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Then the player clicks again, the tape rewinds, and the Apples come back in frame. Sounds reappear frequently across Fantasma , songs referencing one another in subtle ways—early English-language reviews tended to knock Cornelius for having too much going on, but Oyamada knew exactly what he was doing with the rush of noises. Everything ends up in its right place, making for a more cohesive and intimate listen.

Shibuya-kei was built on crate-digging discoveries, but oftentimes could come off as simplistic or, at worst, trying to be too cool with nothing but some obscure records. But only Fantasma peers into the actual act of listening.

Nearly every song title on Fantasma references an existing musical group, obscure or world famous, but it feels like an act of grateful tribute rather than a hip name-check. In Tokyo in the early s, an indie band called Flipper's Guitar was at the forefront of a new wave in Japanese popular music known as Shibuya-kei. The band's founder, Keigo Oyamada, would go on to produce, under the name Cornelius, a series of albums that are among the most innovative in Japanese popular music of the past two decades.


Oyamada's third album under his Cornelius alter-ego, Fantasma , played a key role in putting J-pop on the world map for Western music fans, and Oyamada himself is today one of the most respected figures in the Japanese music industry. This book tells the story of Fantasma 's emergence from the Shibuya-kei scene and considers the wider impact of Oyamada's work both internationally and on Japanese popular music today.

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Cornelius's Fantasma (33 1/3 Japan) Martin Roberts: Bloomsbury Academic

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