Shibuya-Kei

Shibuya-Kei is a relatively new and unique sub-genre of Japanese pop music that emerged in the late 90s. It is an amalgamation of different musical styles, including lounge, bossa nova, jazz, and 60s pop. The genre is characterized by its mix of electronic sounds, kitsch imagery, and retro-style music. The term Shibuya-Kei comes from the neighborhood of Shibuya in Tokyo, which was the epicenter of the movement. The area was a hub for indie musicians, fashion designers, and trendsetters, who fused Western music with Japanese culture to create a new sound. One of the pioneers of Shibuya-Kei was the renowned Japanese musician and producer, Keigo Oyamada, better known as Cornelius. Oyamada's music was heavily influenced by 60s pop and cheesy lounge music, which he infused with his unique electronic sound. His music was also characterized by his use of samples from various sources, including TV commercials, TV shows, and movies. Oyamada's album, "Fantasma," which was released in 1997, became the cornerstone of the Shibuya-Kei movement. Another important figure in the development of Shibuya-Kei was the singer-songwriter Kahimi Karie. Her music blended cute and quirky lyrics with electronic beats and retro-style music. Her collaboration with Oyamada led to the creation of some of the most iconic songs in the Shibuya-Kei genre. The most notable characteristic of Shibuya-Kei is its use of a wide range of musical instruments and synths. The music is usually a blend of pop, bossa nova, jazz, and lounge music. It is often accompanied by visual imagery that reinforces the kitsch, retro-style of the music. Shibuya-Kei's unique sound and its embrace of different musical styles attracted a cult following both in Japan and around the world. The genre's popularity peaked in the late 90s and early 2000s. Its association with Japanese fashion and aesthetics made it popular with a younger generation of music lovers who were looking for something fresh and new. In the late 2000s, Shibuya-Kei began to lose its popularity as new genres emerged and trends shifted. However, the legacy of the genre has endured, and it continues to inspire musicians around the world.

Cornelius: Keigo Oyamada, better known as Cornelius, is one of the pioneers of Shibuya-Kei music. His unique blend of psychedelia, electronica, and pop has made him a highly respected figure in the Japanese music scene. Pizzicato Five: Formed in 1985, Pizzicato Five is a group that fuses elements of jazz, bossa nova, and lounge music with Shibuya-Kei pop. Their iconic sound and stylish image have made them one of the most recognizable and beloved groups in the genre. Fantastic Plastic Machine: Tomoyuki Tanaka, also known as Fantastic Plastic Machine, is a DJ and producer who has been active in the Shibuya-Kei scene since the early 1990s. His music incorporates elements of lounge, bossa nova, and vintage pop, and he has collaborated with a number of other artists in the genre. Kahimi Karie: Kahimi Karie is a singer and songwriter who has been active in the Shibuya-Kei scene since the mid-1990s. Her music is often characterized by its quirky and playful lyrics, and she has collaborated with a number of other notable artists in the genre. Takako Minekawa: Takako Minekawa is a singer and songwriter who has been active in the Shibuya-Kei scene since the early 1990s. Her music often incorporates elements of electronica and experimental pop, and she has collaborated with a number of other artists in the genre. Maki Nomiya: Maki Nomiya is a singer and songwriter who has been active in the Shibuya-Kei scene since the mid-1980s. She is best known for her work with the group Pizzicato Five, but has also released a number of solo albums over the years. Buffalo Daughter: Buffalo Daughter is a group formed in the mid-1990s, and their music blends elements of rock, electronica, and Shibuya-Kei pop. The group has released a number of albums over the years and has collaborated with a number of other notable artists in the genre. Towa Tei: Towa Tei is a DJ and producer who has been active in the Shibuya-Kei scene since the early 1990s. His music often incorporates elements of electronica, funk, and vintage pop, and he has collaborated with a number of other artists in the genre. Capsule: Capsule is a duo formed in the early 2000s, and their music fuses elements of Shibuya-Kei pop with electronic dance music. The group has released a number of albums over the years and has had a number of hit singles in Japan. Cibo Matto: Cibo Matto is a duo formed in the mid-1990s, and their music blends elements of rock, hip-hop, and Shibuya-Kei pop. The group has released a number of albums over the years and has collaborated with a number of other notable artists in the genre.

