A varied jazz-pop soundtrack to life.
The ex-Cymbals singer-songwriter Toki Asako is known for her easygoing vocal style and jazzy covers of famous songs. Her latest release is her first original album in two years, and has been written as the "soundtrack to busy a woman's life". Bittersweet will be released on 29th July.
Coming from a jazz background - her father was a saxophonist - it's not surprising that Toki has woven this musical style into Bittersweet. It starts with the jazz funk C'EST LA VIE ~Onna wa ai ni isogashii~. This groovy, upbeat song makes for a lively opener with it's dreamy vocals, and her sweet repetitions of "C'est la vie" cement it into the memory. The understated rhythmic bass, courtesy of jazz musician Mafune Katsuhiro, really elevates this track.
The funk bass carries over into BOY FROM Setagaya, but here gives it a disco twist, especially with the uber-catchy "sayonara boy" hook. Credit is also due to it's quietly chirpy, pop chorus - Toki's delicate, staccato vocals are perfectly supported by a nice and light keyboard arrangement, courtesy of Watanabe Shunsuke of Schroeder-Headz, composer and and arranger of most of the album's songs. The result is a well-balanced pop song, with brightness contrasted with a little heartbreak.
Most tracks are more fusion rather than the straight-up jazz that Toki usually prefers, probably due in no small part to Watanabe's input. The stylish Sayonara 90s Girl is a slick concoction of synth-infused nu jazz and rhythm and blues. It follows a pentatonic scale, giving it an oriental edge without it being too obvious.
In contrast, the deep and dominant slap bass of LOVE SONG steers it in a chilled funk direction for a lazier, laid-back experience. Toki's surprising feistiness in Beautiful Day is accentuated by some nice bebop improvisation, and there's some cool keyboard and hammond organ interplay. These diverse tracks have great character and it sounds like the performers all enjoyed recording them.
There's some cute pop thrown in as well, which suits Toki's breathy voice in the higher register. In the effervescent SU SA MIN, the syllables trip perfectly off her tongue, while the clean percussion augments the song's carefree playfulness. A '60s soul diva takes over for the big number Don't let it go, a joyful and bold declaration, and also resignation, to love.
On the flipside, the exaggerated Chinese-style motifs that saturate Kung Fu Girl make it the most cringeworthy track of the album. The cheesy funk disco arrangement draws many parallels with a certain '70s song that also has "Kung Fu" in its title, making it more comic parody than female empowerment anthem.
The few slow pieces that made the cut lack the impact of the other tracks, although they allow a change of pace. Natsu no yokogao, a simple piano and string-driven ballad, is a bit too soppy. The gentle Ai no detarame is more successful with a pared-down, contemporary arrangement that lets the vocals do the storytelling. Kimi datta is even more stripped back, to create a smooth lounge track relying mainly on acoustic instruments. It's this style that suits Toki best, and she performs it with grace and subtle emotion.
As an album, Bittersweet lives up to its name: a hotchpotch of styles and moods. It's also a mixture of fantastic tracks and some that fall short. There's no doubting that Toki Asako is a talented artist however, and with the great musicians that have gathered around her, there are bound to be more imaginative creations around the corner.
