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BUFFALO DAUGHTER
As the only extant band from the hallowed Shibuya-kei movement of the early 90s (Flipper’s Guitar, Cibo Matto, Pizzicato Five, etc.), Buffalo Daughter retains a measure of historical cred. The fact that the trio has remained together all this time without tarnishing its lustre of hipness can probably be credited to its slightly below-the-radar image. A cult band in all the better definitions of the term, BD, like the other Shibuya-kei bands, was immediately championed overseas and many of its albums were released by respectable indies in the U.S. like Grand Royal and Emperor Norton. Unlike the other Shibuya-kei bands, however, BD’s particular type of sound collage was not directly pegged to older, quainter styles of pop. They were always a rock band, albeit one that often veered into the avant garde. Their sense of humor was also more pointed, less precious than that of most Shibuya-kei artists, as evidenced by their affection for puns when it comes to naming their CDs: Socks, Drugs and Rock and Roll or Pshychic or their latest, Weapons of Math Destruction.
In that regard, the title of their seminal 1998 album, New Rock, might have been seen as ironic, but it’s difficult to think of another Japanese band at the time (or since, for that matter), who so seriously made an effort to create something fresh out of a form that had been so exhausted of ideas. BD’s best traits were in evidence–those quirky, cumulative song structures; the bullet-proof, often lovely melodies; the solid, uncompromising rhythmic sense–and while none are exclusively “rock” in nature, even the techno and hip-hop flourishes had prog-rock connotations, and when they endeavored to play dance music it was real dance music; you might even call it disco. There were also elements of French pop, which were less a nod to continental sensibilities than to more conventional Shibuya-kei tastes.
But it wasn’t really until the early 00s that BD’s records started to match the consistency of their incredible live shows, where the experimentalism was subservient to the dynamic. BD’s shows are shape-shifting phenomenon with little if any breaks between tunes. Sugar Yoshinaga drifts among keyboards, guitars and other electronic devices, while Yumiko Ono sets down a practical railroad of bass lines and the tricky turntablist Moog Yamamoto complements Yoshinaga’s vocals with carefully considered harmonic elements. Songs build in various dramatic ways and every hour-long performance guarantees as least four epiphanies. After 17 years their new rock still sounds new.
nice writeup Phil. BD was absolutely phenomenal the first time i saw them at FRF, but lacking a climax the second go around. can’t wait to check their set this time.