Release Date: 2010.07.14

Re; Futurist Manifesto.

What? Upon first glance, this is not only the most random title I’ve ever heard for an album, it’s also an intriguing one. I mean, title promo track, “Goody Goody” (グッディグッディ) rings like a classy update answer to the massive outpour of lo-fi Terukado coffee shop productions and Nakata…stuff…, but it hardly rings like a truly futuristic track. Maybe a near future, at best, but nothing ground-shattering to the point of screaming at the top of your lungs. There’s a nice synth thing going on, some guitar added for a poppy flavor. The introductory, “Futurhythm” is a bit better in this aspect but it’s not enough. This isn’t manifesting itself in a way I love. Maybe it is in a different way, I would guess.

The original “Futurist Manifesto” was an early 20th century collection of so-called “avant-garde” principles that sparked the futurism movement in the world, essentially rejecting objects of the past and instead focusing on the speedy ahead, embracing technology, innovation, and modernization. It was both a sad demise the world behind and a joyous, if a bit big-headed, welcome to the world next. So basically, this is Sweet Vacation’s answer to the world ahead. How creative!

No really, I like it. It’s a nice approach and explanation behind the new songs presented, such as the amazing instrumental jazzy and super smooth “re-boot“, which should seriously win a Grammy in any way possible, taking Daft Punk influence to a new level and making it something new altogether. It certainly adds the spice here, because for the most part, “Re;Miraiha Sengen” (Re;未来派宣言) is so ambitious in it’s admirable attempt to beef up the the Daichi and May duo, that it falls slightly flat. That’s not to say there’s anything bad here, but the worst thing I found about this album is that they’re just clean-cut techno-pop and shibuya-kei tracks. No strings attached. I don’t know. It’s weird for me. It feels like this album has no soul. I mean, yeah, it’s an electro album, most won’t. But still…I’m not getting much feeling from it. May still sounds emotional though, from batshit hyper in “TOKYO DAYS” to quiet and sleepy. So maybe I’m just getting artificial readings here.

But that aside, this is a crafty piece of handiwork! This album is certainly their most cohesive effort to date. “Love Camera” (ラブカメラ ～セカイが恋するメッセージ～) is a housey, Japanese pop from the 80s-inspired funhouse, with peppiness galore. Songs like this along with the funky applause-rounding “Tic tac“, are beach and radio-ready as hell as can be, when it comes to J-tek. So at least it’s comforting to know the group has stayed true to their roots; the themes of their songs being “sweet” and “vacation”. “heaven’s discotheque” provides a satisfying, well-rounded end to a good album. As outro “Love Camera retweet” slows down from the rest of the album, maybe the concept behind this collective has ironically beat itself, as the past came back and stopped everything after all.

This isn’t incredibly perfect, but it’s a wonderful step in the right direction for this group, who has finally garnered my full attention for the first time. More please.

★★★★★☆