Tag: pop

Bonus Post: First Impressions of Sailor Moon Idol Group SG5

by macksamson, posted in Miscellaneous, music

PREFACE: I know I don’t normally post on this day, but since this is just a short blurb, I’m doing it now. Think of it as a bonus!

I feel like America, Japan, and South Korea are a classic rom-com love triangle. America is the boy, whom everyone loves even though he isn’t that interesting. Japan is America’s childhood friend. She gave America anime, the most historically important advancements in videogaming of all time, and popular artists like Yoshiki, Boris, Hikaru Utada, and more; what cherished memories. South Korea, however, is bustier and just appeals to America way more for some reason. Thus, Japan seems doomed to be forgotten… However, she has recently had her redemption arc, and is ready to show America her convictions. 

Analogies aside, while BABYMETAL, Ado, and numerous V-tubers have made their way into the mainstream, Japan needs to fight K-pop idols with idols of its own. This is where SG5 comes in. This group is inspired by the popular Pretty Guardian Sailor Moon franchise, and are endorsed by its mangaka, Naoko Takeuchi. Their first ever gig was held at Anime Expo, America’s biggest anime convention, meaning that they are pulling out all the stops to go right for the States’ jugular. Now, after much waiting, they have officially released their first single. Here comes the million dollar question: Is SG5 actually any good?

Positives, they actually caught me off guard. ‘Firetruck’ is not a pop song; it’s a RAP song. Additionally, it sounded extremely and uncomfortably sexual for an idol group. I’ll give them props for sounding almost as cursed as Mili’s ‘Ocean Bby’, a feat I didn’t think an idol group could achieve or want to risk shooting for.

However, positives end there. The idols themselves lack personality with their voices, and it has an aggressively basic beat. More basic than my least favorite BABYMETAL song, even. Going off of this impression alone, I would rank SG5 as my least favorite Japanese music artist ever, only behind Kyary Pamyu Pamyu. Scratch that, it might actually be worse. FOR THE RECORD, I am open to good rap music. Mori Calliope does a great job incorporating rap into her music, for example. There’s also the amazing Raoul Kerr from Bloodywood, my potential new favorite band of all time. I’m also getting into a rap-infused metalcore band called Fate DeStroyed, and their music is great so far. In any case, I might enjoy SG5 more down the line, if they can prove to be more versatile; juggling genres and moods around like nobody’s business, similar to Ado and Mori Calliope.  

In any case, the biggest issue is the fact that the idol industry as a whole is still this big, considering how its corruption is common knowledge. Perfect Blue has made the industry’s exploitative nature and the psychosis of its fandom very clear, yet we continue to support it and continue poisoning the minds of teenagers (and horny adults) all across the globe. I still listen to my favorite idol groups with trepidation, because despite them being fully grown adults a lot of the time, they could still be suffering underneath those smiles. I have additional concerns with SG5’s safety if they continue to commit to the highly sexual nature shown in this song.

In conclusion, SG5 seems like a shallow new face that’s going to be hard-carried by pretty faces and a familiar brand slapped onto said faces (I can at least rest easy knowing I’m not alone in my opinion, at least from what I found on Reddit). I wish them success, but only as a means to an end; that end being putting Japan and South Korea’s industries on equal footing, as opposed to the one-sided slaughter that’s been in favor of the latter for over a decade. They are better off pushing for existing artists who already have international renown, even if idols are easier money. If you have thoughts on this… collection of music notes, please tell me. I’d actually like to be convinced that what I heard was great.

Ten Japanese Music Artists I Wish I Liked More

by macksamson, posted in Miscellaneous, music

It’s been a while since I talked about J-pop stuff, mainly because my music tastes have changed a lot since last year. Over 99% of what I listen to is metal, and more than half of that consists of European artists. But even before then, there were a number of artists that I liked, but didn’t exactly love. I’ll go over them here because there’s a chance you might be more interested in them than me.

