Fantasma | ||||
---|---|---|---|---|
Studio album by | ||||
Released | August 6, 1997 | |||
Genre | Shibuya-kei [1] | |||
Length | 50:04 | |||
Label | Trattoria | |||
Producer | Keigo Oyamada | |||
Cornelius chronology | ||||
| ||||
Singles from Fantasma | ||||
Fantasma is the third studio album by Japanese musician Cornelius, released on August 6, 1997, on his label Trattoria. [4] Cornelius envisioned the album as "a one-on-one experience between the music and the listener. ... It starts with you entering into the journey and ends with you returning to reality." [5] It peaked at number six on the Oricon Albums Chart [4] and number 37 on the UK Independent Albums Chart. [6] Three singles were issued from the album: "Star Fruits Surf Rider", "Free Fall", and "Chapter 8 – Seashore and Horizon –". [7]
Fantasma was initially received with mixed reviews, but drew more praise in later years as one of the defining works of Shibuya-kei. [1] Critic W. David Marx described Fantasma as "an important textbook for an alternative musical history where Bach, Bacharach, and the Beach Boys stands as the great triumvirate." [1]
The Japanese edition of Rolling Stone ranked Fantasma number 10 on its list of the "100 Greatest Japanese Rock Albums of All Time". [8]
The tracks on Fantasma were written and recorded in the same order they appear on the album, and were produced on magnetic digital reel tape recorders. [5] Cornelius's goal in creating Fantasma was "to take the listener on a personal trip"; he envisioned the album as "a one-on-one experience between the music and the listener. ... It starts with you entering into the journey and ends with you returning to reality." [5] Almost all of the tracks were named after existing bands, [9] including Count Five, the Clash, and Microdisney. [10] Buffalo Daughter's Moog Yamamoto appeared on "Mic Check" and "2010". [11] The Apples in Stereo's Robert Schneider and Hilarie Sidney co-wrote and performed on "Chapter 8 – Seashore and Horizon –", [9] [11] while the High Llamas' Sean O'Hagan (formerly of Microdisney) appeared on "Thank You for the Music". [11]
Fantasma contains numerous homages to Brian Wilson and the Beach Boys' 1966 release Pet Sounds . The album had recently seen a resurgence of interest among musicians and critics, and during the making of Fantasma, Oyamada had read a biography about Wilson. [13] The opening of "Mic Check" (which is a preview of the closing track) musically resembles the Beach Boys' hymn "Our Prayer", while "God Only Knows" was named after their song of the same title. The liner notes of Fantasma also include photos of Oyamada recreating two iconic photographs of Wilson from the Pet Sounds era, with Oyamada posing and dressing as Wilson did in the original photos. [12] Historian Michael Roberts writes, "As the image makes clear, it's the figure of Wilson as producer, as much as musician, that haunts Fantasma and its central trope of the recording studio." [14]
In Japan, the limited edition of Fantasma, which was packaged with stereo earphones, was released via Cornelius's own label Trattoria Records on August 6, 1997. [15] [16] The standard edition of the album was released on September 3, 1997. [17] [18] Fantasma peaked at number six on the Oricon Albums Chart. [4] On March 24, 1998, Fantasma was released in North America and Europe via Matador Records. [7] Due to sample clearance issues, "Monkey" was retitled "Magoo Opening", the same title as the sampled song, and relisted as a cover version. [5] Fantasma peaked at number 37 on the UK Independent Albums Chart. [6] As of 2006, the album had sold more than 300,000 copies worldwide. [19]
