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YMO circa 1981 (from left to right: Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi)
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Yellow Magic Orchestra is a hugely influential Synth-Pop/proto-techno supergroup that has been called the Japanese equivalent of Kraftwerk, while their influence inside their home country has been likened to The Beatles. They helped pioneer synthpop, modern J-pop, techno, and house music. The band was one of the first to use Sampling: alongside David Byrne and Brian Eno's My Life in the Bush of Ghosts earlier that same year, YMO's 1981 album Technodelic was one of the first albums by a major artist to be primarily composed of samples.

Core members Haruomi Hosono, Yukihiro Takahashi, and Ryuichi Sakamoto had worked together off and on throughout the 1970s, and each had worked with early electronic instruments. However, it was Sakamoto's introduction to Kraftwerk, as well as a desire to make music that didn't ape Western musicians, that pushed them to create their own band. Shortly after Hosono's 1978 exotica-tinged album Paraiso (credited to Harry Hosono and the Yellow Magic Band, which featured Sakamoto and Takahashi contributing as session musicians), they decided to use the name Yellow Magic Orchestra, parodying the faddish fascination with black magic in Japan at the time. Their debut album was intended to parody Western stereotypes of Asia (and its offensive fascination with "orientalism" going on at that time) while also exploring Asianness and the potential that came from mixing western electronic and funk sounds with traditional Japanese compositional techniques, blending Sakamoto's classical training with Hosono & Takahashi's pop expertise.

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Intended mostly as a joke, the album was a surprise hit, prompting the band to go on tour. One of these live performances was seen by an American A&M Records executive, and by the end of 1978 they had an international record deal, prompting the three to shift from solo careers and session work to a popstar lifestyle as YMOnote .

Over the next few years, YMO was the most popular band in Japan, and was regularly charting in America and Europe (despite their distribution being much spottier in those regions), with sold-out tours in all three areas. For 1979's Solid State Survivor, the band brought English lyricist Chris Mosdell to write English lyrics, producing the song "Behind the Mask", which would later become a hit for Michael Jackson and Eric Claptonnote . Both it and the follow-up, ×∞Multiplies, were on the Oricon charts at the same time for seven weeks, a record that still stands. The band's music became a major influence on early Techno and Hip-Hop pioneers, with Sakamoto's solo piece (and YMO live staple) "Riot in Lagos" seen as one of the first songs to have a "techno" beat. After sampling "Firecracker" for his song "Death Mix," Afrika Bambaataa jokingly claimed YMO "invented Hip Hop." Their later albums shot straight to the top of the Oricon charts, and their 1983 single "Kimi ni, mune kyun." was the highest charting technopop song in Japanese history at #2 — a record the song held until technopop idol group Perfume released "love the world" in 2008.

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After making the concert film Propaganda, YMO "spread out" in 1984: although they shifted back to solo careers, the members would frequently perform with each other. They briefly reunited to record Technodon under the name of Not YMO (or "YMO" with an X through it) in the early 90s (as Alfa Records still owned the name Yellow Magic Orchestra at the time), and occasionally performed live as Human Audio Sponge. They officially reunited in 2007 as HASYMO, first for a Kirin beer commercial and single "RYDEEN 79/07," and then live at the Live Earth, Kyoto event on July 7, 2007. The band officially reverted to the name YMO in 2009 and released the single The City of Light / Tokyo Town Pages that same year. No new recordings have been planned, though the band members have continued their touring schedules, up until Sakamoto was diagnosed with throat cancer in 2014. After Sakamoto recovered, the band have continued to live on as an on-again, off-again live act, performing YMO material both together and as part of solo shows (under the sole condition that they only be billed as YMO if all three are present).