BURNOUT SYNDROMES

You might recognize the band known for three Haikyuu!! openings and one Dr. Stone opening (among others). They actually have a very long career. Their opening songs tend to be very mainstream-y pop rock, but they actually have a good amount of weird avant garde stuff. A lot of their deep cuts are very different from one another, and tend to be better than stuff like ‘Fly High!’. The problem with them is that they’re very outclassed. Bands like Mili are better on the experimental end, while a lot of other bands are just better from a musical standpoint. Once in a while, I’ll throw them on, but they are pretty forgettable overall.

Passcode

This was the first artist I listened to when I got into music streaming. They were also my first impression of the death metal growl style of singing (even though they are not a real death metal band). Passcode is a more electronic take on the same idea pioneered by BABYMETAL: idol pop crap fused with metal. For starters, their album covers are really cool (especially 2020’s Strive), plus, they’re just straight-up better than BABYMETAL.

Unfortunately, the inherent issues of idol pop mar Passcode by quite a lot. The songs are great, but tend to blur together, and are honestly quite forgettable. They’re only enjoyable in the actual moment you’re listening to them (at least to me), but there are so many better bands than them. 

Ultimately, the one band that made me fall out of Passcode ended up being one that fused metal with Western pop: Amaranthe, from Sweden. Their music is better and more memorable, and they also have three distinct vocalists who are really easy to identify. I don’t know how BABYMETAL is more popular since Amaranthe even predates them by three years. Oh well, that’s just how it is in this world!

Memai Siren

This band is so mysterious that they don’t even post photos of their members. Memai Siren is a bizarrely melancholy and chill hard rock band with some cool, edgy album cover art. They also have some prog elements, with most of their releases starting out with trippy instrumentals. 

Honestly, that’s about it. Their vocalist has a unique voice, but yeah… this is another case of bands outclassing Memai Siren. Again, Mili does the bizarro stuff way better, and there’s definitely better hard rock out there. In any case, most of Memai Siren’s discography consists of EPs, so it won’t take too long to give them a gander if you’re curious.

Queen Bee

Even though I borderline stopped enjoying Queen Bee, there are some things that do earn mad respect points from me. First off, they have phenomenal fashion sense. Second off, they have a great logo. And most importantly, their vocalist, known simply as Avu-chan, is one of my favorites in Japan. Avu can go from Prince-level high pitched to an almost death-metal-like growl (unless there’s two separate people, but hey, researching these obscure bands is next to impossible, okay?). Those opinions remain unchanged.

However, the band’s music didn’t exactly move me. A lot of their older stuff is very late-60s-ish, “what the f*** are these people on?” hard rock, which is very good, even as someone who doesn’t really like the late 60s. But after a while, the band essentially moves toward a jazzier sound. And as someone who doesn’t like jazz, well… let’s say that not even Avu could make me enjoy it.

UVERworld

You must be screaming at me by now. “No,” you reply, “since the post is ‘Japanese Music Artists you wish you liked more’, that obviously just means that UVERworld is so banger, that the human mind is incapable of giving them the love they deserve.” Sorry, but that’s not true. Like the others, I wish I liked them more, but I don’t. The band known for Bleach‘s ‘D-Techno Life’, My Hero Academia‘s ‘Odd Future’, and The Promised Neverland‘s ‘Touch Off’ (among many others) is just straight-up not that great.

But I didn’t “wish” I liked them for nothing. Since licensing older bands sucks, I only have access to their newer stuff, where they employ a unique, synth-heavy blend of jazz, rock, and rap. The songs I mentioned before are actually very good, and somewhat deserve their recognition in the anime community. However, that’s about it. I’ve listened to a couple of their albums all the way through and was more-or-less underwhelmed. For me to really like an artist, they must have a good number of enjoyable deep cuts as well as hits. UVERworld simply doesn’t have good enough deep cuts.

Ironbunny

They aren’t just called Ironbunny, but their guitarist—and mascot—is a tokusatsu-looking cosplayer named Edie. Coincidence? I THINK NOT! If it wasn’t obvious, Ironbunny is a relatively new hard rock band with heavy influences off of classic rock and metal (hence the obvious Iron Maiden reference in their imagery). 

Overall, the music is pretty darn good. The reason why I fell off of them is because one of their members had to leave due to health issues and… that’s it. The band seems to be part of some radio show or something, hosting other rock and metal figures in Japan, but they haven’t released anything new following the departure of that person. But honestly, they’re outclassed even in the case of their best stuff.

