REPORT ｜ It's All About R&B!! "Alternative R&B Disc Guide" publication commemorative event

An event commemorating the publication of the book “Alternative R&B Disc Guide” was held on September 25th (Wednesday) at Cafe Bar LIVRE in Meidaimae, Tokyo.

A community for R&B lovers by R&B lovers“R&B Lovers Club”This event was supported by. On the day of the event, there was a talk and DJ (+ mini-live) by Maki Kawaguchi and Tsuya-chan, who supervised the disc guide, as well as aimi, who appeared as an interviewee, and Yacheemi, a dancer/DJ/writer who participated in writing.

The day continued in a relaxed atmosphere from beginning to end, with stories about the hardships and behind-the-scenes stories about the compilation of the disc guide. In this article, we look back on that talk part in text form. In addition, sales of original T-shirts by the aforementioned “R&B Lovers Club” will start from today. The back has a large logo, and the front is designed with a passage that will hit home if you’re an R&B fan. Check this out as well.

■T-shirt sales page

Text by Takazumi Hosaka

Classic R&B that you want to listen to now. Connection with current alternative R&B

Kawaguchi:I think everyone here likes R&B, so I don’t think there’s any need for an explanation, but let me briefly explain what kind of genre “alternative R&B” is. The vocals/sound has a floating feel, the delicate, sensual, and ennui vocals that are the opposite of the shouter type, and the introspective lyrics. I think these are the main elements that define alternative R&B. As the word “alternative” means, it is a new and exciting R&B that is different from the mainstream R&B and authentic R&B of the past.

However, in recent years, this interpretation has expanded rapidly, and recently many works that incorporate club music and experimental elements have appeared, and these are also called “alternative R&B.”

Therefore, this disc guide also features works by artists who at first glance might not be called “alternative”, such as Usher and Ariana Grande. The selection is made by song or work, not by artist. I think that’s one of the interesting things about this disc guide.

Tsuya-chan：The term “alternative R&B” has been around since the 2010s, but I feel like people don’t understand the reality of it. It’s a convenient word, so even those of us in the industry have used it, but what it refers to is vague. I don’t think much work has been done to redefine it. For this reason, we decided to take on the challenge this time.

If you read this disc guide and check out the works listed, I think you’ll be able to get a sense of its outline. Nowadays, as R&B is rapidly expanding and there is no longer a common language for everyone, I wish we could find some common understanding and common denominator.

Kawaguchi:The first theme I will talk about today is “R&B that has changed. Classic R&B that we want to listen to now. Its connection with current alternative R&B.” I consciously started listening to R&B around 1994, when artists like Mary J. Blige, Jodeci, TLC, and SWV were making hits. At that time, a ton of talented artists appeared, and I was immediately drawn into the R&B swamp (lol). Hip-hop soul was the antithesis of mainstream R&B after Mary J. Blige, and artists known as “neo-soul,” which at the time was called “new classic soul,” also appeared.

In response to the question “Classical R&B that you want to listen to right now,” it is of course correct and easy to pick D’Angelo and Maxwell, who were popular among rock fans and all other people, but…Today, D’ We would like to introduce you to Adriana Evans’ first album “Adriana Evans” (1997), which was just as well-received among hardcore R&B fans as Angelo.

Produced by his partner, a rapper named Dred Scott, the sound is nostalgic and fresh, with a longing for 70’s soul on full display, but also samples Tyrone Davis, Cameo, and incorporates hip-hop techniques. Keep it up. I remember that the writers of BMR magazine were also very excited at the time.

Kawaguchi：After all, Dred Scott is a rapper, so it’s literally soul that has passed through hip-hop. Also, Adriana is someone who sings like Chaka Khan in live performances, but on albums she has a delicate vocal style like Minnie Riperton. Maeta and Kehlani, who are active in the current scene, have completely different styles between live and recorded music, and I think that the fun of R&B like that hasn’t changed since then. Also, I feel like there’s something in common with later alternative R&B in that it’s created together with a partner, and it’s like being behind closed doors.

