in a way that suggests he is trying to sell me something. Maybe this is a joke track I’d get if I were Japanese. I don’t dislike it at all, though – what’s fun is that, about a minute in, the man disappears and background music is remixed into a dance track. Fun stuff! Track 4: Chanting of what I think is the band’s name opens this track. She sounds quietly but deeply pleased with something on this track, like she’s just observed her lover do one of those little things she loves about him which she can’t rationally explain. In terms of instrumentation and songwriting, this is the most traditional rock song yet, which means it still has keyboard flourishes, sparingly-applied strings and the sorts of harmonies that haven’t been associated with rock since the 70s. The drumming is also very cymbal-centric, with occasional deeply distorted flourishes on the more box-shaped drums. So much is going on here that I almost lose sight of how subtly effective the hook is. Track 5: Ah! Hip-hop drums, while a sultry-sounding repetition of the band’s name is chopped about. These hip-hop drums are eventually matched by a reappearance of Drill & Bass-esque drumming (the sort Aphex Twin appropriated for use in IDM, y’know), and there’s the occasional flourish in the middle where either a keyboard or an effects-laden guitar plays a few stabs as the cymbals lightly dance. Track 6: An extension of the previous track (which was a prelude, dontcha know), this one has the same percussion segment, but develops into something else as a piano comes in and joins the woman as she begins to sing one of her trademark refined melodies, this time singing very softly. Spacey synth flourishes accompany horn segments and wordless male harmonies – damn, this album is fucking awesome, you know? It’s fantastic. I love it. Thank you so much, Alex. To make such a blistering percussion segment, complete with the occasional distorted glitching of a drum or two, sound so light and delicate as an accompaniment to what I presume is an intimate and reflective love song takes some doing, but these guys managed it. You know what this song sounds like? Paris. I can just see the Eiffel tower out of the window this woman is staring out of… Track 7: Baby, baby, baby, ah! A percussion-effusive intro breaks into a glockenspiel-led track with synth sounds that occasionally make it sound like the theme song to a level on Mario Kart, but in an endearing way. Actually, this sounds a lot like a Mario Kart level song, complete with the near-absence of vocals except for the lady’s repeated refrain of “baby, baby, baby, ah!” She’s charismatic enough to make it sound like an unmissable part of the song, the rest of which sounds like a very lovable sorta surfish pastiche. Someone overdub this on a video of someone playing Shy Guy Beach and tell me it doesn’t fit – it fuckin’ does! Track 8: Ah, this bassline, mang… instantly noticeable, swagger like Jay-Z, and then more Mario-type synths come in to match it. Ain’t that sound like an insult? Crazy thing is – it isn’t! This has one of the best vocal melodies yet, too, and the subtly-yet-overwhelmingly excited vocal tone is back. I think I might be developing a crush on this girl, actually – I’ve no idea what she looks like, nor what she’s saying, but her vocals just ooze personality. This song has, I think, an electric keyboard, being used in a very minimalist yet very effective manner – it usually plays half-second or so stabs of sound, somehow managing to fluidly cover multiple notes as it does so. Lends the entire thing this weird sense of liquidity and I love it. “Mon Amour Tokyo”, this song is called, and now I wanna go there. Track 9: Squelchy low treble synths introduce this song as more wordless “ba bababa” harmonies are sung. Damn, they really do love the metallic drum sounds in this band, don’t they? It’s like they never play anything else. It’s not just cymbals – I think every metal percussion instrument is in this guy’s setup. The bassist also deserves mention for being a consistently kool kat the entire album. It’s like he represents its ego – a controlled but nonetheless dominant force in this album’s personality. Confident, but not overconfident. Just certain that life’s gonna go its way. A trumpeter shows up on this track at the end. It’s nice. Track 10: a 10-minuter called “Porno 3003”. Hah, what a coincidence – I watched about 3,003 pornos this month! She’s delivering a spoken word monologue over a sonically complex groove that has an absolutely glorious sample – this grainy snippet of a horn from some movie soundtrack, I think, so grainy I can’t even identify what kind of horn it used to be, but they turn a couple of brief bars from it into the song’s main motif and it’s exactly the sort of transcendent that a good sample can be. The horn sounds like it’s from some dinosaur movie, too, considering how much import it purports to carry. The rest of the track is mostly percussion, our lady’s monologue, some synth textures and some string samples that are probably from the same soundtrack. A little over halfway through it develops a piano groove, which