Deep Dive: Ayumi Hamasaki Part Twenty-Six (M(A)DE IN JAPAN)

    I really thought back in 2016 that Hamasaki was having a career resurgence that would have been legendary. The stage was set for a comeback. Her best-of release, A BEST, was killing download charts. Her cover of "Movin' On Without You" had been praised. She had been receiving some good press which... was rare for this time period. 

    Then came the promotions and roll out for her 17th studio album, M(A)DE IN JAPAN. And Hamasaki's comeback was DOA. Some promotion choices... were made. She pretty much surprised released it on a streaming service called AWA. Then a month later released it physically. Which probably hurt its chart potential. But still, I commend Hamasaki for trying new things to hype her releases up. And a stunt like this was on brand for the year 2016. 

    People weren't happy with the album covers either. They don't really reflect the title and are kinda bland. Especially considering Hamasaki had leaned all the way in, full throttle with Japanese culture on covers of remix albums. It probably would have been the right move for her to release a Wagakki Band-style of album around this time. 

    Instead we got what is M(A)DE IN JAPAN. So let's deep dive and talk about this music.

    So first up there's "Tasky" so yeah. Been there, done that, got the t-shirt. And that shirt would say "Tasky would have killed as a full-length track. Quote me."

    The first full-length track "FLOWER." Which I actually quite like. It has a good energy. It's Hamasaki doing what Hamasaki does. I wish she had kept the traditional instrumental vibe going through the whole album. The style suits her so well. And Hamasaki's vocals during the performance were a big surprise during the first listen. She's angry. She's yelling. She's giving us tiger-vibes.

    "Mad World" is also another hot one. The drums and guitar before the first verse hit so very hard. It's pleasing to the ears.  Hamasaki has songs similar to this one, but it's a good song that shakes things up every verse like with the added strings in the second one. Hamasaki sounds good herself also! Though we have completely abandoned the Japan concept here. 

    Though I guess you could argue that this is a song that only Japan could make? You don't hear melodies like these in the West. Though I swear when she first announced the title that it would have more of a traditional vibe and pay homage to that side of Japanese culture. Which would have been so cool of Hamasaki to do. It would have been the comeback she needed.

    

    Then we get "Breakdown." Classic Hamasaki. If it had some traditional Japanese instruments on it, I would have probably been in love. Otherwise, it's a little bland and predictable. 

    "Survivor" is more of the same. Again, some risk would have been really appreciated here. Though I do like the chants. It's not bad by any means. It's just missing that extra 10%.

    "You Are the Only One" has an interesting opening that sets a nifty tone for it. Kinda foreboding. Again, Hamasaki has other songs like this one. It doesn't really add or take away anything from the Hamasaki canon. Her vocals on the chorus are so relaxing though. It kinda takes me back to RAINBOW in 2002. It's got that dreamy, rainy vibe. 

    "Today" is also more of the same. Variation. It would be nice. I like paprika, but I would be bored of it at every meal. Hamasaki and her team have no idea how to drive her sound forward or tweak it to make it interesting. Or what era of sound to throwback to for nostalgia's sake. 

    Then we get some acoustic-ness with "Mr. Darling." God. How I wish they had stuck to the traditional instrument concept. It was where the album was most exciting and refreshing. I'm not sure when Hamasaki decided to stop leaning fully and confidently into concepts, but I wish someone would show her how again. She's such a brilliant pop artist that it's a shame her albums have the same formula repeated over and over again. 

    "Summer Love" is the club bop that saved us from the middle-section of the album. She always knows how to make interesting summer songs. And we are getting down here. We are living life to the fullest. 

    Then we get a cover of globe's "Many Classic Moments" that continues the club sound from "Summer Love." Hamasaki has covered many Komuro creations. Which seems to be one of his many trademarks as many artists he produces for has covered other songs. This one is classic Komuro again. Hamasaki and Komuro always seem to do pretty well together. 

    Overall, it's business as usual for Hamasaki on M(A)DE IN JAPAN. The formula is the same as always. If Hamasaki would have committed to the concept and not shied away from it. My gosh. It would have been a memorable instant classic. I wonder how it would have changed her career to have a critically acclaimed album at this point. I guess we will never know.

Rank: C Rank

Recommendation: for that Ayu playlist.

Standouts:

    FLOWER

    Mad World

    Summer Love