*The album “Adriana Evans” is not currently available on streaming services, so when I tried to play the LP that Kawaguchi had brought with me, DJ Yacheemi offered some nice support, saying, “I have it on my PC.” Ta.

Kawaguchi: And while the neo-soul whirlwind rages on, another big wave is born in the R&B scene. This is the inorganic, industrial sound created by producers such as The Neptunes, Timbaland, and Swizz Beatz. While creating this disc guide, I once again felt the strength of Aaliyah’s influence, and the influence of her second album “One In A Million”, which she created with Timbaland, who was unknown at the time. , is indispensable when talking about the current flow of alternative R&B, and continues to have a great influence on the alternative R&B scene since then.

In addition to Aaliyah’s singing, Timbaland’s sound–a metallic and dark track that uses double-speed hi-hats that is described as “chiki-chiki”–at the time I thought, “What the heck is this?”, but since then it has steadily improved. I remember it permeating the R&B scene.

Kawaguchi：I also think that the Neptunes, or Pharrell Williams, are contributing to the rise of alternative R&B as much as, or even more than, Timbaland. Timbaland and Swizz Beatz are track makers, but they’re not melody makers. Timbaland had a great melody maker in Missy Elliott, and Swizz Beatz was a producer for the hip-hop crew Ruff Ryders before he married Alicia Keys.

On the other hand, Pharrell is Teddy Riley’s younger brother and was also involved in SWV and Blackstreet’s work. Noreaga (NORE)’s “Superthug” really blew my mind, but even before that, I was an R&B craftsman. He also showed off his skills on pop songs like Kelis’ “Milkshake” and Britney Spears’ “I’m A Slave 4 U.”

Kawaguchi：This is a very personal story, but I have experienced firsthand the greatness of Pharrell. Around 2011, when the wave of alternative R&B hit, James Blake’s first album “James Blake” (2011), which was acclaimed at the time, and The Weeknd’s mixtapes didn’t really resonate with me. I gave birth in February 2011, and then there was the earthquake in March, and to be honest, I wasn’t interested in music at all, but thought, “Are I finally going to leave R&B?”

Meanwhile, Frank Ocean’s historic masterpiece “Channel Orange” (2012) was released. When I heard the song “Sweet Life” from that album, I thought, “I can still do R&B!” This song was produced by Pharrell and is a so-called alternative R&B song with a floating feel, but it’s very mellow and has a beauty that captivates even old fans like me.

Kawaguchi: Pharrell produced the most beautiful song called “Pink + White” in your next album “Blonde” (2016). Among SWV’s works, my favorite song is “Use Your Heart,” produced by The Neptunes, and I feel that the beauty of the melody that touched me back then has been delivered once again across time. I think that’s really amazing.

In addition to Frank Ocean, this disc guide also includes songs such as SZA’s “Hit Different ft. Ty Dolla $ign” and Snoh Aalegra’s “IN YOUR EYES” (both produced by The Neptunes), as well as Solange, Daniel Caesar, and Kehlani. I’ve been working on a lot of things like that. I think he is definitely playing a role in the rise of alternative R&B.

Kawaguchi: Y2K sound, EDM, Afrobeats, Amapiano, etc…R&B incorporates various genres, and I think that fluidity is definitely one of its charms. However, on the other hand, universal aspects such as beautiful melodies are also important elements of R&B. I think that’s why it continues to be loved by so many people even as time passes. I hope to continue to enjoy the beauty of things that change and remain the same.

R&B’s influence on the pop scene as a whole. R&B in places like this

Tsuya-chan：R&B has progressed even further since the time when Mr. Kawaguchi talked about it, and now R&B is expanding so much that it feels like no one can capture its full scope anymore. This wave has also reached the pop scene, but R&B is not given much attention in that scene. Personally, I feel a little sad about that, which is why we carry out awareness activities like this every day…

aimi:I understand. I feel like I’m underrated (lol).