King Gnu

This might make some Asian readers mad, because it seems like King Gnu is significantly more popular in Japan than anywhere else. I listened to their first three albums, up to their chart-topping record, Ceremony. King Gnu is a weird combination of rock, hip-hop, and jazz that I can at least respect from a creative standpoint. Unfortunately, a lot of them leaned toward “catchy pop crap”, ultimately making me lose interest in the band.

As a side note, vocalist Daiki Tsuneta also has another band called millennium parade (lowercase is actually part of the official name). They would be well-known for ‘Fly With Me’, but it ended up being the OP for Ghost in the Shell S.A.C._2045, which nobody liked, so… yeah. millennium parade has the same style as King Gnu, but with more electronic and prog elements. Overall, I liked them better, but they only had four singles when I tried to get into them, and I just couldn’t commit so early on. They have since released their debut album, The Millennium Parade, so I might try to get back into them if I could squeeze them in.

Flow

Time for some anger! Yep, Flow, the band known for everyone’s two favorite Naruto openings, among other things that don’t come to my recollection, is on this list! To be honest, this entry is pretty much identical to UVERworld, but kinda worse. My first attempt to get into them was through a greatest hits album, and even then, there were tracks I found forgettable. I respect them for being a no-gimmick, old-time rock n’ roll band, but as someone who doesn’t like that kind of music in general, they were not doing it for me.

ORESAMA

These guys have done a bunch of anime openings… for stuff that you’ve probably never heard of. In fact, they might be more popular in J-Pop than anime, at least over here in ‘Merica. ORESAMA employs a unique style of bubblegum pop that’s both upbeat and chill at the same time. They’re perfect for perking up after a crappy day at work. Obviously, given the fact that they’re a pop group, I fell off of them overtime. It’s a shame, because even with my metal-headed-ness, I find myself missing them. However, at this time, I just don’t miss them enough.

ONE OK ROCK

I gotta end with the one that’s most likely to make you angry. ONE OK ROCK was one of the first non-anime Japanese artists I ever tried to get into. Key word: “tried” 

In any case, I do like their older stuff. I listened to those albums all the way through and they were great. However, they seemed to gradually move toward a poppier, boy-band-ish artist with their newer stuff. ‘We Are’ is good, but that’s about it when it comes to their power ballad stuff. I didn’t even finish 2019’s Eye of the Storm because all the songs sounded like pop crap. And to rub salt in the wound, a lot of the metal I’ve been getting into greatly eclipses ONE OK ROCK at its best, so yeah. 

Conclusion

Well, that’s that. I wish I liked these guys more, but I don’t, and that’s how it is. Like I said before, you’ll probably enjoy any of these bands more than me (especially ONE OK ROCK). Please feel free to leave a comment as to how vehemently you disagree with my sizzling hot takes!

Mack’s Top Ten Favorite Japanese Music Artists

by macksamson, posted in Miscellaneous, music

I’ll always love the classic rock of yesteryear more than anything. But over the last several years of my life, I’ve realized the greatness of contemporary Japanese music, and want to spread the awareness of these artists as wide as possible. In this blog I’ll discuss my favorite Japanese music artists… for the second time, since things have changed a bit. In fact, there’s so many that I wanted to talk about that I had to double the length of the list! 

10) Kenshi Yonezu

One immediate difference between this list and the previous one is that Dempagumi.inc is not on here anymore. I still stand by everything I said originally; they are definitely the best idol group and one of the best examples of mainstream pop out there. However, I am biased toward rock and innovation (plus, Dempa’s newest album was pretty lackluster). As a result, someone else has snuck onto the list: Kenshi Yonezu.

Yonezu is a strange case. He seems to be one of the most popular singers in Japan… and only in Japan. I have no idea how someone as famous as he is has not gone global at this point, but that’s just Japanese marketing I guess! Anyways, while I’d normally be against someone so popular, the reason that I like him is that he’s not as mainstream as you would think. In fact, his music is very abstract and strange.