Discography:

Studio Albums:

Compilation Albums:

  • YMO Best Selection (1982)
  • Sealed (1984)
  • Y.M.O. History (1987)
  • Technobible (1992)
  • Kyoretsu Na Rhythm (1992)
  • YMO Go Home! (1999)
  • UC YMO: Ultimate Collection of Yellow Magic Orchestra (2003)
  • YMO (2011)
  • Neue Tanz (2018)note 

Live Albums:

  • Public Pressure (1980)
  • After Service (1984)note 
  • Faker Holic: YMO World Tour Live (1991)
  • Technodon Live (1993)note 
  • Live at the Budokan 1980 (1993)
  • Live At Kinokuniya Hall 1978 (1993)
  • Winter Live 1981 (1995)
  • World Tour 1980 (1996)
  • Live At The Greek Theatre 1979 (1997)
  • One More YMO (2000)
  • Euymo — Yellow Magic Orchestra Live in London + Gijon 2008 (2008)
  • LONDONYMO — Yellow Magic Orchestra Live in London 15/6 08 (2008)
  • Gijonymo — Yellow Magic Orchestra Live in Gijon 19/6 08 (2008)
  • No Nukes 2012 (2015)

Remix Albums:

  • Naughty Boys Instrumental (1983)
  • Hi-tech/No Crime (Yellow Magic Orchestra Reconstructed) (1993)
  • YMO Remixes Technopolis 2000-00 (2000)

Non-Album Singles and Miscellaneous Releases:

  • "Kageki na Shukujo" / "See-Through" (1983)note 
  • YMO Versus The Human League (1993)note 
  • "Rescue / RYDEEN 79/07" (2007)
  • "The City of Light" / "Tokyo Town Pages" (2009)
  • "Good Morning, Good Night" (2009)


This band provides examples of:

