How Kessoku Band redefined anime music.
A guide to contemporary J-rock, Bocchi the Rock’s album Kessoku Band brings anime music to a level beyond the screen.
It was winter 2023, as part of my regular routine at the anime club screening, I found myself greeted with the vibrant image of Hitori Gotou in a pink sports jersey, cradling a glossy black Gibson Les Paul, gazing back at us from the screen. Initially, I mused, "Ah, perhaps this is a spin-off of K-On!?" Yet, with time to spare and a casual curiosity, I decided to give the first episode of this anime a watch. Within mere minutes, I was utterly convinced, "this is indeed the standout anime of 2022." It was none other than Bocchi the Rock! the anime that sent shockwaves through the industry in 2022.
Little did I know, the final episode of the anime would leave fans around the globe in a state of profound "Bocchi loss." Not long after, the debut album of the fictional J-rock band Kessoku Band, centered around the protagonists, arrived on Christmas Eve. Bocchi the Rock! is a story about a band composed of four high school girls, and it unfolds in the so-called counterculture sanctuary of Shimokitazawa in Tokyo, known for its vibrant vintage stores and indie culture. The original manga reveals a fervent admiration for 2000s J-rock, epitomized by Shimokita-Kei bands like Asian Kung-Fu Generation. The author, a devotee of Asian Kung-Fu Generation, even borrows the surnames of its band members for her characters' names and references the band's song titles for the anime episodes' titles. The debut album of the Kessoku Band, much like its manga/anime counterparts, is deeply rooted in the context of 2000s J-rock.
In the creation of this album, the anime characters are brought to life through the voices of talented voice actors, who, while skilled in vocal performance, typically do not play instruments (sometimes they do). Consequently, the musical aspect of "the band members” roles is confined to singing, leaving the composition, arrangement, and instrumental performances to a cadre of highly skilled professionals. The staff in this album is extremely high profile for an anime music soundtrack. The arranger and lead guitarist is Ritsuo Mitsui, who is the guitarist of Lost in Time, a Shimokita-Kei band. The other guitarist is Akihito Suzuki, who is the producer of ONE OK ROCK, and the rest of the band is from School Food Punishment.
Choosing a rock band as the subject of an anime seems like a tricky choice, as some industry insiders in Japan claim we’re near “the end of rock.” Kessoku Band counters this by showcasing its energy. The opening track “Seishun Complex” opens by completely separating the rhythm guitar on the left channel and the lead guitar on the right channel. I love the stereo effect and this instantly sets the atmosphere up through loads of reverb and careful planning of synchronization, reminding me of Haze’s Enmu. “Guitar, Loneliness and Blue Planet” and “Rabusongu ga Utaenai” are very similar to the “Seishun Complex,” showing the band’s take on contemporary J-rock.
Kessoku Band emerges as a quintessential emblem of modern Japanese rock, encapsulating the essence of the genre by incorporating contributions from prominent bands active in today's J-rock scene. The track "Distortion," crafted by Maguro Taniguchi of KANA-BOON, epitomizes this synergy. It is a vibrant character anthem for the band's guitar/vocalist, mirroring her lively and spirited nature. This song seamlessly blends the group's animated essence with KANA-BOON's signature energetic rock vibe.
Equally noteworthy is "Karakara," orchestrated by Ikkyu Nakajima of Tricot. This track delves into the intricate realm of math rock, presenting a sound that is quintessentially Tricot: a complex, dynamic, and utterly mesmerizing auditory experience that resonates with the band's recent discography. The vocals for this song are provided by Saku Mizuno, who voices the anime's bassist, adding a layer of authenticity and depth to the character's portrayal through music. This song’s arrangement prowess is further highlighted by the bassline's ability to cohesively bind rhythmic patterns, enchanting guitar riffs, and vocals into a unified, compelling narrative. The time signature of the song starts with sequences of 5+5+5+6, followed by 5+5+5+6+4, and then transitioning into a captivating rhythm that drops a beat every 3 bars or 7 bars in a 4/8-time signature.
"Nani ga Warui," crafted by Yuuho Kitazawa of the peggies and sung by Sayumi Suzushiro who voiced the drummer in the band, introduces a different flavor to the album with its delightful power pop essence, further diversifying the musical journey Kessoku Band embarks upon. The album doesn't shy away from exploring a range of genres, as evidenced by "Ano Band," which ventures into the post-hardcore territory, and "Flashbacker," a track that embraces the lead guitarist’s gloomy and monochrome personality, nearing dream pop and shoegaze with its noisy distortion and reverb-heavy sound. Through this eclectic mix of genres, Kessoku Band not only pays homage to the rich landscape of contemporary Japanese rock but also carves out its own unique space within it. The project stands as a testament to the vibrant and diverse nature of modern J-rock, brought to life through the collaborative spirit of its contributing artists and their distinct musical influences.
Kessoku Band transcends the conventional boundaries of anime music, forging a new path that draws heavily on the talents and creativity of active J-rock musicians. This innovative approach is evident in the meticulous sound production for each instrument, showcasing a dedication to quality that sets it apart from predecessors like "K-On!" The anime's climax, featuring the "Seiza ni Naretara" performance, exemplifies this dedication. The performance employs an impromptu slide bottleneck technique in response to a broken guitar string, a moment that not only showcases the characters' musical adaptability but also pays homage to the funky city pop vibes.
The album concludes on a high note with an emotionally charged cover of Asian Kung-Fu Generation's “Korogaru Iwa, Kimi ni Asa ga Furu,” a song that serves as the backdrop to the anime's climactic final episode. This rendition is particularly noteworthy as it features the voice of Yoshino Aoyama, who voices the lead guitarist. Yoshino Aoyama's performance of this song is nothing short of remarkable. Although we can clearly hear that she’s not a veteran singer and the track is filled with tuning, her vocal delivery is imbued with an intensity and a sense of urgency that breathes new life into the lyrics, transforming the track into an anthem of youthful defiance and vulnerability. The character's reluctance to sing, juxtaposed with Aoyama's compelling rendition, adds a rich layer of narrative depth to the song, highlighting the character's growth and emotional journey throughout the series.
This album showcases a polished sound that is enhanced by numerous production techniques. The majority of the tracks, with the exception of numbers 8, 10, and 14, feature the vocal talents of Ikumi Hasegawa, who steps into the role of the vocalist/guitarist. Hasegawa's performance is characterized by her technical prowess and vocal clarity that might seem at odds with “high-school amateur” bands. However, this contrast should not be viewed as a detriment. In fact, it represents a refreshing departure from the norm, especially within anime, which often employs corporate streamlined music. Hasegawa's polished delivery adds a layer of professionalism and depth to the album, challenging preconceived notions about the quality of anime songs and proving that, there is room for exceptional vocal talent and high production values for anime music.
Kessoku Band sets a high bar for its narrative and compositional depth for all the upcoming anime soundtracks. While it shines as a beacon of musical storytelling, there's room for refinement, as noted in a handful of songs that don't quite reach the same heights. However, let’s wait for the second season, which will surely come out in the following years, and look for what Kessoku band has to offer us.
edited by Paulina DePaulo.
album artwork believed to belong to either the publisher of the work or the artist.