An intellectually dense landscape of ambitious energy, Beck-like adventurous compositions and a multilayered fantasia full of beautiful complexity. That’s an accurate description of the first two albums from Japanese-American orchestral pop architect Kishi Bashi. As suggested by the detailed woven album sleeve – a South Korean piece of artwork depicting a golden Hades – the third release from the multi-instrumentalist is just as imaginative and mesmerising as its predecessors.
Just like Lghtlght from two years ago, Sonderlust has an intriguing fake word as its title, immediately introducing listeners to the playful mind of the 40-year-old violinist. Karou Ishibashi drew inspiration from an etymological project called The Dictionary of Obscure Sorrows by John Koenig, where new words were invented to describe a complicated emotion. Ishibashi extended the Koenig’s word Sonder, defined as the moment of self-realisation that everybody on God’s planet has a life just as intricate as their own. It’s a typically philsophical of Ishibashi and fitting word for how he felt when making the album. Surprisingly for a musician who gained a reputation for such uplifting, optimistic and larger-than-life music about the endless celestial possibilities of love and life – songs that motivated smiles upon every listen, he hit a period of depression. Dream-bursting heartbreak, confidence-draining writer’s block and crippling fatigue, Ishibashi lusted to feel this sonder.
Focusing less on poetic surrealism than before and more on impulsive emotion, the woe is evident in the lyrics. From “I’m drinking my soul away” (the obsessive I’ Can’t Let Go, Juno’) to “Unless we cut off our life and give them something to write” (semi-suicidal The Knife-esque ‘Ode To My Next Life’). There’s also another side to Kishi Bishi unleashed. On the Curtis Mayfield/Pond psychedelic soul ‘Who’d You Kill’, the usually sweet-hearted gentleman turns into John Grant in sly delivery and demanding lyrics: “One day I’ll make you mine, I’ll show you heaven it’s about time.”
‘Sonderlust’ successfully pairs distinguishable Kishi Bashi traits: psychedelic swirls of phasing and majestic loops, manipulated folk falsettos, fluttering strings, bouts of classical crossover, Patrick Watson-like stereo tricks and unexpected changes in pace/time signatures – with more drum machines and synthesizers, as well as a trend-following new interest in 1970’s music from soft rock to prog. From the Yellow Magic Orchestra’s ‘Computer Game-meets Herbie Mann’s ‘Superman’ (the bitpop disco track ‘Say Yeah’) to notable uses of Stevie Wonder’s inspired clavinet in a few tracks, ELO influenced ‘Hey Big Star’ and the harpsichord Pink Floyd vibe on the monarchical ‘Why Don’t You Answer Me?’ Another unexpected decision was Ishibashi giving up full production control this time by collaborating with Grizzly Bear’s Chris Taylor, possibly helping the musician bring out new sides to himself; hear Kishi Bishi’s answer to Pharrell Williams’ ‘Happy’ on ‘Honeybody’.
Although lyrically, it’s not as enthusiastically romantic as his previous works, musically Kishi Bashi still brings joy – like the name of his record label – stimulating wonder through his exciting and experiments into sound and more songs that irresistibly encourage a little body movement.