Why is his music strange? Er… it just is. Yonezu’s music falls into a weird, Beatles-esque prog-soft-pop-rock style (confused?), and it’s something you just gotta try. You never know what he will pull out of his eccentric butt. 

While I don’t love ALL of his songs (hence his position at the bottom of the list), he’s definitely a man who seems to care about quality over quantity. Since his 2012 record label debut, the man has only put out three studio albums. And it’s not like he’s an anime singer, like- say- Konomi Suzuki, who can only put out singles when they’re hired for an anime. He clearly invests all of his brain meats into his music, and I commend the guy for it. Yonezu’s music has been getting better and better over time. While I find his first album, Diorama, to be hit-or-miss, his second album, Bootleg is all-around great, and his newest album, Stray Sheep, is utter “Wow”. I put him on here in anticipation that he’ll evolve to levels beyond what anyone can predict (and maybe go global?). 

9) Hysteric Panic

Hysteric Panic is a very underrated J-rock group that I love because of their simple, primal energy. Songs fall within the hard rock category, but border on metal after their fourth album, Hypnotic Poison. For some reason, I want to describe their style as “memey” because of how nonsensical they sound at times. 

They also have a wide range of vocals, from a high-pitched, Axl Rose-sounding guy, to a guy who sounds like a constipated alligator (and on occasion, what sounds like a choir of Japanese school girls). Regardless of if it’s multiple guys or the same guy, this wide range of screams makes Hysteric Panic stand out as a thrash band. At present, their original guitarist has left (I think?), and they haven’t shown any signs of a new release. I’m concerned with how they will move from here, but if they’ve truly been acknowledged by the spirit of rock, they’ll party till they’re purple!

8) Gacharic Spin

I had a debate over Gacharic Spin or RAISE A SUILEN from Bang! Dream (which I discussed in my review of the latter’s first album). But in the end, I chose Gachapin. But even then, I was hesitant. I am fully aware that they have changed a lot since their initial formation, especially after their original drummer tragically passed away. The problem in my case is that Apple Music didn’t exactly HAVE the band’s older stuff, and as a result, I’m ONLY familiar with their newer, more electronic sound (side note: I’ve also just started listening to Galneryus, and they will probably replace Gachapin in a third version of this post).

But you know what, sometimes that’s them apples. Why would I not be qualified as a fan just because I never heard the original lineup? In any case, the Gachapin I know has garage-style jams featuring various auto-tuning and synth effects for style. 

The one problem I have with them is that they are pretty inconsistent. When they go full-on, they are fricking serious electronic metal. However, a lot of their stuff feels like typical rock and kind of… there. I get that not all songs can be bangers, but that really shows at times in Gachapin. But you know what, the great thing about rock bands is that if you don’t like them, then they can just say “Eff you!” and go about their day. Anyway, if you like rock with punch, then check out Gachapin.

7) Crossfaith

I dropped MIYAVI after two albums, Hikaru Utada after one and a half, and Kyary Pamyu Pamyu after just half of a compilation album. I’ve made my peace with them, but there’s always the classic counterargument for any critic who doesn’t finish a thing: “It gets way better later!” As much as you can argue about that defense until the cows come home, it is partially true, and Crossfaith is such a case.

I royally disliked them at first. I started from the very beginning: 2009’s The Artificial Theory of Dramatic Beauty. I loved the idea of thrash with a techno atmosphere, but it sounded bad. They only used one or two synth effects, and the singing was awful. Kenta Koie sings entirely through the type of throaty scream that I only previously heard as backing vocals (like Hysteric Panic), and in English. Oof. 

But hey, Crossfaith wouldn’t be on here without a reason. I was about to give up on them after 2011’s The Dream, the Space. However, I gave them one more chance on their 2012 EP, Zion. It ended up being a marginal improvement, and enough of one for me to try their 2013 album, Apocalyze. That album instantly changed my views of the band. As soon as I heard the intro track, ‘Prelude’, followed by ‘We Are the Future’, I went from a critic of Crossfaith to a fan in the span of a single song. I can’t describe exactly what it was, but they seemed to have a better sense of how to combine metal and synth to make a truly futuristic metal band THAT SHOULD’VE DONE THE BOSS MUSIC IN XENOBLADE X *grumble grumble*. 

