Just by way of sharing concrete tactics (rather than, I guess, the abstract strategy I usually share (?)), I thought I’d write about how I learn songs using the SRS.

Keep in mind that this is just what I do right now. Yes, I am the Great Khatzumoto, but you know what? Really I’m just a 27-year-old boy who drinks peppermint tea and plays with his cats. I don’t know jack about jack. This is just what was most fun and least annoying for me. You’re bound to have a better idea and I’d love to hear about it if you’d like to share .

Put another way: a lot of AJATT strategic principles are universal, I think. But the tactical stuff is totally a matter of “what works for you”. I mean, we might not even be running the same OS, so…you know. Anyway, here we go!

The Steps

1. Have a song that you love, love, love and wish you could sing along to
2. If at any point in this process you get bored…stop. The worst thing you could do for your Chinese/Japanese/any language is start to associate it with boredom. That there is the gateway to failure. Having fun with and in the language is the name of the game.
3. Get an mp3 file of the song.
4. Split the file into 10~30-second clips with ~5 seconds of backward overlap
   • I add a 5-second backward overlap because a split on strict time boundaries is bound to be imperfect in that it’ll cut right in the middle of something good.
     • Adding the overlap provides a way to automatically compensate for this without going through the psychological and computational heck of attempting to split on something like silence-points.
   • I use EZSoftMagic’s MP3 Splitter & Joiner for this automated splitting
     • They’re not paying me for this endorsement, but they should
     • If you know of any other software that does a good job at this, feel free to share in comments.
   • The reason we split the file and not just throw the whole thing into the SRS is because we are trying to do what the SRS does best – optimize the management and memorization of discrete chunks of information. Throwing the entire song in there is (1) boring and (2) defeats the purpose of even having an SRS.
5. Get the lyrics of the song
6. Put the audio clip into the SRS on the back of the card
7. Put one line or less of the lyrics on the front of the card
   • i.e. the lyrics of a segment of the 10~30-second clip, not of the whole clip
8. Put the lyrics of the whole 10~30-second clip, or of the entire song, on the back of the card.
   • I prefer putting the lyrics of just the whole clip because it’s easier to read
   • But sticking the lyrics of the entire song on the back could save you a lot of fiddling
9. Do your reps.
   • The task is to read aloud or sing the line/segment of the line of the song
   • Check your “answer” against the actual song clip
10. Final note: if any of this feels like too much work, then stop. Abort. Delete. Whatever. Because you obviously don’t like the song enough. You may like the song, just not enough, not that much. And that’s fine. Remember, the idea is to be like Soviet Russia: let the media motivate you — that’s its job.  All you have to do is put yourself in the path of the media.

Sample Card

FRONT

男兒當自強

[Youtube]

BACK

[media: naam yi dong ji keung- 007.mp3]

廣闊浩氣揚　既是男兒當自強 昂步挺胸

jìshì【既是】
…であるからには．…である以上．

gei si naam yi dong ji keung

Benefits of this method

• Over time, with very little effort, you learn the entire song
• As per SRS principles, the parts of the song that give you the most trouble – and that therefore need the most practice – will get seen the most
  • Ever notice how almost everyone knows the chorus of a song no matter how complex the vocabulary? (I remember being about 6 years old and singing Bobby Brown’s “it’s my prerogative!”). That’s because the chorus gets repeated so much. SRSing the song turns the entire song into a “chorus”, in that all the parts of the song will get repeated to the degree necessary to ensure their memorization.
• No need to fiddle with carrying lyric sheets in your bag or on your computer – it’s not like you can ever get them out on time anyway.
• Even after the song stops getting playtime on your mp3 player, the SRS will ensure that you keep getting practice with it. This is a microcosm of how the SRS is a powerful partner to an immersion environment – even after you stop immersing in, say, technical documents from a certain field, the SRS will guarantee you keep getting the practice in that field that you need to retain your proficiency in it.

You didn’t think one blog post could cover all your Japanese music needs, did you? Yeah, neither did I. So here I am, after a lot of diligent searching and listening, bringing you more info on Japanese music. Yay!

