JAPAN

Japan truly approached their creative peak at the beginning of the eighties, and their fascinating fourth studio album has to be a testament to that statement, even if it the album itself is far from perfect. 'Gentlemen Take Polaroids' is an art pop statement of its time and a necessary step in the band's evolution, surpassing expectations with a more daringly experimental side to their music, and on several occasions providing the blueprint for some of the compositions of their next record. Perhaps David Sylvian's creative dominance is felt all over the place, especially in comparison to the albums preceding this one, whether it be into the more introspective and claustrophobic aesthetic of the songs, or the extended lengths of several tracks, accompanied by an inclination to create an atmosphere, a more electronic frame into which the songs can unfold.

With such a process running more or less in the background of the album's creation, and with the ever so occasional appearances from guitarist Rob Dean, who would leave the band afterwards in any case, it has to be said that there are moments on this album which are sufficiently rewarding, offering a fascinating blend of lush pop sounds, romantic and introspective lyrics, and a very elegant desperation realized through the more avant-garde use of electronics and keys. There is an almost paranoid tone to the album, a very finely veiled darkness that Japan would eventually go on to perfect on 'Tin Drum'. In the light of this statement, 'Swing', 'My New Career' and 'Methods of Dance' have to be especially good examples of these sonic tendencies, with the title track fitting the same aesthetic as well, even if it might be slightly challenging with its seven-minute length.

At the same time, the other half of the album is remotely adventurous and even disappointing, revealing some kind of a lack of focus perhaps, or a misconception of multiple influences. Whatever it may be, tracks like 'Nightporter' and 'Taking Island in Africa' are substantially tedious and overlong, missing the point of other more straightforward Japan tracks on the same album, whereas the same critique could more or less apply to 'Burning Bridges', despite it initially sounding like a template for 'Ghosts', while 'Ain't That Peculiar' misses the sharpness of other new wave songs of the early eighties. Nevertheless, 'Gentlemen Take Polaroids' remains an important part of Japan's discography, revealing their experimental tendencies that would navigate the creation of their last and arguably best album just a year later.

Review Nº 608

Formed in London in 1974 as an after school diversion for brothers David and Steve Batt (later Sylvian and Jansen, respectively) and their friend Anthony Michelides (later Mick Karn), the group began practicing at the Batts' home. Looking to flesh out their sound, the trio enlisted classmate Richard Barbieri to play keyboards and found lead guitarist Rob Dean through an ad posted in Melody Maker. The name Japan was supposedly decided on the backstage before an early gig, when the band realized at the last minute that they needed to call themselves with a name. Initially a glam rock inspired band, Japan developed their sound and androgynous look to incorporate electronic music and foreign influences. Their style was deeply influenced by Roxy Music, David Bowie, Brian Eno, Talking Heads and Yellow Magic Orchestra. By the other hand, Japan eventually becoming an influence on the UK's early 80's New Romantic scene.

"Exorcising Ghosts" is a compilation of Japan released in 1984. It features tracks from three of their five studio albums. It has two tracks from their third album "Quiet Life" of 1979, four tracks from their fourth album "Gentlemen Take Polaroids" of 1980, four tracks from their fifth album "Tin Drum" of 1981, plus a non-albums track. However, it hasn't any tracks from their first two studio albums, "Adolescent Sex" and "Obscure Alternatives", both were released in 1978.

