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Long Season
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| Long Season | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | October 25, 1996 | |||
| Recorded | July 1996 | |||
| Studio |
| |||
| Genre | ||||
| Length | 35:16 | |||
| Label | Polydor | |||
| Producer |
| |||
| Fishmans chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [1] |
| Pitchfork | 9.3/10[2] |
Long Season (subtitled ...we are not four seasons) is the sixth studio album by Japanese band Fishmans, released on October 25, 1996 in Japan through Polydor Records.[3] Regarded as a landmark of Japanese rock music, it consists of a single 35-minute composition based on the band's earlier single "Season".
The album initially achieved modest success within the Japanese alternative scene but remained relatively obscure internationally until the 2010s. It has received acclaim from critics and online music circles since then, with Paste ranking it as the seventh-greatest album of all time in 2024.[4] Notably, Fishmans performed the entire Long Season album as one piece during their final live shows in December 1998. A recording of one of these performances was later included on the album "98.12.28 男達の別れ" ("98.12.28 Otokotachi no Wakare"), further cementing the album's legacy.
Background
[edit]The concept for Long Season originated during the Young, Yet with History tour in 1996. While chatting among themselves, someone suggested, "Wouldn't it be fun to make a song that never ends?"[5] This idea led to multiple recording sessions from July to August 1996, during which the band developed the album's singular composition, "Long Season". They built upon their earlier work, "Season", which was released in September 1996. Fishmans, along with support musicians collaborated in sessions to create the track, and the demo that Sato initially brought to the group was "Backbeat ni Nokkate".[6]
Collaborating with co-producer ZAK at their studio, Waikiki Beach, Fishmans meticulously refined their ideas, with ZAK occasionally experiencing eye strain due to prolonged screen time, humorously referred to as "shedding blood from his eyes".[5]
Fishmans collaborated with several guest musicians for the recording of Long Season. Notably, support member Honzi contributed keyboards and violin to the album. J-pop singer MariMari, who maintained a continued association with Fishmans in subsequent years, also lent her talents to the project. Long Season marked the debut of Michio "Darts" Sekiguchi as a guest guitarist, a role he fulfilled until the band's final concert. Singer UA enriched the album with her vocals, adding depth to its musical landscape. Additionally, Asa-Chang contributed an extended improvised tabla passage, accompanied by various percussive elements, further enhancing the album's sonic texture.[7]
Track listing
[edit]The album comprises a single 35-minute composition, which has been divided into five parts across multiple releases.
All tracks are written by Shinji Sato.
| No. | Title | Length |
|---|---|---|
| 1. | "Long Season" (part 1) | 8:43 |
| 2. | "Long Season" (part 2) | 5:24 |
| 3. | "Long Season" (part 3) | 6:33 |
| 4. | "Long Season" (part 4) | 4:47 |
| 5. | "Long Season" (part 5) | 9:49 |
| Total length: | 35:16 | |
| No. | Title | Length |
|---|---|---|
| 1. | "Long Season" | 35:16 |
| Total length: | 35:16 | |
| No. | Title | Length |
|---|---|---|
| 1. | "Long Season" (parts 1–3) | 20:40 |
| 2. | "Long Season" (parts 4–5) | 14:36 |
| Total length: | 35:16 | |
Personnel
[edit]Credits adapted from the album's liner notes.
- Fishmans – production, arrangement
- Shinji Sato – vocal, guitar, lyrics, composition
- Yuzuru Kashiwabara – bass
- Kin-ichi Motegi – drums
- Honzi – keyboards, violin, accordion, Organette20, chorus
- Michio "Darts" Sekiguchi – guitar, chorus
- Asa-Chang – percussion
- Taito Sato – guitar
- UA – chorus
- MariMari – chorus
- Masaki Morimoto – whistle
- Butchy – chorus
- Naoko Ohmiya – chorus
- Yoshiko Ohmiya – chorus
- ZAK – production, programming, recording, mixing
- TAK – recording
- Yuka Koizumi – mastering
- Ichiro Asatsuma – executive producer
- Yoshiyuki Okuda – executive producer
- Tadataka Watanabe – executive producer
- Phonic (Mooog & Mariko Yamamoto) – art direction, design
- Ayako Mogi – photography
- Crion Yamamoto – photography
- Junko Ishiwata – styling
Charts
[edit]| Chart (2016) | Peak position |
|---|---|
| Japanese Albums (Oricon)[8] | 100 |
References
[edit]- ^ Simpson, Paul. "Long Season – Fishmans". AllMusic. Retrieved July 6, 2020.
