What is it about Japan that brings out the best in a musician? I remember Little Brother merely making a song about their dealings with Japan and it was great. Netherlands-based producer Nicolay took his City Lights series to Shibuya Terminal with the second edition and it was as sonically beautiful as cherry blossoms blowing in the afternoon skies. Even native Japanese musicians sound amazing: lest we not forget that Ryuichi Sakamoto is one of my favorite artists.

Maybe it just comes down to good times in the land of the rising sun. If so, I’ll book me a ticket to that famous island as soon as possible. Musicians draw inspiration, or job opportunities, from the fabled land all the time, and now we can add our good friend Mike Tenay to that list. You may remember him from such programs as WCW Thunder and Impact Wrestling.

Or not.

Regardless of all of that, a little while back I did a little profile on Mike Tenay the musician, the “king of vaporwave” (and now “shogun of vaporwave”) as his Bandcamp page said. It wasn’t a legitimate “review” of his debut album, but it highlighted a couple of points I had towards it and served as my door to this Miami Beach sound that I began to groove to like New Wave and New Jack Swing. With all that being said, let’s get into Tenchi Tenay in Tokyo.

The first thing you notice is the cover, which is substantially less unnerving than the cover to the previous album. That’s an instant plus. It’s also about the last thing we’ll speak of regarding any visuals unless a music video is on the horizon.

My original question with Tenay’s foray into this brand of electronic audio goodness was whether or not that disjointed, somewhat unpolished feel on some tracks would carry over, or if it was even a deliberate action. Tokyo puts some of those fears to rest as it opens with an intro that recalls “Jacuzzi Love” in the backdrop of landing in the Japanese capital via plane, going straight into a triumphant entrance worthy of a larger-than-life professional wrestler.

It might be fate, but ironically enough the last time I found myself jamming and a-shakin’ my booty to a song, it was through something else discovered via Bandcamp. That song was “Oh My God It’s Boogie Music” by OHYEAH, part of the Sunrise Blend compilation from French label Juicy. The first track of the album is “Sweet Talker”, and it puts me in that same groove. The elements of Japanese culture, notably J-Pop, are on display through both sonic vibes and elements introduced throughout several songs.

Surprisingly enough, I wouldn’t have been surprised if this ended up being on par with Lupe Fiasco’s The Cool or The Kinks are the Village Green Preservation Society in that it would not have been hard for this album to sound like a bit of an obsession album. That’s to say, Lupe Fiasco’s second album was about his obsession with what was cool, and the Kinks created something that reveled in their shared anglophila, but Mike Tenay doesn’t fall into the trap of japanophilia (which may or may not be a legitimate word). He maintains his established identity while presenting a love for Japan’s music with his own.

This album sounds polished, and ultimately more accessible even than Jacuzzi was. Blending vaporwave and J-Pop in this fashion is both ambitious and welcome, with tracks such as “She Wants Me” and “Geisha Girls” bringing forth a heavy dance vibe and 80s club feel. Where Jacuzzi went between booty shaking and slow grinding, Tokyo is a bit more streamlined.  The vast majority is upbeat, high energy, strobe light goodness, and the action only slows down for two songs, almost like a much needed break from the energy on constant display. 

The first of these songs is the completely safe for work titled “Fuck”, which considering the slow jam quality of the track may be the most aptly titled song on the short album.  The other is “Hot and Sexy”, which sounds like a spiritual sequel to the slow grind classic from the previous album, “Slow and Easy”. 

The album is short, only twenty-seven minutes total, but it maintains a lot of replay value.  One curiosity is the revamping of the title track from Jacuzzi called “Jagujī Love”, which may full well be the most impressive thing I’ve ever heard from Mike Tenay.  After one remix that made me smile and the original, which still has me singing along with the high-pitched vocals not seen since I was but a sheep in the big city, it manages to stand out, stand alone and stand tall above the source material it came from.

Any criticisms I maintained towards Jacuzzi have been addressed with Tenay in Tokyo, save for the short length on the whole.  Does all of this coincide with TNA going to Tokyo with the Bound for Glory PPV this year?  I hope not, because the fact that I can even consider that means Tenay’s music is NOT getting the pedestal it deserves after now two impressive displays.  Tokyo isn’t perfect, but nothing (except for maybe “Comeupoutdawahta”) is.  However, Tenay displayed growth in quality over what was already impressive, and I eagerly await the third offering from this underpaid commentator.

Now head here and give the album a purchase.  I suggest a nice round number of 15 dollars.  We have to support Mike in all his future endeavors after all.