Decoding the rhythms of innovation: a decade with Tricot’s T H E.
From the dynamic surge of “POOL” to the contemplative echoes of “artsick,” dive into an in-depth exploration of how this Kyoto-based band defined their own genre of math rock.
Celebrating a decade since their groundbreaking debut, Tricot's T H E remains a testament to their unique place in math rock, a genre characterized by its complex, irregular time signatures and intricate, interlocking melodies. Originating from Kyoto, Japan, Tricot infuses their math-rock prowess with an emo tinge, all presented with a clean, youthful, and relaxed aesthetic. The core trio, consisting of Ikkyu on vocals and guitar, Motifour on guitar, and Hirohiro on bass, demonstrates an exceptional tightness in their performance. After Komaki, the drummer on T H E, left in 2014, they struggled to find a musician who could match their creativity, and eventually adopted Yuusuke Yoshida as their permanent drummer.
T H E opens with "pool side," a track that deceives listeners with its calm before launching into the audacious musical journey that defines the album. This track sets the stage for the livehouse experience, complete with the ambient, pleasant sounds of tuning instruments by playing arpeggios and some dispersed riffs, hinting at the explosive energy and melodies to come. The transition into "POOL" is a revelation, showcasing Tricot's dynamic range and their ability to blend chaos with harmony. The track opens with irresistibly catchy guitar melodies that immediately draw attention. But it's not just the guitars that make a statement—the drums erupt into the mix with dynamic ferocity, setting a blistering pace that defines the energy of the entire album.
The dialogue-like interplay between the drums and guitars is a highlight of "POOL." While the drums are in quintessential math rock style, the guitars don't shy away from the limelight, creating a bewildering yet compelling dynamic that becomes a signature throughout the album. After the initial 20-second whirlwind, Ikkyu’s pristine vocals shine through, offering a striking contrast to the instrumental intensity.
The bridge of the song revisits the initial chaos, followed by a mini guitar solo that's vividly colored by the drums. Here, the drums refuse to remain in the background, ramping up to match the guitar's intensity, very much like in jazz. An unsung hero of "POOL" is the bass line, expertly handled by Hirohiro. This bass line acts as the crucial glue, holding together a track that’s bursting with energy and complexity.
The song then transitions into a more mellow pre-chorus, setting the stage for the expected escalation. True to form, the latter part of "POOL" is a culmination of all its elements—the pounding drums, the driving guitars, and stellar vocal performances by Nakajima and the backing vocalists, including Hirohiro and second guitarist Motifour. This section is a masterful blend of intensity and musicality, showcasing the band's ability to balance chaos with coherence.
The album continues to impress with its genre-spanning prowess. "Tobe" stands out with its hardcore punk beginnings and emotive chorus, highlighting Tricot's songwriting skills. Meanwhile, "Omotenashi" melds progressive death metal riffs with a chorus that nods to early Sheena Ringo, maintaining a perfect flow and showcasing the band's versatile talents.
In "artsick," Tricot reveals their softer, more introspective side, creating a striking contrast to the earlier high-energy tracks while fitting seamlessly within the album's narrative. This song shows Tricot's emotional depth, with Ikkyu’s vocals guiding the transition from a mellow tune to a powerful resolution. The lyrics, “trying not to be impacted by the impulses / I always ran away” to “covering up the traps of impulses / I always blend in,” exemplify this journey from avoidance to acceptance, showcasing a nuanced understanding of human emotions. In this track, the instruments take a backseat, allowing the reverb-laden vocals to create an ethereal aura, unleashing a surge of emotions rarely heard in math rock.
"Ochansensu-su" emerges as a concert favorite, mesmerizing audiences with its ever-changing time signatures. From the initial 9/8+6/4 rhythm, where the audience often waves their hands during the 6/4 measure, to the complexities of 7/4, 3/4, and 6/8, Tricot exhibits mastery over intricate rhythms, a hallmark of math rock. This track is a testament to their skill in navigating complex musical terrains with ease.
“Hatsumimi” and “99.974℃” feature extremely versatile instrument performance for guitars, drums, and bass, and Ikkyu delivers an eclectic, dynamic vocal as always. This time, rather than a gradual emotional build-up, Tricot uses great energy to explode from quiet to loud, sometimes with a punk-ish vibe.
"Tarattaratta" was a track that I immediately connected with. This track is a masterclass in musical evolution, where a simple 7-beat guitar riff motif unfolds into a complex, multi-layered composition. It's a prime example of Tricot's ability to evolve basic motifs into grand, emotive statements.
As T H E concludes with "Oyasumi," it feels like a gentle descent from the rhythmic storm that preceded it. The album doesn't merely end; it completes a journey, leaving an indelible mark and an irresistible urge to delve back into its depths for repeated listening experiences. This album is not just a collection of songs—it's a narrative, a journey through the myriad facets of Tricot's musical prowess, from their explosive energy to their introspective calm.
Tricot is a band that embodies the ethos of being chosen by their genre rather than choosing it. Their relationship with math rock is one of organic evolution rather than deliberate pursuit. As the band members themselves said, “the members are not familiar with math rock and such harmonization is not created on purpose.” Doing math by talent instead of calculation, they invent their own distinct sound.
The production style on T H E is refreshingly straightforward, eschewing extravagance for a more unadorned approach. This production emphasizes a raw, non-resonant tone that gives an amateur, almost college-band-like vibe to their music. This choice is a significant departure from the maximalist bands like The Fall of Troy. It could be seen as controversial, but in the realm of Tricot's work, it adds a unique flavor that sets them apart. The focus is on the music itself, its rhythmic complexities, and the emotive power of the vocals, rather than on layers of production. Don’t be worried, though—over time, Tricot has become increasingly playful with their production choices. This evolution is vividly showcased in their latest album, Fudeki. Here, they venture further into more experimental territory, pushing the boundaries of their sound with playful production techniques.
So, here's to Tricot—may their next decade be as innovative, impactful, and inspiring as their first. Their music is more than just sound; it's a narrative that resonates, a rhythmic heartbeat that continues to evolve and captivate. Let's keep listening, for in the world of Tricot, there's always something new to discover, a new rhythm to experience, and a new story to be told. And let us all pray for their long-awaited return to Chicago, where fans eagerly await their second electrifying performance.
edited by Paulina DePaulo.
album artwork believed to belong to either the publisher of the work or the artist.