INTERVIEW: Justin Gallego (of J.R.C.G.LIVE JOURNAL 12/2/21: Haley Johnsen, OK Sweetheart & La Fonda Nectar Lounge.INTERVIEW: DJ Sabrina The Teenage DJ on The Process Behind Her Two New Records.Spectreview: Catch Rabbit – Catch Rabbit.Whether it becomes self-fulfilling prophecy is up to chance, but based on the sheer power of the music, the odds may just be in Parannoul’s favor. It’s an insular fantasy of shattered dreams that, for all its intensity, never betrays the dead heart in its center. On those terms, To See the Next Part of the Dream is an unmitigated triumph. Emo, historically, harnesses unfettered ugliness and render it beautiful, an act as daring as it is perilous. That distracts us from the darker implications of, say, an artist choosing to align himself with a film character that pimps out his peers to older men or organizes a group rape, but that decision is also extremely befitting a cloistered wayward soul caught up in the frustration of growing out of childhood. In its translation, we understand the record’s existential dread of growing old or coping with lost time or managing the sameness of each day (and in a pandemic this applies even more than ever), but it’s the strike of the snare and the stab of the guitar that ultimately conveys the meaning. That’s the funny thing about music of a language you don’t know there’s a clear sentiment that’s altogether rendered unclear, allowing you to graft on your own ideas and feelings. In true emo fashion, it’s all searching without resolution, the music providing the catharsis that the lyrics demand. But Parannoul’s starkly honest words, helpfully translated for the English crowd, are still the cherry on top. You don’t have to be Korean to understand the feelings behind anthemic opening track “ 아름다운 세상 (Beautiful World)” or the heavenward title track the passion behind the playing does it for you. What’s more, they’re incredibly direct, borrowing from the language of the genre in ways that aren’t cliche. While the melodies here are expected fare for what you’d expect in a post-shoegaze record, they’re punctuated by piano, keyboard, and synth hits that bring them out of the realm of standard. Meanwhile the face-scorching heat of the MBV-cribbing “ 격변의 시대 (Age of Fluctuation)” comes courtesy of those thick, opaque guitars, produced in such a way that it hits the heart directly. The fact that they’re over-compressed actually works wonders here, forming a messy edge that counterbalances the loose candor of the vocals. On punk-forward tracks like “청춘반란 (Youth Rebellion)” and “변명 (Excuse)“ the drums hit hard and crisply, the kick drum side-chained in a way that punches through the walls of distorted guitar.
#All about lily chou chou blue cat movie#
It’s the emphasis on high-end that does the most work, piercing through the ears like a sonic emergency. &0183 &32 Analysis of All About Lily Chou Chou (Final) To address this question, I center my attention on the movie All About Lily Chou Chou that portrays how a Japanese high-schooler, Yuichi Hasumi, takes refuge in the ethereal music the pop star, Lily Chou Chou, makes when experiencing growing pains from bully, ridicule, and abuse at school. Much of the source of Next Part’s power is in its production, which across the board feels miles ahead of its more humble predecessor. For people aligned with that energy, this record will be like catnip. Lyrically and aurally, the album is a cyclone of nihilistic hikokomori ennui cast in a shimmering darkness, a dream pairing of shoegaze textures and emo colors. If thousands of English-speaking people are suddenly starting to connect en masse to the work of one anonymous Korean student, it’s because To See the Next Part of the Dream succeeds so viscerally in its goal. That makes for a peculiar meta dynamic, one where a self-described “loser” takes inspiration from a fictional artist – someone written to be larger than life – and makes music that both reveres and attempts to transmit that unplaceable power. Similarly, we don’t know the person behind Korean indie-rock act 파란노을 (Parannoul), who takes the underwritten mythos behind Iwai’s film and turns it into a thematic foundation (their first record, Let’s Walk on the Path of a Blue Cat, directly references the screen name of the film’s sadist center, Shusuke Hoshino). &0183 &32 David Bowie and Kansai Yamamoto, 1973. In its dream-like cinematography juxtaposed with harrowing teenage cruelty, the film feels like a precursor to Gus Van Sant’s Young Death trilogy in how it portrays adolescence in an adolescent language: all edges and rife with extremes. Shunji Iwai’s 2002 film All About Lily Chou-Chou depicts high-school students who are connected by their fandom towards an enigmatic pop singer. He also appeared in films such as Kenta Fukasaku's Battle Royale II: Requiem and Takahisa Zeze's Heaven's Story.For a guide to the review color rating system, click here. Oshinari co-starred in Shunji Iwai's All About Lily Chou-Chou with Hayato Ichihara.
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