As good as Apocalyze was, they kept growing. Koie’s singing goes from bearable to straight-up good, and they start experimenting with songs like Wildfire, a groovy fusion of disco and metal featuring the band Skindred (whom I know nothing about other than that song). Their 2018 concept album, EX_MACHINA, and 2020 EP, SPECIES, are great showcases of how much they’ve grown over the years. My only issue with them (besides their first two albums) is that they don’t really do guitar solos. Normally, I’d find that disgraceful, but when I’m listening to their raw cyberpunk rage, it never bothers me.

6) Wagakki Band

Before I start talking about these guys, I shall have you know that I was an avid fan of this group well before their collaboration with Evanescence. That being said, onto the actual discussion!

I know I shouldn’t make a post about “how wild and weird Japan is”, but Wagakki Band is something that could only be formed in Japan. And I’m saying that because their… equipment is much more accessible in Japan than anywhere else.

Wagakki Band is a massive group, and that’s because there’s a LOT of instruments (and yet Slipknot somehow has more members). Along with the usual rock instruments, such as guitars and drums, they also have some very vintage instruments. Specifically, wagakki instruments (which literally means traditional Japanese instruments). They are a true East Meets West rock band! But of course, I do not want to give them credit where it isn’t due; I’m pretty sure at least two bands have done the same thing way earlier. However, those bands are old, and older Japanese bands are shaky at best when it comes to licensing in my region, so… I’m gonna stick with Wagakki Band for pretty much forever.

In any case, the way they combine the two styles of music is so good it’s almost creepy. My favorite aspect is how well the *insert name of old-timey Japanese drum here* works for hard rock. What’s even weirder is the fact that their vocalist, Yuko Suzuhana, sings in an old-timey style, and it also doesn’t feel like it clashes. Whether it’s a head-banger or a power ballad, Wagakki Band delivers. Japan has always had a knack for seamlessly integrating its modem culture with its traditional culture, and Wagakki Band is one such integration.

5) MYTH & ROID

Led by TomH@ck of OxT, MYTH & ROID was originally my favorite Japanese band, and was in 1st on early drafts of the original post. Although they are a solid prog-rock band that has more of an identity than most people in the ainsong industry, I realized that I find the artists in the Top 3 more irreplaceable. I don’t know if it’s because MYTH & ROID has way less discography or what, but them’s the brakes.

But hey, they’re still in Top Five for a reason. MYTH & ROID has managed to craft a distinct style that basically allows them to do whatever they want, as long as they maintain one consistency: MAKE. IT. AWESOME. Out of all the artists on this list, I have always exclaimed “WTF?!” with every song of theirs the first time I heard it.

At the time, I remember when I threw on ‘Styx Helix’ because it was a Re:ZERO song, and thought it was decent techno-chill. I later noticed that they also did OP 2 of the same show. I put on that song, ‘Paradisus Paradoxim’, and it completely blew me away with how different it was. I fell in love with MYTH & ROID right then and there, making them the first Japanese rock band I ever seriously tried to get into. While they are no longer my favorite, they are still a great band that stands out from the rest. I recommend giving them a listen if you’re tired of that mainstream crap.

4) BAND-MAID

This is a band I literally found out of nowhere. Although they’ve grown substantially more popular with their most recent album, I was a fan since summer 2019- snug within the range of “before it was cool.” When I made the life-changing decision of subscribing to Apple Music, one of the first bands I got into was- no, not BAND-MAID- but Passcode. Passocde’s great and all, but in the similar artists tab, I couldn’t help but notice BAND-MAID. And the rest is history.

BAND-MAID, whose claim to fame comes from their maid cafe-like attire, is a hard rock band that skirts the line of metal. And they’re a damn powerful one at  that. One distinct vibe I get from their music is something I rarely feel in any other J-Rock bands: Classic Rock. It’s not as prevalent as a certain other band on this list, but they definitely have an old-school, garage-y style reminiscent of stuff like AC/DC. “You only like them because they’re mimicking Western culture, you traitorous lech!” you exclaim. Well… I don’t define rock by any nationality. Sorry, bub.

