INDEX
A Reverence for Western Music and Its Reinvention
Looking at the roster of artists and the stylistic choices on Prema, it becomes clear that this album was created as a kind of culmination of Fujii Kaze’s recent activities.
The opening track “Casket Girl”, produced by Rob Bisel, features numerous musicians from English-speaking countries, resulting in a polished pop number that can feel almost impeccably orderly. Of particular interest is the participation of DURAN on guitar. His rock-influenced approach helps shape a welcoming and accessible opening track for listeners.
“I Need U Back” evokes the full energy of late 1980s New Jack Swing, pairing passionate vocals that capture the frenzy of disco with a gritty, urban sound. The track’s distinctive texture comes from the work of French electronic music producer Breakbot, who is signed to Ed Banger Records, the label founded by Pedro Winter, also known as Daft Punk’s manager. His touch on guitar, bass, and synth helps sharpen the overall direction of the album.
The overall direction of the album is likely guided by a single concept: to carefully unpack and deconstruct Fujii Kaze’s layered reverence for Western music, arranging it as faithfully as possible to its roots while updating it with contemporary resources and collaborators. In a long interview featured in the October 2025 issue of MUSICA, he explains, “From the start, I wanted this album to openly show the inspiration I drew from classic songs of the 1970s, 1980s, and 1990s without hiding it.”
This concept is likely possible precisely because Fujii Kaze, as a musician from Asia, a region historically positioned at the periphery, has long absorbed and admired the “golden age” of Western music.
The title track “Prema” carries this concept forward. Its relatively simple, firm hip-hop beat is complemented by jazzy bass and piano, creating a distinctive groove that feels effortlessly engaging. In the liner notes by Reiko Yukawa, included with the album, it is revealed that the love expressed in “Prema” is directed toward a higher-dimensional self, a soul at a transcendent level. This is the love of the song, the essence of divinity itself. The track’s spirituality, somewhat detached from a traditional Japanese sensibility, gives it a texture that differs from a straightforward love song.
