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This is the archive for August 2007

Monday, August 06, 2007

One of the things that embarrasses me the most, lately, is telling what may be the best Lyrics Kotoko has ever written. She's a so sublime poetess that I could go days and days around listening all of her songs and I wouldn't still be able to like one above the others.

However, if one thing can be said, her last album head song "Uzumaki" (whirlpool) is stunningly original. It has some of the usual Kotoko touches: rich metaphors, slightly hermetic meanings, rare words and peculiar kanjis but all of those elements are here brought to a different level of maturity. The impression Kotoko gave me in some songs where she uses this register (i.e. Re-sublimity) is that she was skillfully, artificially complex, but here this complexity seems much more... natural, and that's for the first time. Other than that, what makes this song original even in her own production is the topic of the song. In her own productions, Kotoko has never been the kind of singer singing "Oh, dear, you don't know how much I love you...". Even her love songs (quite a few in number) are stories about unrequited love and a creative way to survive it (Garasu no kaze, Oboetete ii yo), or have some "cosmic" feeling (Chi ni kaeru, Tsukiyo no butoukai), or are in some other way quite peculiar. Especially for the first ones I cited, it's not hard to see some heavy autobiographic relevance.

Yet the topic of this song is quite peculiar among peculiarities. This song is about an unnamed preacher of an unnamed cult. Saying anything more would ruin the surprise, so I'll let it to you.

I just add that the song music is very peculiar too, quite dance as the vast majority of her songs, but slower than usual, and with a rhythmic structure so articulated and "revolving" that it would take the Bolshoi Ballet, or most probably the Momix to perform it the way it should be done. Her singing at times "out of time", and other times rhythmic as usual suggests a ship, or a flux moving through whirlpools, at times being able to evade them, at times being caught in their rhythms.

Finally, this is one of the very few songs where I heard rhymes being effectively used in Japanese, and among the few I heard, this is surely where they have been used the most skillfully.

What other should I say... A master's masterpiece of masterpieces?