ASKA

That's right, all caps, baby. And forget that ASKA, a Japan-born, LA-based composer/songwriter/singer, has worked with Flea, Nick Zinner, Money Mark and many other LA- and NY-based hipster types. Forget that her self-titled debut EP is pretty damn good. Forget it all. You know what stands out, aside from the caps? The press release that came along with the advance copy of the music. Sure, it tells you how ASKA has played piano her whole life and has done quite a bit of score work. And sure, it comes with the music and album cover and a somewhat generic bio. But what stands out is her press photo. Her nude press photo. Have we really sunk so low? Have we taken to signing, selling and producing artists based on not just the shapes of their bodies, but their willingness to show said shapes? Needless to say, my knee-jerk reaction was to press delete and never listen to a note.

But, because I have a rule about listening to every promo I get (so as long as it's not goddamn metal or goddamn Bieber), I pressed play. Glad I did, too. ASKA, boobs, caps and all, is a mostly solid introduction to a unique songwriter who just might be capable of great things. Over the EP's seven tracks we feel the tension of a refined youth juxtaposed against a punk-spirited backbone. And while that punk spirit never quite rises to the top, musically speaking, it's always there in a counter-culture sort of way (which may explain the press photo). Mostly, what we hear is the work of an artist raised on classical music who was then, likely because of her looks and swagger, thrown into the world of glamour and glitz. And big city art culture. The result is a very cinematic, very classically-minded debut that, at times, feels fully formed.

If I had to guess, I'd say that Sophia Coppola's Lost In Translation is one of ASKA's favorite films. The hazy, moody, overly dramatic, sexy and muted vibe of that work is all here, spread throughout ASKA's seven very well-baked computer compositions. In fact, after recording the song "There Are Many of Us" (track three on the EP), ASKA played the song for her friend, filmmaker (and former Coppola beau) Spike Jonze. The filmmaker loved the song so much that he made it the theme for his most recent project, the excellent I'm Here. It was supposedly that gesture that inspired ASKA to take her work more seriously, and as a result we have this collection, released by upcoming indie label Manimal Records.

Headphone music, I'd call it. Layers and layers of synths and drum machines all held together by ASKA's enchanting vocals. And while this is a promising and almost instantly pleasing collection of dream-like music, there are some issues. There are awkward moments here and there (such as the annoying keyboard sax and keyboard baseline in "Good Vibes"), an almost embarrassing amount of sexy vibes and themes (including orgasmic huffing and puffing on a few songs, not to mention, again, that photo) and a lack of diversity. The biggest concern, really, is that - for a girl so ready to bare all - I never felt a real connection to the artist. I never felt a genuine personality in the mix - just seven cleverly arranged bedroom waltzes drenched in sexuality.

As I listen back to the EP now for a third or fourth time I'm reminded of Blonde Redhead's recent record, Penny Sparkle, a release that I panned upon its release. ASKA reminds me of that album, but more consistent and without the baggage of being a once-great underground art-rock band. I'm not sure I'd bet on ASKA making a career out of this music thing, but I wouldn't be surprised if she ends up working in the film industry, both as a face and musician - maybe even with the Warholian presence of a 60s-era Factory Girl. One thing's for sure: if she plans to continue putting out solo work, she's going to have to, well, bare all. On record, that is. 6/10