1. Pizzicato Five - "This Year's Girl" 2. Flipper's Guitar - "Doctor Head's World Tower" 3. Cornelius - "Fantasma" 4. Kahimi Karie - "Kahimi Karie" 5. Fantastic Plastic Machine - "Luxury" 6. Cibo Matto - "Viva! La Woman" 7. Buffalo Daughter - "New Rock" 8. Maki Nomiya - "Shibuya-Kei Standards" 9. Capsule - "Cutie Cinema Replay" 10. Scha Dara Parr - "5th Wheel 2 the Coach" 11. Maki Rinka - "Love Pops" 12. Takako Minekawa - "Roomic Cube" 13. Hideki Kaji - "Dialogue" 14. Jun Togawa - "20th Jun Togawa" 15. Love Tambourines - "One" 16. Towa Tei - "Future Listening!" 17. Cymbals - "Life EP" 18. Original Love - "White Album" 19. Mondo Grosso - "Born Free" 20. Paris Match - "Quattro" 21. Miharu Koshi - "Echo De Miharu" 22. Luminous Orange - "Drop You Vivid Colours" 23. Sukimaswitch - "Golden Time" 24. Mondo Grosso - "MG4" 25. Kahimi Karie - "My Suitor"

One prominent book on the subject is titled "Shibuya-kei Ou no Kiseki" (The Miracle of the Shibuya-Kei Kings), written by music critic Hikaru Hayashi. The book traces the history of Shibuya-Kei and highlights key players in the genre, such as Cornelius, Pizzicato Five, and Fantastic Plastic Machine. In the book, Hayashi writes, "Shibuya-Kei is a reflection of the times. It was born out of a need for something new and fresh in a musical landscape dominated by dullness and conformity." He also notes the genre's tendency to incorporate diverse cultural elements, stating that "Shibuya-Kei is not just Japanese music. It is a mix of American pop, European electronica, and Japanese fashion and aesthetics." Another acclaimed work is "The World of Shibuya-Kei Pop" by Ian Martin. This book provides a comprehensive overview of the genre and its origins, as well as in-depth profiles of key musicians and their music. Martin writes, "Shibuya-Kei is about style and attitude as much as it is about music. It's a mindset, a way of looking at the world that is informed by postmodern irony and a love of retro culture." He also notes the genre's influence on other artists, stating that "Shibuya-Kei has inspired countless musicians around the world, from Sweden to Brazil to the United States." Shibuya-Kei has also been the subject of numerous articles and essays. In a piece for The Japan Times, music critic James Hadfield writes, "The Shibuya-Kei scene was a rare moment of cultural fusion in Japan. It brought together musicians and fans from different backgrounds and interests, united by a shared love of pop music and a desire to escape the monotony of mainstream culture." He also notes the influence of Shibuya-Kei on contemporary Japanese music, stating that "Many of today's most popular Japanese artists, from Gen Hoshino to Perfume, owe a debt to the Shibuya-Kei pioneers who paved the way for them." Notable musicians have also commented on the genre. In an interview with The Japan Times, Cornelius (real name Keigo Oyamada) discusses the origins of Shibuya-Kei, stating that "We wanted to create something new by mixing different sounds and styles. We were influenced by everything from bossa nova to post-punk to Japanese traditional music." He also notes the importance of fashion and design in defining the Shibuya-Kei aesthetic, stating that "The music was just one aspect of the scene. It was also about the clothes, the clubs, and the graphics."

The social context surrounding the emergence of Shibuya-Kei was one of cultural and economic change in Japan. In the 1980s, Japan experienced rapid economic growth and modernization, which led to a loosening of social structures and a rise in consumerism. This period saw the emergence of a new generation of young people who were more individualistic and expressive than their parents. This demographic was highly influenced by Western culture and was quick to adopt new trends in music, fashion, and entertainment. Culturally, Shibuya-Kei was part of a larger movement of Japanese artists and intellectuals who were redefining Japan's national identity in the wake of World War II. This movement, known as the "Japan Cool" movement, embraced Japan's rich cultural heritage while also incorporating elements of global pop culture. Shibuya-Kei musicians were part of this movement, and their music was characterized by a fusion of traditional Japanese musical forms with Western pop sensibilities. Technologically, the emergence of Shibuya-Kei was closely tied to the rise of digital music production and distribution. In the 1980s, digital music production tools such as samplers and synthesizers became widely available and affordable, allowing musicians to create complex and sophisticated sounds in their home studios. The rise of CD and cassette culture in the 1990s also created a new market for music consumption, which allowed Shibuya-Kei artists to reach a wider audience than ever before. Notable record labels played a key role in the development and distribution of Shibuya-Kei music. The most influential of these was the independent label Trattoria, which was founded by Yasuharu Konishi and Keigo Oyamada in 1990. The label became a hub for Shibuya-Kei musicians, and many of the genre's most iconic albums were released on Trattoria. Other notable labels included Readymade Records, which was founded by Cornelius in 1994, and Matador Records, which released several albums by Shibuya-Kei artists in the late 1990s. Journalists and other figures also played a significant role in the development and popularization of Shibuya-Kei. One of the most influential was Masaharu Yoshioka, a journalist and DJ who hosted a popular radio program called "Tokyo Music File" on FM Fuji. Yoshioka was an early champion of Shibuya-Kei music and played a key role in introducing the genre to a wider audience. Other notable figures included Yasuhiko Shigemura, a music critic who wrote extensively about Shibuya-Kei in the Japanese music press, and the designer Kiseki Himuro, who created iconic album covers for many Shibuya-Kei artists.