[Hip-Hop]

Wise
This gentleman appears to have debuted last year with great flow, positive lyrics and fun music videos (Rip Slyme and M-Flo are in the “audience” of the video for Shine Like a Star).

Steady & Co.
A collabo unit made up of KJ and BOTS of Dragon Ash (DA) — the former being head honcho and lead singer of DA, the latter the DJ of DA — Illmari from Rip Slyme and SHIGEO from SBK. They were active around 2001 and released a couple of albums. I only found out about them a few weeks ago, but they had some really cool songs, like 春夏秋冬 (which I looped for a like a week straight), Stay Gold (this song’s lazy mellowness reminds me of LFO’s Summer Girls…some people might not take that as a compliment but I do mean this as a good thing) and Time Erases Everything. As you’d expect from the illustrious Dragon Ash and Rip Slyme, the songs fuse hip-hop and guitar elements very well. SHIGEO rhymes in staccato, nasal style that’s both very distinctive and very catchy.

Flick
I’ve only ever heard one song of theirs, and I can’t find any of their albums, but the fantabulousness of one track, 時代特急/Epochal Special Express alone was enough to get them on my list.

[Unique]

東京事変/Tokyo Jihen/Tokyo Incident
椎名林檎/SHIINA Ringo
SHIINA Apple is the lead singer of Tokyo Jihen, she also sings alone sometimes, but I’ve gone and put them together. I don’t even know how to classify her music. But they use guitars, drums and Shiina’s powerful-in-a-Björk-way-rather-than-a-Whitney-Houston-way voice, and it sounds like jazz and rock’s lovechild.

[R&B]

Lisa
Beforehand, I criticized Lisa for leaving M-Flo. I was mean. I’m sorry, Lisa. For one thing, Lisa’s departure from M-Flo does appear to have impelled the remaining two to do great collaborative work with just about every major female R&B vocalist in Japan, and Lisa for her part has done a wonderful job out on her own. She even raps on some of her tracks: I hate slow music, and (contrary to what I had feared from looking at her album covers) lots of Lisa’s solo songs have not been stingy in the speed department. Rejoice!

宇多田ヒカル/Utada Hikaru
A little slow for me, but…to each their own.

[Rap/R&B/Reggae-Pop Mix]

Orange Range
Okinawa in the hizzouse! Watch the music videos (PVs) to get the most out of their songs. Typically, when I first hear and Orange Range song, I don’t like it that much (there’s just something “missing”), but after watching and enjoying the playful silliness of the PV, the song tends to grow on me as well.

ケツメイシ/Ketsuimeishi
I think these guys are one of the original hip-hop/reggae fusion acts (these are in abundance here) from Japan, and they appear to have been around so long that they’re on break right now. Never fear, they have tons of cool ablums (Chris Rock invented this word) recorded just for you to listen to.

mihimaru GT
Put a very friendly, happy, even kawaii, face on hip-hop, but without making the music suck. Props for that alone.

[Geek/Folk]

勝手に観光協会/Katte Ni Kankou Kyoukai/We Done Gone And Made a Tourist Association on a Whimsy and Quite Without Anyone’s Permission
These guys went around every single prefecture in Japan and composed a funny song about it. Earthy, raw and hilarious. One of the guys in the band is a regular on a late night TV show hosted by タモリ/Tamori, where they have a segment called 空耳コーナー/Soramimi Corner, wherein are showcased sections of famous foreign songs which have lyrics that are prone to being misheard as actual Japanese sentences. ROTFL. I wonder what Snow’s Informer (does anyone remember this but me?) sounds like as “Japanese”…

Last year, before the good folk at the third-rate hosting company I was using went and deleted this site (oh, I’m not bitter), there was a rather detailed and well-researched article there about music. Anyway, after coming back online, I made some vague promises about posting band-by-band articles on Japanese music. Unfortunately, I kept hemming, hawing and stumbling about just how to organize it; things were at an impasse. In the end, the best thing to do seemed to be to just list them out.

