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With Hi Guys! Let Me Teach You, Pizzicato Five launched a series of five records released in consecutive months. Temporarily abandoning its string-and-brass lounge pop, Pizzicato Five relies on вЂ™80s-styled synthesizers and drum machines. The album revisits songs from its three predecessors, updating the material with new arrangements, remixes, vocals by newcomer Maki Nomiya - even a poem or interview excerpt. Soft Landing on the Moon unveiled the tactic that makes P5вЂ™s discography so extensive and confusing: recycling and repetition. Each of the nineteen songs appropriates something different, from the Simon and Garfunkel parody of вЂњHomesick BluesвЂќ to the frenetic chase music of вЂњFeint OperationвЂќ to the funky turntable tricks of вЂњHer Majesty au Go Go.вЂќ

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The band returned to form on the fast-paced On Her MajestyвЂ™s Request, jumbling up spy music, mod rock, smoky jazz, synth-pop and sweeping orchestral arrangements. Though all the right ingredients are present and вЂњTemptation TalkвЂќ and вЂњWorld StandardвЂќ have their moments, the album is too methodical and mechanical to be effective. Like a Japanese Style Council, the band plays mannered soul music, relying on falsetto harmonies, dinner-jazz rhythm sections, funky basslines, even steel drums to propel its songs. An instrumental version of the album was later released as A Quiet Couple Antique вЂ™96 is a collection of the eraвЂ™s odds and ends.Д«ellissima!, which is dedicated to Albert Moravia and Smokey Robinson, takes a detour to Motown. Except for a few words in the chorus of the bossa nova вЂњMagical Connection,вЂќ the album is sung entirely in Japanese by a soft-voiced male/female tag-team.

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Full of syrupy Bacharach-style arrangements and song titles like вЂњOdd Couple and the OthersвЂќ and вЂњThe Apartment,вЂќ Couples often sounds like the soundtrack to a very corny вЂ™70s TV series, complete with tinkling bells, punchy brass and, of course, pizzicato strings. And youвЂ™d have to scour the globe to find anyone who can challenge the prolific groupвЂ™s productivity, which has yielded nearly two dozen cleverly designed and packaged albums in the first half of the вЂ™90s alone.ДЇollowing two singles, вЂњAudrey Hepburn ComplexвЂќ and вЂњIn ActionвЂќ (collected, along with other early tracks, on Non Standard Years) and an electro-pop album, Pizzicato Mania, the group made a surprisingly sophisticated major-label debut album. Unlike other contemporary Japanese bands that have achieved some notoriety in America (like Shonen Knife), Pizzicato Five are practically superstars at home. Its songs are rich nuggets of pop-art irony, created in the belief that mass-produced consumables have replaced art and, therefore, art can no longer be a serious pursuit. But the Tokyo group, which was formed in 1984 by Yasuharu Konishi, a Tokyo college student consumed with вЂ™50s, вЂ™60s and вЂ™70s pop, soul and television theme music, is much more than the sum of its kitschy Western influences.

At first listen, that may seem to be true of Pizzicato Five. There is a persistent stereotype in America that Japanese bands simply attempt to replicate American and British pop, and that the charm of the music is in how they get it wrong or unwittingly fall into the culture gap. Combinaision Spaciale: Pizzicato Five in Dub EP (Japan.Unzipped EP (Triad/Matador/Atlantic)В 1995.The Sound of Music by Pizzicato Five (Triad/Matador/Atlantic)В 1995.

Non Standard Years: Pizzicato Five 1985-1986 (Japan.

Big Hits and Jet Lags 1991-1995 (Japan.