ALBUM REVIEW: #10

SPLIT'S TOP 10 FAVORITE ALBUMS
NUMBER 10: 新しい日の誕生
"The birth of a new day..."

Artist: ２８１４
Genres: Vaporwave, Ambient
Posted: 1/21/2015
Length: 1:07:23
Listen: https://dreamcatalogue.bandcamp.com/album/--18

SUMMARY:

新しい日の誕生 (which, for the sake of readability and convenience, I'm going to refer to as "Birth of a New Day") is the first album by the borderline vaporwave supergroup 2814. It is commonly regarded as one of the best and most influential releases in the genre, fundamentally re-defining its sound for a new era. It is the birth of a new day, if you will, in vaporwave's timeline.

Okay that one was pretty dumb. But you get the idea.

Whereas before vaporwave was regarded by most people as taking a stereotypical 80's-era song, slowing it beyond recognition, and calling it a day, this album went beyond that definition and pushed it to its limit. It pushed it so far, in fact, that some people don't consider this vaporwave at all, and more of an ambient and experimental piece. That, and things like "dreampunk" and "cyberpunk" and other things that I have no clue about. It makes one wonder what the genre "vaporwave" even is constituted of. Does it have to do more with the music or more with its presentation? Because although a lot of albums in vaporwave are completely different from each other, they all share a certain appearance and, dare I say it, aesthetic. It's not a meme for no reason.

It is of this reviewers' opinion that this album, made in a joint effort by the artists t e l e p a t h テレパシー能力者 and HKE, captures that aesthetic. It focuses on portraying one sound: the sound of a bustling 80s Japanese cityscape trapped in a perpetual rainstorm. And it does so perfectly.

IN-DEPTH:

Birth of a New Day has less songs than the previous album I reviewed, Hit Vibes. But each song is much, much longer. From even the first song, this is clearly evident. The album starts with the track "恢复" ("Restore"), clocking in at almost 6 minutes long. The track begins, and you're immediately slipped away from the real into the virtual madhouse conjured up by this album. All sense of reality is washed away by the tide presented by the ethereal pianos, soothing yet deliriously on-edge. And then, the beat booms into place as you are forced through the streets, wondering what the world has become. This sound of swirling wind is omnipresent throughout the album, with instruments whirling in and out of focus to portray a sense of chaotic beauty. After several minutes of the track's expository effects, it becomes clear that if vaporwave is reminiscent of the 80s, then this is vaporwave's Blade Runner. This comparison is made more evident by the interspersed sound effects throughout the album, which in this track's case are blaring sirens and a train's horn. Once the track ends and the piano fades into obscurity, you can already hear a new sound begin to take its place.

On this album, each song blends into each other to create a seamless experience. The effect is one of a constant sense of all-powerful immersion. The next song, titled "遠くの愛好家" ("Far Lovers") provides a further glimpse into the world. An ominous sequence of four notes gives way to a more epic and powerful sound, seemingly portraying a new area of sorts. The sound effects and voices can help you paint a picture of these scenes in your mind, made easier by the atmosphere the music provides. This particular piece almost gives one the feel of stepping into a train station. Loud and blaring synth leads occasionally break up the serene quality of the song, providing a counterpoint that bounces off of the airy arpeggios and quiet pads. The overall effect is one of an insane polish. The effort really shows in this album, and in every track as well. As the announcer's voice continues to crackle and garble itself across the track, your view moves further and further across the city as the train takes you to your next destination.

Afterwards, a sudden noise echoes into the background, heralding the start of the track "新宿ゴールデン街" (Shinjuku Golden Gai"). The eponymous Golden Gai is a bustling place in Tokyo known for its nightlife and activities. Impromptu history lesson aside, this particular track portrays a night out on the town very well, but in a much different way than, say, Hit Vibes. In this world, the future is much more gloomy, and it shows in the atmosphere this song creates. Starting with small, harp-ish sounds bouncing into place, the track then snaps into focus in a way reminiscent of Restore. A slow and heavy drum beat warped by time marks your destination. The entirety of the Golden Gai is at your fingertips, and the almost epic feel of this song at times turns the place into something of reverence. But despite its immense activity, you can tell that everyone and everything in it is dead and has been for many years. And if you are here as well, what does that say about you? Existential bullshit aside, this song is very nice and very well done. Despite its long time, it never overstays its welcome. Due to the constantly shifting sounds on display in this album, nothing does.

Moving along to the fourth track, we're greeted with an almost reprise of Restore in "ふわっと" ("Drifting"). The instrumentation and melody are very similar, at least. Perhaps this is a time to stop and reflect on what you've seen. Now that we've been here a while, perhaps now it's time to drift along the breeze that this track creates. It's much more peaceful than the other songs so far, providing a nice and calm ambience to drift to. Although the swirling does create some drama (especially later on) and an almost buzzing tone makes its way through the cloud at times, most of the song is relaxing and comforting. Even when it's at its most complex moment, you can tell it's all building up to a moment of clarity, a moment where the city escapes from you and you from it. The new day isn't quite here yet, but it's coming up. ...I'm getting ahead of myself here. Regardless of references that you will understand in time, the song eventually falls off and returns to its original state, decaying in the wind as a new sound rises from the mist.

