Plastic Tree - Utsusemi

Utsusemi, the brand new release from Plastic Tree, is the first studio album after the much acclaimed Nega to Posi. It is only natural to wonder if their latest album can rise up to the high standards the band has set for itself.

The album drifts into action with ~Kisokuteki na Yonbyoushi~, a short, barely noticeable intro that is little more than the ticking of a clock. The last click melts into Utsusemi, a rather smooth ballad consistent with the most recent sound of the band. The first seconds are lukewarm, but momentum is steadily built throughout its rather long duration. Ryutaro’s breathy voice is the most prominent element of this somewhat unimpressive ballad, overpowering the instruments with its clear and melodious quality. In fact, it powers the song’s aestheticism, painting a forlorn, washed out picture that wins you over for the most part. However, distortion and feedback interfere a tad too often, and the built-up energy scatters away before the drawn out finale.

Thankfully, Tetris kicks in with drums and guitars weaving an addictive, ticking beat. Skittish, beautifully drawled out vocals are added. The melody twirls in pleasantly repetitive cycles, sometimes revealing a softer side, sometimes bordering on punk, and masterfully rolls up and down the scales. Smoother and bolder parts trade places, resembling a breathless ride on the tide. Somehow, this is a song that just clicks together, from first to very last delightful note.

A single with a rather unique character follows; Replay sucks you right in with the breathless, almost painfully sweet vocals. The beat follows an awkward, glitching pattern, but sounds surprisingly refreshing, and Ryoutaru’s voice is complemented by Hiroshi’s gentle drumming. The melody swells and twists with the song’s playful structure, sometimes creating images of a fairytale parade, sometimes becoming harsher; these constant shifts are slightly too complex and perhaps off putting for some. Still, its intense nature guarantees that you will be replaying it over and over.

Melt follows, and it appears to be a more down to earth track dominated by the focused, rumbling sounds of Hasegawa Tadashi’s bass. It evokes a foreboding feeling up to the chorus, where the high-pitched chords considerably lighten up its atmosphere. The prominent guitars are carried into the following track, Dummy Box. This time, the breathy vocals are harsher, and assisted by a rather focused and choppy beat. Aside from the powerful chorus, however, this song doesn’t quite exceed expectations.

An anomaly of digital feedback signals the entrance of Q, setting the scene for digital elements, which are plentifully scattered throughout this track. The digitized vocals might seem out of place at certain points, but generally the experimental melodies blend together nicely with the nervous, fast pace. Fiction is dominated by a childish, almost computer generated melody. This serene feeling is not unlike one evoked by a lullaby, and it is assisted by gentle singing and Akira’s discrete guitar. The dynamics shift before long though, and a sudden upswing interrupts every false sense of security; this pattern repeats itself another couple of times before the music-box melody ending.

Shayou follows, finally reintroducing Tadashi’s perky bass lines. The guitar solos, especially during the song’s ending, blow some life into an otherwise pretty flat pop/rock number. GEKKO OVERHEAD is up next, and it is a pleasant surprise. The intense drumming is refreshing, and Tarou’s voice vividly color in emotion, even during the slower parts. Background vocals, along with the irregular beat, add depth to the track which is one of the most solid ones of Utsusemi.

Balloon flows softly in and introduces a pure, lighthearted feeling. Ryutaro’s dreamy voice is intimately clear, and joined by the rest of the band, evokes images of a festival in the middle of a fairytale town. The sound becomes loaded following a sudden dramatic turn of the vocals, only to wind down once again, leading to a peaceful, slow paced wrap up. ～Seiten, kansei, kaiten mokuba no mae～ lasts barely a few seconds. It adds to the impression of a fairytale-like world, perhaps the world of Carnival, a concept one will meet time and time again in Plastic Tree’s music.

A low, stomping beat and melodious lyrics initiate Alone Again, Wonderful World. A remix of the popular single, it is a powerful, solid song, switching between a dry beat, a full-fledged performance during the chorus and an ambient, masterfully distorted bridge. The final track on the limited edition is the heartfelt Kioku iki. The piano leads this powerful ballad, with Ryutaro giving his most intimate and mature performance of the album. Without featuring any exceptional elements, it makes for a most appropriate conclusion to the album.

While troubling to some of the fans, Utsusemi includes everything Plastic Tree has been loved and resented for. The band, known for its experimental nature, has included more than the standard elements on this album, making it perhaps a bit harder to approach. However, the ones who will make the effort to try Utsusemi out will be rewarded by more than a couple of hit songs. It is a beautifully arranged album, a solid creation with its very own flavor, and as powerful and mystifying as a burnt out afterimage.