Fishmans: Lengthy Season Album Overview


The prospect of constructing an album with just one gargantuan music was a type of tossed-off feedback that appeared like a joke. However when Shinji Sato put forth the thought, he was following a trajectory that outlined his life: dream massive, and see it via to completion. Lengthy Season, the 1996 magnum opus of Japanese rock band Fishmans, was a radical proposition: take an present observe—the group’s six-minute single “Season”—and switch it right into a dreamlike suite that elevates their mild psych-pop to symphonic proportions. “Once we made [Something in the Air], I hated having every music separated from the subsequent,” Sato stated of their earlier full-length. “Why not simply make it one music?”

Now not sure by single-digit runtimes, the band crafted a document that was huge in scope however suffused with on a regular basis heat. A mesmerizing piano motif and rocksteady bassline set the inspiration whereas Sato’s shiny and guileless voice floats above. He sounds pleasant, like an affectionate drunk filling a room with constructive vitality, playfully stretching syllables and delivering them with easygoing attraction. When he doesn’t sing, the remainder of the instrumentation will get to breathe, broaden, and typically go haywire. Crucially, Lengthy Season doesn’t sound like a jam session; every passage is a self-contained world of sound that serves the drifting, daydream logic of the general piece.

Sato, Fishmans’ vocalist, guitarist, and charismatic chief, confirmed indicators of the kind of ambition and tenacity wanted to drag off a grand-scale mission like Lengthy Season from a younger age. He was already a recognized presence at Meiji Gakuin College’s Music Writes Membership when drummer Kin-ichi Motegi attended an occasion for brand new college students. Motegi was shocked: “From the second he began singing, [Sato] had an aura on one other degree.” Quickly, the 2 began jamming collectively, and in 1987 they began a band, joined finally by guitarist Kensuke Ojima, keyboardist Hakase-Solar, and bassist Yuzuru Kashiwabara.

Contemplating the sweeping art-pop of their best album, Fishmans had one thing of an inauspicious starting: They had been a reggae band. Japanese artists had been exploring reggae for greater than a decade by the early Nineties, however their vocalists had a extra skilled model than Sato’s scrappy and childlike supply. Fishmans’ debut, 1991’s Chappie, Don’t Cry, flopped commercially and critically, and a follow-up single, which doubled because the theme for a short-lived tv present, didn’t fare significantly better. One journalist accused the band of getting “no reggae soul.”

Early in his profession, Sato had written down his targets, lots of which concerned success within the music enterprise and his social life. He needed cash, he needed folks to listen to his songs, he needed recognition with ladies. After their debut LP and early singles didn’t make them stars, Sato and the remainder of the band started to lose their religion within the trade. Fishmans needed to decide: Would they concentrate on extra TV tie-ins to assist with gross sales, or pursue creative freedom? They agreed on the latter. Immediately, Sato had a brand new path in life. “I don’t need to make it massive,” he wrote in his journal. “Media interferes with inventive actions. There’s so much we must be doing within the Japanese music scene.”

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