Two companion remix albums, FM and CM, were released on November 26, 1998. [20] [21] The former is composed of remixes of Fantasma tracks by Money Mark, the High Llamas, Buffalo Daughter, the Pastels, Damon Albarn of Blur, Unkle, and Coldcut. [22] The latter is composed of remixes by Cornelius of tracks by most of the artists that contributed to FM. [23] FM reached number 39 and CM reached number 40 on the Oricon Albums Chart. [4]
Review scores | |
---|---|
Source | Rating |
AllMusic | [24] |
The Baltimore Sun | [25] |
Exclaim! | 9/10 [26] |
Pitchfork | 8.8/10 [9] |
Rolling Stone | [27] |
Select | 4/5 [28] |
Spin | 6/10 [29] |
Stephen Thomas Erlewine of AllMusic praised Fantasma as "one of those rare records where you can't tell what's going to happen next, and it leaves you hungry for more." [24] Stephen Thompson of The A.V. Club said, "Fantasma is a crisp, dynamic, mostly pleasant construction that sounds like the product of one inventive man whose sounds are created and manipulated strictly within the confines of a studio setting." [30] Steve McClure of Billboard called it "a wonderful example of how some of Japan's best pop musicians assimilate Western musical influences and combine them in original, quirky ways." [31]
In 2007, the Japanese edition of Rolling Stone placed Fantasma at number 10 on its list of the "100 Greatest Japanese Rock Albums of All Time". [8] In 2011, the album was included in LA Weekly 's "beginner's guide" to the Shibuya-kei genre. [32] Tokyo Weekender writer Ed Cunningham cited it in 2020 as "a pinnacle" of the genre, and "one of the best-known Shibuya-kei records outside of Japan – if anyone has heard a Shibuya-kei release, it's probably Fantasma." [33] Reviewing the album's 2016 reissue, Patrick St. Michel of Pitchfork said that Fantasma "distills the spirit and process of Shibuya-kei down to its purest essence". [9] Daniel Sylvester of Exclaim! wrote that "Cornelius used entire genre motifs wholesale to deliver one of the most exploratory releases of all time." [26]
On November 3, 2010, a remastered version of Fantasma was released via Warner Music Japan. [34] It was remastered by Yoshinori Sunahara (a former member of Denki Groove). [35] The limited edition includes a bonus CD and a bonus DVD. [36]
On June 10, 2016, Fantasma was reissued in the United States, coinciding with a tour in August, including a date performing at the Eaux Claires festival. The album was released as a limited edition remastered double vinyl LP via Lefse Records and digitally released via Post Modern. [37] The vinyl was pressed at Memphis Record Pressing.
All tracks are written by Keigo Oyamada, except where noted
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Mic Check" | 3:01 | |
2. | "The Micro Disneycal World Tour" | 3:37 | |
3. | "New Music Machine" | 3:53 | |
4. | "Clash" | 5:37 | |
5. | "Count Five or Six" | 3:03 | |
6. | "Magoo Opening" (originally titled "Monkey") | Dennis Farnon | 2:08 |
7. | "Star Fruits Surf Rider" | 5:42 | |
8. | "Chapter 8 – Seashore and Horizon –" |
| 3:25 |
9. | "Free Fall" | 4:07 | |
10. | "2010" | 2:04 | |
11. | "God Only Knows" | 7:39 | |
12. | "Thank You for the Music" | 4:53 | |
13. | "Fantasma" | 0:55 | |
Total length: | 50:04 |
No. | Title | Length |
---|---|---|
14. | "Untitled track" | 16:48 |
In this hidden track, Eye of Boredoms introduces songs by three acts on his label Shock City (all of which either include him or are pseudonyms), which then play, with each one segueing into the next. In order, they are "Super Nature" by Sound Hero, "Best Brain" by Free Brain, and "Rock Fantastictac" by DJ Question; all of them only appear on this release. The preceding title track on this edition has seven minutes of silence added to the end, for a total length of 7:56.
No. | Title | Length |
---|---|---|
14. | "Fantasma Spot" | 4:40 |
15. | "Fantasma" (alternate version) | 0:58 |
16. | "Chapter 8 – Seashore and Horizon –" (demo) | 2:59 |
17. | "Typewrite Lesson" (demo) | 12:23 |
Total length: | 71:04 |
No. | Title | Length |
---|---|---|
1. | "Taylor" | 2:51 |
2. | "The Fight" | 1:56 |
3. | "Lazy" | 5:25 |
4. | "Ball in Kick Off" | 5:18 |
5. | "Typewrite Lesson" | 5:46 |
6. | "The Micro Disneycal World Tour" (High Llamas remix) | 5:53 |
7. | "Clash" (The Pastels remix) | 5:41 |
8. | "Count 5, 6, 7, 8" (Yasuharu Konishi remix) | 4:00 |
9. | "Star Fruits Surf Rider" (Damon Albarn remix) | 3:19 |
10. | "E1/2" (at Glastonbury Festival 1999/06/17) | 2:42 |
11. | "Lazy" (BBC live version) | 5:46 |
12. | "Ball in Kick Off" (BBC live version) | 4:57 |
13. | "Chapter 8 – Seashore and Horizon –" (demo) | 2:59 |
14. | "Fantasma Spot" | 4:10 |
15. | "Fantasma" (alternate version) | 0:55 |
16. | "Fantasma Spot B" (by Hibiki Tokiwa) | 2:46 |
Total length: | 64:24 |
No. | Title | Length |
---|---|---|
1. | "Opening" (live at Budokan) | |
2. | "Mic Check" (live at Budokan) | |
3. | "The Micro Disneycal World Tour" (live at Budokan) | |
4. | "New Music Machine" (live at Budokan) | |
5. | "Clash" (live at Budokan) | |
6. | "Star Fruits Surf Rider" (live at Budokan) | |
7. | "Free Fall" (live at Budokan) | |
8. | "Opening" (from EUS ) | |
9. | "Count Five or Six" (from EUS) | |
10. | "E" (from EUS) | |
11. | "Ape Shall Never Kill Ape" (from EUS) | |
12. | "Star Fruits Surf Rider" (from EUS) | |
13. | "Fantasma TV Spot" (from EUS) |
No. | Title | Length |
---|---|---|
14. | "Taylor" | 2:52 |
15. | "Lazy" | 5:25 |
16. | "Ball in Kick Off" | 5:19 |
17. | "Typewrite Lesson" | 5:46 |
Total length: | 69:26 |
Credits are adapted from the album's liner notes. [11]
Musicians
Production
Design
Chart (1997–1998) | Peak position |
---|---|
Japanese Albums (Oricon) [4] | 6 |
UK Independent Albums (OCC) [6] | 37 |
Shibuya-kei is a microgenre of pop music or a general aesthetic that flourished in Japan in the mid-to-late 1990s. The music genre is distinguished by a "cut-and-paste" approach that was inspired by the kitsch, fusion, and artifice from certain music styles of the past. The most common reference points were 1960s culture and Western pop music, especially the work of Burt Bacharach, Brian Wilson, Phil Spector, and Serge Gainsbourg.
Keigo Oyamada, also known by his moniker Cornelius, is a Japanese musician and producer who co-founded Flipper's Guitar, an influential Shibuya-kei band, and subsequently embarked on a solo career. In 1997, he released the album Fantasma, which landed him praise from American music critics, who called him a "modern-day Brian Wilson" or the "Japanese Beck". In 2007, Rolling Stone Japan named two of Oyamada's albums amongst the "100 Greatest Japanese Rock Albums of All Time", with Fantasma ranking in 10th place and Camera Talk by Flipper's Guitar ranking in 35th place.
Flipper's Guitar (フリッパーズ・ギター) were a Tokyo-based rock band led by Keigo Oyamada and Kenji Ozawa. The band were influenced by the chirpy sound of British 80s pop and post-punk groups like Haircut 100, Exhibit B, Orange Juice, The Style Council and Aztec Camera, as well as the fashionably eclectic sounds of early 90s Britain, from alternative dance to acid jazz.
Mari Hiki, better known by her stage name Kahimi Karie, is a Japanese singer, songwriter and photographer. Her music is closely associated with the Shibuya-kei aesthetic. Karie sings in English, French and Japanese, among other languages.
"Little Pad" is a song by the American rock band the Beach Boys from their 1967 album Smiley Smile. It was written by Brian Wilson and its working title had been "Hawaiian Song". On the track, the group sings in unison about wanting a "little pad in Hawaii" while accompanied by a Hawaiian guitar, an organ, and clip-clop percussion.
Sensuous is the fifth studio album by Japanese musician Cornelius. It was released on October 25, 2006, by Warner Music Japan. In the United States, the album was released on August 24, 2007, by Everloving Records. Sensuous peaked at number eight on the Oricon Albums Chart.
Holidays in the Sun is the debut EP by Japanese musician Cornelius. It was released on September 10, 1993 by Trattoria Records. The EP peaked at number 13 on the Oricon Albums Chart.
