Rock of Asia, Nikki Matsumoto spent some time in the band Gargoyle, and if I'm assuming it's the correct band, they had a lot of musicians coming in and out of their roster. Matsumoto was also involved with other projects, especially leaving Japan for Los Angeles when he was 18. Gargoyle, however, is what I believe to be the start of the aesthetic that Rock of Asia dwells in. With a sense of theatricality, the fusion of traditional instruments with modern ones framed in the context of Asian culture. The choice to embrace this is ironic if it's for the reasons he left Japan.
I was a music fanatic. I left everything around me and said goodbye to Japan and moved to the United States when I was 18. I was going to discover all the music available in the world. I knew there was nothing for me in Japan. Everything is still so fucking fake here in Japan. - NohoArtsDistrict
I can only assert from that quote that there was nothing for him in Japan then, music-wise, but in preparation to tour his debut release in 2011, Japan experienced a massive earthquake causing a tsunami. Nikki would spend the following six months volunteering. Four albums later, Rock of Asia returns with a fifth called Tami. I go over the album, what I consider to be the highlights, and describe my immersive listening experience from listening to it.
Rock of Asia, 'Tami'
"Tami"
Nikki has admitted to wanting to incorporate sounds from other parts of the world so, for this to have a Middle Eastern vibe is a nice inclusion. As an activist, Nikki has also been an advocate for the Arab Spring movement. I could presume a connection, but I would be way off base to guess.
Already this is a catchy song and it stuck with me throughout the day. The Shakuhachi is a stand-out in this track, which is probably the reason it's so memorable. The beat is also a standout. You couldn't push this track over if you tried, it's so grounded. It's got its own kind of funky rock vibe, and stronger for it. Nikki takes complete charge in the entire composition to where all he needs are capable musicians to interpret it. This type of energy at the beginning gets me excited for what comes next and...
..."Sunbright" doesn't disappoint. In fact, for this album to start rocking out with "Tami", this track sounds more traditional. You would say it's because of the use of a Shamisen which is a large part of but, it's also the song's structure, like a folk song passed down from generation to generation. Also, a comment on YouTube also claims the following.
"The song "Sunbright", filmed on location while in Okinawa, is about the purity and beauty of newborn babies and the breathtaking island of Okinawa and its very hospitable people. Okinawa itself is "sun bright"".
"Capital In Your Vein"
The message behind this track is clear from the title itself. Based off of Nikki's activism, this track is about capitalism. Thanks to capitalism, there are others left out and without a voice. Mass development has a tendency to do that. I was recently referring to my community in contrast to European locations where older structures are respected and not destroyed, and become part of the city's landscape, history never forgotten. I know this isn't what the song is referring to, but it's a part of the process that destroys and leaves others out over profit.
"Stranger In The Homeland"
This is among my favorite tracks because it's beautifully dark. It starts off like a heavy metal ballad, and I'm waiting for the drop, which happens at 2:22 but, because this isn't heavy metal, it's subtle. The use of the Shakuhachi is, again, a go to for me. It's such a unique sound to me, close to a piccolo, but far more exotic. The percussive foundation of the song locks me in as well. This is where I wonder about when one composes with acoustic instruments. If you're used to the sound of standard drums, you're going to try and write for them. If you're strictly working with acoustic strings and such, you'll find that you'd need to write for the percussion there to make up for the lack of a drummer.
"Tomorrow"
This is the only instrumental on the album. In listening to this track, I wonder about Nikki's composition choices and go on that journey myself, listening for changes and dramatic parts. This is a very strong album, musically stout and very engaging. With more listens, I have more favorites. I'll be updating this post as I mine it for more goodies. In the meantime...
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