"Exorcising Ghosts" has eleven tracks. The first track "Methods Of Dance" was originally released on "Gentlemen Take Polaroids". This is a song with a great rhythm provided by an amazing performance of Mick Karn and Steve Jansen. It's an excellent song with a great instrumental section. The final result is a superb track. "Gentlemen Take Polaroids" was originally released on "Gentlemen Take Polaroids". It's an excellent track to open that album. It sounds very much to the new sound of the 80's. This song was probably one of the songs that most influenced the new wave music. "Quiet Life" was originally released on "Quiet Life". It has great synth playing accompanied by the catchiest chorus line on the album and features some lush strings. It's a track with a kind of a darker edge. "Nightporter" was originally released on "Gentlemen Take Polaroids". It was influenced by the work of the French classical composer Erik Satie, particularly by his piece "Gymnopedies". It's a very beautiful track and an excellent example of melancholic music and dark musical ambient. "My New Career" was originally released on "Gentlemen Take Polaroids". It's an excellent track that has some influences from the world music. This is a song with a very solid beat, great synthesizer performance and a nice vocal work too. "The Other Side Of Life" was originally released on "Quiet Life". This is an epic ballad that sacrifices deep emotional feelings for a more otherworldly atmosphere and a lengthy instrumental coda with synths. This is the icing on the cake for its grand orchestral music and spellbinding vocal. "Visions Of China" was originally released on "Tin Drum". This is a song with many influences of the new wave romantic sound and the Eastern music. It features some great bass work from Mick Karn. This is a very catchy song. "Ghosts" was originally released on "Tin Drum". This is a very mysterious song based on the synthesizers of Richard Barbieri. Here, we can clearly see, in some parts of the song, the similarities between David Sylvian and Bryan Ferry vocal styles. "Life Without Buildings" is a non- albums song. Originally, it was never released on any of their studio albums. It only appears as a bonus song on the 2003 reissue of "Tin Drum". This is an avant-garde track with Japanese musical influences. It's a minimalist repetitive piece dominated by an interesting and curious drum work very beautifully supported by an innovative keyboard work. "Talking Drum" was originally released on "Tin Drum". It's a song with some intricate sounds and where the Japanese influences are pronounced. Anyone who's familiar with the traditional Japanese music sees immediately the influence of it. Deserves also to be mentioned the nice violin solo performed by the guest ex- Hawkwind member, Simon House. "The Art Of Parties" was originally released on "Tin Drum". It's a song with some intricate sounds. Particularly, the guitar sounds are very mysterious making some strange noises. This is a song with clear Eastern musical influences.

Conclusion: "Exorcising Ghosts" is a compilation with the track selection supervised by David Sylvian and definitely aimed at serving the Japanese market. And as I wrote before, much of the music comes from their albums "Gentlemen Take Polaroids" and "Tin Drum". However, a double LP version was also released in the same year containing other tracks, "Swing", "A Foreign Place", "Taking Islands In Africa", "Sons Of Pioneers" and "Voices Raised In Welcome, Hands Held In Prayer", of which some are remixed versions. So, "Exorcising Ghosts" isn't a true career overview but still is a reasonable way to start for those who aren't familiar with this interesting and original band. The emphasis is entirely on the moody melancholic but energetic phase of Japan's career. But, by the other hand, and despite be good, there's not anything here to make of this a required purchase for those who already have the albums mentioned above.

Prog is my Ferrari. Jem Godfrey (Frost*)

Japan is a band that I actually managed to hate, and I have to say that I've been successful in the task. Now, after about 40 years, I think I can forgive them for having existed and listen to their music without preconceptions. After all, it was David Sylvian's band and I like his solo stuff and there's some Richard Barbieri at the keyboards. I may have missed something, let's hear...

The title track is also the opener. One thing that I hated in the early 80s is that it seems that every singer wanted to sound like David Bowie. Sylvian is not an exception, but the whole band sounds very dated in the 80s. The song is based mainly on a two chord progression which become four in the chorus. Not bad for an elevator, it doesn't disturb. Ok, if there's nothing else available I can listen to it instead of switching a radio off. Just the instrumental coda is uselessly long as it's more repetitive than a Magma suite without being equally interesting.

"Swing" has a very strange tempo. Here Sylvian's voice has a lower pitch and for this reason it's like Spandau Ballet meets Joy Division. The worst thing is the bass line: a "Karn evil" I'd say (forgive me for the joke).

Electronics open "Burning Bridges"it starts promising. Also the keyboard's sound is interesting. The chord progression is unusual and the absence of the electronic drums is a good thing. Sylvian has a low pitched voice, like Richard Wright's Broken China. I have to say that this track has reminded it to me a bit. The instrumental base is probably Bowie influenced. Another album that comes to my mind is "Low". At least one track that I like.