So here it is, a list of the Japanese bands that I like and that I think you will like; I hope my tastes are as universal as I’m assuming, but…whatever . Many of these bands are hip-hop or hip-hop-based, but there are other genres listed, too. Where the bands have an English-language equivalent of sorts, I’ve noted it. Enjoy the list, and good luck replacing all your music with Japanese music.

Hip-Hop/J-Urban (Jazzy)

• Rip Slyme
  • Rip Slyme are practically in a class of their own. They consistently produce rap music that is both enjoyable and innovative; you always keep wondering what they’re going to come up with next. No matter what kind of music you are into, you will enjoy them. They are the only band I have ever listened to where I’ve liked every single song on the albums, specifically Masterpiece and Epoch.
• Kreva
  • Kreva is actually an alumnus of Kick The Can Crew, a rap trio that went their separate ways on January 1, 2005. He’s also an alumnus of a now-defunct duo made up of him and another rapper (Cue Zero), aptly named By Phar The Dopest. He’s kind of remade himself in a heartthrob image, but not so heart-throbbing that it will make you difficult to enjoy him if you’re a guy. He continues to produce fun and interesting music, and he always has cool hairstyles. Another unique thing about Kreva is that his percussion often sounds distinctly African, not African-American, but straight up African. Very cool.
• Kick the Can Crew
  • Long-running hip-hop trio made up of DJ Little, MCU and Kreva. Tons of good music, including their last album, Good Music.
• Rhymester
  • If university disserations had to be given as raps, then Rhymester would have PhDs from every college in the world. It’s rap music for the literati. Check it out.
• Midicronica
  • With a sound and image similar to the Gorillaz, Midicronica first came to most people’s attention with the track San Francisco off the album #501; it was a simultaneously poignant and bouncy piece that was featured on the closing credits of the last episode of an equally poignant-yet-bouncy anime, Samurai Champloo. Whatever the opposite of “disappoint” is (appoint?), Midicronica keep doing that.
• Dragon Ash
  • They sound like a cross between G. Love & Special Sauce and Limp Bizkit…but even if you’re “not into Limp”, you’ll like them; between you and me, I bet you are into Limp Bizkit, but, I mean, let’s face it, we all have to fake hating them otherwise our friends would mock us to pieces. Dragon Ash were originally a punk band, but frontman/lead singer Kenji was exposed to the gospel of hip-hop and was instantly converted, taking his entire band with him intact into the illustrious trade of doing rap with guitars.
• Halcali (ハルカリ)
  • This is stretching the typical definition of hip-hop, but these high-school girls are produced by Rip-Slyme members, and they do rap on some of their tracks, so here they are! They’re fun. Try them.

Hip-Hop (Thugging)

• Zeebra
  • If DMX were Japanese, he would be Zeebra.
• Rappagariya (ラッパ我リヤ）
  • Grandfathers of Japanese hip-hop, these guys have been around since back in the day. A definite samurai machismo pervades their work.
• DJ Oasis
  • DJ Oasis makes good music and continues to defy those who had once said that it wouldn’t be possible to rap in Japanese (yes, there was such a theory making the rounds). Good for them. Good for you.
• Nitro Microphone Underground
  • I don’t know how to explain it. “Their beats are fresh and off the heezy”? Quality music. Go listen.
• Buddha Brand
  • Two words: God Bird. ‘Nuff said.
• Shakkazombie
  • Perhaps best-known for their song 白いヤミの中(しろい・やみ・の・なか), which an enterprising anime fan used to make an AMV (anime music video) that elegantly combined footage Cowboy Bebop and Trigun. The rest of their music is equally excellent.

