From the time that Shonen Knife were drafted by uberfan Kurt Cobain as Nirvana’s opening act, the term “Japanese all-girl rock band” has evoked a very specific image and sound for American music listeners.  The so-called “Osaka Ramones” were the personification of all things cutesy in Japanese culture.  Their bright, matching outfits, affinity for album art that looks like it was taken straight from any nine-year-old’s stationary, and whimsically nonsensical lyrics were perfectly matched with their sugar-coated three-chord power riffs to give American audiences the impression that the Japanese were living, breathing cartoon characters.  This is part of the reason why Shonen Knife were, and still are, successful; although they certainly do rock, it would be naïve to believe that their shows would be so well attended by older gentlemen with an obvious bout of yellow fever if they didn’t play into their audiences’ perceptions.  However, through the power of their musical aptitude, New York/Tokyo four-piece the Suzan is set to transcend that shiny, pink shadow cast by Shonen Knife.  Yes, they’re cute.  Yes, they’re Japanese.  But a few songs into Golden Week for the Poco Poco Beat, you stop giving a fuck about those things and simply admire their considerable talents as performers and songsmiths.

Produced by Bjorn Yttling (who does quite a bit a producing in his time away from cohorts Peter and John), Golden Week demonstrates the band’s penchant not only for crafting tight pop songs but also establishing atmosphere.  “Ha Ha Ha” was made for the purpose of head-bopping and finger snapping, and its bittersweet, ‘50s girl pop-flavored bounce certainly achieves that.  Meanwhile, “Uh Ah,” with its pseudo-scatting, call-and-response vocals, and menacing, roadhouse blues bassline, would feel right at home at the bloody climax of any David Lynch film.  “Come Come” is vaguely tropical and undeniably hypnotic; vocalist/guitarist Saori’s jazzy delivery especially recalls the Brazilian pop endeavors of former Cibo Matto singer Miho Hatori.  The band’s ability to alternate between viciously attacking their instruments and orchestrating delicate moments is laudable.  But even more impressive is their ability to evoke emotional tones instead of an image of the band itself.  Aside from Saori’s slight accent, it’s easy to forget that they’re a Japanese all-girl rock band and simply become immersed in the music.  Golden Week for the Poco Poco Beat is a triumph, not only for the Suzan, but for every future band full of Japanese women.  They’ll be able to leave the matching outfits at home.  Too bad those poor aging creepsters will have to find new Friday night plans.

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