I had some concerns when I first started listening to their breakthrough 2019 album, CONQUEROR, but it has definitely grown on me in the latter half. In conclusion, BAND-MAID is a ludicrously good group. Apple Music doesn’t have their very first album, but it has everything else. I personally started with their third studio album, Brand-New Maid, but you can honestly start anywhere.

3) nano

I can’t believe nano is not in first anymore. It was already surprising when I docked her to second place, but as you can see, she’s actually in third now. But why? After all, she is one of the few people in the anisong industry who really has a true style that is entirely her own. But hey, she’s still great, and here’s why…

nano generally does very aggressive hard rock and metal tracks, but also throws in electronic, or even in the case of one particular song, combines rock with traditional Japanese instruments. I find her older stuff to be rough around the edges, but from her third album, Rock On, and onwards, she’s gotten better and louder. Her albums are one of the best showcases of the evolution of an artist that I’ve ever heard. A lot of credit goes to whoever produces and mixes the music in order to bring out the best of her powerful voice and the instruments that her buddies play.

nano’s music is divided into two distinct types: Regular J-rock that’s used as assets for anime and such, and straight up Western-influenced hard rock, complete with English singing. The latter is typically used in albums, as the designated deep cuts. However, I find those to be some of the best filler, and oftentimes among nano’s best songs. I recommend going through all of her albums, or at least starting with Rock On and going chronologically from there.

2) Mili

I never liked pop music. I always associated the pop genre with mainstream. But out of nowhere, a pop band took my heart and almost sniped first place on this list. I present to you: Mili.

I have never been surprised by a 21st Century artist more than Mili. The idea of pop not having to be mainstream was legitimately mind-blowing to me. Normally, I can compare an artist to someone else; you saw that in this post. But I can’t compare Mili to anyone. They are unlike anything I’ve ever heard in my life. 

Their music is otherworldly. They use a combination of piano and synth that just has an air of uniqueness to it. While all their albums are great, they get better and better, to the point where it outclasses their older stuff by a lot. 2018’s Millennium Mother is such a good album I haven’t actually gone back to their first album, Mag Mell.

I can’t praise Mili without giving kudos to their vocalist, Cassie Wei (a.k.a. momocashew). Her voice is just absolutely phenomenal. Her English, along with the lyrics she sings, are great. Her voice can be both soothing and terrifying depending on the mood of the song. She’s truly one of the best Asian singers I’ve ever heard.

1) Lovebites

Mili was originally first on this list until just earlier this week. While they are definitely the most unique band I’ve heard from Japan, it’s still technically pop (or soft rock?). I like the heavy stuff, and that’s why Lovebites took first place.

If BAND-MAID is classic rock, then Lovebites is classic metal. They aren’t just my current favorite J-Metal band of all time; they’re among my favorite metal bands of all time. Underrated doesn’t even begin to describe them. They deserve way more than their puny five-digit amount of followers, that’s for sure.

Immediately, Lovebites comes off as similar to DragonForce, with their orchestral synth in a lot of their songs, and their multi-minute guitar solos. However, they have much more variety in terms of tempos and melodies, which- IMO- makes them better than DragonForce in a way. They have a venomous and aggressive aura that reminds me of none other than Judas Priest, and they ALSO have a level of simplicity that’s similar to Iron Maiden. This is no coincidence, because (unless they’re faking it), at least one of the members is a classic metal fanatic. And by the way, their vocalist, Asami, is amazing…. For the most part. Like Crossfaith’s Kenta Koie, she sings in Engrish, and I admit she doesn’t sound too great. However, it’s still easy to tell that she has amazing talent when it comes to singing itself. It took Koie a decade to sound good in English, and it’ll probably take Asami about as long to do the same.

If there’s any remaining issue, it’s that Lovebites needs a bit of experimentation. While their fast-paced music is about as good as similar songs from Priest and Maiden, that isn’t all that those two bands can do. In Lovebites’ case, that kind of music makes up the bulk of their career, and I know that they are more capable. But hey, they’ve pretty much just started. 2020’s album, Electric Pentagram, already sets a new standard of quality for them. It took Priest and Rush a decade to cement themselves into rock history. Where will Lovebites go in 2030? I can’t wait to find out.

