It would be disingenuous to describe Japan's advantage Lucy without deploying the convenient descriptors so often applied to lighter indie pop fare: bubbly, gummy, jangly, Swedish. Worse would be to overlook obvious points of reference. Lucy's members frequently name-drop the Smiths, the Cardigans, Ivy; their sound evokes Rocketship, the Concretes, Camera Obscura; their spirit if not their aesthetic recalls that of the folks at Sarah and K Records. But one of the most inexplicable things about pop music is how little of it actually sounds the same. For a genre highly formulaic by definition, pop includes a huge number of otherwise derivative groups with enough flair to distinguish them thoroughly from the pack. The distinct, spacy flavor of advantage Lucy's substantial output locates the group firmly in this category. Building directly on the sounds and success of the Shibuya-Kei scene ignited by Flipper's Guitar and Pizzicato Five, advantage Lucy dilute the sharper bite of these first-wave Japanese indie bands into a confectionary blend less wholly than particularly their own.
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