Versatile and prolific, Vaundy released in November a second album, replica, as a massive collection of two hours. Review.
REPLICA – VAUNDY
What Vaundy considers to be his final degree project is an album of powerful rock, colourful pop, and smart genre experimentations. replica is a search on sound. He never forgets what’s been done, resembles without copying, and, layers after layers, creates his own, unique. The first part of the album was thought with a narrative through sound. Starting with the intriguing Audio 007 – a first search – the artist then jumps into ZERO, a stadium rock track made and tested live. A real treat.
The pop chorus of 美電球 (Bidenkyu) and the dark shadows on the verses of the bright カーニバル (Carnival) are unmissable. 1リッター分の愛をこめて (one liter full of love) reveals itself little by little with a certain hypnotic sobriety. And I felt the same idea coming through the summery 宮 (Miyako) and the funky 常熱 (Jonetsu), later in the record. There is not one track to skip there. Not even the urban and anxious Audio 006, the dystopian NEO JAPAN, and the powerful bass of 黒子 (Hokuro). Above all, I can’t skip 逆光 (Backlight) – replica -, his as-punchy version of the one he wrote and produced for Ado to interpret in the film One Piece Red.
The emotional 呼吸のように (Like Breathing) is followed by the lovely and colorful 怪獣の花唄 (Kaiju no Hanauta) – replica – his version 2023 of a track first released 3 years prior. A click of a record player on Audio 008, the first part ends with replica, an epic pop journey partially in English. The influence of Bowie is striking, clear, and welcome here.
But… first part? Yes. If replica is mainly that collection of 15 tracks, Vaundy couldn’t resist and regroup all of his singles released after his first record, Strobo. It’s a festival. Still, the second part logically opens with Audio 003, another fascinating experiment, where the sober electro melts into the acoustic.
Hyper pop and romantic, 世界の秘密 (Sekai no Himitsu) lulls heart and soul, like the so-efficient 融解sink (Yuukai Sink) and the epic しわあわせ (Shiwaawase). More rock than the previous ones, benefits is also more intimate and hushed. It stays delicate. Vaundy doesn’t stop there and adds 花占い (Hanauranai) and Tokimeki, both equally bright.
Then comes a small banger, 泣き地蔵 (NakiJizo) – sharp guitars, a phenomenal flow, a catchy chorus, there’s everything here. Moments of calm later with the whispered 踊り子 (Odoriko), but it’s only a short one as the dynamic 裸の勇者 (Hadaka No Yusha) explodes. Vaundy really has a talent and savoir-faire for romantic and upbeat pop-rock, like on 恋風邪にのせて (Koikaze ni nosete). Want more softness? He’s back with 走馬灯 (Soumatou).
And if you want a heavy, stained rock, then he creates CHAINSAW BLOOD, a crazy strong track for Chainsaw Man. A chainsaw as an instrument? Honestly why not? Yet, the track almost shocks here as it’s surrounded by grandiose mabataki and expressive 瞳惚れ (hitomibore), 忘れ物 (wasuremono), and 置き手紙 (okitegami). He sparkles touches of funk in まぶた (mabuta) and classical in そんなbitterな話.
To close his chronological playlist of singles, he chose the fantastic generic for SPY X FAMILY, トドメの一撃 (todome no ichigeki), in collaboration with American guitarist Cory Wong. Fairytale-like, and light, it’s perfect to complete this impressive collection. In the end, replica is made of two albums. It’s where Vaundy invites us to dive in, pick and choose our favourite moments. Despite me trying to get some words on them, his songs don’t really have an exact genre, flowing with what the singer-songwriter-producer knows to make. Which is… pretty much everything?
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