Conclusion

I feel pretty safe saying that this is my definitive list for Japanese music artists. The only one I see changing the list is Galneryus, but I don’t know if it’d be worth making a third, identical post just for them. Japan might come off as a country full of dainty, yukata-wearing tea-sippers, but rock is a language that anyone can learn. And hopefully with this, you can see that Japan has a genuine sense of metal that isn’t fake and superficial like BABYMETAL. If you have a hankering for this stuff, give it a try (and follow the artists’ on social media because you’re not going to have any other source of news from them because Japan doesn’t want you to know they exist).

How to Get Weebs into Western Pop: milet – eyes Album Review

by macksamson, posted in Miscellaneous, music

Notice that I didn’t title this post “How to Get Japanese People into Western Pop”; after all, Western culture is already incredibly popular over there (*cough* for some ghastly reason *cough*). I specifically used the word “Weeb” because I imagine that a lot of non-Asians who love Japanese culture don’t exactly love Western music (as much). However, what happens when a J-Pop star feels very, very Western? Welcome to milet, Generation Z’s equivalent of Hikaru Utada.

I don’t know much about milet, but Apple Music shows a number of singles and EPs dating to 2019. However, almost all the songs in those EPs, and new ones, end up on milet’s first album, eyes (not to be confused with MYTH & ROID’s eye’s), released in June of 2020. She has become extremely popular already, with her album surpassing King Gnu’s smash hit album, Ceremony, on Japan’s Billboard (and btw, King Gnu is hugely popular in Japan, so that’s a big deal) and ranking in 1st place for a good while.

This milet album was incredibly challenging to get through. Something about the use of synth, sound production, and milet’s singing voice felt like the Western pop that I hate. “How can you hate it if you never listened to it, weeb?” you ask. Oh, I listened to it. Throughout high school, it played on the radio that they happened to have in classrooms on Pandora, and during various social gatherings that I begrudgingly attended (specifically in vocational school). Being exposed to this stuff was traumatizing. The annoying repetitiveness and lack of variety drove me insane, and defined my distaste of mainstream hits. From what I call “The Happy Song”, to “I Think We Can be Something for Real Yeah-yeah-yeah-yeah-uwu”, to “The One That Sounds Like it’s Saying ‘Jar Jar Binks’”, these… tracks are the reason that I eventually got into J-Pop. While not perfect (looking at you, Kyary Pamyu Pamyu), Japan has some amazing and varied music, a lot of which I ranked above many classic Western bands of old. It was my perfect escape.

But then milet… ugh. I didn’t really mind the music of her songs, but what triggered me the most was her singing. She sounds exactly like a lot of those Western singers I didn’t like, whose names I cannot say because it was on the radio and I never knew who they actually were. milet’s voice is… how do I even say it? I don’t at all mean to be hurtful with the following statements; I legitimately cannot think of a better way to describe her voice. milet comes off as nasally, whiny and like she’s constipated. Look up the song that’s like “Hello from the other side” or something like that in the chorus… that’s basically how milet sings. 

After getting through a third of her album, I was actually able to tolerate milet. Some of the songs have genuinely good atmospheres and melodies that aren’t ear-grating like the aforementioned “Happy Song”. Despite the album reeking of mainstream, there was still a decent amount of variety and experimentation. Also, from watching anime and actually meeting Japanese people in person (in Epcot), they seem to have an inherently pleasant way of speaking, which makes milet a better singer. I know it sounds stereotypical, but there truly is a visible difference in timbre between her and whoever does “Yer Guhna Hear Me Rooooa-oh-oh-oh-oh-ohar”. 

Overall, I found her album surprisingly enjoyable. Maybe someday, I’ll actually try to listen to people like Adele and Taylor Swift (or I won’t). With milet’s rising success and admirable English-speaking ability, I could see her being cast as the lead in a hypothetical Japanese Disney Princess movie (even though Mili’s singer, Cassie Wei, would be way better), and having listened to her music before it was cool would make me the hippest guy on the block. If you’re someone who’s trying to convince your J-Pop loving friend that there’s another hemisphere of music out there, then milet’s a good transitional point.