Album:In a Model Room

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In a Model Room is the debut album of Japanese band P-Model. In 2007 Rolling Stone Japan ranked it at number 52 in its list of the 100 Greatest Japanese Rock Albums of All Time and Snoozer ranked it at number 125 in its list of the 150 Greatest Albums of Japanese Rock 'n' Roll. Susumu Hirasawa re-recorded the album (except for "Sophisticated") in the style of the P-Model live shows of 1979 as Virtual Live-1 [P-Model Live at Roppongi S-Ken Studio 1979].

Background
The onset of the punk/new wave movements in the mid-late '70s was revelatory for Susumu Hirasawa. Experiencing music and visuals primarily through promotional videos of groups like Sex Pistols, 999 and Métal Urbain acquired by Susumu's older brother Yūichi; the Hirasawa siblings and keyboardist Yasumi Tanaka had a revelatory experience, feeling that it was the advent of a new era. They started writing songs in that style, and cut their waist-length hair short, alongside drummer Sadatoshi Tainaka.

Not long after that, despite never using a synthesizer in his life, Susumu passed a job interview with Akiro Kamio Arishima, a musician whose output was synthesizer-centric instrumental music in the vein of Wendy Carlos and Isao Tomita. The work opportunities that resulted from that professional relationship got Susumu acquainted with the instrument and interested in its potential.

At the same time, Susumu grew unsatisfied with their progressive rock band, Mandrake. He thought their style had lost its social link and became just entertainment, while the traditional aesthetic of rock they expressed became embarrasing to him. He was also unhappy with the lack of success the band had achieved by 1978: their live shows only attracted a niche audience for national progressive rock of a few hundred people (Hirasawa estimated the total size to be around 300 people) and their only release was bit parts in an album of pop covers by Kamio's band, The Bach Revolution.

Mandrake had turned into a half-hearted band and, after declining an offer from an A&R coordinator of Victor Music Industries, Hirasawa decided to "abort" Mandrake, characterizing it as the defeat of alchemy to commercialism. To that end, the band's final live performance, meant to be the symbolic burial of Mandrake's aborted body, was a two-part show that lasted 3 hours, with a skit between parts and the last half hour consisting entirely of new wave songs. For the skit, the lights went out and the "mad doctor" Katsuhiko Akiyama—keyboardist of the Emerson, Lake & Palmer-influenced trio Abi Kyokan (阿鼻叫喚) and occasional Mandrake roadie/skit actor—came on stage dressed in a doctor's coat and holding a fetus that glowed red, green and blue. After that Yūichi, while running on a treadmill also wearing a doctor's coat, counted to four in English and the 2nd set began, ending Mandrake.

On New Year's Day 1979, the members of the band (alongside Yūichi) held a meeting at the Hirasawa family house in Kameari to define what the new sound and image of their "project" would be, conceptually. They decided on a complete change, both musical and visual, aiming to cultivate an unthreatening image. Also, that change would be employed through a "Non-Musician" approach, for their work to be seen as coming from ordinary people. That decision came from their observations that the kind of music big companies pushed had appeal for people who are not music fans and worked as entertainment, something that progressive rock was not capable of. This new direction was driven by their desire to "overthrow Pink Lady". Bassist Tohru Akutu, obstinate in his passion towards progressive rock, decided to depart from the band, going on to work on various projects with the members of Shingetsu. Akiyama was later chosen to take his spot, specifically because he had never played bass in his life before.

After deciding the band concept, Hirasawa and Tanaka recorded a 2-song demo at home and P-Model proceeded to distribute cassette copies to parties that might show interest. By happenstance, Hirasawa gave one to an employee of the entertainer management company [https://en.wikipedia.org/wiki/Amuse,_Inc. Amuse], which then reached another Amuse employee, who played it over the phone to her husband, Rockin' f magazine assistant editor-in-chief Akira Katoh. Ms. Katoh offered P-Model a deal with their company, but the band wasn't interested. Mr. Katoh helped them get a record deal by inviting 8 strongly interested A&R coordinators from different companies to the band's second live performance.

Of their options, P-Model chose to sign with the biggest one, Warner-Pioneer. Tomonari Sassa, the A&R coordinator who expressed interest in the group, was from Warner's western division, which already handled a similar band (Devo). He asked the Japanese division to take P-Model, but they didn't understand what the band was going for, so they ended up in the hands of the western division. "Bombarded" with overseas new wave labels, they went with Warner itself, since it was the most "major", they had no experience going overseas or good grasp of English and their goals centred around the national pop music environment.

With half an album's worth of music already written, the band put out both a debut single and album with relative agility. From the band's formation in 1 January to their debut live on 16 March, recording sessions throughout May and June, debut single release on 25 July and ultimately the album's release on 25 August, it took them a mere 235 days to do what Mandrake had been unable to in 5 years.