  • Animated Music Video: Technically speaking, the video for "Computer Game (Theme from the Circus) / Firecracker" is one, with the first section featuring an animated recreation of an arcade game and the second section being a more abstract collection of animations based around mock-Orientalist imagery.
  • The Band Minus the Face: Averted. Although the members will frequently play YMO songs at their own concerts, they only advertise as YMO if all three core members are present. Hosono and Takahashi have also performed as a duo under the name Sketch Show; the two were even credited as such, when they appeared on some of Sakamoto's albums.
  • Bilingual Bonus: Their song titles are printed in both Japanese and English, such as "東風" (Tong Poo; "East wind".) Several song titles gain more context from their Japanese names: particularly, "Loom" becomes "来たるべきもの" (Kitaru beki mono; "What should come"); and "Seoul Music" becomes "京城音楽" (Keijou ongaku) which means the same thing, but refers to Keijou, the Japanese name for Seoul when the Japanese occupied it.
  • Bookends: Their debut album opens, following a Miniscule Rocking intro, with a cover of "Firecracker" by 50's exotica artist Martin Denny. Their final album to date closes with a cover of "Pocketful of Rainbows" by 50's rock icon Elvis Presley (though the song itself first came out in 1960).
  • Canon Immigrant: The US version of the band's first album was very quickly accepted into their back-catalog, to the point where it was the only version available on CD until 1992. During Restless Records' remastering campaign of the band's back-catalog outside of Japan that same year, the US version of the album was also picked over the Japanese one (compared this to Multiplies, which used the Japanese version plus some Naughty Boys Instrumental cuts as bonus tracks), and when both versions of the album were made available as double-CD and double-LP packages, the US version was placed on disc one on both formats. The band additionally adopted the US version's logotype for later Japanese releases in 1979 and 1980, only ditching it in 1981 to offer a greater amount of stylistic variety. While the band themselves never gave any official word on the matter, all of the above quietly implied that the US mix is the de-facto canonical one.
  • Changed for the Video: Done slightly for the music video for "Tong Poo", which in addition to using the US mix features a wind-blowing sound throughout its runtime (playing off of the song title meaning "Eastern Wind"), heavily increases the amount of reverb on the song, and has Yukihiro Takahashi's drum part come in much earlier than on either the Japanese or American versions.
  • Chiptune: Trope Makers in their self-titled debut album. The first side featured the two-part piece "Computer Game", in which the band recreated classic arcade game sounds with their own synthesizers. The effect is indistinguishable from the real thing.
  • Clumsy Copyright Censorship: When the band reunited in 1992, they learned that they couldn't actually call themselves Yellow Magic Orchestra due to the name being trademarked by their former label, Alfa Records. Consequently, they decided to bill themselves as... Not YMO. Represented by "YMO" crossed out by a large X. This stuck throughout the brief one-year reunion, and after spending the 2000's as Human Audio Sponge (HAS), then HASYMO, the band would eventually switch back to "Yellow Magic Orchestra" in 2009 after regaining the rights to the name.
  • Comically Missing the Point: "Pure Jam" from Technodelic is about a man who is appalled by the "shapelessly square" "ugliest piece of bread [he's] ever eaten" that's "wrapped in a foil like substance". It's actually a small packet of jam, which he's told insistently by various people over the course of the song.
  • Compilation Re-release: The 2003 reissues of Yellow Magic Orchestra and Naughty Boys. Both are expanded into double-CD/double-LP packages, the former including the Japanese and American mixes and the latter including the vocal and instrumental versions. The 40th anniversary reissues would revert back to keeping the two versions of both albums separate for the most part, though Naughty Boys and Naughty Boys Instrumental would stay together as a double-disc package on the SACD release.
  • Cover Version: Almost to the point of Pop-Cultural Osmosis in the case of "Firecracker" (Martin Denny) and "Pocketful of Rainbows" (Elvis Presley). There's also "Tighten Up"note  (Archie Bell & The Drells) and "Day Tripper" (The Beatles). For a given definition of "cover," several of their songs are also rearranged versions of tracks from Ryuichi Sakamoto's solo career.
  • Cut-and-Paste Translation: Happened several times with international releases of their material.
    • The band's Self-Titled Album from 1978 omits the Miniscule Rocking track "Acrobat" from the end of the tracklist on US copies and features a considerably different mix oriented more for the American market.
    • Since their album Solid State Survivor was not originally released in the US, the US version of ×∞Multiplies dispensed with the Japanese-language comedy routine tracks and padded the record out with songs from Solid State Survivor. The European version went further, by adding additional songs from their debut album. The 1992 international CD release of the album, meanwhile, is mostly based on the Japanese version, but throws in the non-album single "Kageki na Shukujo" and cuts from Naughty Boys Instrumental as bonus tracks due to both having not been part of the concurrent reissue campaign.
