Fishmans - 8月の現状 (8 Gatsu no Genju) (Album Review)

 

Fishmans - 8月の現状 (8 Gatsu no Genju)

(1998)

My copy: 2007 Fishmans Rock Festival box set press by Universal Music and Polydor.

Though technically just as, if not more rare than the legendary 98.12.28 男達の別れ, 8月の現状 (8 Gatsu no Genju) is often overlooked in regards to Fishmans live material (at least in vinyl form). While not as evocative and comprehensive as the enigmatic Dec. ‘98 performance, this record does collect some fantastically produced live takes as well as a couple of alternate studio renditions. 

Advertised as a sort hybrid live/studio record due to their recording setup and audio quality, the attention to detail is immediately clear in both versions of “ナイトクルージング (Night Cruisin’).” Sato’s harmonies are lovely, and blend in with the dreamy audio samples perfectly. While it is difficult to imagine recreating some of these studio tracks in a live situation, Fishmans manage to include a surprising number of integral melodies from fan-favorites. The vinyl version mostly includes tracks from their fifth studio album, which is a favorite among their native Japanese fans. Versions of “ずっと前 (Long Before)” and “Sunny Blue” are both taken from the same 1998 show, with the former honing in on their slower, delicate take on dub music while the latter builds around a signature polyrhythmic guitar line only to erupt finally into a brew of whining feedback and drum slams. 

“Just Thing” displays Sato’s range while also dynamically chopping and toying with his vocals mid-performance to add a psychedelic edge - something this record is mostly missing.

"静かな朝 (Quiet Morning)” is updated from the Melody single, further showing off their ability to work samples in, turning the focus of the song away from the rhythm and into a collection of dreamy harmonies. The final two inclusions are from a studio session during early 1998、 featuring “バックビートにのっかって (Back Beat)” from their final studio album and "新しい人 (New Person).” While “Back Beat” is a personal favorite, this version only suffers from the stripped-back approach whereas the closing “New Person” is wonderfully elevated in its patient, deconstructed form. Each chord and compositional shift carries immense weight, with Sato’s intimate performance driving the emotion of the experience; he lets out a shy whimper at one point that resonates on some primal level, totally selling this borderline lounge jazz take on a fairly simple dub/psychedelic song.                8月の現状 (8 Gatsu no Genju) is certainly more subtle than the its more sought after counterpart, but for major fans, it contains some truly compelling reworkings. The best inclusion to convert non-fans is the finale, though it requires a patient and discerning ear.