- ^ Kim, Joshua Minsoo (May 12, 2024). "Fishmans: Long Season Album Review". Pitchfork. Retrieved May 12, 2024.
- ^ "LONG SEASON | フィッシュマンズ" (in Japanese). Oricon. Retrieved July 6, 2020.
- ^ "The 300 Greatest Albums of All Time". Paste. June 3, 2024. Retrieved June 7, 2024.
- ^ a b Onoshima, Dai. "佐藤伸治（フィッシュマンズ）（後編） | 音楽偉人伝 第15回". 音楽ナタリー (in Japanese). Retrieved 2024-06-06.
- ^ "Fishmans official website ｜ フィッシュマンズ公式サイト". Fishmans official website ｜ フィッシュマンズ公式サイト (in Japanese). Retrieved 2025-03-31.
- ^ Kim, Joshua Minsoo. "Fishmans: Long Season". Pitchfork. Retrieved 2024-06-06.
- ^ "LONG SEASON | フィッシュマンズ" (in Japanese). Oricon. Retrieved August 2, 2017.
Long Season
View on Grokipediafrom Grokipedia
Background and development
Band context
Fishmans formed in 1987 in Minato City, Tokyo, by university students Shinji Sato, Kin-Ichi Motegi, and Kensuke Ojima, initially drawing from the local ska-punk scene in Shimokitazawa with upbeat, reggae-inflected melodies influenced by acts like The Jam.[12][13] The band quickly transitioned toward dub and reggae foundations, incorporating punk energy into their early recordings, as bassist Yuzuru Kashiwabara joined in 1988[14] and keyboardist Hakase-Sun in 1990,[15] expanding their sound beyond straightforward punk roots. By the early 1990s, Ojima departed in 1994 and Hakase-Sun in 1995,[15] prompting a refinement that blended reggae rhythms with emerging shoegaze and psychedelic elements, evident in their growing emphasis on atmospheric textures.[16][17] The band's early discography laid the groundwork for this evolution, beginning with their 1991 debut album Chappie, Don't Cry, which captured their raw dub-punk hybrid through tracks blending ska rhythms and playful lyrics. This was followed by King Master George in 1992, expanding on reggae influences with more structured songwriting, and Neo Yankees' Holiday in 1993, which introduced funkier grooves while retaining energetic live performances typical of their Shimokitazawa origins. Their 1994 release Orange marked a subtle shift toward introspective arrangements, incorporating ambient layers that foreshadowed later experimentation, though still rooted in dub's laid-back pulse. By 1996, Kūchū Camp represented a pivotal turn to more ambient and psychedelic sounds, with elongated compositions and dreamlike production that diverged from their punky beginnings, setting the stage for bolder explorations.[18] Frontman Shinji Sato was the driving force behind Fishmans' creative direction, serving as a multi-instrumentalist on vocals, guitar, and trumpet, while infusing their music with themes of escapism, emotional introspection, and natural cycles, often evoking a sense of wistful detachment from urban life.[19][20] His androgynous falsetto and lyrical focus on fleeting moments and serene imagery—such as seasonal changes and personal reverie—helped steer the band from energetic dub toward ethereal psychedelia, particularly as he took greater control over arrangements in the mid-1990s.[12][21] Around 1996, the band's core remained stable with Sato on vocals and guitar, Kin-Ichi Motegi on drums and sampler, and Yuzuru Kashiwabara on bass, augmented by support members like Honzi on keyboards and violin (joining in 1995) and additional guitarist Michio Sekiguchi for live settings, providing the flexibility needed for their increasingly expansive sound.[16][22] This lineup stability allowed Fishmans to channel their experimental impulses, briefly referencing the format innovations that would define Long Season without delving into its specifics. Sato's death in 1999 profoundly impacted the band, leading to a hiatus until reunions in the 2000s, with ongoing legacy through reissues and a 2024 documentary.[20]Album conception
The conception of Long Season stemmed from frontman Shinji Sato's desire to craft a "one-track album" that would deliver a seamless, immersive listening experience, departing from the segmented song structures of the band's earlier releases.[23] This approach was inspired by Sato's dissatisfaction with the track divisions on Fishmans' preceding album Something in the Air (1996), prompting him to expand the non-album single "Season" into a continuous composition.[23] The release was subtitled ...we are not four seasons on promotional materials, evoking themes of an endless, perpetual summer unbound by seasonal change.