Conception
The lyrics of In a Model Room reflect the changes Tokyo was going through as Japan's economy surged. P-Model, who with the exception of Tainaka were all Tokyo natives, felt displaced in the metropolis, and that it lacked a shared culture and anything interesting to do. This alienation came from the population influx from elsewhere, and a development the group was acutely aware of: the government's attempts throughout the decade to purge subcultures (at the time commonly thought of as disgusting and consisting of only bad people) from the special wards to make them "wholesome". Having seen the transformation Shinjuku went through (to Hirasawa, it simply became a city for drunkards), the process that Ikebukuro was undergoing during the band's formation—namely, the construction of the Sunshine City complex at the centre of what they considered an unrefined town—made them think Tokyo had reached its end. That led them to put a sense of hopelessness akin to that found in George Orwell's 1984 in the album.

Unlike other technopop bands of the time, which sung mostly English lyrics, P-Model wrote only one song entirely in the language, with their others in Japanese. Every song in the album contain direct social commentary, highlighting issues in people's mindsets and behaviors. The band agreed to only write songs with whole tones; while Tanaka easily wrote bars full of them, Hirasawa was only able to muster "Art Mania". They ended up with a tendency for complex compositions and unusual time signatures.

The instrumentation is conventional for '70s new wave: the standard punk ensemble of guitar, bass and drums augmented with a combo organ and a variety of synthesizers, almost all of them monophonic. The P-Model sound originated from "playful" experimentation: synthesizers at the time were thought to be instruments of contemplative sound, so Hirasawa wanted to hear what they'd sound like when put through distortion, sound decay and noise. In particular, an unique blipping noise Tanaka got out of a Maxi-Korg 800DV, named "Musical Stapler" (ミュージカル・ホッチキス), came from this experimentation.

A Roland CR-68 drum machine does simultaneous counterpoint beats to a standard drum kit. The CR-68 is used in five tracks—"Art Mania", "Roomrunner", "Sophisticated", "Kameari Pop" and "Art Blind"—respectively, through the preset rhythm patterns "beguine", "samba", "bossa nova", "slow rock" and "foxtrot". In all cases, the "balance" knob was turned left to remove the patterns' cymbals, except for "Roomrunner"/samba (which kept all parts of the preset) and "Kameari Pop"/slow rock (in which only the cymbal was used). Hirasawa considers the Musical Stapler and the CR-68 rhythms to be the defining elements of the band's sound, at the time. Hirasawa attempted to give a completely inorganic sound to the album.

At first they called this style, a blend of cold mechanical instrumentation and direct satirical messaging, Acrylic Pop (アクリル・ポップ). The term was coined by Hirasawa, who thought it was completely incompatible with the Mandrake style and material. Since the songs they were working on were a counterpoint to the cultureless Tokyo that was being built on top of the place's original culture, Hirasawa later decided to call it Joban Line Pop (常磐線ポップ), after the railway that services the area he grew up in (and still lived in at the time), Kameari. P-Model's style has been compared multiple times, both at the time and over the decades, to one of their contemporaries, XTC. Hirasawa personally thinks that Bill Nelson's Red Noise were the closest to what the band developed.

Production
As In a Model Room would mark the first time he would go into a professional recording studio, Hirasawa wanted to work with an outside producer, preferably someone with experience and who understood what the band was going for. P-Model thought they were the only ones in Japan making their kind of new wave music, until they saw Plastics live at S-Ken Studio; both Hirasawa and Tanaka were stunned by their performance, and by how their electronics also sounded distorted. After a Plastics show at Yaneura early in the year ended, Hirasawa approached keyboardist Masahide Sakuma, asked him to produce P-Model and handed over a copy of their demo.

Plastics hadn't yet made an album at the time, but Sakuma was also the bassist of Yonin-Bayashi, the biggest progressive rock group from Tokyo; in the previous 4 years, he worked on 3 group-produced albums of theirs. The formal offer from Warner came months after that show; Sakuma was so impressed with the demo that he immediately agreed to produce. He was swiftly trusted by the band. Hirasawa, who once described him as "unlike any other kind of musician or industry person; an honest man who acted with a life-sized air of cleanliness", felt a strong sense of sympathy since they were going through similar stylistic changes, and that his presence brought a sense of security.

Recording sessions started, not long after securing Sakuma, at Sunrise, a small studio in the immediate vicinity of Sunshine City. The 2 songs on the debut single were completed first, then they worked on the rest of the album; the bulk of it was recorded at Sunrise.