sticks around. For a track with such an economy of moving parts, it does a good job of keeping one’s interest and sounding genuinely busy. All that said, I ‘spect I’d enjoy this track even more if I understood the lyrics. Eight minutes in, the samples go away and a triumphant electric piano motif rises up out of their ashes, accompanying the monologue for about a minute until the samples come back. I gotta say – I liked that track, but I wish I understood the story she was telling! Track 11: Typical. The last track was all Japanese and here this one opens with an all-English Language phone conversation in which someone tells Ms. Five that they love her music. Anyway, one phunky-ass synthpop bassline runs through this one – actually it sounds halfway to Eurodance, this thing, but it somehow avoids being too corny. Or is it merely embracing the corn so hard that it’s camouflaging it? Ah well, whatever – the percussion is way too exotic to be properly Eurodance and frankly the sonics are too good. Few lyrics on this one, either – gee, did she use ‘em all up last track? Mostly just wordless vocals singing simple melodies. Rather intentionally dated-sounding synth riff intermission in the middle of this track. Now that I think about this closer, this whole track sounds like an affectionate parody of the late 80s/early 90s European pop scene. It’s a nice lil gesture. Track 12: Alright, I’ll be honest now – this album is definitely too long. Ain’t no excuse to be over an hour when half of that time is in the last 5 tracks, and while their sound is wonderful and intriguing and intoxicating it’s also not all that varied. That said, this track features our resident sexy confident singer lady singing a proper melody again, and that’s so welcome. Other than that, I guess I’ve not much to say about this song – it sounds like the first half of the album again, but a little less. Meh. Not too big a fan of this one. I mean, obviously it’s nice to be back in Paris in the summertime, walking round the colourful streets and fanning myself happily with a paper fan as I peruse fruits – but I have been here before, and that’s something I can’t quite escape. Track 13: Oh, now this one’s interesting – I think there might, might, be a 60s guitar sample underlying this whole thing, but there’s so much else going on it’s difficult to properly tell. Either way, some people are harmonising about a “happy ending!” while the electric piano makes some grandiose stabs and suddenly I’ve figured out what this album is: it’s not retrofuturism, it’s futureretroism. It’s a vast hodgepodge of nostalgic different elements of different eras of the musical past – 1950s jazz, 1970s jazz-funk, 1980s synthpop, 1990s Eurodance, 2000s video game soundtracks – all splurged together in an anachronism stew as if it’s been curated by people from the 23rd century to whom the differences between the meagre decades are non-existent and irrelevant. It’s a big “old times!!” party for the rich kids of the future who don’t actually know that much about history but want in on some of that chic because the past was so classy! Anyway, after 5 minutes the track ends and we get some silence while waiting for a hidden track, which makes me sigh and check the date – since we vanquished that shit when the digital age came around – and realise in astonishment that this was released in 1997; I mean, how could they have so perfectly parodied the 2000s Mario Kart soundtracks then? Is Japan literally in the future? How the fuck is this possible? Are this band time travellers? I am so confused over this that I barely notice the hidden track rolling around, but it was about 30 seconds long and not a lot happened so never mind. Well, I suppose time travel is indeed possible and these guys did it with their keyboards – and now I’m signing out. Thanks for the assignment, Alex, much appreciated.......~ The kitchiest album I have ever heard.Japanese post-lounge pop band with influences of great 60-es lush music like bubble-gum or bossa nova.Sometimes they remind me of Stereolab's pop moments, but they don't wanna dive into deeper or more serious approach of making their music.Instead they just keep on grooving with their moronic songs, but all in all everything on this album sounds so full of happiness that makes your booty move.Great kitch record!That's why I love it!....sickboy.....~ Originally a five-piece unit, they debuted commercially in 1985 under the aegis of Haruomi Hosono. In the early years of their career, Pizzicato Five went through diverse line-up changes, only to find temporary stability (and commercial success) in the early 1990's, when singer/model Maki Nomiya joined Konishi and Takanami. In the mid-1990's, when Pizzicato Five started to gain international recognition, Takanami quit the band, thus leaving Konishi and Nomiya as the only remaining members. The duo officially broke up on March 1, 2001. Known for their prolificacy and eclecticism, their unique retro-futuristic sound and fashion sense made them (at least for Western audiences) the epitome of the so-called Shibuya-kei (Shibuya Style). Members

