Anamanaguchi - Endless Fantasy
Anamanaguchi sound like Tumblr exploding. Their chip-tune adventure through everything from house to pop punk, J-Pop to post-rock is a giddy ride, and it ensures the listening experience is one to match. It’s like being in a parade dedicated to their twin deities Megaman and Nyancat, travelling along Rainbow Road on a bizarro float built from ancient video game consoles, gifs of flying sloths, and dodgy MySpace HTML. This might be just your cup of tea or veritable aural napalm.
The sheer candied insanity that fuels the band though, is largely kept in check though everything being so intricately produced and exceedingly well-performed, Peter Berkman and co. equally capable of reinterpreting Erik Satie as they are conjuring epic intergalactic space battles for the brain. On tracks like the frenetic ‘Canal Paradise’, the R&B inflected groove of ‘U n ME’, and the exquisite pop of ‘Prom Night’ in particular, high-fives are being handed out at the door and preposterous levels of fun are being had by all. The issue becomes that - by swinging incessantly between the poles of idiosyncratic and maximalist - the final sensation after 22 tracks is of the crash after an exhilaratingly exhausting sugar rush. Despite the frequent attempts at generic shifts, even the most distinctive moments can’t help but ultimately fuse into one mass, and the outcome is that over the course of 76 minutes the title begins to fit all too well, the connotation of Endless progressively shifting from liberating limitlessness to the irritatingly-incessant. Anamanaguchi’s ambition is bold and often brilliant, but it becomes a double-edged (buster) sword, the sense of emotive elation they thrive on deadened by too much of a good thing.