Is there more than mere semantics to the difference between remodeled and remixed? A remix takes the components of an original track, breaks them down and puts them back in a different order. A remodel may also include new components. AGATE is a set of “material refined through repeated performance.” The more Meitei performed pieces from his Kofū trilogy, the more he refined their sound, a process akin to the formation of agate. Three pieces survive the transition from Kofū; one crosses over from Kofū II; and two are remodeled from Kofū III, only six out of thirty-four tracks, plus a new piece that launches the set. The final product extends the discussion on whether there is ever a definitive version of a track; for Meitei, the music evolves with the performer.
It’s a pleasure to dive back into the world of Kofū, in which each piece lays bare another aspect of Japanese culture. Even before playing a note, it’s obvious that changes have been made; “Oiran I” is now two minutes longer, while “Oiran II” is seven minutes longer. The original piece began with static and abraded piano before adding looped vocals and beats. The remodel retains the cut-up timbre, but is slightly slower and more sombre, with additional percussion and samples. One can recognize it as the same piece, yet older and more evolved, with a late breakdown. “Shin-Oiran II” vastly increases the orchestral elements of the original, while downplaying the hip-hop elements; as a result, the piece changes not only structure, but mood, like a reevaluated memory. In the new version, one can feel the heartbreak of the red light industry; the originals lacked such poignancy. In the same way, new histories either admit or attempt to erase the mistakes of the old.
“KYŪGEKI” is an unusual piece in that it is remodeled from two: “Shinobi” and “Akira Kurosawa,” the eighth and eleventh tracks from Kofū II, a pair of very different works. The new work is more homage than medley, amplifying the filmic elements in a manner that honors the intentions of the second while bringing the first – originally inspired by a tea house – into the fold. “Wa-rōsoku” is an interesting piece to revisit in that it was not one of the highlight tracks of Kofū III; this may also make it a wise choice. The piece, which honors a Japanese candle made from natural ingredients, now glimmers rather than flickers, a more ambient rendition. In contrast, “Shin-Edogaawaranpo” amplifies and further distorts the original piece, in deference to the unusual talents of the esoteric author. And “Haō,” which likely refers to the manga and anime series, ties the entire adventure in a bow, bringing the set into the modern era.
Kofū was originally considered the final piece of a trilogy, after which it became the start of a new trilogy. AGATE is only the latest of Meitei’s productions to look back while moving forward. As a reflection of place and time, the new album represents the reevaluation not only of history, but of an artist’s life and output. (Richard Allen)
a closer listen 