Pen Friend Club-S/T

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.  

Expanding out into the Light & Dark

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.  

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.

Yea-ming and the Rumours-So, Bird ...

Yea-Ming and the Rumours continue to refine their distinctive guitar-driven jangly and twangy sound, while also branching out in new directions on “So, Bird…” Their sophomore album presents both a continuation of the melodic and sincere folk-pop-rock of 2016’s I Will Make You Mine and also an adventurous breakthrough to new musical realms for the Bay Area group. 

“I Don’t Dare” unfolds as an invocation and a welcoming call to listen. With a click of the recorder, the intimate opening number allows them to subtly establish their presence and begin creating a better world of their own making. Despite the harsh realities, obligations and distractions, this koan expresses the need to be resolute and determined to hold on to life's vital aspects by paradoxically letting go. Accompanying the spare and unvarnished song is a güiro played by percussionist Sonia Hayden.  The Rumours further expand and refine their requisite twang and jangle sound on “Oh Sweet Mother.” They bring sunburst ‘60s pop into soft focus with an exquisite and hymnal melody supported by overlapping harmonies. This sublime lead single overflows with even more jangly guitars than we have ever heard before on a Rumours recording due to the contributions of Matt Bullimore of the Mantles. The gleaming guitars sparkle and will have you guessing if they were nicked from the mid-sixties top pop of the Turtles, the Seekers or We Five. Regardless, the lyrics could be heard to invoke a vast array of spiritual mother figures along with our own and the human need for protection, compassion and forgiveness. The remarkable single is perfectly complimented by a sweeping video, directed by Chris Anderson and Lily Chou of JetLagRocknRoll, where Yea-Ming comes across like a young Chrissie Hynde.

The strummy “Back To The Days of I Don’t Knows” conveys the drone of Velvet Underground to the point where the guitar tones sound like bagpipes in the distance. Not only does the song reflect the chugging brilliance of VU, but also the dissonance of We Five’s “You Let a Love Burn Out.” Chen’s matter-of-fact vocals command presence and convey yearning for a new phase in life and music. Meanwhile, the lyrics point out that the closer you get, the further away you are and that's what goes on.

Surprising turns into unexpected places has long been a forte of Chen’s songwriting. For instance, “Pour Some on You” goes on for a minute before changing direction like a Taiwanese Nine-turn bridge 九轉橋. The arrangement, counterpoint, and harmony interplay to become slightly evocative of “The Circle Game” by Joni Mitchell if played by Moe Tucker, Rose Melberg or Dear Nora. The lilting song encourages an elusive sense of wonder and beginners’ mind approach, not by retreating into cloying tweeness, but by trying to make good things happen and finding momentum. There is obviously far more to it than that, but it's a viable starting point.

Changing Directions

“Look Me in the Eyes” demonstrates Yea-Ming’s inherent ability in creating graceful music containing life’s messy emotions. The endearing vocal inflections and a perfect baroque solo played by Yea-Ming on a nylon string guitar reconcile the very human volatility expressed in the lyrics. Overall, this song is presented with an awareness that ornate details and subtle measures frequently make the difference and often leave the most lasting impressions.

Yea-Ming adeptly made the best of the covid lockdown situation and found her musical way forward by experimenting with a midi keyboard when she was unable to collaborate with her band. The midi-simulated group of cellos embellish “Look Me in the Eyes” and provide contrast and variety. She should be commended for daring something different with this song that bridges her characteristic form and style and signals the literal and figurative turning point on the record and in her artistic development.  Additionally, it’s a glimpse into the process of change.

Striking the perfect twangy tone with abundant echo and taking the sound further into crossover territory, “Heartache Ain’t Nothing To Me” kicks up some dust. This mountain topper has hit-bound written all over it and could go on to become a timeless countrypolitan classic like "It's a Heartache” by Bonnie Tyler, Juice Newton and Ronnie Spector. Eoin Galvin’s jaunty lap steel playing sparks this boundless number and especially shines on the solo. On a related note, it sure would be interesting to know if the quartet would ever consider covering “Queen of Hearts" or even "Angel of the Morning."

From Sea to Tree

“Sleeping in California” made its debut at the 2020 virtual CAAMFest Film Festival. With an emphasis on capturing the ripples, along with some slight splashes, the elegiac and stately ballad signifies continual growth. With its retreat into nature, it’s a courageous step, while also acknowledging the unceasing threat of the continually escalating wildfires. The lyrics could also be interpreted as a declaration of looking for home in the disputed and contested golden state, while still being open to the possibilities of California Redemption Value (CRV). Lastly, it encapsulates that brief moment in 2020 when Covid-19 brought on the small blessing of cleaner skies and things were indeed quieter and nature itself started the healing process towards some sort of equilibrium. 

Rolling Tides & Sea Breezes The lovely and layered “I Still Dream of You” is tinged with Bossa Nova, while also encompassing folk, Hawaiian, and tourchsong. The “After Hours” track lands somewhere in the otherworldy realm between Ranny Sinclair and 河名伸江 Nobue Kawana with Yea-Ming providing the banjo-esque plunks on a nylon-string guitar. This understated beauty is a sonic display of her prodigious talents, while also a soundtrack of making her own path and seeing where the sound will take her. “Takeda Lullaby'' closes out the album and had my son in the back of the car humming along on first exposure, while it stirred memories for me of observing an August bon festival in Oxnard, CA.

What the Water Gave Me

“So Bird…” is the sound of moving forward into a new day of a new era along the western edge of the continent. It also provides a sense of natural stillness and rhythm in a moving and jagged human world still seemingly out of any semblance of balance. It’s no wonder that the oceanic is a recurrent motif and prevailing theme as the lyrics frequently contemplate the pull, power and vastness of the Pacific. Further, the album does not evoke the fragile and murky mood of the in-between and indefinite atmosphere of 2021 or the swirling turmoil and the sadness which permeated much of 2020, but maintains connection to a timeless past while also transitioning in the midst of recent challenges.

Best of Both Worlds 

This fully-realized and varied album offers the Rumours’ immediately striking Pacific Coast Pop with departures into directions leading to expanses over swirling seas. Not only does the stellar album connect Yea-Ming's past and present along with individual and universal sentiments, but also captures and reflects the rhythms and routines of the everyday. By ending with a lullaby, it leaves things open-ended and yet to be completed. It’s hard to foretell what subsequent efforts and the future will bring. For now, these starlight sounds express the full hope of another sunrise.

Photo by Chris Anderson