GENTLEMEN TAKE POLAROIDS

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.