R&B/Hip-Hop Hybrid

• M-Flo
  • A lot of Japanese hip-hoppers, especially in the “thugging hip-hop” category, have an old-skool aesthetic. As such, their influences predate the wave of bombastic, energetic, rhythmic Southern U.S. hip-hop that gathered energy from the mid-lateish-1990s onward; thus, their music can sometimes lack the polish you may have come to expect in hip-hop. M-Flo have raised the Japanese game in that respect. But they’re not just pretenders, M(ediarite)-Flo have a very unique sound all their own, due in no small part to their unique band structure — a trio of rapper Verbal, DJ Taku and female vocalist Lisa. But then Lisa left (WHY!!!??? WHY DO PEOPLE THINK THEY CAN DO IT BETTER ON THEIR OWN? WHAT MADE M-FLO GREAT WAS THE UNIQUE COMBINATION!!! THE WHOLE WAS GREATER THAN THE SUM OF THE PARTS!!). I am bitter. Since then, M-Flo have collaborated with practically every major female vocal artist in Japan, including (ironically) the reincarnated, solo Lisa and especially Crystal Kay. The ony real problem with M-Flo from a Japanese learner’s perspective is that they do sometimes overuse English.
• Amuro Namie (安室奈美恵[あ・むろ・な・み・え])
  • You know, her name, for some reason, is easy to confuse with that of Hamasaki Ayumi (浜崎あゆみ[はま・さき・あゆみ]), at least for me. But there is a huge difference between the two. You see, Amuro Namie is good. Hooooooo. Ouch. Amuro is from Okinawa and it shows — she has rhythm, she uses beats, and she can dance it up! Like bathing with L’Oreal products, get her stuff because you’re worth it.
• Bennie K
  • Two women. One raps. One sings. And it is good.
• BoA
  • Mostly R&B, almost pop. BoA is actually Korean, but has been singing in Japanese since back before she could actually speak Japanese. If that isn’t heroic, I don’t know what is.
• Crystal Kay
  • I remember when I first saw her on a music video, singing in Japanese, and I was like “Dude! That’s girl’s black!”. Now, the thing is, I tend to think everyone I like is black (James Heisig? Spiderman? Rocky? All black), and a lot of Japanese artists who make what some people might call “black music” tend to tan themselves and wear cornrows etc. (please stand up, Kreva and Zeebra), so I actually had to check afterwards to make sure it wasn’t just my natural bias at work. The word is in: Crystal Kay was born in Japan, raised in Yokohama (横浜[よこ・はま]) is half Japanese-Korean, half African-American, and all talent. Tell her Khatzumoto sent you.

Good (not sucky) J-Pop

• Bonnie Pink
  • Bonnie Pink walks on the boundary between R&B and straight pop, and she OWNS. Ooo, that silky, hypnotic voice! Eeeeee! She’s everything a female vocalist should be: good to the ears, smart in the brain and…clothed on the body? Anyway, listen to her, you will thank me for it. Unfortunately, like M-Flo, Bonnie Pink sometimes has too much English in her work, but she has plenty of Japanese songs, too. So, go for it!
• Sakamoto Maaya (坂本真綾[さか・もと・ま・あや])
  • Perhaps most famous for her work singing anime theme songs (including, but not limited to, the opening theme to 天空のエスカフローネ[てん・くう・の・えすかふろーね, The Vision of Escaflowne]). She has worked extensively with composer Kanno Yoko (菅野ようこ[かん・の・ようこ]) of Cowboy Bebop fame. She has a beautiful voice and great diction.
• Yui
  • A female soloist singer-songwriter fresh out of her teens who keeps her clothes on (this is significant because, apparently, Kouda Kumi (幸田 來未) didn’t get that memo…zing!), she is essentially the Japanese version of Michelle Branch or Vanessa Carlton. Very good stuff. Top songs include, but are not limited to, Feel My Soul (2005) and CHE.R.RY (2007).
• Love Psychedelico
  • I found out about Love Psychedelico through Momoko. The vocals have a sound similar to Sheryl Crow crossing musical DNA with The Beatles. What more do you need to know?!
• Chara
  • You know, sometimes, you just need your Björk fix. But Björk doesn’t sing in Japanese, so Chara to the rescue! When I heard her on the soundtrack to the recent Tsuchiya Anna (土屋アンナ[つち・や・あんな]) movie, さくらん, I knew she had to join my music collection.
• Fukuyama Masaharu (福山雅治[ふく・やま・まさ・はる]）
  • Where Sakamoto Maaya has made a career of singing good anime theme songs, Fukuyama Masaharu seems to have quite his share of drama (ドラマ)/soap opera themes under the old belt; or maybe he only did one and I keep hearing it. Anyway, like Sakamoto, he has great diction and a pleasant voice.

