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capsule

Japanese digital pop duo capsule shaped in 1997 with Nakata Yasutaka operating as composer, arranger, and lyricist, and Koshijima Toshiko providing vocals. Provided the time from the band’s development, it is maybe understandable that their previously function provokes frequent evaluations using the after that popular and important “Shibuya-kei” motion, whose most well-known proponents consist of Cornelius, Pizzicato 5, and Fantastic Plastic material Machine. Capsule’s debut recording, High Collar Woman, premiered in 2001, showcasing lots of the bossa nova, French pop, jazz, and naive digital pop influences which were defining top features of the Shibuya-kei genre. Yasutaka shaped his personal Contemode label for capsule’s are well as additional like-minded artist’s, beneath the aegis of Yamaha Music Marketing communications in 2003 and since that time, the group offers maintained a reasonably prolific price of output, liberating a couple of albums a yr. 2004’s S.F. Audio Furniture noticed the group’s idea expanding to add the idea of music being a life style accessory, using a retro-futurist visible manifesto shown in the brief film/music video of “Lightweight Kuko,” that was afterwards adapted right into a trilogy using the music “Space Place No.9,” in the 2005’s SF-themed concept album NEXUS 2060 and “Soratobu Toshikeikaku,” which made an appearance on a single year’s L.D.K. Lounge Designers Killer record. Around this period, Yasutaka was also getting well known being a manufacturer for other serves, and 2006 noticed the major-label discovery from the Yasutaka-produced idol-pop group Perfume, offering heavy usage of vocoders and dance, home, and electro affects borrowed even more from groupings like Daft Punk than groupings like Pizzicato 5. Several sounds have been pioneered by Yasutaka on capsule’s function the previous calendar year, and the nationwide achievement of Perfume catapulted capsule in to the open public eye. Following albums pressed the electro impact increasingly more towards the fore, with Fruits Clipper in 2006 and Sugarless Gal in 2007 merging the group’s Shibuya-kei lounge pop with guitars and dance beats. 2008’s Even more! More! More! noticed capsule’s function diverging noticeably with Yasutaka’s like a maker, having a very much harder electro audio than that shown on the even more mainstream Perfume recording, Game, previously the same yr.

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