    Yasuharu Konishi Founder and only constant member Maki Nomiya Lead singer (1990-2001) Keitaro Takanami (1984-1994) Takao Tajima Lead singer (1988-1990) Mamiko Sasaki Lead singer (1984-1987) Ryo Kamomiya (1984-1987) The 10th album of the Pichikart Five for the first time in two years since "Romantic 96" (1995). I made a Readymade Records label under the Columbia umbrella, and it was my first album. It starts with a melody like a really Pichikart (1). I like this song for the rusty, slightly nose-biting chords. In towa et Mova's cover of his 1971 work (2), avalanche is held in the lively cheerleading style (3) with the narration of sumio Akutagawa. I felt a homage-like sound to this album in the 60s. The mood like the popular song at that time is a thm. Ayumi Ishya "The Sun Is Crying" (1968) is prominent underlay (8). I was associated with the theme of Cutie Honey. Born in 1959, Yasuharu Konishi was born in the 1960s when he was a child. It might have been familiar with the skin feeling. Of course, it does not finish it to mere oldies. The rhythm style was trained with a tightly club-like drive. On the other hand, from the previous work "Romantic 96", I seem to be conscious of Japanese popular songs and the 1960s. It will not be intended to keep it in a faint concept and inflame nostalgia to the listener. I wanted to express a little world flavor and kitsch. The hard beat by the rhythm box changes the impression by the atmosphere of the upper thing. For example, from (5) to (6). ((5) has a darker shade of inorganic dance music, and the moment Maki Nomiya's singing voice was put in (6), it turned into a cheap but light beat. In this era, I wonder if protours are not used? The scene development changes lightly. On the premise of a dj-like smooth flow, the mechanical sound use while using live music was beautifully addicted. Even though it is like the 1960s, the sound structure is not concerned with band formation and live music arrangement. Rather, it sounds like a wind made with a lot of sampling. Even though this was not old-fashioned, it became a sound of a slightly nostalgic and strange air feeling. Even the masterpiece (10) centered on the narration of Mari Natsuki has a shady atmosphere like a planning board that introduces the stereo effects of old times, while the music itself has a techno atmosphere. It is a skillful board that shakes the impression of the listener with ideas and arrangements while clarifying the times and standing position. While laying the club specifications at the root, the charm of The Ichikart, where Nomiya sings konishi's vertically up and down melodies, is perfectly. It is an album with an old charm while containing plenty of the times of both the 1960s and 1990s.....~

