INDEX
Is This the Future of Japanese Pop Music?
Until now, Fujii Kaze has worked within the conventions of J-Pop, using his foundation in R&B while actively incorporating Japanese elements into his music. On this album, however, he appears to take a step back from that approach, pursuing a paradoxical goal: creating authentic “Western-style” music that is possible precisely because he is Japanese.
That this approach is being embraced without significant friction can be attributed in part to the evolving media environment brought on by the internet and changes in how music is consumed. The traditional distinctions between mainstream and alternative are losing their relevance, and after the reverse import of the city pop revival, the previously insular reference structures of J-Pop have been semi-forcibly updated.
Viewed in this light, the choice to use English lyrics and arrangements that pay homage to his sources of inspiration in ‘Prema’ no longer feels like a limitation. On the contrary, it functions as a springboard for lightly and effectively renewing the very nature of pop music in Japan.
Building on that, one figure deserving particular attention is 250 (Iogon), who produced every track on the album. Interestingly, 250’s involvement as producer came about somewhat by chance. In a television interview, Fujii Kaze explained that the primary reason for the collaboration was practical: production shifted to Asia due to wildfires in Los Angeles.
The track “Hachikō” in particular bears a strong imprint of 250’s sound. His approach, which favors bass music techniques over traditional chord progressions and makes extensive use of sampling, along with a multilingual perspective, effectively discards the rigid rules that have long governed J-Pop.
Additionally, the full participation of an artist known for producing NewJeans tracks may evoke a sense of continuity with K-Pop as “the latest wave of Asian pop music,” signaling to both domestic and international listeners that Fujii Kaze’s work taps into a broader trend of exporting Asian music to the West. In this sense, the album may hold the potential to serve as a breakthrough for this new current.
At the same time, it is important to note that musicians in Japan adopting English lyrics or pursuing overseas markets are not uncommon, and these efforts are not always aimed primarily at international success. In many cases, the image of a “Japanese musician who can succeed abroad” has functioned as a promotional tool within Japan itself, leveraging a cultural complex toward the West for domestic consumption.
Regardless of industry intentions, this album illuminates a path that Fujii Kaze is carving, one that is increasingly visible to listeners around the world, and it is worth keeping a close eye on where he is headed next.
Fujii Kaze “Prema”
Price: ¥3,520 (tax included)
UMCK-1798
HEHN RECORDS / Republic Records / UNIVERSAL SIGMA
1. Forever Young
2. Casket Girl
3. I Need U Back
4. Hachikō
5. Love Like This
6. Prema
7. It Ain’t Over
8. You
9. Okay, Goodbye