Despite their respect for one another, Hirasawa clashed constantly with Sakuma (at times backed by Warner and engineer Makoto Furukawa) over P-Model's equipment: Hirasawa believed its grittiness was an important differentiator between Joban Line Pop and the sophisticated fashionable city sounds they positioned themselves against, Sakuma thought it all sounded bad. He considered borrowing a Les Paul or Telecaster guitar for the recording, but Hirasawa would only use his Explorer. He didn't like how Akiyama's Greco Suzi Quatro Model bass sounded, so he lent him a Fender Jazz Bass he used with Yonin-Bayashi; Akiyama liked its sound and used it for the album. Yonin-Bayashi drummer Daiji Okai was brought in for 1 day to tune the band's kit. The Yamaha YC-10 combo organ was a source of daily arguments: The band chose it for the clicking it makes when a key is pressed, the production wanted to take it out of the mix, and at one point tried to rent an expensive keyboard, which the group refused adamantly. P-Model would alter the equalization settings Furukawa used to remove the clicking every time he looked away from the mixing console until he stopped noticing it.

The Non-Musician ethos lead to some peculiar occurrences during the sessions. Sakuma & Okai played parts of songs by happenstance at separate occasions, on both times highlighting a drastic lack of skill from P-Model's rhythm section. Hirasawa wanted one song to have the voice of kids in it, so the band went to a McDonald's and asked 3-4 high school girls there to sing on the album.

The band had planned for In a Model Room to have a pop finish, but the result was more punk than they expected. While the group maintained an amicable relationship with Sakuma after the album was finished, they never worked with an outside producer again, and the process marked the beginning of an 8-year-long struggle against audio engineers by Hirasawa.

Visuals
To create an unthreatening image, P-Model based its visuals in bright colors, continuing the Mandrake tradition of painting instruments, as well as changing their clothing. It was decided that the band's name would be changed to something that evoked the new development of a mass-produced industrial good, a fake product model. The letter "P" (ピー) was chosen for the name because it sounds ridiculous, Yuichi produced "P" badges, which the members wore on live shows. Hirasawa took to wearing plates with intentless sentences like "Ｉ　ＡＭ　Ａ　ＣＯＫＥ" and ＹＯＵＲＹＯ　ＪＩＤＯ (優良児童) on them.

Track listing
2 other songs were considered for the album: The Hirasawa-penned "Alien" (異邦人) and the Tanaka piece "White Shoes" (ホワイト・シューズ). The former, at times part of Mandrake setlists, was considered too heavy and "not the sound you want out of a pink album"; it was later recorded, with new parts by Tanaka, for Landsale. The latter was first publicly relased as BGM for the end credits of the Photon-1 video.

Personnel

 * P-Model - production, arrangements
 * Susumu Hirasawa - vocals, guitar (H.S. Anderson Explorer A5), synthesizers (Maxi-Korg 800DV, Yamaha CS-10), drum machine (Roland CR-68), vocoder (Korg VC-10), jacket design
 * Yasumi Tanaka - combo organ (Yamaha YC-10), synthesizers (Maxi-Korg 800DV, Roland SH-3, Korg MS-20), drum machine (Roland CR-68), sequencer (Roland CSQ-100), backing vocals
 * Sadatoshi Tainaka - drums (Yamaha kit with Pearl snare)
 * Katsuhiko Akiyama - bass (Fender Jazz Bass), synthesizers (Roland SH-3, Korg MS-20), backing vocals


 * guest performers
 * Sunshine City Gals (listed under special thanks) - backing vocals on "For Kids"


 * technical
 * Masahide Sakuma - "Switchist", production
 * Makoto Furukawa - engineering, remixing
 * Kozo Kenmochi, Kenji Konno, Ryuichi Suzuki - assistant engineering
 * Daiji Okai (listed under special thanks) - drum tuning


 * visuals
 * Yuichi Hirasawa (also listed under special thanks) - art direction
 * Hideki Namai - photography


 * operations
 * Tomonari Sassa - A&R (credited as direction)


 * Special Thanks to
 * Akira Katoh (credited as "Hisaaki Katoh"), Nobumasa Uchida, Hiroshi Yamamoto, Ms. Shirota

Release history

 * "Roomrunner" is included on the GET THE PUNK -J PUNK & NEW WAVE 1972～1991- various artists compilation.
 * "Art Mania" is included on the ROCK is LOFT　-Purple Disc- ～SHINJUKU LOFT 30th Anniversary～, TECHNOLOID -JAPANESE 80's NEW WAVE SAMPLER-, Rock NIPPON～Selected by Hiroshi Tsuchiya, KING SONGS of NEW WAVE and SAKUMA DROPS compilation albums.
 * The album's singles were reissued on CD on paper sleeves to replicate their original packaging with the band's other Warner-Pioneer released singles as part of the Tower Records exclusive Warner Years Singles Box box set in 2012.