    In 1997 I was in college writing music reviews for my college news paper. I was lucky to have decent relationships with a bunch of labels and publicists and Matador was a label that pretty much sent me everything they released. One of those records was Happy End Of The World by Pizzicato Five. I don't know what it was about this record that caught my ear. It was so very different from anything I was listening to at the time, but from the very first moment I heard it I was onboard. I think what keeps me coming back to it are the lush soundscapes of the album. The production is upbeat and full of warm inviting sounds. The vocals are somewhat secondary to me, but when they are present they just make everything seem bright and sunny. I've always been particularly obsessed with the song "It's a Beautiful Day." With its fast percussion and chant along spelling of the band's name in the intro, it's a song that always makes me smile. I've had that promo CD I got at the newspaper in my collection since the day I got it, but decided that I also wanted to be able to listen to this on vinyl. While patrolling Discogs I came across someone in Europe selling a copy that was still sealed. While the price tag I ultimately paid was somewhat high, about a third of it was postage, so I still don't think it was a terrible deal. Plus it sounds so amazing spinning on my turntable. I'm glad to have a copy and I'm not even sure why it took me so many years to finally procure one.....~

      “Imagine every great record you’ve ever heard stuck in a blender overlaid with the most experimental heavy metal guitar you’ve never heard combined with the most outstanding montage of video clips you can’t imagine plus super-adorable camp fashions, all synthesized through a demented Japanese consumerist impression of America. Then try to imagine something better than that...” These are some of the words I wrote nearly 20 years ago about Pizzicato Five’s San Francisco stop on the Tokyo-based group’s first US/European tour. Even looking back today, I still think about my initial 1995 encounter with P5 as one of the most startling, fully realized concerts I’ve ever experienced, and their records remain among my most beloved. Pizzicato Five were many things, but never ordinary. They’d started in the mid-’80s as an easy listening quintet, switched vocalists to favor smooth plastic soul, discovered samplers around the time their third (and defining) singer Maki Nomiya arrived in 1990, then morphed into a dance/pop-art/retro-futurist act that pulled from just about every musical genre and aesthetic movement since the mid-20th century. By the time leading American indie rock label Matador Records introduced them internationally with the 1994 samplers Five by Five and Made in USA, P5 was only two, the absurdly productive songwriter/multi-instrumentalist/producer Yasuharu Konishi the sole original member. When the act called it quits in 2001, Pizzicato Five had released 14 studio albums, at least that number of compilations, about as many EPs, and every kind of single conceivable. When popular music was at its bleakest and most monochromatic, Pizzicato Five were neon-hued and eclectic. Their international arrival occurred between the sudden deaths of Kurt Cobain and Tupac Shakur, figureheads of the grunge and gangsta rap that defined American music in the ’90s. Even house music – severed by this point from its gay and black roots – was straighter, whiter, less melodic, and more formulaic. The resulting electronica was hailed as “the new rock” while Britpop reintroduced previously retired orthodoxies. Although the ’90s featured more successful women rockers than any other decade, the era’s sensibility remained traditionally male – loud, brash, barbaric. Even the guitars were often downtuned to sound more ominous and growling. Juxtaposed against the furious flannel-clad sasquatches of the Pacific Northwest, P5’s worldly, feminine lightheartedness was even more refreshing than it would be today. “I don’t like dark, brooding music – I don’t understand the purpose of it,” Konishi mused during a 1996 interview I conducted with the pair that went unpublished until now. Intrigued by my concert review, the band merely wanted to meet the American critic who they felt understood them. “I don’t think music should reflect reality. I think music should be more of a magical entity, something that lets you escape from reality.” P5 found inspiration in both the sunniest and most radical qualities of the ’60s. “I have three superstars: Godard, Warhol, and Maki,” Konishi told Puncture. As P5’s vocalist, Maki was unrelentingly cheery and extraordinarily composed, as if she were biologically incapable of striking an unflattering pose or emitting a wayward note. A professional model before, during, and after her P5 reign, Nomiya was rail-thin like the face of ’60s Swinging London, Twiggy: Pizzicato Five’s most internationally popular song, “Twiggy Twiggy/Twiggy vs. James Bond” was a souped up 1991 remake of a track on her 1981 solo album