2015 marks the 10th anniversary of alt-rock group RADWIMPS's major debut. To celebrate, the band are going on a special anniversary tour which includes several European dates as well as stops across Asia. Their seventh album Batsu to maru to tsumi to was released in Japan back in 2013. It has now been given a UK release under Wrasse Records, and coincides with their first UK live in London on October 19th.
RADWIMPS have always had quite a diverse sound, and that's still very much the case on this fifteen-track album. The feisty, rhythmic rock that the band is known for is present, although not in great quantities. Darma Grand Prix is a great example of this, with jazz funk-influenced drums and bass and a rollicking chorus. The many changes in rhythm throughout are a nice touch that keeps listeners on their toes. Guitarist Kuwahara Akira has some complex riffs as well, and appears to have played so furiously that he goes into meltdown at the end. The more primal and unusual Jikkyou chuukei takes after their 2011 best-selling single DADA in some respects. The slight Hispanic twang of the guitars creates a tension in the verses, which then explodes into dramatic, mechanical-sounding rock. In this track, vocalist and main creative force Noda Yojiro doesn't sing per se, but never quite gets into full-on rapping. Instead, he utilizes a common tool in his repertoire: spoken singing, or sprechstimme. It adds attitude and an urgency to their less conventional rock tracks, like this one.
More conventional rock comes in the form of single release Gogatsu no hae: heavy on the cymbals, repetitive on the bass and uniformly loud from start to finish. The faster-paced Kaishin no ichigeki is much livelier, not least because of Kuwahara's speedy embellishing riffs. The cheerful tone, reinforced by Noda's upbeat vocals, make it vibrant and fun. Slowing the pace right down is LAST VIRGIN, a relaxed bit of nostalgic pop-rock.
Moving on to the pop side of things, IRON BIBLE is a lot lighter than the title suggests. Jovial piano and xylophone peek through the skippy guitar to lift this bouncy track. It's so happy that the abrupt and discordant ending is made all the creepier. The xylophone stays on for the cheeky PERFECT BABY, a much more "synthy" track. Even "synthier" is DREAMER'S HIGH, which is so full of twinkly effects that it appears Noda was totally pie-eyed during the composition. A quick look at the lyrics cements this idea: the line "Blue yellow green purple dream scramble egg, vanilla frost" has obviously undergone a very creative thought process.
Other genres make a brief appearance. Saigo no bansan is a charming bit of country, complete with tambourines, hand claps, foot stamps and classic country guitar licks. The laid-back REUNION has a chilled R&B beat and makes for a nice break between the more boisterous songs, apart from the thirty-second long punk rock interlude in the middle. Even mellower is Tummy, a cute reggae piece about a father's encounter with his new child. The backing switches between steelpans, soft piano and glockenspiel, a bizarre combination on paper. It works though and does manage to successfully express tenderness and wide-eyed innocence, even if it is a bit gushy in doing so.
For a band that has come out with some strong, and occasionally bizarre, rock tracks, they can surprise when they show their softer side. Unusually one of their ballads opens this album, when something with more bite would normally be chosen as track 1. Ienai starts off delicately, but gathers momentum to become a full-on rock ballad. There are also a couple of stripped back, quieter tracks. Noda's ability to channel vulnerability at lower volumes and belt out emotional climaxes as the song intensifies is notable in the very similar BREATH and Hari to toge. Both are delicate yet powerful. One can't help but draw parallels between these songs and ballads from BUMP OF CHICKEN, a comparison which has been made before and probably will be in the future. Noda has expressed his respect for writer Fujiwara Motoo before, so it seems to be taken as a compliment.
The variety on the packed Batsu to maru to tsumi demonstrates why RADWIMPS are still at the top of their game after a decade. With Noda at the helm, the band are still creating hits stamped with their own particular flair and quirkiness. The two year gap between releases hasn't been anything to worry about: 2015 has seen them land a top ten single, and another is on the cards as their next, 'I' Novel, will be featured in a Tokyo Metro commercial. With their Asian and European tour kicking off as well, it seems that RADWIMPS are very definitely still on the map.
Batsu to maru to tsumi was released in the UK on the 9th October. Check out the weird and wonderful video for Jikkyou chuukei below.
