This huge greatest hits collection is as bright as you'd like.
Hokkaido foursome MONOBRIGHT first began releasing their bright and catchy brand of rock in 2005 and became major in 2007. 12 singles and 5 albums down, they've now put all the singles and more into a jam-packed 19 track "best of" collection entitled ~Remain in MONOBRIGHT~, out the 30th of January.
MONOBRIGHT's greatest hits album is definitely chock-a-block with their calling card of feel-good, upbeat melodies. Ano toumeikan to shounen is unrelenting in its cheerfulness with its light vocal harmonies, happy guitar and delighted "hoo hoo"s from vocalist Momono Yosuke (known affectionately as Momo). MOONWALK, used as the ending theme for anime series "Gintama Enchousen", practically bounds out at you like an enthusiastic puppy. It starts sedately enough, Matsushita Shogo's '60s style guitar chilling things out a touch. The rest is all glee amped up to the max, and luckily Momono's low, rugged vocals, like those of Analogfish's Sasaki Kentarou, temper the sugary sweet chorus to give it a well-needed bit of roughness. In fact he's constant source of mirth with his "ooh"s, "ah"s, whoops and other random ejaculations through many tracks. The racing Eiyuu NOVA and REVOLUTION are the siblings of the MOONWALK puppy, but ones that managed to get into the sugar jar.
"Gintama" opening theme and the band's highest ranking single, ANATA MAGIC, their only one to crack the top ten so far, is gifted in the upbeat rock department but is otherwise bog standard and unremarkable. Other singles show them using more flair. Uchuu no ROCK is a speedier track with more aggressive drumming from Takitani Tsubasa giving it more substance. Various synth and guitar effects provide the "space age" overtone to set it apart from the other tracks. The quirky Odoru nou is an interesting combination of styles. The offbeat guitar plucks and cockney cries of "oi!" are distinctly ska, but this is smashed together with the oriental sound of the pentatonic chorus. For something even more different, look no further than the addictive soca-inspired DANCING BABE. The superb rhythm section, teamed with the uplifting rapid guitar riff make an unlikely but effective union with Momono's raw vocals, and would get even the most prudish jumping and swinging a rag to it.
The two highlights of the collection are probably the most contrasting. Joy Joy Experience is exactly that. It's more jazzy than its companions on the album, and like Odoru nou it's heavily ska influenced. In addition to a feisty brass section there's some A-class singing from the front man in what is the most joyful and memorable chorus of all the tracks. On the flipside the rock-pop Ame ni utaeba is the gentlest and most mellow track. The first two peaceful minutes are stripped back to the basics with mainly bass drum and bass guitar as the backing to a much more subdued Momono, making it a refreshing experience in the same way as a sleeping hyperactive child. The song really comes alive after those two minutes however, where the rock instruments kick in and Momono unleashes his hitherto unheard vocal prowess in a series of emotional wails. It stands out as the most expressive of the singles.
What has been showcased in ~Remain in MONOBRIGHT~ is not revolutionary. While any modern band is inspired by others, the sounds of someone else are particularly apparent with MONOBRIGHT: there's AKFG, a hint of Remioromen, Sambomaster, Kemuri and Analogfish among others all thrown into the mix. Fans of any of these should be able to enjoy at least some of this large collection. One thing it definitely can do is turn a frown upside down, and for that reason alone it's worth a listen or two.
