{"id":873,"date":"2017-05-06T07:27:50","date_gmt":"2017-05-06T07:27:50","guid":{"rendered":"http:\/\/theblurb.com.au\/wp\/2017\/05\/06\/httptheblurb-com-aureviewssonderlust-by-kishi-bashi-music-review\/"},"modified":"2017-05-06T07:27:50","modified_gmt":"2017-05-06T07:27:50","slug":"httptheblurb-com-aureviewssonderlust-by-kishi-bashi-music-review","status":"publish","type":"post","link":"https:\/\/theblurb.com.au\/wp\/httptheblurb-com-aureviewssonderlust-by-kishi-bashi-music-review\/","title":{"rendered":"Sonderlust by Kishi Bashi – music review"},"content":{"rendered":"

Kishi Bashi (Kaoru Ishibashi) has released his third full-length album and it\u2019s quite a departure for the artist. Kishi Bashi\u2019s first two albums have been hybrids of chamber pop and electronic music. That Ishibashi featured the violin prominently in his music gave him a niche that was both different and interesting. That debut album, 151a<\/em>, is as strong now as it was four years ago. It is disappointing that Ishibashi has made the decision to emphasize synthesizer on this release, letting the strings fade into the background or, for most of the album, into nothingness.<\/p>\n

Ishibashi typically writes his music so that he can recreate solo when he plays it live. He has used a violin, a keyboard, a loop machine, and has beatboxed. However, the songs on Sonderlust<\/em> definitely require a full band; drums, bass, and synthesizer are all heavily featured. It\u2019s admirable that Ishibashi is taking this risk, but he falls into the crowd without his trademark instrument. Take \u201cStatues In A Gallery,\u201d which is a good enough song that sounds like it is an advance single for the next Passion Pit album. It\u2019s still a fun, complex song, but lacks something to make it stand out as a Kishi Bashi jam.
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