Emo/Punk/Ska/Rock

• Asian Kung-Fu Generation
  • Someone on a message board somewhere once praised them for having a name suitable for a Japanese band or something like that. It seems “Bump of Chicken” was too weird for him, and he wanted names that were more “Asian”, like “Sushi Chopstick Federation” or “Dave Toyoto Honda Samsung Matthews Band”. Whatever. Either way, it is a cool name for a cool band that sound like Jimmy Eat World (or, “Caucasian European-Ancestry Musical Association”).
• Maximum The Hormone (マキシマム ザ ホルモン)
  • Their sound is perhaps best described as KoRn meets The Used. For music that is loud, fast, raging and that will, quite literally, max out your hormones, perhaps none better can be had than ＭＴＨ. I’m still shaking from the last time I listened to them. Having read the lyrics, yes, that is Japanese that they’re singing and rapping, only it’s at about 5 million BPM and very high-pitched.
• Shakalabbits
  • Rather like No Doubt, in that it’s a ska-ish/ska-influenced band centered around a cute girl. The sound is a bit different, but it’s still makes for das gut listening.

There you have it. When you’re new to a language, just finding out the names of the bands can be challenging, so hopefully (?) this list has been especially helpful to you beginners out there. Whether or not it has, as always, your own additions, recommendations and comments are welcome .

Disclaimer: If you are Kouda Kumi, Lisa from M-Flo or Hamasaki Ayumi and you’re reading this, I was just showing off to people on the Internet buddies and trying to be cool; I take it all back — please be my friend!

If you want to read about Japanese bands in Japanese, you won’t go wrong with Listen.jp, with its well-written profiles and links to similar bands in the “if you like X, you’ll love Y” fashion; the perfect cool for finding out about musicians you’ve never heard of but that are in styles you like.

Rip Slyme are in a class of their own, with a jazz-inspired sound that has evolved into something that is both entirely hip-hop and entirely unique, feauturing fast tempo, good beats and great rhymes from the MCs who range from the boisterous ragga-style of Ryo-Z to the smooth bass Su, and everything between. They started young (when they got together in 1994, DJ Fumiya was 15 years old, and the others weren’t much older) and keep getting better and better; each album they come out with is even more fun to listen to than the last. They’ve developed a great deal as musicians, so much so that, to be honest, I have to confess that I hate their pre-2001 work as much as I love their later stuff — the difference is that big.

Rip Slyme’s Masterpiece marked the first time in my life that I liked every single song on album. But don’t take my word for it — if you listen to no other Japanese music, please listen to Rip Slyme.

Recommended albums: Masterpiece (2004), Five (2001), Tokyo Classic (2002), Time To Go (2003)

• Video sample(s)
• Official Site

OK, so, as part of the “regenerating content” strategy of this website, I’ve been writing a quick introduction to Japanese bands (the good ones), similar to the one that used to be up here. Unfortunately (or fortunately?) it’s getting pretty durn long. So, it seemed like the best thing to do, as always when a problem gets large, was to break it down band-by-band. So, be on the lookout for a series of articles on the best Japanese bands! First up is probably Rip Slyme.

Music is probably a good thing for its own sake, but it’s a super-genius-great way to strengthen your Japanese. This is especially true of hip-hop, but, to be fair, any kind of music with Japanese lyrics will work, it’s just that hip-hop is especially powerful. When you learn to handle the speed and vocal acrobatics of rap, you can handle anything.

in any music, the three R’s: rhythm, rhyming and repetition, are great for learning vocabulary. Music also brings joy into your life in that it reminds you that language can be a great plaything; language is fun. It’s easy to lose sight of that sometimes.

A word on scope: I’m not going to try to be comprehensive and name-drop every possible Japanese band, because (1) there are too many and (2) a lot of famous ones, frankly, suck, and are tainting the image of Japanese music. So, we’re just going to focus on the good ones, the best ones; the ones that are warrant an exchange of money on your part.

Anyway, I hope you enjoy the articles! As always, feel free to let me know what you think by email (khatzumoto at alljapaneseallthetime dot com) or by comment at the bottom of the page.