Artist Spotlight: Pizzicato Five, music

Artist Spotlight: Pizzicato Five (week two)

Every month, Memories of Shibuya will be taking a look at a different artist or group, with featured songs – regularly one per week, but as this first column is so close to the end of the month, this debut feature will feature two per post.

Last week we looked at P5’s beginnings as a larger group, now in this week’s entry we’ll be looking at a couple songs from their days as the duo of Maki Nomiya and Yasuharu Konishi. The two-piece outfit provided some of the tightest output in the long history of Pizzicato Five, so join with us as we look at two choice selections from this period.

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Artist Spotlight: Pizzicato Five, music

Artist Spotlight: Pizzicato Five (week one)

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Every month, Memories of Shibuya will be taking a look at a different artist or group, with featured songs – regularly one per week, but as this first column is so close to the end of the month, this debut feature will feature two per post.

Pizzicato Five predates the term “Shibuya-kei” – the term was originally applied to the crop of artists that sprung up alongside Flipper’s Guitar years after P5’s 1985 debut – but it would be incredibly difficult to find a group that better embodies the carefree, jet-setting kitsch aesthetic of Shibuya-kei than Yasuharu Konishi’s brainchild. They were also among the first to break out of the Japanese market, signing with American indie label Matador and enjoying a remarkably successful stint as crossover artists – with songs winding up in as unlikely places as the show Futurama (which featured “Baby Love Child” in an episode) and the Kids in the Hall movie Brain Candy (with “Nata di Marzo.”) This first spotlight will focus on the early days of the group, prior to third member Keitarou Takanami’s departure, while the second will highlight the two-piece group’s material.

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