    • While the tracklists for BGM, Technodelic, and Naughty Boys remained untouched in international releases, European copies of Service returned to the practice of altering tracklists by cutting out the Japanese-language "S.E.T." comedy routine tracks, shortening the album down to just over half of its original length.
  • Digital Destruction: The original CD release of After Service was in a heavily truncated formnote  that cut down the 82-and-a-half minute live album to just 71 minutes (due in part to the CD format's nascent nature at the time). Alfa would later try to rectify this in 1992 with the release of Complete Service, an expanded double-CD version of the album (with mixing by Brian Eno no less) that contained even more content than the double-LP release of After Service (carrying 24 tracks compared to the previous 19 and clocking in at just under two hours), but the original 1984 double-LP configuration wouldn't see a proper double-CD release until 1998, after which it would become standard for later reissues on the format.
  • Distinct Double Album: While YMO never put out a proper double-album in their studio discographynote , both the 1991 live album Faker Holic and the double-CD/double-LP reissues of Yellow Magic Orchestra and Naughty Boys would abide by this. Faker Holic divides itself between one disc containing live performances in London & Paris and one disc containing a performance in New York, while Yellow Magic Orchestra and Naughty Boys would respectively package both the Japanese & US mixes and the vocal & instrumental mixes on separate discs.
  • Dual-Meaning Chorus: "Is it me/Is it you/Behind this mask/I ask"
  • Dragon Lady: The title character of "La Femme Chinoise", who is called "the mistress of the Orient".
  • Early-Bird Cameo: The first incarnation of YMO, before they were known as YMO, was as the Yellow Magic Band on Haruomi Hosono's 1978 solo album Paraiso. The trio would first start recording under the YMO name just months after the album's release, and while Paraiso isn't officially considered part of the YMO catalog, the presence of all three members and the billing of the Yellow Magic Band as backing musicians results in the album being treated as a de-facto YMO work.
  • Early Installment Weirdness: The band's first album was intended as a parody of Western Orientalism (e.g. "Firecracker", "La Femme Chinoise"). This aspect got all but disregarded on future albums.
  • Fake Radio Show Album: ×∞Multiplies.
  • Feelies:
    • The first runs of both Solid State Survivor and Service came in translucent yellow vinyl, obviously tying in with the band's name. The first pressing of After Service similarly was on translucent red vinyl.
    • Early LP copies of BGM came with a foldout poster, a flyer for the book Omiyage, and postcards featuring photos of the band. Similarly, LP copies of Technodon include a small pamphlet containing the album's liner notes, in place of including them on the inner sleeve. The 2019 SACD release of both albums replicates these extra packages in a shrunken down size.
    • The initial Japanese CD release of Technodon made the lid of the jewel case into a polarized lens, with the messages in the liner notes being modified so that they could only be read when inserted directly under it. The European CD release and later reissues simply show the text unmodified.
  • Genre-Busting: The band made their own style of Synthpop, J-Pop, Chiptune, New Wave and lots more.
  • Gratuitous Foreign Language:
  • Idiosyncratic Episode Naming: The band indulged in this regularly with their LP releases throughout the 1980's.
    • The Japanese version of Multiplies uses a front shot of the band collage on side one and a rear shot on side two.
    • The Japanese releases of BGM and Technodelic denote each side as "Face ⌊•" and "Face ⌊••".
    • Naughty Boys and Naughty Boys Instrumental differentiate each side with different oceanic photographs: a shot of seagulls in the sky on side one and a shot of waves on a beach on side two.
    • The Japanese release of Service includes a black-on-red pattern of circles on side A and a yellow-on-blue pattern of ovals on side B.
  • In the Style of...:
  • Japan Takes Over the World: Their first US tour was advertised as "See Japanese people play all those synthesizers they're building." Ironically, any synth anorak worth his salt can tell that the bulk of the synths they used back then were made in the US.
  • Japanese Tourist: Referenced in their cover of "Tighten Up."
    • Also on the cover of the "UC YMO" compilation, where the three are shown sightseeing in cartoon form.
  • Lighter and Softer: Naughty Boys is this relative to the previous album, the minimalist and downbeat Technodelic.
  • Long-Runners: All three members of YMO have performed almost continuously for almost 40 years, though not always with each other...
  • Lyrical Dissonance:
    • "Rap Phenomena" is a pretty badass techno-rap song about... unified field theory.
    • "Taiso" is Japanese for "calisthenics", which are broadcast daily in Japan. The English lyrics refer to them earnestly (aside from the line "and before you know it, you'll be twitching!"), but the Japanese lyrics that are also sung refer to dislocation of limbs and convulsions as a result of all the stretching.
    • "Behind The Mask" is an upbeat, spacey tune with lyrics about emotional isolation and depersonalization.
      There is nothing in your eyes
      That marks where you cried
      All is blank, all is blind
      Dead inside, the inner mind
    • "Kimi Ni Mune Kyun", on the face of it an upbeat love song, is actually about starting an affair with someone.
  • Neoclassical Punk Zydeco Rockabilly: One of the members described their music and its mix of influences as the equivalent of a Bento box.
  • New Sound Album: Pretty much every one after their debut:
    • Solid State Survivor (a shift to a combination of Post-Punk/New Wave Music and Synth-Pop)