Tsuya-chan: That’s right. So, this time I would like to mainly talk about Sabrina Carpenter, as she is the most popular pop singer in the world from last year to this year, but I feel that she is rarely talked about in an R&B context. In terms of public image, he’s a person with a strong character, and his lyrics often have punch lines or can easily be turned into memes. I feel like he has recently joined the ranks of celebrities, but he actually has quite a long career, and his past works include many easy-to-understand R&B songs.

For example, if you listen to the song “Honeymoon Fades” from 2020, you will understand that he is a person who can sing in a variety of ways. And among those variations, there is definitely an element of R&B. From this point of view, when I listen to the huge hit song “Espresso” that is currently being played in many places, I feel that it has a bit of the R&B flavor of the early 2000s, such as Amerie.

Tsuya-chan：I’d like you to listen to another song called “Good Graces” from your latest album, but the intro makes me think it’s Japanese R&B. I would say it has a J-POP feel.

Tsuya-chan:Sabrina Carpenter’s album this year should be extremely important for the label. I think it was a project with a huge budget and a large team that said, “We’re going to create a work that will absolutely sell.” Therefore, Y2K R&B is adopted. What’s more, the producer of this song is John Ryan, who has worked with One Direction and other bands, and he’s not from the R&B field. Such a person creates a “de-R&B” song with this noteworthy work. And the fact that it’s included in the first half of the album means that R&B, especially Y2K R&B, is really popular right now.

In addition, Double’s “Strange Things” recorded a revival hit on TikTok this year, and the time has come for the world to pay attention to the Japanese R&B of that era, the Japanese R&B of Y2K R&B.

aimi: “Strange Things” was an album song and I don’t think it was cut as the lead single, but curators or influencers dug it up and it became a huge revival hit.

Tsuya-chan：I’ve been doing a lot of research on TikTok, and there are other people overseas who are introducing Japanese Y2K R&B. It wouldn’t be surprising if a new revival hit emerges from the works of that era at any time. What I wanted to say today is that Japan’s Y2K R&B is attracting attention from around the world, and that everyone should notice Sabrina Carpenter’s R&B color (lol).

aimi: I see (lol). But I’m sure the same could be said for other pop stars besides Sabrina Carpenter.

Tsuya-chan: That’s right. If you look at the global hit charts now, I think you can see elements and influences of R&B everywhere.

aimi: “R&B has become everyone’s thing.” It has penetrated a wide range of people through crossover with various types of music.

Tsuya-chan:yes. He suggested that we should pay attention to the R&B elements found in pop hits.

R&B from a singer’s perspective, told by a maniac

aimi:I’m a singer, so I’d like to talk from that perspective. And let me say first that this might be a maniacal story (lol).

I was interviewed for this disc guide, and I talked about it there as well, and I feel that the new generation of R&B artists “reach the pitch quickly.” For example, authentic R&B singers like Mary J. Blige and Beyonce have an impressive way of singing, starting from the lower pitch and rising rapidly. I think it was because of this “shakuri” that there was a trend of R&B.

On the other hand, artists who have been active in recent years are able to reach the pitch they want as soon as they speak. Jhené Aiko, who is currently popular, is one of the artists who reaches the pitch very quickly, but I would like to explore this point further.

aimi:In the works of conventional R&B artists, software such as autotune and pitch correction software called “Melodyne” was not yet used to that extent. In other words, it is converted into a sound source without modifying or editing the pitch. I think that’s why she sings in such a raw way.

On the other hand, recent artists include Alex Isley, who has a light, neo-soul and jazz feel, Summer Walker, who sings with a languid, indistinct style, and Muni Long, who has a wide vocal range and inherits traditional R&B mannerisms. There is no end to the list, but various styles have been established. Each of them sings in a different way, but they all still sound “modern.” I think the reason for this is the speed at which they reach the pitch.

…As I pondered why this happened, I personally came up with a hypothesis. This may be due to the influence of Korite culture. Colite is a method of creating one song by multiple people, and it has been widely popular overseas for quite some time. I have the impression that more and more artists in Japan are adopting such methods in the past few years.