Also "My New Career" has an unusual chord progression with some dissonances, coming mainly from the bass. I can imagine the manager saying: "Ok guys, the track title is appropriate, do something else". I'm still joking, I can't understand this track but it's my problem. I don't know if Japan were just trying to be original in some ways or if there's really an idea behind this song. No comment.

Back to electropop with "Methods Of Dance". Again, it's a sort of dark version of Spandau Ballet to my ears. Some sounds remind to "ZEE: Identity", but without Rick Wright's chord progressions. It's likely because everybody was using the same instruments in 1980. The instrumental interlude, before the sax, has something of early Depeche Mode.

Percussion start "Ain't That Peculiar". It came before Rick Wright's "Strange Rhythm" so it may have influenced him in some way. The two songs are quite similar. Again I can't stand the bass. Slapping is not enough to be funk.

Quite a surprise: the piano intro of "Nightporter". Less electronics: just an electric piano, some background keys and Sylvian's baritonal voice. I like it. It spreads sadness and decadence. It looks like it's about the omonimous movie, but I haven't seen the movie so I can't say. I just remember a trailer with a couple with an umbrella under a heavy rain, so it's possible.

The closer seems to be just sequencer's work. Not totally a stinker, as the vocal melody is not too bad.

It's not completely wasted time as I was supposing, but today we can buy and listen to music in very cheap ways and have instant access to almost everything is released. In 1980 I had few bucks and buying the back catalogue of the big 6 (5 for me, I don't love Genesis) was more rewarding than spending money on this stuff. So, if you want to give it a listen on Spotify, why not?

In the mid 1980s, well before the proliferation of 5 star lay ratings for not yet available recordings, DAVID SYLVIAN garnered press accolades for his silky voice and was even acknowledged by somebody or other as the most "beautiful" man in the world. His solo career launched soon after the demise of JAPAN when they were at their commercial peak, and his first few releases don't seem to polarize listeners nearly as much as those of his original band. Ambitious and vulnerable, albums like "Brilliant Trees" and "Secrets of the Beehive" have influenced many a prog artist. But here for the first time I'm casting myself back to the only JAPAN album I've heard, one I remember for one lovely haunting ballad and a plethora of high gloss dross. It seems my memory was largely correct.

If this was food, it would be the sort of genetically modified organism that your local coop would only carry under threat of irreversible scandal. Drum machines, non existent melodies, lethargic vocals and generally over long numbers only exacerbate the drudgery. Taking cues from the the most apathetic aspects of BRIAN FERRY's work (title track), and BRIAN ENO ("Burning Bridges"), and peddling influence to nascent artists like SIMPLE MINDS ("Methods of Dance") and ULTRAVOX, the only aspect that really works here is MICK KARN's up front bass, but it can't save the mundane compositions. Part of the problem is the way Sylvian himself is utilized. If Jim Kerr of SIMPLE MINDS had been thrust into "Methods of Dance", with his spasmodic and domineering style, he could have improved it dramatically, but Sylvian just bobs in and out on like he is reading the lyrics off a cigarette box, lyrics that were written moments earlier.

Luckily "Nightporter" signals what the band could achieve when going organic. With mesmerizing piano and synth forming the unbroken arrangement of a morose ballad, it also snapshots Sylvian from his better side. While it could pass for one of his solo tracks, he actually didn't pursue his goals quite as directly when he broke free, so this is a bit of a rarity, and I wonder why. A few of the bonus tracks are better than the originals, such as the eerie instrumental "The Width of a Room"

While much of the popular music from the 1980s hasn't aged gracefully, some bands elicit a nostalgic response which can help us get over some of the truly dreadful constructs. Sadly, most of "Gentlemen Take Polaroids" plays like that snapshot that inexplicably made the cut into the family photo album and has been questioned ever since.

Review Nº 239

'Tin Drum' is the fifth studio album of Japan and was released in 1981. It continued developing their style of music with the use of electronic elements combined with the traditional instrumentation. However, on this album the band used far more Eastern musical influences than on any of their previous albums, which is also perfectly evident on the art cover of the album. The line up of the album has only four elements because their guitarist Rob Dean has left the band. So, David Sylvian takes on all his duties in terms of the musical direction. It has received acclaim as the band's best work.

