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Old 2013.12.23, 04:03 PM   #11
deadgrandma
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Well, KITTY'S BLUES is written from her childhood memories (apparently)....

I don't think she sounds that childish on it btw. It certainly isn't as child styled as say, Joanna Newsom.

I can't stop listening to the EP Pink right now. It's great. It also has her going the most batshit she has ever gone on the title track, so brownie points there.

Also.... who's seen Over the Party? (I know Hoopra has) I think it's essential viewing. That version of Sayonara is overwhelming.
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Old 2013.12.24, 09:09 AM   #12
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I posted my review here. I posted elsewhere because I also wrote about the new Kinoko Teikoku ep, which any Oomori fan should listen to as well. They go really well together.

anyway. [spoiler] I'm a little bitch and don't decide which Oomori album is better than the other. [/spoiler]
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Old 2013.12.24, 09:43 AM   #13
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Jihad, I'm checking out Kinoko Teikoku based on your review and I am LOVING this. I'm a huge Boris fan and I see some of the influence they've had on Kinkoku.
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Old 2013.12.24, 05:16 PM   #14
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Glad you liked it too!
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Old 2013.12.25, 02:17 AM   #15
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Originally Posted by Inseu View Post
MAD LOVE FOR INSEU!
At times Oomori does remind me of Nika.
And as for Oomori Seiko; I really like her music; at first listen I got over excited but I've toned it down. PINK EP is my favorite so far; Mahou is great and the new album is about as good as her debut.
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Old 2013.12.25, 04:49 PM   #16
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^ I don't hear much resemblance. The above is nice but way more conventional/boring.
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Old 2013.12.25, 08:29 PM   #17
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Shut up this song will become a Christmas classic I say
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Old 2013.12.26, 11:41 AM   #18
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Originally Posted by deadgrandma View Post
^ I don't hear much resemblance. The above is nice but way more conventional/boring.
It's her voice, not the music. Her voice has a similar, off-beat quality to it.
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Old 2013.12.26, 11:48 AM   #19
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Oomori Seiko is so weird to me. Like, she wants to wear so many different hats at once. On one hand, she wants to be a satirical, almost ironic, idol parody. On the other hand, she wants to be taken seriously as a folk/indie singer-songwriter. But then THOSE songs she can sometimes end up with a Midori scream, so is she making fun of pretentious folk singers as well?
She's somewhere in the nebulous of Togawa Jun-Midori (Shiina is only tangental to this) of some kind of vague idol parody or critique. The only problem is that I have no idea what she is critiquing. I'm not entirely sure it's a parody anymore either. At least with Togawa and Midori I knew where to stand (though Mariko's solo career makes Midori a bit more enigmatic).
I'm also not a Togawa super-fan by any means, but I think DG mentioned Togawa is a producer for Oomori? Which makes total sense, because some songs (like "Kitty Blues") seem to be almost derivative of Togawa's work. It's very Suki Suki Daisuki-esque to me, but lacks the ironic lyrics.

Here's where I am split though:
JIhad is of the opinion that Oomori is genuine in everything she does.
I have a feeling that some aspect of her work is some sort of parody, but now I'm not so sure. In the beginning, when I saw her dressed in idol clothes and then go on stage with a bunch of idols and sing this passionate folk song, I thought she was poking fun at idols.
I'm not sure where DG stands on the "parody" aspect.

Do you remember this:
Tamahime-sama

I just get a feeling that THAT is what Oomori is going for, but I'm not so sure.
I'm not being articulate today.

Maybe the parody isn't the music but the presentation of the music (how she dresses, where and with whom she performs alongside). But you know, one day she could be performing at Tokyo Idol Festival and the next in an old church.

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Old 2013.12.26, 04:26 PM   #20
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This is how I see it: Oomori is at the stage where she has complete freedom. I find this pretty damn exciting. Not many other artists in Japan I know of have had that freedom when they start out. Oomori's debut sounds far grittier and personal than even say, Muzai Moratorium to me. Perhaps thats just because of production choice, old Ringo lives certainly sound 'harder' than the sheen on Muzai. But that's another discussion.

As for Oomori, I think she does have respect for some idol music. I think she might have grown up with it, the choices of songs she covers are usually older songs. It's true that she does go along with Tokyo Idol Festival, but I also think that is one hell of a way to get more exposure, she stands out like a sore thumb, and thus, people are going to remember her. The two songs she made in that 'idol' style do sound like what Togawa (for example) would have done just with a more 2013 sound to them. They give the works of Nakata a run for their money because they have a hook that sticks. She is making a statement "HERE I AM", yet she still stays true to her sound (more or less) with the rest of the album. You gotta do what you gotta do nowadays. I'm not calling those songs shallow either, they're excellent pop songs. I think that she just likes trying other stuff with different projects too. Lai Lai Lai Team sounds closer to Midori/Goto Mariko than she has done before, and it fits her very well. I say just let her do what she wants while she's still got such creative juice flowing through her veins.

In the end though, the music is what you should really be going on... you've told me what you're thinking about Oomori's image but you haven't actually told me what you think of the albums. You're pulling a pitchfork so to speak :-p

As for Togawa's image, she was kinda sorta idol parody, but foremost she was an ero-guro (erotic grotesque) advocate. Tamahime Sama is a very serious and genuine album too you know...
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