    • Multiplies (becoming Genre Roulette, with an increased use of live vocals)
    • BGM (solidification of their style, increasing amount of avant-garde elements, and an absence of covers of other artists' songs)
    • Technodelic (introduction of samplers and more minimal arrangements, essentially BGM turned Up to Eleven)
    • Naughty Boys (a leap into radio-friendly pop with a post-disco trimming)
    • Service (a further leap to adult contemporary)
    • Technodon (a shift into then contemporary genres like acid, ambient techno and world music, as they were unable to use samplers)
    • By the time the 2000's came, their sound shifted more towards glitch pop.
  • The Not-Remix:
    • The US version of Yellow Magic Orchestra, remixed by acclaimed audio engineer Al Schmitt, features a punchier equalization and added reverb. "Tong Poo" also has a new vocal part performed by Minako Yoshida, featuring lyrics by Chris Mosdell, "Bridge over Troubled Music" was given an additional electric piano solo during the intro, and the inter-track transitions on side two are altered. Notably, the band seems to have accepted this version of the album as the canonical one, prioritizing it over the Japanese one in most reissue campaigns.
    • Early CD releases of BGM (including the 1992 Restless CD, which to this day is still the only US CD release of the album) featured a slightly altered mix on the track "Happy End", in which the metallic sound that appears in the second half of the song comes in cold rather that gradually fading in. The original LP mix of the song would not appear on CD until the 1999 remasters of the band's back-catalog, and since then it has been standard across formats.
  • N-Word Privileges: The "Yellow" in "Yellow Magic Orchestra" refers to the anti-Asian slur; the incorporation of it into the ethnically Japanese band's name is thus intended to add onto their initial goal of parodying western Orientalism.
  • Ode to Intoxication: "Radio Junk".
  • Parody Assistance: Curious about why the "Taiso" video seems to be such a spot-on parody of "Once in a Lifetime", right down to the Stylistic Suck chroma-key? That's because the members of Talking Heads themselves directed the video.
  • Performance Video: Most of the band's early videos mix performance footage of the band with other material related to the subject matter of the parent albums. "Tong Poo" for instance includes footage of Centipede, Gypsy Juggler, Circus, Asteroids, and Space Invaders (the latter and Circus are parodied in the "Computer Game" tracks on the same album), as well as abstract animations drawn directly onto the film strips, while still making the band's performance the main point of focus.
  • Piss Take Rap: "Rap Phenomena" with mind screwy lyrics about unified field theory.
  • Pop-Star Composer: All three members in their later careers; Sakamoto especially achieved fame in the west for his film scores, to the point where he's better-known there for his soundtrack work than for his work with YMO.
  • Putting on the Reich: The band started out taking some aesthetic elements of Maoist China, complete with performing in Mao suits. Takahashi occasionally wore a Mao cap on YMO's foreign tour in 1979. The second cover of Technodelic is also a pretty clear evocation of Maoist imagery (the original cover meanwhile is more thoroughly based in kabuki theater).
    • "Propaganda" is heavy on fascist imagery, including red armbands.
  • Rearrange the Song:
    • Some of the band's songs came from Ryuichi Sakamoto's solo catalogue and were adjusted accordingly, most notably "Thousand Knives" (originally the opener to Sakamoto's debut solo album of the same name) and "The End of Asia" (the closing track to the same album). Similarly, "Cosmic Surfin'" is a rearrangement of the closing track from Haruomi Hosono's prior solo album Pacific.
    • The band has, due to their now-nebulous nature, re-arranged many of their own works as YMO, their YMO works as solo artists, and YMO songs as YMO, mainly for live performances. The "Rydeen 79/07" single — in which the raucous techno song became a lush, ambient piece with off-kilter live drums and a xylophone replacing the synth lead — was the only time they officially did it to their own work as YMO on a record.
  • Salaryman: During the band's performance on Soul Train, an actor dressed as one of these can be spotted in the audience.
  • Self-Titled Album: Their debut, self-titled because it was intended as a one-off project. Little did they know how big they'd become...
  • Shout-Out:
    • The song titles on side B of their debut album are titles from Jean-Luc Godard films.
    • The line "she's coming up like a flower" in "Nice Age" is quoted from Paul McCartney's "Coming Up".
    • The A&M mix of "Tighten Up (Japanese Gentlemen Stand Up Please!)" namedrops David Bowie, Elton John, Mick Jagger, and Elvis Presley as various examples of artists who "do the Tighten Up." Note that none of the artists mentioned actually covered "Tighten Up".
    • The music video for "Taiso" recalls that of "Once in a Lifetime" by Talking Heads, featuring the band members performing in suits in a White Void Room among various chroma-key backdrops. This is somewhat explainable by the fact that Talking Heads themselves directed the video.
  • Siamese Twin Songs: "Computer Game (Theme from the Circus)" and "Computer Game (Theme from the Invader)", while not sequenced directly next to each other on Yellow Magic Orchestra, nonetheless exist as a conjoined pair in the sense that they both attempt to mimic the sound of playing Circus and Space Invaders in the same room at the same time, with each song being heard from the perspective of the respective arcade cabinet. Likewise, "Acrobat" (exclusive to the Japanese mix) reprises both tracks and acts as a book end for the album.