The line up of the album is David Sylvian (vocals, guitar, keyboards & keyboard programming and tapes), Richard Barbieri (keyboards & keyboard programming and tapes), Mick Karn (Fretless bass guitar, African flute and dida) and Steve Jansen (acoustic & electronic drums and keyboard percussion). The album had also the participation of Yuka Fujii (backing vocals) and Simon House (violin).

'Tin Drum' has eight tracks. All songs were written by David Sylvian except 'Canton' and 'Visions Of China' which were written by David Sylvian and Steve Jansen and 'Sons Of Pioneers' which was written by David Sylvian and Mick Karn'. The first track 'The Art Of Parties' was one of the songs chosen to be released as a single. It's a song with some intricate sounds. Particularly, the guitar sounds are very mysterious making some strange noises. This is a song with some Eastern musical influences that became of it an excellent song to open the album. The second track 'Talking Drum' is also a song that again filled some intricated sounds, and this time, the Eastern influences are much more pronounced. The Eastern musical influences are clearly from Japan. Anyone who's familiar with the traditional Japanese music sees immediately the influence of the traditional Japanese folk music. It deserves also to be mentioned the nice violin solo performed by the guest musician and ex-Hawkwind member, Simon House. The third track 'Ghosts' was also one of the songs chosen to be released as a single. Of the four songs from the album released as singles, 'Ghosts' was the most commercial successful of all of them. In 2000, Sylvian recorded 'Ghosts' using the original Japan backing track and included it on his solo compilation 'Everything And Nothing'. This is a very mysterious song based on the synthesizers of Richard Barbieri. Here, we can clearly see, in some parts of the song, the similitudes between David Sylvian and Bryan Ferry vocal styles. The fourth track 'Canton' is an instrumental song with a very pronounced Oriental sound. It's an excellent piece of music with an intricate and exotic interplay between the bass and the drums. This is, in my humble opinion, one of the best tracks on the album, and is also one of my favourite songs. A live version of the song was issued as a single to promote their live album 'Oil On Canvas', in 1983. The fifth track 'Still Life In Mobile Homes' is another song with plenty of intricated sounds and a catchy vocal performance. This is clearly a song influenced by the new wave romantic sound of those times. Once more, it deserves special mention the musical performance of Karn on bass and Jansen on drums. We can also hear on the song the voice of the guest singer and Sylvian's girlfriend Yuka Fujii. The sixth track 'Visions Of China' was another song chosen to be released as a single. This is also a song with many influences of the new wave romantic sound and the Eastern music. Once more, it features some great bass work from Karn. This is also probably, one of the catchiest songs on the album. The seventh track 'Sons Of Pioneers' is probably the best track on the album. It's a magnificent atmospheric track, with very unusual timbres and effects, which sounds very different from the rest of the album. Once more the work of Karn and Jansen is absolutely notable. Especially, the bass riffs of the fretless bass of Mike Karn are simply unique and unforgettable. The eighth and last track 'Cantonese Boy' was one of the four songs taken from this album to be released as a single. It's a very interesting song that makes very well the bridge between the Eastern music and the new wave music. It's another track dominated by vocals and synthesizers. This is a good and nice way to close this album.

Conclusion: Sincerely and in my humble opinion, 'Tin Drum' is another great album from Japan like 'Gentlemen Take Polaroids'. However, it seems to me a little bit different. 'Tin Drum' is an album much more experimental, innovator and more difficult to hear than 'Gentlemen Take Polaroids' is. Its music is dominated by Eastern musical influences of Japan and China. By the other hand, we can clearly see, on it, the musical influence of Roxy Music, especially the musical influence of 'From Your Pleasure', the musical influence of David Bowie, especially the musical influence of 'Low', 'Heroes' and 'Lodger' the albums of his Berlin trilogy, and finally the new romantic musical influence of the new wave movement. Personally, I prefer 'Gentlemen Take Polaroids' than 'Tin Drum'. However, 'Tin Drum' is a great album and I sincerely recommend it to all who like the music of Roxy Music, David Bowie, Brian Eno and Talking Heads.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 238

"Gentlemen Take Polaroids" is the fourth studio album of Japan and was released in 1980. It continued in the same vein of their previous third album, "Quiet Life", using the combination of the electronic elements with the traditional musical elements. The final result was an album with a more sophisticated and atmospheric ambient than its predecessor. The album was well received by the critics and it was said if Brian Eno, rather than Bryan Ferry, had rerouted the original direction of Roxy Music, this might well have been the final result. It was their last album with their guitarist Rob Dean.

