Dystopian Decadence
A misaligned photograph of the future, born in the fever of Japan’s growth in the sixties and seventies. Traditions, quiet and fine, threaded through with wabi-sabi as an inner pulse, keep time beneath the noise. Buildings that refuse to shed their rust, that keep a film of dull gray on the fingers, stand as patient witnesses. A floating consolation, and a smell of open country, move down the lanes and linger in the alleys. The story of Millennium Parade unfolds in a forked-off Tokyo, grown out of this zone – our shared room of side-by-side living. The city has laid aside its earlier addiction to polish and noiseless urbanity. Instead, it sets out toward a strange, beautiful, absurdly ideal future metropolis, nourished by disorder and yet leaning toward transcendence.
The self-titled debut album by the Japanese music group Millennium Parade has been on constant rotation for me since release. After all, the record is packed only with absolute bangers from start to finish. Bon Dance? Slammer. Fly With Me? Slammer. Familia? Slammer. The only tricky part is explaining the genre, because Millennium Parade simply hurl everything they have, pop, hip-hop, electronic, dance, rock, funk, jazz, and rap, into a single pot, give it a hard stir, and then fling the multicolored mash against the wall to see what dazzles. It splatters, clings, and somehow composes a picture that feels both chaotic and deliberate, a collage that swings from sugar rush to steel-edged groove, music that keeps its playfulness even while sounding engineered with obsessive care. Unskippable.
Millennium Parade persuade not only with modern songs for modern people, but also with a visual presentation rarely seen. The videos and live appearances by the collective surrounding Daiki Tsuneta of King Gnu overflow with off-the-wall ideas and meticulous craft, mixing animation, stage design, and camera play into a kind of kinetic theater. Every frame feels engineered, yet the work breathes. Spectacle never strangles the spark. Their aesthetic extends the music’s argument. The future can be unruly and tender at once, a city of images that invites touch. And I can hardly wait to finally hold the new record from this Japanese collective in my own hands, whenever it may choose to appear. Because nothing would make my heart happier than waking in a neon-soaked, alternate-timeline cyberpunk Tokyo.