I’m also working with a producer called LEJKEYS, who works with Jhené Aiko, and other US songwriters, and when I’m doing that, I’m asked, “Do you use autotune when writing the top line?” I’m definitely asked. In other words, it has become commonplace to apply autotune when creating a song. When I asked him, “Why do you make music that way?” he said, “It makes me feel better if it sounds cool when I play it back.” I thought that made sense.

“I’m OK”, a song produced by aimi with LEJKEYS

aimi：When you’re at a co-light location, there are A&R and artists, so they pitch songs on the spot. Song pitch is similar to what is called a competition in Japan. Songwriters and artists are creating many songs while applying autotune during co-light sessions, and these songs are actually being used. I feel like that affects how quickly I reach the pitch. …What do you all think? (lol)

Kawaguchi: I thought this was a hypothesis unique to Singer. I couldn’t think of anything at all.

aimi:In addition to that, I have one thing on my mind. There are engineers at the Colite site, and they exchange opinions with everyone, not just the producers, such as asking the person who writes the top line, “Isn’t it better to do things this way?”

There is also a strong presence of the producer tag (a unique sound added to a track or beat to give the impression that it was produced by oneself), and listeners and the media tend to focus on “who produced it”, but from now on, songwriters I think the time will come when people will pay attention to people, engineers, or co-light crews/teams.

There are already people in Japan who are doing something similar, and I think the people at wau, for example, are doing it that way, and my friends and I are collaborating more and more. Ta. I also feel that this kind of production method is connected to the diversity of R&B. Because people of diverse races and backgrounds come together to co-produce, elements from various genres are mixed together. I guess that’s what makes modern R&B so colorful.

Changes in R&B from a dancer’s perspective

Yacheemi：I’m a dancer and a DJ, and although I dance hall reggae when I’m a dancer, I’ve always loved R&B, so I’m a bit of an elusive person. So I thought I would talk about recent R&B from a dancer’s perspective.

Recent trends include dancehall reggae like the one I was playing, Afrobeats, which has flourished mainly in Ghana and Nigeria, and amapiano, which originated in South Africa. These three genres have become deeply entrenched in the R&B dance scene. In the first place, Afrobeats has been popular worldwide for a long time. Every R&B artist has at least one Afrobeats song. In line with this trend, Afro-style moves are also coming into dance.

Yacheemi：But in the past, Jamaicans only performed Jamaican dances. At that time, South African and Ghanaian dances were also quite distinct and did not mix very well. However, in the last five years or so, it has become mainstream for dancers from all countries to mix various genres. In the past, you could roughly tell which part of Africa a person was from just by looking at the way they turned their hips. Nowadays, South Africans are also dancing Jamaican dances, and the whole dance has come to America, so it’s becoming a great mixture.

To give you a clear example, the hook of Kehlani’s “After Hours” music video is a mix of South African and Jamaican dance. Perhaps the choreographer has taken trends from each country and skillfully applied them.

aimi:But the beat of this song is not Afrobeats.

Yacheemi:The orchestra is a coolie dance, like Nina Sky’s “Move Ya Body,” so it’s Jamaican. The vocals on it are R&B and the dancing is a mixture, so it was an amazing time (lol).

Today’s top R&B choreographer is Sean Bankhead, who has created almost all of Normani and Victoria Monet’s recent works. I get the impression that this person is very good at mixing classic tastes reminiscent of Janet Jackson and other artists with recent trends. Everyone please check it out.

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Yacheemi:Also, there’s one more thing I wanted to talk about. There’s an American R&B singer named Kenyon Dixon who has released works that specialize in good old R&B, but he seems to have originally been a dancer, and when I looked at his Instagram, I found out that he can dance like crazy, just like Usher. . Moreover, I recently learned that she is married to Alex Isley and they have a daughter together. I’m secretly keeping an eye on him, thinking he’s an incredible thoroughbred (lol).

Future R&B predictions

aimi: Lastly, I hope we can all make some predictions about what the R&B scene will be like in the future. What do you think of Mr. Kawaguchi?