"Gentlemen Take Polaroids" has eight tracks. All songs were written by David Sylvian except "Ain't That Peculiar" which was written by Smokey Robinson, Warren "Pete" Moore, Marvin Tarplin and Robert Rogers and "Taking Islands In Africa" which was written by David Sylvian and Ryuichi Sakamoto. The first track is the title track "Gentlemen Take Polaroids". It was released as a single before the initial release of the album. It's an excellent song to open the album that sounds very much to the new sound of the 80's. This song was probably one of the songs that most influenced the new wave music. This is one of my favourite tracks on the album. The second track "Swing" is a very good song with great synthesizer work and with nice saxophone work. This is a song with an astounding showcase between Mike Karn and Steve Jansen. By the other hand, the vocal performance of David Sylvian is very intense and precise. The third track "Burning Bridges" is an excellent track that reminds me "Subterraneans", a track from the great eleventh studio album of David Bowie "Low", released in 1977. This is a song with a very special atmospheric musical moment that can't fail to remember us Brian Eno and the Berlin trilogy of David Bowie. It has also great saxophone work. The fourth track "My New Career" is also an excellent track, which has, in my humble opinion, some influences from world music. This is a song with a very solid beat, great synthesizer performance and the vocal work is also great. The fifth track "Methods Of Dance" was used as the B side of their 12" single version of "Nightporter" released in 1982. This is a song with an entirely new rhythm provided by a truly amazing performance of Mick Karn and Steve Jansen. It's an excellent song with a great instrumental section. The final result is superb and make of it on one of the best tracks on the album. The sixth track "Ain't That Peculiar" was also released as the B side of their 7" single version of "Nightporter", released also in 1982. It's a good Smokey Robinson cover song with an intricate sound. The beat on the song is prominent and the synthesizers and the vocals sound nice and enjoyable. However, this is my less favourite song on the album. The seventh track "Nightporter" was remixed and released as a single in 1982, just after the band announced that they were splitting. It was edited in the 7" version and also in the full-length 12" remix version. The song was influenced by the musical work of the French classical composer Erik Satie, particularly by his piece of music "Gymnopedies". It's a very beautiful track and an excellent example of melancholic music and dark musical ambient. This is one of the highlights of the album. The eighth and last track "Taking Islands In Africa" re-appeared as the B side of their single track "Visions of China", released in 1981, and taken from their next and last studio album "Tin Drum". This is also a very good track with a great beat, nice synthesizers and an enjoyable vocal work. It represents an excellent way to finish this album.

Conclusion: I know Japan since 1980, and "Gentlemen Take Polaroids" was my first album from them, and I know the album since it was released. Japan is a very curious and interesting band and they're, in a certain way, a unique and special band. Japan is, in my humble opinion, a band with clear and deep musical influences from Roxy Music and David Bowie. That is particularly noticed on the vocals of David Sylvian, which are very close to the vocals of Bryan Ferry, and the androgynous and provocative look of Sylvian was very close to the visual of David Bowie. By the other hand, the musical influences of Roxy Music and David Bowie aren't strange, because we all know that both had a very strong influence in the new wave music, and despite Japan being not a truly new wave band, they have, for me, some musical influences from that musical movement. In relation to "Gentlemen Take Polaroids" I always loved this album. This is an excellent album very cohesive and very well balanced without weak points. Its music is very modern and has great quality and the performance of all members is absolutely fantastic and irreproachable. I particularly like of the musical relationship between Sylvian and Karn. Mike Karn played a bass sound very powerful and unique, and soon he became one of my favourite bassists. R.I.P. Mike. This album also represents the beginning of the musical partnership between Sylvian and the Japanese keyboardist Ryuichi Sakamoto of the Yellow Magic Orchestra, before and after Japan split. Concluding, "Gentlemen Take Polaroids" is one of the albums that deeply divide the opinions of prog fans. This is the kind of albums that or we can love or hate. And sincerely, definitely I belong to the first group, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

