CHAI – ‘CHAI’ album review: a city pop-infused dose of joy
No one does fun quite like CHAI. Their music is equal parts pink and punk, celebrating their experiences as Japanese women with danceable delight. Their latest offering, the self-titled CHAI, is no exception. It finds the girl group falling further into their penchant for pop, incorporating influences from their heritage and their experience touring the globe.
CHAI is a return and a tribute to the four-piece’s youth, but not in the manner you might expect. Their lyrics are all written to express their experiences as Japanese women, but the sonic presence of their heritage has been Westernised. According to producer Ryu Takahashi, “They wanted to dig into their Japanese identity, not in a traditional sense, but in this filtered Western way.”
Fittingly, the album primarily borrows from Japanese city pop, a genre the band grew up with, which has risen to global prominence in recent years. The depths of niche online subculture groups have formed a growing affinity for the likes of Tatsuro Yamashita and Mariya Takeuchi, and it seems that CHAI have their finger firmly on the internet’s pulse, following peers into this revitalised fad. On their new record, they hone a sound as light, polished and funky as the genre’s pioneers, with a modern twist.
As well as filtering their authentic experience through more typical pop traits, CHAI continues the band’s quest to rebel against the impossible expectations placed upon women. The band have consistently used the phrase “neo kawaii” as part of their artistry, seeking to redefine the term by subverting it. On CHAI, they deliver their most pronounced reinvention of kawaii yet.
‘NEO KAWAII, K?’ declares, “This is just my body, not a trendy body” and “This is my way, I’m not humble always, there’s not a single hair that’s not necessary”, over a pulsing ESG-inspired beat. Their statements are simple but full of intent, enhanced further by their accompanying visuals. In the video for the track, they juxtapose characteristically bright pink, feminine outfits with imprecise dance moves and stereotypically unflattering facial expressions. According to the band, “Neo Kawaii is about reclaiming self-esteem”.
The album’s opening track, ‘MATCHA’, is another highlight, a song that uses green tea as both a nod to their heritage and a metaphor for introspection. CHAI explained the meaning behind their creative decision, sharing, “The process of making matcha requires a lot of focus and concentration; it’s a very meditative process. Making it is similar to the process of self-reflection, looking deeply at your emotions and trying to understand yourself better.”
The verses are relatively straightforward on ‘CHAI’, with saccharine vocals delivered over synthy, city pop soundscapes, but the song really comes into its own at the midpoint. The swirling synths and declarations of “baby” give way to an effortlessly cool bridge, glistening and pounding with bass. It’s this change of pace that vitally proves that musicology is more than just formulaic catchiness.
However, this inventiveness isn’t always sustained. ‘We The Female!’ is fairly unrevolutionary but remains a triumphant statement on gender, delivered over pervasive percussion and playful synth. ‘Like, I Need’ and ‘Karaoke’ almost emulate vintage game soundtracks in their 8-bit openings before they slide into glittering, high-end production. From the sparkling tones of ‘Karaoke’ to the understated danceability of ‘Game’, CHAI is a record with more poise and polish than their previous work but infused with all the same glee.
These elements persist throughout the album – their jubilant feminism, odes to their culture, cool, polished soundscapes. The result is a generous dose of joy. If you’re looking for more of the frenzied sound CHAI delivered on PUNK, their self-titled record might not be for you. But if you’re one of those people scouring the depths of the internet for slick city pop, or if you just want to dance around your bedroom for half an hour, it’s a fun wallop of escapism.
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