that streamlined and simplified its source material with a caffeinated, sample-invigorated arrangement that would serve as the prototype for most P5 to come. Like early Warhol superstars Baby Jane Holzer and Edie Sedgwick, Nomiya exuded larger-than-life glamour: In the mode of subsequent Factory graduates like Mary Woronov, she was a beautiful woman presenting herself like a drag queen imitating a faded Hollywood starlet. Her favored fabrics were vintage and synthetic; her wigs even more fake. In the video to “Sweet Soul Revue”, she struck moves like Jagger while radiating the poise of Hepburn before morphing into a Pan Am-esque flight attendant. Even more than the early De La Soul and Deee-Lite records that almost certainly provoked their initial Maki-era shift, P5 were vigorously post-modern: A Pizzicato jam might feature astoundingly accurate pastiches of the vocal and orchestral arrangements from baroque pop acts like the Fifth Dimension and the Left Banke, discothèque breakbeats played live and continuously at double time, and hip-hop production techniques that recall Godard’s jump cuts. Occasionally the guitar got harsh, but sophisticatedly so: Bravo Komatsu – the guitarist who temporarily replaced founding member Keitarō Takanami on the 1995 tour – could wail on his instrument while flaunting enviable chops: Check out the virtuoso surf-metal spew he shoots over prerecorded “Twiggy Twiggy” tracks while Konishi dances the Frug on UK music show The Word. If 1991’s This Year’s Girl set the Maki era’s aesthetics in motion and ’92’s Sweet Pizzicato Five edged the group closer to club music, ’93’s Bossa Nova 2001 was the album where the group’s musical erudition, sprightly tempos, sugar-sweet tunes, technically exquisite performances, seamless layering of sampled and freshly generated material, and Nomiya’s poptastic delivery all fell into place. It was co-produced by Keigo Oyamada, a kindred record collector and label owner. He’d been in Flipper’s Guitar, a late ’80s/early ’90s Anglophile band who together with P5 pioneered what became known as Shibuya-kei, Tokyo’s omnivorous fusion of vanguard pop, jazz, lounge, bossa nova, yé-yé, Brill Building girl groups, and West Coast harmony acts. After their introductory single “Sweet Soul Revue” – promoted, like much J-pop, via a cosmetics commercial – gave P5 its initial hit, Bossa Nova 2001 went Top Ten, a status that Oyamada would consistently achieve in Japan as a solo act, under the name Cornelius. None of this could’ve happened anywhere besides Japan. In the ’90s and early ’00s, Shibuya – Tokyo’s Times Square for trendy teens – housed many of the world’s greatest record stores. International outlets of that period like Tower Records and HMV sold catalogs as ridiculously deep as national chains like RECOfan, and the CD-generated reissue bubble was at its peak: If it wasn’t reissued and remastered, chances are it could be found somewhere in Shibuya in the district’s countless micro-niche stores selling used and rare “analogs.” With Bossa Nova 2001, P5 and Oyamada distilled the underground’s fetish for bygone styles and matched it with J-pop’s fascination with fashionable flash. Despite his refinement, Konishi respected subversion: Another hero was Sex Pistols’ manager Malcolm McLaren. Konishi rooted P5 in conceptual art and gimmick: Like Made in USA, Sweet Pizzicato Five’s “Tout Va Bien” may be named after a typically challenging Godard film, but it’s also instantly memorable because it lifts the “Beep-beep, beep-beep, yeah!” refrain from the Beatles’ “Drive My Car.” “Airplane” from ‘94’s Overdose similarly apes Donovan’s “Epistle to Dippy,” while that same album’s “Hippie Day” pays homage to Young-Holt Unlimited’s “Soulful Strut.” Like Nomiya’s ever-changing but rarely subtle outfits and P5’s masterfully bold artwork designed by Mitsuo Shindō, such recognizable references helped cross the language barrier. Whereas most grunge and gangsta vehemently shunned theatrics, P5 were resolutely multi-media. P5 had always been special. But when Nomiya joined, Konishi had clearly found his Annabella Lwin, the perpetually perky singer McLaren plucked from obscurity to front Bow Wow Wow. Yet unlike Lwin and indeed most J-pop singers, Nomiya had long ago left behind her teens: During P5’s hit years, both she and Konishi aged from their 30s to their early 40s. Although their intricate and knowing arrangements reflected their maturity, the energy and excitement of their execution remained youthful. With only rare exceptions, Nomiya delivered Konishi’s words and tunes with a childlike enthusiasm almost surreal in its joy. Like Vincente Minnelli, Konishi made feminine art not because he was gay, but because he loved women. “I always love beautiful things, tiny things,” he confessed. “But the most beautiful thing, I think, is a girl.” After Bossa Nova 2001 crashed the Japanese mainstream, P5 maintained its manic productivity. Following Takanami’s departure, Konishi took even more creative control on 1994’s Overdose. Reflecting a shift toward