Customer Reviews

Obscure Alternatives

5 star:		(2)
4 star:		(2)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

Japan's debut album was an earnest but fairly weak glam record, showing some personality but lacking in originality and songwriting. One would fear that they'd fall into a sophomore slump from an already low point, particularly considering that their followup was released in the same year as the debut, but what a difference a few months can make. It could be that they had more confidence in what they were doing, it could be that their relative success had given them a bit of levity with the label, or it could be that songwriter/vocalist/guitarist David Sylvian had developed quite a bit. Regardless of what the reason, "Obscure Alternatives" is a much more satisfying listen than their debut album.

SO what makes this better? Certainly, the songwriting is improved, with Sylvian tackling everything from the sort of straightahead glam he did on the debut ("Automatic Gun", "Sometimes I Feel So Low") to reggae-inspired new wave ("... Rhodesia") to minimalist, moody instrumentals ("The Tenant"). Certainly the title track, uncategorizable musically, while still a far cry from what was to come, is odd, original, and unique. Or it could be the beginnings of development of the later Japan sound-- drummer Steve Jansen is still a lot busier than he would be in the future, but his work is starting to show a sense of subtlety and taste. Or it could be the emergence of Mick Karn, with his bass mixed way up front and his playing beginning to develop the watery feel he would become renowned for. Honestly, I suspect it's a little of all of these, and while some of the tracks have that sort of lifelessness to them ("Suburban Berlin"), by and large, its a good effort.

Fans are encouraged to check out the UK reissue of this album-- it features much improved sound and as a bonus the long out of print "Live in Japan" EP, making it an exceptional value.

Japan's debut album was an earnest but fairly weak glam record, showing some personality but lacking in originality and songwriting. One would fear that they'd fall into a sophomore slump from an already low point, particularly considering that their followup was released in the same year as the debut, but what a difference a few months can make. It could be that they had more confidence in what they were doing, it could be that their relative success had given them a bit of levity with the label, or it could be that songwriter/vocalist/guitarist David Sylvian had developed quite a bit. Regardless of what the reason, "Obscure Alternatives" is a much more satisfying listen than their debut album.

SO what makes this better? Certainly, the songwriting is improved, with Sylvian tackling everything from the sort of straightahead glam he did on the debut ("Automatic Gun", "Sometimes I Feel So Low") to reggae-inspired new wave ("... Rhodesia") to minimalist, moody instrumentals ("The Tenant"). Certainly the title track, uncategorizable musically, while still a far cry from what was to come, is odd, original, and unique. Or it could be the beginnings of development of the later Japan sound-- drummer Steve Jansen is still a lot busier than he would be in the future, but his work is starting to show a sense of subtlety and taste. Or it could be the emergence of Mick Karn, with his bass mixed way up front and his playing beginning to develop the watery feel he would become renowned for. Honestly, I suspect it's a little of all of these, and while some of the tracks have that sort of lifelessness to them ("Suburban Berlin"), by and large, its a good effort.

This reissue includes expanded artwork and finds the CD housed in a digipack with a new liner notes essay by longtime fan Paul Rymer. Additionally, it is augmented by the long out of print "Live in Tokyo" EP. Originally released in 1980, its inclusion here is somewhat curious given that it was released after "Quiet Life", although three of the four tracks are from this record. It's interesting to hear just how far the material has come, in particular "Obscure Alternatives". Additionally, the video for "Sometimes I Feel So Low" is included on the data portion of this release. The material is all remastered and the record sounds superb-- I found the old Japan reissues to be a bit muddy and flat, this is drastically improved-- crisp, clear, and neither overly hot nor overly bright. "The Tenant" in particular benefits, it sounds superb.

All in all, a decent package and a reasonable album. Still not nearly the heights the band would scale to in the future, but well worth the investement for fans.

