Lust auf einen Sommerhit?
It's a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can," Ishibashi says. "The saying reminds me to embrace my mistakes and move forward.
It is difficult to disagree how rich it sounds, but the problem is how obvious Ishibashi’s influences are. It’s impossible to describe music this elaborate and expansive as derivative, but there are echoes of Arcade Fire, Sufjan Stevens, Sigur Rós, Beirut, M83, and indeed just about every comparably epic indie chamber-pop darling, at every corner.
Kishi Bashi’s debut 151a is a ten. It’s a ten because even at a scant 9 tracks, it feels epic. Ishibashi, also violinist in of Montreal, uses a mixture of electronic sounds and orchestral swirl to create lush pop. The album seems to expand into a joyously large explosion of whizzing, whirring noise for one track, then contract into restraint on the next. It’s a ten because it’s entirely new, yet comfortably familiar. 151a recalls of Montreal in its brilliant excess, Andrew Bird in its perfect alt-pop construction, Jonsi in its wild beauty, but always stays a singular experience.