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From Underground Influence to Grammy Recognition: Hosono Haruomi’s Expanding Global Reach
The 2018 reissue of HOSONO HOUSE—alongside four other Haruomi Hosono albums—found its home with Light In The Attic, a label bridging Seattle and Los Angeles, a fact that speaks volumes.
This is the same label that kicked off its Japan Archival Series with Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973 (2017), a compilation featuring Hosono’s Boku wa Chotto. Through this series, Light In The Attic has been a driving force in the global rediscovery of city pop and environmental music, reigniting appreciation for Japan’s vintage folk-rock legacy.
Yosuke Kitazawa, the producer responsible for these releases, was raised in California by Japanese parents and has played a pivotal “hub” role in introducing Japanese music, particularly Hosono’s works, to global audiences.
Later, he co-founded Temporal Drift, a label dedicated to reissuing Japanese music while also producing albums for contemporary Japanese artists like Yuma Abe and Takuro Okada (both of whom contributed to HOSONO HOUSE COVERS). Through his efforts, he continues to connect the indie music scenes of Japan and the West.
Given this context, it’s no surprise that Stones Throw Records, another influential LA-based label, became deeply involved in the creation of HOSONO HOUSE COVERS, with many of its artists joining the project.
The 2018 international reissues of Hosono’s albums, including HOSONO HOUSE, were paired with a surge of English-language coverage, which played a key role in amplifying the album’s recognition.
Once beloved by a niche group of hipsters, HOSONO HOUSE began to expand its reach in the wake of this attention. With the success of Hosono’s 2019 U.S. tour and its warm reception, the album became firmly established as a new “standard” for a fresh wave of creators and listeners.
A perfect embodiment of this shift can be found in Harry Styles’ 2022 album Harry’s House, which won both “Album of the Year” and “Best Pop Vocal Album” at the 65th Annual Grammy Awards. Styles openly discussed how the album’s title was directly inspired by HOSONO HOUSE and how Hosono’s work served as a major influence during the creative process, a detail that many fans are now familiar with.
Alongside these developments, Hosono’s influence and the popularity of HOSONO HOUSE have transcended American and British artists, spreading across diverse musical landscapes and regions. This is evident in the inclusion of Korean indie band SE SO NEON and the French-born (now LA-based) Pearl & the Oysters in the cover compilation.
Both bands take fresh approaches to the songs—SE SO NEON offers a lo-fi reinterpretation of “Party” with a minimalist arrangement inspired by the original “Rock A Bye My Baby,” while Pearl & the Oysters reimagine “Koi wa Momoiro” through a sophisticated, bedroom pop lens. Both show a deep, thoughtful engagement with the music, moving beyond the typical folk-rock interpretations to truly absorb and reflect the essence of the songs.
Based on feedback from platforms like Discogs and Rate Your Music, it’s evident that HOSONO HOUSE has captured the attention of a diverse group of listeners. While it may not make waves on the charts or in mainstream media, there is undoubtedly a much broader and more dedicated following for the album.