Kawaguchi:It’s difficult, isn’t it? I have no doubt that more diverse works will continue to be released in the future, but let me tell you my personal aspirations: I’m from the ’90s hip-hop, or rather, hip-hop soul generation. , I would be happy if a lot of R&B that uses a lot of sampling comes out. I thought of this when Marsha Ambrosius released an album called “CASABLANCO” this year. It’s a work produced by Dr. Dre, but it uses a lot of bold material. Dr. Dre does whatever he wants, like Nas, Wu-Tang Clan, KRS-One stuff, and it’s super awesome.

Kawaguchi:Also, this year’s Common and Pete Rock album “The Auditorium Vol. 1” also made fun of Aretha Franklin and Esther Williams. I’m thinking, wishfully, that something like a sampling regression or a return to the 1990s is coming.

aimi：Because there is a community and a listener base that is aware of the source material, it is possible to use major material with confidence.

Kawaguchi：I sometimes think that young people don’t understand it, but since Nas’ visit to Japan caused such a stir on social media, perhaps it’s because the classics have been passed down.

aimi: How do you like Tsuya-chan?

Tsuya-chan：Nowadays, the world of hip-hop is becoming more and more fragmented, with multiple subgenres being created within one genre, and I feel like each genre is becoming divided. On the other hand, although the R&B sound itself has become more diverse, I feel that there is a sense of unity that connects us just by loving R&B. After all, isn’t R&B music about peace and love? I think the characteristics of a community of R&B fans are what we need in this day and age.

I love hip-hop’s competitive culture, and I think that’s great, but I wonder if R&B will be loved by people who are tired of playing games like that.

aimi:I started my activities under the name Aimi during the coronavirus pandemic, so I couldn’t meet anyone at first, but lately I feel like there have been more events like R&B and R&B-hip-hop. Keep it up. I met a lot of people there, and I also made a lot of friends who are artists and creators.

Unlike in the days when R&B was mainstream, many of the people making this kind of music now are independent, so I think that’s a big part of what creates a sense of solidarity. It’s like artists are directly connected to each other without going through an agency or staff.

Tsuya-chan:Also, I think one more thing is that mixtures and genre eclecticism are now commonplace within various genres, but the only thing that can bring together such disparate elements is the power of song. I wonder if there is. Even if the combination seems to be scattered at first glance, the unique power of the vocals will take care of it and bring it together. I think the essential power of R&B will be reconsidered in various genres.

aimi: I see. How about Mr. Yacheemi?

Yacheemi：Personally, I was fascinated by Muni Long’s album “Revenge” released this year. What’s good about it is that more than half of the songs on it have bridges. I think it’s great that the current artists are passing on this good old aesthetic, and as far as DJs are concerned, jersey club music has recently become a part of R&B music. Similarly, in terms of dance music that was popular about 10 to 20 years ago, I’ve heard from senior DJs that Brazilian baile funki might be the next to come in the R&B world. It seems a little difficult to match (lol).

aimi：This is something I was talking about with DJs, but R&B is less prone to generational divisions. As everyone has said, it has evolved by incorporating new elements and sounds, but at the same time it has inherited the same aesthetic and style. That’s why you can enjoy it together even if you are of a different generation. I hope to continue to promote such wonderful music = R&B through the activities of “R&B Lovers Club”.

[Release information]

“Alternative R&B Disc Guide
New trends spreading from Frank Ocean, Solange, and SZA”
Supervision: Maki Kawaguchi + Tsuya-chan
Format: A5 size/all color 208 pages/paperback
Estimated price: 2,500 yen + tax
Release date: Friday, March 29, 2024
ISBN978-4-86647-248-5

■Book details

[Event information]

“aimi – First One Man Live”
Date and time: Friday, February 21, 2025 OPEN 19:00 / START 20:00
Venue: Shibuya, Tokyo WWW
Price: ADV. ¥4,000 / DOOR ¥4,500 (separate 1D fee for each)
Cast:
aimi