  • Sixth Ranger: Longtime producer and collaborator Hideki Matsutake, who frequently performed as part of the band's live ensemble and is largely credited with "computer programming" on their albums, is usually thought of as the fourth member of YMO.
  • Something Completely Different: The original versions of "Multiplies" and "Service" are half comedy, half music album.
  • Special Guest: Technodon has two:
  • Sampling: One of the Trope Codifiers. Some sampling was used on 1980's BGM, but 1981's Technodelic, was nearly entirely created out of samples.
  • Ska: Attempted an electronic version with "Multiplies."
  • Spelling Song: "T-E-C-H-N-O-P-O-L-I-S."
  • Spell My Name with an "S": The band's debut album credited Haruomi Hosono as Harry Hosono, the anglicized version of his name that he sometimes used professionally at the time. Later releases would stick to using his Japanese name.
  • Spiritual Antithesis: Ryuichi Sakamoto himself described YMO as this to Kraftwerk in hindsight, noting the disparity between Kraftwerk's statuesque image and icy sound and YMO's more dynamic, classically-inclined direction (which reviewers in their time characterized as "fun-loving and breezy") and oftentimes comedic presentation. Additionally, while YMO did shift towards a colder and more avant-garde approach (barring the J-pop duology in 1983) and Kraftwerk to a more accessible, techno-fueled direction, their approaches still retained the artistic cores of their previous material, meaning they didn't exactly become each other over time.
  • Step Up to the Microphone: The two English lyricists each get a little bit of attention. Their first, Chris Mosdell, speak-sings a good portion of "Citizens of Science"; their second, Peter Barakan, can be heard on "Pure Jam" (as one of the people interjecting via walkie-talkie).
  • Stylistic Suck: The video for Kimi Ni Mune Kyun consists of the three members of the band doing what can only be described as doing the barest minimum token effort to appear like a boy band via the medium of extremely bored dorky dad dancing.
  • Surreal Music Video: "Computer Game (Theme from the Circus) / Firecracker" features a video consisting primarily of abstract animations themed around the song's mock-Oriental angle.
  • Synth-Pop: Trope Codifier. There is some debate by music critics whether they or Kraftwerk are the Trope Makers.
  • Take That, Us: Virtually every television performance, especially "Propaganda."
    • The "Kimi Ni Mune Kyun" video is also this, making fun of how completely unlike a boy band they are and how unsuited they are to singing (what sounds like) a Silly Love Song.
  • Textless Album Cover: Played with on Technodon. The text "SLIPPING INTO MADNESS IS GOOD FOR THE SAKE OF COMPARISON," is emblazoned on the cover, but on the original CD release it requires a polarized lens to be read, otherwise leaving it an indistinct mass of lines. The European release and later reissues across formats feature the text in an unprocessed, readable form.
  • Title Confusion: "Firecracker" was the group's biggest hit in both the US and UK, but mistitled in slightly different ways in both:
    • In the US, an edited version of "Firecracker" was released as a single, but somehow the details for the wrong track were listed on the center label, so it was issued was "Computer Game (Theme from the Circus)". As the error extended to the writing credits, Martin Denny went unlisted as well.
    • The UK got a different edit of "Firecracker" with a 22-second extract from "Computer Game (Theme from The Invaders)" added as an intro, and this time both songs were correctly listed on the single, but somehow the "Firecracker" title still got ignored and "Computer Game" was wrongly assumed to be the title of the entire piece. Many sources (including the Official Charts Company website) continue to perpetuate this error, even 40 years later.
  • Transatlantic Equivalent: Often described as a trans-Eurasian counterpart to Kraftwerk, as both of them were early pioneering Synth-Pop groups from former Axis Powers nations who achieved international success and acclaim, were at their most famous within the same period (1978-1983), and left behind a lasting legacy as major influences on Hip-Hop and later Electronic Music. Bonus points go to Kraftwerk and YMO for dabbling in parodies of authoritarianism in their public image and live performances, with Kraftwerk featuring mock-Stalinist imagery and YMO both mock-Maoist and mock-fascist imagery (note that neither band supports any of these ideologies).
  • Variant Cover: The original release of Technodelic sported cover art of three Polaroids of the individual band members in Kabuki makeup, all laid against a white background. Reissues swapped out the cover with one featuring a stock photo of a woman in Maoist China against a red background; this cover has become better-known over the years, if only for how much more widely used it was.
  • Visual Pun: The artwork for ×∞Multiplies, features a seemingly endless crowd made up of duplicates of the band, standing on a baseball field.
  • Vocal Tag Team: All three members sing their own songs, which is fine since the group doesn't exactly have an outstanding lead singer.
  • White Void Room: Most of the "Taiso" video is set in one.
  • Word Salad Lyrics: Averted, thanks to English lyrics written by regular collaborators Chris Mosdell and Peter Barakan. The words do get pretty abstract and stream-of-consciousness (see "Music Plans" on the BGM album or "Key" on Technodelic), but they rarely degrade into total gibberish.

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