Miyavi -This iz The Japanese Kabuki Rock- (Normal Edition)(Japan Version)

The album does start off with a bang with JPN PRIDE (Track 1), a rock track that combines a bit of hip-hop and traditional Japanese folk song for an energetic opening. While it sets up the album's theme on a lyrical level (actually, the title already says enough), it also attracts listeners on a musical level in an engaging style. Furthermore, Miyavi doesn't simply limit himself to one style. He branches out throughout the album, infusing elements of other genres into traditional rock style. For example, a blues-style composition is combined with an electric guitar-led arrangement in the fun 21st Century Tokyo Blues (Track 2), which is also injected with a brief section of rap that fits in well with the chaotic mix of styles.

At points, This Iz the Japanese Kabuki Rock strays completely away from the rock genre to show a gentler side of Miyavi. Musically, Tsurezure Naru Hibi Naredo (Track 10) sounds like a contemporary R&B ballad in both composition and rhythm with its smooth bass line, as well as the gentle acoustic guitar accompaniment. However, the lyrics are actually part of a meditation on the fleeting nature of life. In fact, there is no love song whatsoever on This Iz the Japanese Kabuki Rock, except for ending track Thanx Givin' Day (Track 11). The track, a simple 2-and-a-half minute song with only an acoustic guitar accompanying the vocal, is actually a love letter to his parents instead of romantic love. Strangely enough, the song is also the only track on the album without lyrics in the liner notes, suggesting that the song is more a bonus track rather than a part of the album.

The rest of the album remains fairly close to the rock genre, with each track having something new to offer. Hi no Hikari Sae Todokanai Kono Basho de (Track 7) starts off as a brooding rock track before integrating guest musician - ex-Luna Sea guitarist SUGIZO - and his lively guitar accompaniment to make the track a dynamic rock track. However, it lacks the fun of tracks such as Kabuki Danshi -Kavki Boiz- (Track 3) and Boom-Hah-Boom-Hah-Hah (track 4), which don't simply rely on noise to engage the listeners. Kabuki Danshi, in fact, is what Miyavi calls his own blend of the East and West, featuring sections of seemingly random rap while also singing about men of his own generation. Both tracks lend a dynamic energy that adds great fun to the album without discarding its intended themes.

This doesn't mean that Miyavi needed to include rapping in order to make a fun track on This Iz the Japanese Kabuki Rock. Subarashikikana, Kono Sekai (Track 9) features a hip-hop-like rhythm in its verse, as well as turntable sounds throughout the arrangement. However, the track is strictly in the rock genre, and it's still a great deal of fun to listen to. Amazingly, This Iz the Japanese Kabuki Rock works on both levels - musically, it covers a broad enough canvas stylistically to attract any pop fans; it also works thematically, exploring the themes of being Japanese in an increasingly globalized world. Unlike most Japanese albums, which are seemingly put together as compilations of singles, This Iz the Japanese Kabuki Rock finds a unifying theme and manages to stick to it even with tracks that sound like they're simply throwaway noisy side tracks. Don't let Miyavi's flashy appearances throw you off track - this is one visual kei rocker that speaks with music.

Recommended Tracks: JPN PRIDE (Track 1), 21st Century Tokyo Blues (Track 2), Kabuki Danshi - Kavki Boiz- (Track 3), Subarashikikana, Kono Sekai (Track 9), Tsurezure naru Hibi Naredo (Track 10), Thanx Givin' Day (Track 11)

by Kevin Ma