Still without distribution or a record label in America, Zazen Boys seem content expanding their sound within Japan's somewhat stilted rock scene. 2006's Zazen Boys III alienated some fans with a more dissonant, fragmented approach, but the album was still funkier and more forward-thinking than anything the band had done before. Two years later, it's time for something completely different. Perhaps because of a lineup change or frontman Mukai Shutoku's evolving musical fascinations, Zazen Boys 4 could be considered an outright dance-rock album in some circles and a definite sidestep from expectations in all circles.
Through loud speakers, the album's drum work sounds slithery and synthetic, peppered with fake snare and hand claps. After hearing "Asobi" and "Weekend" prior to release, I was under the impression that the entire affair might be electronic — maybe Shutoku had ditched his entire band in an ego-filled craze. But on headphones, a different sonic picture is revealed. Most of the synthetic drum work is propped up by a beefy live set, probably manipulated in post-production to punch a little more than normal rock sets. The synthesizer and guitars are, in contrast, untreated, single-tracked, and minimal, creating a rhythmically centered record.
Listening to 4, it's easy to forget that Zazen Boys rose out of an angsty guitar band. Even one album ago, their most utilized emotions were nervousness and confusion, common bedrocks of immediate-sounding music. Zazen Boys 4 replaces that nervousness on most tracks with propulsive confidence. This is no transitional album; it's the sound of a band abruptly but securely arriving at an artistic headspace. Of course, some of the Boys' agitated energy remains in tracks like "Honnoji" and "Fureai," but it's mostly manifested through Shutoku's constipated vocals, which have become proportionately more violent to the backing music's fluidity. It's hard not to love his most strained deliveries; they elevate the album into strange new territories and are legitimately funny at times, especially when sung in English ("WeeeekEEEND!", "IIIIIDIOT!", "FORGET YOU MEMORIES!").
But the humor only enhances the music's impact, perhaps partly because of the language barrier, but also because of a specific, unusual duality within Zazen Boys 4; in the hands of another band, the sudden use of techno-ish dance elements mixed with odd vocalization and slap-bass would be seen as a self-conscious, ironic statement. Although Zazen Boys don't take themselves all that seriously (just watch [their music videos->http://www.mukaishutoku.com/main_video2.html]), they clearly have a deep love and respect for the genres they draw upon, letting an undeniable authenticity shine through any perceived parody or imitation. As with the best modern music, they give us a stew of styles and sounds that couldn't have existed before today.
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