Tracks
Shugo Tokumaru: "Meterion"
(2005)
By Peter Hepburn | 11 January 2008
Shugo Tokumaru’s L.S.T. is the best album you’ll never hear of 2005 in the same way that his Night Piece was the best album you didn’t hear of 2004. Except that L.S.T. may be even better; while Night Piece worked in little musical jokes and was willing to show its sense of humor, L.S.T. is just straight-up gorgeous. Sure, Tokumaru is never overly serious (yeah, “Karte” is pretty goofy), but here it’s all about those beautiful, soaring melodies, the ethereal voice, and an unerring sense of composition.
“Meterion” is one of the shortest songs on the album, clocking in at a mere 2:21. Set in the second half of the record, it could be easy to overlook. Nonetheless, on first and, quite honestly, every subsequent listen, it’s the song that has made me stop whatever I’m doing and just sit there, stark still, and pay heed (coming damn near tears a few times). The song starts off quietly enough, just a music box playing a simple little melody and then fading out. And then Tokumaru comes in. But it’s not just an entrance; he seems some sort of mythic hero here, the music giving the impression of grandeur and grace. He plays the same simple, melancholy melody as the music box, but here he seems to be striding toward death, the subtle underpinnings of the song hinting at both greatness and deterioration. Guitars slide together, the drum beats slowly along, a quite organ plays, and there’s a flute line hanging over the whole thing. It shouldn’t be this good, but somehow it just is.
“Meterion” is one of the shortest songs on the album, clocking in at a mere 2:21. Set in the second half of the record, it could be easy to overlook. Nonetheless, on first and, quite honestly, every subsequent listen, it’s the song that has made me stop whatever I’m doing and just sit there, stark still, and pay heed (coming damn near tears a few times). The song starts off quietly enough, just a music box playing a simple little melody and then fading out. And then Tokumaru comes in. But it’s not just an entrance; he seems some sort of mythic hero here, the music giving the impression of grandeur and grace. He plays the same simple, melancholy melody as the music box, but here he seems to be striding toward death, the subtle underpinnings of the song hinting at both greatness and deterioration. Guitars slide together, the drum beats slowly along, a quite organ plays, and there’s a flute line hanging over the whole thing. It shouldn’t be this good, but somehow it just is.