Odottebakari no Kuni has released their first full album in three years, titled *On the Shore*. Staying true to their psychedelic rock roots, the band now features refined arrangements, incorporating jazz-influenced chords, ambient soundscapes, and complex rhythms. Matsutsu’s improved vocals further enhance the album’s allure. With its title track, *On the Shore* reflects both the band’s deep admiration for and longing for the sea, showcasing their core essence.
Since the founding of their independent label, FIVELATER, five years ago, the band has reached a significant milestone with their successful solo performance at Hibiya Yagai Ongakudo in December 2023. As they continue to forge their own path, Odottebakarinokuni captivates a diverse audience and serves as a beacon of hope in Japan’s music scene. The five members discussed the album’s creation and their journey.
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Odottebakari no Kuni is a psychedelic rock ‘n’ roll band from Tokyo, consisting of five members who play vocals, three guitars, bass, and drums. Over the years, they have undergone several lineup changes and have released nine full albums and four EPs. They have also performed at major festivals such as FUJI ROCK and have expanded their reach with solo shows in China and at Hibiya Yagai Ongakudo. The band’s music, characterized by both explosive and delicate sounds, evokes the charm of old American rural towns, British back alleys, and the beauty of Japan’s changing seasons, enveloping listeners in a dazzling light. This is a true update of the rock ‘n’ roll form.
The Inspiration for Including Qururi’s “Rock ‘n’ Roll” in the Outro of “Boy”
-You had your first solo show at the Hibiya Open Air Concert Hall in December 2023, and a video release coincided with the album. I was there and thought it was an incredible performance. How did you find it?
Shimotsu: It was an unusually warm day for December, so during the day it felt a bit like cherry blossom viewing, with people spreading out blankets and stretching in the audience. It was pretty relaxed. But once the rehearsal started, it suddenly hit me, “Oh, this is Hibiya Yagai Ongakudo!” and I became extremely nervous… Before I knew it, I was performing shirtless in the middle of winter.
-You ended up going shirtless during the encore, didn’t you? [laughs] It seems like you really had a deep connection to the Hibiya Open-Air Concert Hall.
Shimotsu: Yes, that’s right. Watching footage of Fishmans and Yura Yura Teikoku performing at Hibiya Yagai Ongakudo on YouTube, you can see they exude such an incredible aura. So, standing in the middle of that stage and making music was something I felt truly honored to do.
Okubo: From the moment we started soundchecking, the way the sound filled the space was completely different from other venues, and it felt almost magical, which really got us pumped. Also, after the show, Shimocchan’s (Shimotsu’s) father told us, “It was the best live show we’ve ever had,” and that really lifted our spirits even more.
Shimotsu: Don’t mention names. He’ll just get carried away again.
-Your father was there.
Shimotsu: He came with his family. They said, “We were treated to a wonderful view!”
Okubo: I was a little moved by that.
-That’s nice. Does your father often come to see your live performances?
Shimotsu: In Kansai, he gets the crowd more hyped up than I do! [laughs].
-On a personal note, it was really memorable when you sang a snippet of Qururi’s “Rock’n’Roll” at the end of “Boy” during the finale.
Shimotsu: The outro of “Boy” is really long, right? In that kind of frenzied state, I ended up expressing only the words that have deeply resonated with me. It’s like those four lines that stuck with me from my teenage years.
-“Just a single fragment of courage, if there were true kindness, if there were a genuine heart thinking of you, I could lose everything.” The theme of “Boy” and its connection to my own teenage years really brought these lines to the surface.
Shimotsu: Yes, I believe that the essence of what I seek in the concept of rock and roll is all captured in those four lines. I see them as a kind of proverb.
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“On the Shore” – The New Creation Born from the Trials of “Moana”
-Could you tell us about the new album On the Shore? How did the production process begin?
Shimotsu: We started by writing “ZION,” and even though we only had one new song at that point, there was already a vague sense that the next step would be an album. We don’t usually start with a set concept; instead, our work tends to become a kind of living album, like a photo album of our experiences during that time. However, I feel that this album has the most cohesive concept we’ve had so far with its ten tracks.
In terms of themes, the 2022 album “Paradise Review” was a blues born out of city life. In contrast, “On the Shore” is about taking insights gained by the seaside and applying them as life hacks for city living. I had this image of recording by the sea, so we decided to do the sessions at a studio in Izu, just like we did for our previous album “moana.”
-While you’ve retained the image of a psychedelic rock band, in recent years there has been a stronger emphasis on jazz and ambient elements. It seems that Maruyama’s presence has played a significant role in this shift. How do you view this change in reality?
Shimotsu: The task of determining the chords falls to these two (Shimotsu and Maruyama). Maru-chan has the role of deconstructing the major chords I play with a bang, so I believe his sensibility is reflected in our music. Taiki (Sakamoto) brings rhythms that complement the melody, which we’ve never done before, and the two who envelop everything (Taniyama and Okubo) create a division of roles. At this point, everyone understands where they fit in, so it feels more like a collective change rather than attributing it solely to Shimotsu or Maru-chan. That’s the strength of working together as humans.
Maruyama： In “Paradise Review” and this time around, I haven’t voiced my opinions much. However, I really feel that everyone has picked up on what I said during the “moana” period.
Shimotsu: The experience from moana has given me a deep, intuitive understanding. The arrangement for “moana” was the most time-consuming, but I believe without that experience, we might have ended up making mediocre albums. The struggle was essential, and in hindsight, I’m grateful for the challenges we faced during that time.
