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Just three brisk fall months after the group made a significant artistic breakthrough and reached a new summit with the release of their 8th self-titled full-length album of all original songs came the unexpected “retirement” announcement from their lead singer Megumi. As the fifth lead vocalist in the band’s 10 years of existence, Megumi helped usher in a new phase for the group and their overall sound. She had a stage and video presence that commanded attention and vocals that differentiated their most recent recordings from their previous reliable efforts that have already set the standard for female-fronted West Coast ‘60s-inspired sounds from Japan. Their 8th album is considered their peak recording for several reasons. Megumi’s entrancing and distinctive vocals definitely played a major role as her slightly icy and distant voice established a different resonance from the start. The album is also a continuation of their refined pop sensibilities, while presenting an overall original sound that is more developed and textured. Megumi’s lead vocals fit well within the group's transitioning sound and this combination captured the attention of world-wide listeners.
Striking Just the Right Sound
For more than 10 years, the sprawling and ambitious group have more than proven adept at handling daunting arrangements and layered vocal harmonies. To start the ‘20s, the Pen Friend Club, with vocalist Yuka Fujimoto, went further into the harmonic heights and depths than ever before by covering such complex pop songs as “Along Comes Mary” by the Association. While there has always been an emphasis on harmonies and melodies, this album also reflects a widened world of influences. The album sets itself apart from their previous releases as it traverses a much larger stylistic range. The ‘60s and the A&M Records aesthetic continue to loom large in their world, but they have opened up their sound to incorporate influences and inflections from further into ‘70s and it works.
Besides their usual affinity for the yellow-orange swirl of summer, they incorporate some autumnal hues of forest greens, leafy browns and luminous golds as sections burst into the sunlight and then descend into dusk. The brushed acoustic strums on “Our Overture” signal the new directions they are headed towards as some sunset shadows begin to cast over their sound. By the time of “The Sun is Up,” they have already reached a rugged new musical terrain and a change of scenery. Their escalating musical confidence coupled with slightly burnished guitar tones and tints of raga could even entice listeners of Led Zeppelin III, Second Coming Stone Roses or “The Chain” by Fleetwood Mac. Next, the swift and tuneful “Ketzel” dashes out into the daylight like Zumpano’s “Broca’s Waves,” while their breezy vocals are swept along in the jet stream of Stereolab.
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| L to R: Yuichi (guitar), Takayuki (drums), Yumi (glocken), Soi (keys), Megumi (lead vocals), Ricca (acoustic guitar), Asako (sax) Rie (bass) |
Their first-rate arrangements unfurl an array of sounds, sections and songs that are simultaneously foreign and familiar. Along with this self-titled album being their most original, it's also the most collaborative of all their albums. The group’s leader Yuichi Hirakawa, formally a famous manga artist, has thankfully turned his full attention to music, while handing over some of the musical reins to his bandmates. “Mind Connection” recalls the 5th Dimension and showcases the saxophone solo of Asako Otani. Jazz inflections provided by Otani surface throughout the album. The saxophone effectively works in the context of their music and plays a prominent role propelling the songs in places and embellishing in others. On the languorous and luxuriant “Floating to You” they tend towards the Honeys more than ever, while also evoking Brian Wilson’s “Melt Away," which they previously covered on The Garden of the Pen Friend Club. It makes one imagine their sound if Sean O'Hagan could produce or co-produce one of their future efforts.
Harmonies on the Forefront
“At Least For Me Tonight” is my favorite song on the album as it unfolds to reveal multiple aspects, overlapping harmonies, stellar banjo playing and soft pop influences ranging from Jan & Dean’s Save for a Rainy Day to the Four King Cousins. “At Least for Me Tonight” is also a shining example of bassist Rie Nishioka’s remarkable composition skills along with being the catchiest song on the album.
“My New Melodies” evokes that skip-along feeling somewhere between “Turn Down Day” by the Cyrkle and an early ‘70s TV theme song like “Love Is All Around (Theme Song from The Mary Tyler Moore Show) with a pop factor worthy of Gary Zekley. There’s even a brief “You’re My Best Friend” guitar quote by Queen that works in the overall context. “Jump Over Time” is coated with “Nowadays Clancy Can’t Even Sing” dust. The rustic influence of Buffalo Springfield takes an increased presence on this release. “People in the Distance” is Penkura (as they are sometimes called in Japan) at their folkiest and is somewhat reminiscent of later period We Five with its expansive chorus and horizon-rising harmonies. They are unabashed music fans with many ears towards a wide-variety of sounds and it shows off in this stretch of songs. Be sure to read Tommy Vivian’s comprehensive and insightful liner notes that guide listeners through the dimensions of their sound, along with mentioning the myriad of musical influences on this recording.
Westbound
The captivating “Beyond the Railroad” is a straight ahead folk pop number where all their strengths come into focus with echoes of “Say That You Love Me” by Fleetwood Mac sounding in the distance. “You Know You've Heard That Before?” reminds me of Carole King and the City with the baroque ornamentation of a swirling flute. Lastly, the jaunty and sparkling “A Better Day” features intertwined harmonies and one of the best banjo runs I have ever heard to make for the perfect ending. The banjo is employed and executed to near perfection. A holistic and unified experience is achieved with this uplifting and culminating song.
Crowning Achievement
So where does that leave the Pen Friend Club at the end of their biggest year? This accomplished album presents them currently at the heights of their collective powers as it’s the most collaborative, original and sonically varied of all their releases. They demonstrate they are not afraid to venture into some unexpected places and explore unfamiliar territory. The Pen Friend Club lives up to its adventurous promise, while still remaining true to the West Coast sounds with the Beach Boys and A&M Records as their bedrock.
Fortitude and Flexibility
Their 8th full-length album is now a finite chapter in the history of the band rather than a preface on the potential sonic directions this particular iteration of the band would take. The fact of Megumi’s amicable parting does not diminish the quality in the album and may even enhance its allure as from this vantage point is is finite experience marking a particular point in time. An entirely different set of questions are now in effect for the group as obviously lead vocals are not plug and play. However, the band has been in this spot of filling the role of the lead vocalist several times before Megumi. They have repeatedly risen to the challenge of staying true to the best elements of the past and astutely navigating the always changing circumstances that are inherent in the overall cycles of life. The Pen Friend Club will continue to persevere and prevail.