The next song comes out of the gate swinging, titled "悲哀" ("Sorrow"). My personal favorite on the album, the track opens with mystical chords swirling around your head as sharp booms reverberate throughout the void. The break is over, and you're back in the city now. Whether that's what you want or not is unimportant. The steady, slow yet intense beat created by this song is one that is lethargic yet commands great importance. The distorted, almost piano-like ostinato that makes its way throughout the song heavily contributes to the vibe that the track gives you. You're in the heart of the district now, making your way through the murky haze of the purple clouds. It's all style and no substance here. Perhaps that's where the sorrow comes in? Something tells me that this track in particular (hell, the entire album to some extent) would be perfect to play while walking through a bustling spot like Times Square. In a postmodern kind of way, I guess. After repeating itself for a stretch of time, the track eventually gives way to the sounds of rain.

The rain heralds the beginning of the sixth track, "真実の恋" ("True Love"). True to its name, it is a very pretty song. Beginning with almost cheerful bells and the ever-present sound of rainfall, the track conjures up a secret place in the city, one untouched by the technology that permeates life. It's a hidden garden where anything can happen. As the song continues, an echoing percussion track makes its way into place, punctuated by booming thunder. Once the sounds all align, the result is a loud, booming, and incredible experience. This song gives you a true sense of wonder, lifting you up past the city and seeing everything as it really is. Such is the power of the garden. It really is very beautiful and very awe-inspiring, more so than the other songs on display here. All the different instruments and sounds join forces to create this uplifting sound, yet with that ubiquitous sense of melancholy. The song marks a new direction in the album, but doesn't feel out of place at all. Of course, all good things must come to an end as you're lifted up and out of the city. The sounds escape you as the rain stops.

The next song is called "テレパシー" ("Telepathy"). Real clever, 2814. Real clever. This song consists almost entirely of the swirling nature that's been throughout the album. Now, it takes center stage, warping haunting pads and decaying chords to its liking. As the sounds bounce around in the wind, more and more build up on top of each other to create a single complete sound. Synths forever rising up to infinity around the halfway mark complete the atmosphere, putting a capstone on the track. This particular atmosphere almost feels like a portal to another realm, what with its otherworldly feel. You're leaving the city itself and preparing for something big. Make no mistake, the track itself definitely has the touch of the previous songs. The vibe is present. But it's slowly fading, fading, losing itself in the wind. After what feels like both an eternity and no time at all, you can see the light now. It's almost there. In the end, this sound too gives way to nothingness as the wind grows louder and louder. But it fades away as well, fading to a conversation that seems to be from the first track. And then, nothing.

The final song boots up, officially starting the "新しい日の誕生" ("Birth of a New Day"). It begins with a sound very reminiscent of a computer starting up, which echoes on and on and never fully goes away. Clocking in at 13 minutes, this song is much less a traditional song and much more of a soundscape. Not focusing on any lead rhythm, the song constantly shifts and evolves over time to create a soothing, calming, and welcoming feeling. The new day is finally here. Although it's debatable whether or not you left the city, what is clear is that the future is much more brighter. Voices that last only a second or two decay into the air as a steady bass begins to descend onto the track. The playful sounds of water and thunder compliment the light, airy arpeggios that play off of the gritty percussion. It all comes together to create an overwhelming sense of peace. The new day is nirvana, and in this day, all is well. Who knows what tomorrow will bring? At the end, the voices chatter, the bells twinkle, and the computer remains unblinking. The song itself ends, but the new day goes on.

RANKING:

1. 悲哀
2. 新しい日の誕生
3. 恢复
4. 新宿ゴールデン街
5. 真実の恋
6. 遠くの愛好家
7. ふわっと
8. テレパシー

IN CONCLUSION:

Before this album came out, people most commonly regarded Floral Shoppe as *the* vaporwave album. It was by no means the best, but it captured the sound of the genre more perfectly than any other. However, the album is several years old, and a genre like vaporwave changed tremendously over time. So it was that now, people were looking for a better album to encapsulate the vaporwave feel for new listeners. Birth of a New Day is this new album. It pushed (and still pushes) the genre in a brave new direction, keeping it fresh and inventive as the years go by.

The songs themselves are brilliant, painting a picture of a bleak and desolate world warped by nostalgia and marred by advertising. Although it doesn't feel that way at first, this fictional city definitely fights right into the world of vaporwave. And of course, then you have the art. Knowing that the presentation of vaporwave is sometimes more important than the album itself, the art succeeds in every way imaginable. The purple smog, blaring lights, and rain on the window let you know before the first song even begins that what you're in for will be something special.

I've listened to this album on a rainy day while staring outside my own window. And although I may not have a cityscape view to look at, it's easy to imagine one while getting lost in the sounds and aural delight of this album. And that's why it's my 10th favorite album of all time.

WHAT ELSE?

2814 has made one other album since Birth of a New Day, titled RAIN TEMPLE. Although I haven't listened to it, I have heard some good things about it. I'm not sure how similar these two releases are, so take this with a grain of salt. One album that I would recommend is SHADER COMPLETE, by Sacred Tapestry. They're an alter-ego of the artist Vektroid, who released the previously mentioned Floral Shoppe under another pen name. The album features long, constantly shifting soundscape much like this one, yet has more of a classic original vaporwave sound to it. If you're interested in Birth of a New Day, try checking this one out.

~Split