Midori, a Japanese band fronted by vocalist Mariko Goto,
after a couple of cassettes released
the 8-song EP Shimizu (2007) that contains a spastic interpretation of
Love is Sad has screamed female vocals over jazz piano and general cacophony,
the insane singalong and rave-up of Ezoshika Dance recalls Melt-Banana during a crisis of stylistic confusion,
Romantic Summer Mode is a sort of infernal bluegrass breakdown,
and the singer sounds like a little child singing a nursery rhyme in The Dog Runs only to become a nightclub singer in the slow romantic ballad that closes the album, Goodbye.
Hello Everyone Nice to Meet You We are Midori (Sony, 2008), aka Aratamemashite Hajimemashite Midori Desu,
is a merry-go-round of vicious musical jokes.
Yukiko-san opens with a sort of circus frenzy while the singer alternates feral shrieks and nursery rhymes.
Kanashii Hibi/ Sad Days is typical of their
demented skits with bursts of psychotic angst.
One moment they are intoning
the children's singalong Konjo Nashi Atashi Aho Boke Kasu/ The Fool Grows Senile, It Isn't Her Spirit, which sounds like a twisted revision of Old MacDonald Had a Farm,
and next they are indulging in the
twisted lounge ballad 5 Hyoshi/ Five Rhythms.
There is even a lot to dance to:
the drunk jump blues Chiharu no Koi/ Power Spring of Love,
the feverish Caribbean orgy Himitsu no Futari/ Two Peoples' Secret and
the witchy charleston dance Osaru/ Monkey,
with a peak of glorious insanity in the manic pounding of Howling Jigoku/ Howling Hell.
The album ends with the instrumental blues-jazz-psychedelic jam Muyoku no Muryoku/ Powerlessness of Disinterestedness which removes the (intentionally) silly persona of the singer and replaces it with visceral impetus.
Their last album,
Shinsekai/ New World (2010), contains
the childishly manic Rhythm (the standout),
the ebullient Meka,
the grotesquely disjointed jump blues I Need the Guitar,
the comically epileptic punk-jazz fit Bonyo vs Boyo,
their attempt at coining grindcore-pop, Sayonara Perfect World.
There are cute and sometimes spectacular refrains everywhere, from
the effervescent Caribbean jazz-rock of Speed Beat to
the otherwise incoherent Two People on the Tower.
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