96/69 is the first remix album by Japanese musician Cornelius. It was released on June 9, 1996 by Trattoria Records. The album is a companion to Cornelius' second studio album 69/96, which was released the previous year. 96/69 peaked at number six on the Oricon Albums Chart.
Happy End of the World (ハッピー・エンド・オブ・ザ・ワールド) is the tenth studio album by Japanese pop band Pizzicato Five. The album was released on June 21, 1997, by Readymade Records. In the United States, it was released by Matador Records on September 9, 1997, and peaked at number 32 on Billboard's Heatseekers Albums chart. A companion remix album, Happy End of You, was released in 1998. Happy End of the World was reissued by Readymade on March 31, 2006.
Fun 9 is the fourth studio album by Japanese musician Takako Minekawa. It was released on July 7, 1999 by Polystar. The album was released on November 16, 1999 in the United States by Emperor Norton Records.
69/96 is the second studio album by Japanese musician Cornelius. It was released on November 1, 1995 by Trattoria Records. The album peaked at number three on the Oricon Albums Chart. A remix album titled 96/69 was released the following year.
Point is the fourth studio album by Japanese musician Cornelius. It was released in Japan on October 24, 2001, by Trattoria Records, and in the United States on January 22, 2002, by Matador Records. Point peaked at number four on the Oricon Albums Chart. The album was reissued on CD by Warner Music Japan in 2019 with a second disc containing the Five Point One music video collection.
The First Question Award (ザ・ファースト・クエスチョン・アワード) is the debut solo studio album by Japanese musician Cornelius. It was released on February 25, 1994 by Trattoria Records.
This Year's Girl (女性上位時代) is the fifth studio album by Japanese pop band Pizzicato Five. It was released on September 1, 1991 by the Nippon Columbia imprint Seven Gods, serving as the band's first album for Nippon Columbia. This Year's Girl is the first Pizzicato Five album to feature Maki Nomiya as lead vocalist. On the album, the band augmented their Shibuya-kei sound with elements of alternative dance and began to more fully incorporate sampling into their music.
Aira Mitsuki (アイラミツキ) is a Japanese singer. She debuted on August 8, 2007 with "Colorful Tokyo Sounds No. 9" and released her debut album, Copy on September 3, 2008.
Halcali Bacon (ハルカリベーコン) is the first album released by Halcali. It reached number five on the Oricon chart in Japan, and stayed on the chart for 21 weeks, making it the first album by a female hip-hop artist to enter the top ten in Japanese history. Halcali's debut album featured many well-known Japanese hiphop producers as guests, as well. Drowned in Sound's Samual Rosean, in a 2018 article on Shibuya-kei, a micro-genre of Japanese pop combining very different styles, noted that in 2003 it was a "prominent release", alongside releases by Plus-Tech Squeeze Box and Bo En.
Bossa Nova 2001 (ボサ・ノヴァ2001) is the seventh studio album by Japanese pop band Pizzicato Five. It was released on June 1, 1993 by the Nippon Columbia imprint Triad. The band co-produced the album with acquaintance and fellow Shibuya-kei artist Cornelius. Following the house music-oriented Sweet Pizzicato Five the previous year, Bossa Nova 2001 signaled a return to the band's 1960s and 1970s-influenced pop style, mixed with elements of alternative dance.
Mellow Waves is the sixth studio album by Japanese musician Cornelius. It was released on June 28, 2017 by Warner Music Japan. The album received generally positive reviews from music critics, and it reached the top ten of the Oricon Albums Chart in Japan and the Billboard World Albums chart in the United States.
"Anata o Tamotsu Mono" is a song recorded by Japanese singer Maaya Sakamoto and Japanese musician Cornelius. It was released as a double A-side single alongside the song "Mada Ugoku" by FlyingDog on June 17, 2015. It was written by Shintaro Sakamoto of the band Yura Yura Teikoku and composed by Cornelius, who produced and arranged the track as well as playing all the music. The song served as the opening theme to the Tokyo MX anime Ghost in the Shell: Arise – Alternative Architecture.
Metafive was a Japanese band that consisted of Yukihiro Takahashi, Keigo Oyamada, Yoshinori Sunahara, Towa Tei, Tomohiko Gondo, and Leo Imai.
{{cite AV media notes}}
: CS1 maint: others in cite AV media (notes) (link)Bibliography