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Asobi Seksu
Friendly Fire
A kaleidoscope of influences, sounds, languages, and dynamics comprisethe rich set of tools available to New York City's Asobi Seksu. Theband finds themselves awash in this clash of intentions with theability to sort through the competitive and contradictory urges todevelop a consonant sound that is more than the sum of its parts.Singer Yuki Chikudate injects each song with a unique tone, at timesdistinctly assertive or adorably dreamy while oscillating betweenEnglish and Japanese in search of the perfect way to express thefeeling of the song. The band emerges from this melting pot ofattitudes as a less oblique My Bloody Valentine, sharing that group'spenchant for vibrant aural fireworks amidst dreamy melodies. Thesoaring stabs of guitar in "Sooner" demonstrate that this similarity isnot just in the name of the song. The band launches off into those jagswhile managing to weave in a delicate clarity in the verses, the band'sown personality taking hold in these calm breaks from the squalls."Stay" is a slow, aching duet between Yuki and guitarist James Hannathat unfolds itself slowly and methodically. It's an intimate moment ontape as they breathlessly coo amidst a milieu of starry, reverb soakedchords. The pristine manner that makes the song fit for a polite slowdance is dashed away as they guitars begin to climb and blur out into afuzzy wash of vivid sound, amplifying the indistinct intensity of theprivate moment before plummeting back into the grips of sensual acuity."I'm Happy But You Don't Like Me" eschews the dramatics of shoegazingfor a more direct synthesis of contemporary indie rock and Japanesepop. The song doesn't fail to snare the ear, turning the languagebarrier into a weapon against itself as they syllabic melodiescontribute greatly to the song's memorability. Hanna takes the leadvocals on "Let Them Wait" and the album closer, "Before We Fall,"managing to hold his own against Chikudate's relentlessly endearingpresence. The pair of songs make a great case for the viability ofAsobi Seksu, another indicator of the band's ability to approach theirmusic from a number of different angles, dexterously employingvariations on their sound, structure, and delivery to create a productthat is never predictable.
A kaleidoscope of influences, sounds, languages, and dynamics comprisethe rich set of tools available to New York City's Asobi Seksu. Theband finds themselves awash in this clash of intentions with theability to sort through the competitive and contradictory urges todevelop a consonant sound that is more than the sum of its parts.Singer Yuki Chikudate injects each song with a unique tone, at timesdistinctly assertive or adorably dreamy while oscillating betweenEnglish and Japanese in search of the perfect way to express thefeeling of the song. The band emerges from this melting pot ofattitudes as a less oblique My Bloody Valentine, sharing that group'spenchant for vibrant aural fireworks amidst dreamy melodies. Thesoaring stabs of guitar in "Sooner" demonstrate that this similarity isnot just in the name of the song. The band launches off into those jagswhile managing to weave in a delicate clarity in the verses, the band'sown personality taking hold in these calm breaks from the squalls."Stay" is a slow, aching duet between Yuki and guitarist James Hannathat unfolds itself slowly and methodically. It's an intimate moment ontape as they breathlessly coo amidst a milieu of starry, reverb soakedchords. The pristine manner that makes the song fit for a polite slowdance is dashed away as they guitars begin to climb and blur out into afuzzy wash of vivid sound, amplifying the indistinct intensity of theprivate moment before plummeting back into the grips of sensual acuity."I'm Happy But You Don't Like Me" eschews the dramatics of shoegazingfor a more direct synthesis of contemporary indie rock and Japanesepop. The song doesn't fail to snare the ear, turning the languagebarrier into a weapon against itself as they syllabic melodiescontribute greatly to the song's memorability. Hanna takes the leadvocals on "Let Them Wait" and the album closer, "Before We Fall,"managing to hold his own against Chikudate's relentlessly endearingpresence. The pair of songs make a great case for the viability ofAsobi Seksu, another indicator of the band's ability to approach theirmusic from a number of different angles, dexterously employingvariations on their sound, structure, and delivery to create a productthat is never predictable.