Some of the reviews here are an absolute disgrace. Japan's last two LP's are certinly progressive music in the full sense of the word, maybe not to everyone's taste but they deserve a fair listen and review. Gentleman is by far my favorite recording by this wonderfully different band. Maybe their early glam rock efforts were indeed on the weak side but this recording is an absolute masterpiece. Had Japan stayed together they may well have been as big as bands like the Pink Floyd. The melodies are strong and the musicianship is very good indeed. Karn's bass playing is still unique, and added to the vocals give the overall sound a slightly woozy edge. This is what roxy music could have sounded like had Eno not been forced out so early on. Japan were never new romantics, their look and sound predated that movement, but they certinly helped give rise to bands like Duran Duran, who sound like a pale imitation of Japan at their very best.

Such a unique pair of recordings make Gentlemen and Tin drum essential additions to any well rounded prog rock collection. As for the haters one wonders if they listened to the recordings at all. 5 Stars without any hesitation.

I can't say that JAPAN has ever been among my favourite bands. Their clinically synthetic sound is often lacking life & emotion and many songs are just boring, artificial and monotonous. A good example actually comes as the B-side of this non-album single from the latest phase of the band's career, before the frontman DAVID SYLVIAN started a solo career (that has produced a lot of much better music than he made with Japan, in my opinion). Also worth mentioning is the keyboard player Richard Barbieri's membership in Porcupine Tree plus his own projects, e.g. teaming up with Marillion's Stve Hogarth. But back to this single. 'Ain't That Peculiar' is just one of those dead boring Japan tracks. I listened to it from YouTube and have no interest whatsoever to hear it ever again.

But there's something so fantastic about music world: one doesn't have to give a damn about a band/artist in general in order to love a song or two by them/him/her. If I'm deeply moved by a song of someone whom I couldn't care less about as an artist, I'd still let myself fully enjoy that song and simply ignore the rest of the output if it leaves me cold. 'Nightporter' is such case for me. Not necessarily the ONLY Japan song that I like, but by far the best, the one that touches me the deepest. It woud be placed quite high on my list of all-time favourite pop songs.

The song is slow, elegant, nocturnally atmospheric and beautifully melancholic. The rather minimalistic arrangement is dominated by piano, and there's a notable resemblance to the piano music of ERIK SATIE ('Gymnopedies' and such), one of the most unique figures in the world of classical music. I'm not certain if the melody is directly borrowed from a Satie piece. And Sylvian, the vocalist, pours his soul into this tune that is best suited for the late night moments when everyone's tired and it's time to depart or go to sleep. In fact, a couple of times I have played 'Nightporter' at the end of friend gatherings. Greetings to whom this concerns! - How about listening to some more of Japan, Matti? Naah, no thanks, it's so boring.

Granted, this is prog RELATED. Not straightforward prog. But this is a well crafted album brimming with the proggy basslines of the late Mick Karn, the smooth vocals of David Sylvian (n' Batt), the solid drumming of David's brother Steve Janse, as well as the synth craftings of future Porcupine Tree member Richard Barbieri. I have extremely fond memories associated with this album and its follow-up Tin Drum. So I have a mixed approach to this rating: I love the album and give it 5 stars. BUT it is not exactly prog, so for the sake of those who want a "prog" rating would have to give it 3 stars. Conclusion, 4 stars. Your mileage may vary...

Japan's more electronic "Roxy Music meets Ultravox" (Ultrarox?) sound starts to really take root on Quiet Life. Velvet Underground covers are always a gamble, particularly considering how exceptional the original material in question is, but they're able to work in a really nice take on All Tomorrow's Parties here which is one of those rare cases where a cover version is able to capture the stately melancholy of the original, and it's particularly impressive how it perfectly fits the ethereal atmosphere of the rest of the album. Richard Barbieri's synthesiser work coupled with David Sylvian's best Bryan Ferry posing creates some archetypal New Romantic material.