Mogamigawa Tsukasa - Oku no utamichi

You could say that Mogamigawa Tsukasa's visual enka major debut MATSUPOIYO, released on June 10th, was rather successful, debuting at #9 on Oricon Weekly Enka Charts. Now, this artist, who at present is also drummer of visual rock band THE MICRO HEAD 4N'S, will release his first cover album Oku no utamichi on November 25th. The collection features songs of different decades from the Tohoku region.

The track with which it all began also starts Oku no utamichi: Tsukasa's own composition MATSUPOIYO. Subsequent to it is the first cover Boukyou jonkara, first recorded in 1985. The track only keeps its calm and mysterious tune during the first verse. Once drums and guitar join in, Boukyou jonkara turns into a rockier title.

The next song, Tsugara kaikyou fuyu keshiki (1976), with its winter theme, can best be described as old-fashioned and melancholic ballad, but the mood is uplifted by Kita sakaba (1982), which also featured as B-side on Tsukasa's debut single MATSUPOIYO. The ensuing Miso shiru no uta (1976), with its spoken parts, makes for a strong contrast. As the title suggests, it’s a song about miso soup. Composed by the late Nakayama Daisbarou, the track can be described as pretty leisurely and entertaining, especially when it comes to the vocal interpretation.

The sixth track of the album, ballad Michinoku hitori tabi (1980), rouses feelings of homesickness and heartache, due to the soft sounds of flute, acoustic and electric guitars. Endo Minoru's Kitaguni no haru (1977) is similar in style but not so heavy in atmospherics. The keyboard, which resembles a fisherman’s accordion, and the chords of the acoustic guitar are both extremely concise.

Tsugaru heiya (1984) can be defined as a leisurely ode to Tsukasa's home country due to its vocal parts. Once more, the keyboard plays a melancholic accordion melody, and an acoustic guitar also accompanies. The subsequent ballad-like Nanbu semishigure doesn't only play with the sounds of a flute, shamisen and guitars, but also with Tsukasa's vocals. The improvement in his vocals is especially noticeable here, effortlessly executing the pitch changes that lend drama to melody.

In enka, a beloved bride is a well-worn lyrical theme. Perhaps this is one reason Tsukasa chose to cover the emotional ballad Kita no hanayome (2003). Next up, the romantic love song Itoshiki hibi (1986) with its entertaining arrangement: entertaining because the dominant synthesizer melody and catchy guitar parts are more reminiscent of "conventional" pop music. The album’s penultimate offering is the soft and dreamy piano-driven ballad Hana wa saku (2012), with music written by none other than famous composer Kanno Yoko. Just as Oku no utamichi opened with major version of MATSUPOIYO, the collection ends with an English version of the track. Tsukasa evidently took much care in his pronunciation, and because of that, you can easily sing along to this rousing anthem.

When Mogamigawa Tsukasa revealed in his Interview with JaME that he would jump at the chance to cover more songs, it’s likely no one guessed a full cover album would materialize so soon after. Oku no utamichi offers an interesting cross-section of songs from a region that has suffered much in the recent past, as well as Mogamigawa Tsukasa in his new element. Enka newcomers and interested fans can risk an ear or two. Besides, many songs covered on this album haven't been heard on a cover album before.

The complete music video for MATSUPOIYO you can watch below: