By Kanara Ty
In order for an artist to grow, he or she must continually try to push the envelope as both a performer and artist. They have to either reinvent themselves, or experiment with new sounds or themes, to keep their audience engaged and their critics raving. In 2004, Utada Hikaru was already deemed one of Japan's biggest selling artists, and she took a shot at becoming the next big thing in America, but fell short. Despite having rave reviews from critics, her first English-language album, Exodus, sold poorly. However, Utada stepped outside the comfort zone of a Japanese pop artist by attempting to create a different sound -- focusing on R&B with the help of chart-topping producer Timbaland.
Now, at twenty six years old, Utada Hikaru takes a second shot at breaking through to the mainstream American market, with her most recent English-language release, This is the One. Fans will discover that her latest effort warrants a different perspective. Meaning, if you're a fan of her Japanese pop releases, chances are you might be turned off by the songs she's chalked up. Like me, you might need a good couple listens to let the music sink in.
On this album, Utada collaborated with Christopher "Tricky" Stewart, a Grammy Award-winning producer who's produced hits for pop artists such as Britney Spears, Rihanna and Mariah Carey, and the Grammy-winning Norwegian production team Stargate, who's also created hits for Ne-Yo and Beyonce. The album's foundation has a strong R&B feel, which seemed to be the goal for Utada. She's noted in particular interviews that R&B is what's hot right now, and that in her case, to truly break out in America, she had to work with what the audience is currently turned into at the moment.
It worked. While the physical CD won't be released in the states until May 12, This is the One became available digitally on March 24 and marked a great success for Utada. The release made it to the Top 20 on iTunes, the first for any Japanese artist. Already, the album has been critically well received, and Utada has made her rounds to three Sephora locations in Hollywood, San Francisco and New York City to promote her album. She's also had televised performances on the KTLA Morning News program, as well as CBS's Second Cup Café on the Saturday early morning news. This time around, Utada is definitely being taken a lot more seriously than she was for her Exodus period.
As for her music, I admit: on first listen, I cringed. Usually, a person will listen to the beats and melody when they take in a song for the first time, but in Utada's case, I was hyper-aware of her lyrics. I was immediately taken back to the disastrous "easy breezy" and "Japaneezy" lyrics of Exodus, and well, that wasn't something that resonated well with me. This time around, she's made a slightly better effort, but the lyrics are still one of the things you have to overlook to actually listen to the sound that's being produced.
The entire album features dance tunes and, of course, ballads, which is Utada is most known for. The sound is heavily R&B and hip-hop influenced. The theme of the album focuses mainly on love in all aspects: whether it's longing for someone or the tumultuous end of a relationship. There are also songs of female empowerment. All the songs off the album are written by Utada herself and can be read to reflect on the relationships of her life –- perhaps, if you recall her marriage (and divorce) to film director/photographer Kazuaki Kiriya.
"Come Back to Me" was the first single released off her album. This song is definitely not her strongest single off the album because it heavily reminds me of a song that Mariah Carey would be made to sing –- and Utada seems to lose her voice in this tune. This song fell short of presenting Utada's strength as a ballad songstress. I appreciated "This One (Crying Like a Child)" a lot more because lyrically, it's much more powerful in meaning.
Perhaps the only sound that even comes close to sounding like Japanese pop is "Merry Christmas, Mr. Lawrence" which is the double title of the United Kingdom/Japan-collaborated flick, as well as the Ryuichi Sakamoto-penned theme for the film. I'll admit I'm not a big fan of the lyrics, but this particular mix of Sakamoto's beloved theme works so well together. This would have probably made the stronger first single over "Come Back to Me."
Of course, it seems that with every requisite pop startlet album, there has to the songs that would fare well in the club. Like "Eat You Up" did for BoA, "Poppin," "On and On" and "Dirty Desire" is doing for Utada. I'm not used to hearing club-friendly tunes from Utada, I think they represent the kind of effort that she is making to appeal a wider audience. While I still cringe at the lyrics, the sound is refreshing and different from what you hear on mainstream radio nowadays.
Reflecting on all of this, I wonder if America will finally experience the Asian Explosion? Recall a couple of years back, where the Latin Explosion took America by storm. Headed by the bom-bom shaking Ricky Martin, artists like Marc Anthony, Jennifer Lopez, Enrique Iglesias were able to break through mainstream American music charts. Granted, Latin music has been around for ages, but it was that period of time where Latin music just seemed to resonate well with everyone. And soon after, pockets of Latin culture began to sprinkle into other aspects of mainstream pop culture, such as film and television. While the Latin Explosion didn't necessarily break down any perceived stereotypes of Latin people, you can't help but agree that it did wonders for the Latin entertainment industry.
Utada, along with BoA, another top-charting pop starlet in Japan, both have had releases in the past two months. Both are taking different paths to make it as mainstream artists in the United States, but what will it take for a similar phenomenon to take place? Perhaps it's hard for a particular sound to come out of Asia and make an impact. Instead, these two women have just adopted the current hot sound in America. Asian pop music finds much of its influence from American pop music. Many would claim that there is no history in Asian pop music because there is a lack of foundation.
I feel that if an Asian Explosion were ever to happen, it would have to be packaged extremely well. It has to be perfection; mediocre attempts are not welcome. What it comes down to is: are these women going to be treated as singers with Asian faces who are doing something new? Or are they just going to putting out music that sounds exactly like what other American artists are making?
For this article, I have to hand it to Utada: This is the One is a strong effort and definitely a big leap from Exodus. However, it still lacks the wow-factor. If you've seen the performances from Utada on the morning news shows, I don't see the pop starlet who's sold millions of albums in Japan. Instead I see a nervous, pretty singer who hasn't commanded the art of performing effectively to an audience. If I'm already a fan and I'm not truly enamored with your performance, can someone who isn't currently a fan be won over?
Well, at least Utada is still breaking a lot of ground for Japanese artists in America. Plus, she's only 26. She's got a lot of time ahead of her to win over America -- and the world.