house music, the arrangements turned starker to showcase Nomiya higher in the mix, reflecting her rising profile. He directed their music videos as he would their music – with the smarts of a scholar and the mirth of a miscreant. In his clip for “Happy Sad” – perhaps the duo’s most perfectly realized tribute to bubbly, righteous funk – Nomiya cavorts with the track’s guitarist and background singers as if Martha Reeves and Ike Turner joined the Staple Singers at Wattstax. “Before I started Pizzicato Five in my 20s,” Konishi reflected, “all I did was watch films. I read all the critical reviews. So when I started writing music, I was already so immersed in those films that I wrote from the same perspective. Whenever I plan to make an album, it seems to be with the same mindset that Godard or Fellini would plan their films. Maki is my Giulietta Masina. Our relationship is just like Masina’s and Fellini’s.” This meant that P5’s records studio albums had a beginning, middle, and end like narrative film: Nomiya even sings “bye bye” at the end of Overdose’s closing “On the Sunny Side of the Street.” And they often had a theme: The next album, 1995’s Romantique 96, reflected the pair’s interest in all things French – an interest they shared with Japan’s stylistic elite. Featuring a cover of Bridget Bardot’s Serge Gainsbourg-penned hit “Contact” that perversely sampled Kraftwerk’s “Pocket Calculator,” Romantique 96 became P5’s biggest domestic hit, but as it was released simultaneously with Matador’s Sound of Music compilation, it was never issued in America. Although P5’s North American popularity soon eclipsed the success of Japan’s Yellow Magic Orchestra, they wouldn’t pander to the American market. Like Romantique 96, P5’s most successful single, “Baby Portable Rock,” a jingle for Nissan’s Mistral SUV, never even came out in the US. After the initial Matador compilations featured a few tracks with re-recorded English vocals, Nomiya stopped singing all but the occasional buzzword in English. “This is quite a typical thing in Japan, the English catchphrases,” Nomiya pointed out. “You’ve got to remember that the Japanese are very Americanized and in tune with different cultures. The words we use, ‘groovy’ and other things, even though they’re sung in English, the Japanese listener can easily understand.” Rather than applying themselves to mastering English, Konishi and Nomiya stuck to pop’s internationally comprehensible Esperanto. Happy End of the World, their 1997 album, exaggerated the high BPM breakbeats that had been their rhythmic foundation, and looped them like drum & bass. By contrast, The International Playboy & Playgirl Record of 1998 accentuated the cosmopolitan Burt Bacharach-schooled harmonic sensibility central to Konishi’s tunes. The resulting minor keys were accompanied by melancholic lyrics, some clearly meant in jest. The opening cut “La Dépression” acknowledged Japan’s then-current economic crisis with tongue firmly in chic: “I haven’t seen a single interesting man around for ages... We’ve been going through quite a recession these days... My God, you are so unfair.” “I think the most important elements in music are the humorous aspects,” Konishi asserted. “That’s what I like about Maki’s singing. It’s not so much what she’s singing about but how she presents it. I’m not saying that I want my lyrics to be unimportant. I just don’t want my fans to listen to the lyrics and say, ‘Oh, I can relate to that.’ I’m definitely serious about a lot of things. I just don’t want to talk about them.” By the time of ‘99’s Pizzicato Five, P5 were clearly nearing the end: Although his arrangement skills were still in abundance and the mellower grooves broadened the band’s stylistic palate, Konishi had run out of gimmicks to maintain the music’s freshness. A Tokyo-themed work that reduced Nomiya’s participation in favor of guest musicians like Sparks’ Russell Mael and France’s Bertrand Burgalat, 2001’s Çà et là du Japon waved a similarly strained goodbye. It was soon supplemented by farewell concerts back home and a final round of hits collections. Today, P5’s entire catalog is out-of-print, both in Japan and the United States. When I look back on Pizzicato Five, I forget their denouement. Truth be told, I didn’t need them as much at the end: Thanks to acts like Air and the New Pornographers, things had begun to lighten in electronic music and indie rock. But still I think of them as the band that got me through grunge – a sonic Hello Kitty with a penciled-in grin. “We see elements of American pop culture as very cutesy, the way you see ours,” Konishi revealed at the end of our meeting in 1996. “Once you’ve exported elements of your culture, it’s viewed different from the perception of the people at home. Obviously, we’ve taken lots of Americana and English music and sort of regurgitated it. Maybe we’ve done that in such a way that American people might not even recognize it as theirs. We’ve thrown your culture back in your face slightly skewed.”.....By Barry Walters.....~