On Obscure Alternatives, Japan had not yet matured into the great band that recorded Tin Drum, by far their best record, but the seeds are in place. Even at this stage , Mick Karn's bass playing, though not yet fully evolved into his famous fretless style, is still creative and captivating. David Sylvian's vocals owe more to Ziggy era Bowie than Bryan Ferry on this album. The guitar is more in the mix and funky than it would be in the later band, which completely did away with it by Tin Drum. Somehow this group's albums never sound dated, aging much better than similar bands from this era. Obscure Alternatives is not a bad artifact from an emerging band.

Before Japan found their more recognizable smooth new romantic sound ala: `Quiet Life' they released this interesting little gem. Now if your musical tastes run to Punk tinged/Metal/Reggae Rock then you should enjoy this unusual record. I say unusual because you probably won't find another record out there that bears much comparison. Which is I think a good thing although I think that you'll probably either love this album or hate it. It has a uniquely gritty sound to it which suits the metallic tinged reggae riffs that permeate much of the album. `Sometimes I feel so low' was released as a single and has a great hook that grabs you're attention from the get go with Mr. Sylvians singing taking on a rougher edge that later Japan offerings. `Love is Infectious' has a very catchy hook (fortunately or unfortunately), depending on how you look at it whilst `Suburban Berlin' and `Obscure Alternatives' both slow things down somewhat. Now there are some comparisons to be made ala Bowie, Roxy Music but I think that undervalues this very unique album which grooves along in a style all its own. The album sleeve actually seems to fit the music you'll hear inside and don't go doubting the musicianship on display here. All top notch. This was one of my top 5 favorite albums back in the late 70's and I gave it a lot of airplay. If you ever wondered what was going on back in 78' aside from Punk Rock you could do worse than check this album out.

A thoroughly inbetween album, "Obscure Alternatives" shows the transition the band was making from its trash-rock roots (see "Adolescent Sex") to its haute couture future (see "Quiet Life")and doesn't succeed at being anywhere near as good as either. The ersatz soul-funk that made the first album such a guilty pleasure has been replaced by steely rock guitars ("Automatic Gun") and voyeuristic, off-kilter pop that ineffectively steals from new wave ("Love is Infectious"), Bowie ("Suburban Berlin") and even reggae! ("...Rhodesia") As usual, the musicianship and arrangements are superb but this is the sound of an unhappy and unsure band. The final track takes a slow piano coda from Erik Satie (something which would happen on the the next two albums to far better effect) and points the band to its future, but it doesn't rescue the overall collection from sounding forced and pouty. An obscure alternative indeed.

I bought this at the same time I bought the Police's first album in 1978. Better than the Police....Hell, I don't know cause I never had a huge thing for the Police but this is one of my favorite's from the new wave. I like the "distressed" hauntingly distant vocals and the subject matter in the lyrics. This was the non-commercial kind of new wave U rarely heard on the radio...not Devo, B-52's, or other pop-wave...not that they're bad. I'm not going to try and compare them to anyone in particular but my taste in music tends to be pretty edgy hard rock/metal/blues and phsychedelia and this album/disc still does it for me....

To mention this or any other Japan records in comparison to other groups of same "era" is a shame.

This band and most it's records are incomparable to others ....this is the band that Duran Duran...and many other late 70's early 80's band ripped off blind...they evolved into a "art" rock band...while some of the songs are a little shabby..the later stuff is for refined lovers of sublime "sythny art pop"..be brave.

This band was very popular among young girls in Japan.Because Japanese girls prefer good-looking guys to bad-looking guys.Sadly enough their unique musical style was ignored.This RHYTHM CONSCIOUS album had a mixture of so many ROCK STARS such
as DAVID BOWIE,ROXY MUSIC,STEVIE WONDER,KRAFT WERK. From that point,I must point out that this band did compose their songs through their aesthetic sense.Moreover,their attitude toward songwriting is so elastic.Despite the fact that they were good-looking guys,these intelligent guys are keen and talented enough to build their own musical model made up of so many musical ingredients.This album really had a great deal of substance.