    Tracklist A1 World Is Spinning At 45 RPM 4:40 A2 The Earth Goes Around 2:55 A3 Trailer Music 1:49 A4 It's A Beautiful Day 4:25 B1 Love's Prelude 2:17 B2 Love's Theme 4:16 B3 My Baby Portable Player Sound 5:04 B4 Mon Amour Tokyo 4:55 C1 Collision And Improvisation 4:35 Porno 3003 (9:51) C2.1 Music For Sofa C2.2 Galaxy One C2.3 It's All Too Beautiful D1 Arigato We Love You 5:14 D2 Ma Vie, L'Ete De Vie 5:03 D3 Happy Ending 4:52

    Pizzicato Five "Happy End Of The World" 1997 Japan Alternative Pop (100 greatest Japanese albums Rolling Stone) double LP

    https://johnkatsmc5.blogspot.com/2022/03/pizzicato-fivehappy-end-of-world-1997.html

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    https://johnkatsmc5.blogspot.com/2022/03/pizzicato-fivehappy-end-of-world-1997.html?m=1&view=sidebar

    #Pizzicato Five Happy End Of The World #(100 greatest japanese albums rolling stone) #japan alternative pop
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  • magpies-and-mornings
    04.03.2022 - 2 monts ago
    Lluvia de Primavera – Bebu Silvetti (1977)
    #first heard this one sampled on darlin' of the discotheque by pizzicato five #it's also used in shangri-la by denki groove #such a good song #my music recs #bebu silvetti#music#Spotify
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  • paparoach
    20.02.2022 - 3 monts ago

    I love you always forever by Donna Lewis is the dancing “I love you too” guy song

    thank you!

    #anonymous#💌 #btw this song lead me to wanting to find the song used in #the episode of futurama where leela meets her parents and finds out shes a mutant #that song is baby love child by pizzicato five
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  • mn3m0s1n3s
    13.02.2022 - 3 monts ago

    Cover of “Voyage À Tokyo” by Pizzicato Five. 2000

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  • omchicorome
    07.02.2022 - 3 monts ago

    PIZZICATO FIVE / 陽の当たる大通り

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  • topoet
    03.02.2022 - 3 monts ago

    Pizzicato 5 and other Japanese HepCats

    Pizzicato 5 and other Japanese HepCats

    I love Japan’s Pizzicato Five. I have as stand-alones Made in USA 1994, the sound of music 1995, Antique 96 1995, (as mp3) Sister Freedom 1996, Happy End of the World 1997. I first heard a track from Made in USA on a CMJ compilation & loved its cheerful bouncy sensibility. Most of their US releases have been compilations from the Japanese releases.  Their sound is a curious mix of styles – a…

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  • redshift-13
    02.02.2022 - 3 monts ago
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  • iamlovebaby
    20.01.2022 - 4 monts ago
    #on the sunny side of the street #pizzicato five#music
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