[24] Sato initiated the writing process in 1996, drawing from personal experiences such as driving through Tokyo after obtaining his driver's license, which infused the lyrics with reflections on hope, joy, and the fleeting nature of time and seasons.[23] These themes captured a sense of transience, blending everyday happiness with underlying loneliness to convey the irregular "flow of time in our mind," including abrupt recollections of the past.[23][25] The band decided to format the work as a single 35-minute piece, internally divided into four unnamed sections to foster a visually evocative narrative progression—evoking sunsets, road trips, and tranquil drifts—without conventional breaks between songs (though commonly described in five parts).[23][26] This structure aimed to sustain a dreamlike unity, allowing the music to unfold like a continuous journey. Early iterations built on rough demos derived from the "Season" single, which already incorporated layered elements like strings and organ chords.[23] Band discussions during this phase centered on integrating diverse genres to enhance conceptual cohesion, blending dub rhythms, ambient textures, and neo-psychedelic flourishes to mirror the album's theme of temporal fluidity.[23][25] This built briefly on Fishmans' prior experimental explorations in psych-pop and Shibuya-kei influences.[23]Recording and production
Studio sessions
The recording sessions for Long Season occurred primarily at the band's private studio, Waikiki Beach-Hawaii Studio, located in Setagaya, Tokyo, which Polydor Records had financed for their exclusive use following the 1995 signing.[27] These sessions began in mid-1996, shortly after the tour supporting their previous album Airman, and extended over approximately three months to allow for the development of the album's singular, extended composition.[28] The band emphasized live takes during this period to preserve organic layering and natural band interplay, with two complete performances captured and later woven together by producer ZAK to form the cohesive 35-minute track divided into five parts, rather than relying on heavy post-production assembly.[12][29] Additional live performance elements were recorded at Vivid Studio, a larger facility that accommodated the full band's setup for key sections requiring broader space.[30] The production incorporated analog equipment extensively for dub-inspired effects, including reverb chambers, multi-tracking on guitars, and echo applications on vocals to enhance the ethereal, immersive quality.[12] Overdubs and final mixing took place at facilities associated with Polydor, where producer ZAK oversaw intensive sessions lasting over two weeks to refine the sound.[28] One of the primary challenges was achieving seamless transitions between the track's five parts through the weaving of full live takes, with limited digital storage requiring selective track deletions to free up space.[28][29] The band relied heavily on their chemistry for improvisation, with elements like drum solos emerging spontaneously from personal inspirations.[12] This approach underscored the sessions' focus on capturing a fluid, unpolished energy reflective of the album's dreamlike progression.[28]Key personnel contributions
Shinji Sato served as the primary creative force behind Long Season, contributing vocals, guitar, lyrics, and composition for the album's expansive title track while also overseeing production and arrangement as part of the band's collective effort. His multifaceted role extended to handling keyboard elements, shaping the album's dreamy, dub-infused soundscapes that blend shoegaze and reggae influences, ensuring a cohesive 35-minute structure that evolves from ambient introspection to rhythmic propulsion.[23] Yuzuru Kashiwabara provided the bass lines, establishing the rhythmic foundation with subtle reggae-tinged grooves that underpin the track's hypnotic flow and support its transitional phases.[31] Kin-Ichi Motegi, on drums, maintained steady dub rhythms, contributing to the album's immersive, laid-back pulse while adapting to its shifting tempos and atmospheric builds.[31] Kensuke Ojima and guest guitarist Taiji Iwamoto added guitar textures, incorporating shoegaze-inspired layers of reverb and distortion to enhance the ethereal quality of the composition.[23] Guest percussionist Asa-Chang introduced additional elements, including an extended tabla improvisation that infuses exotic rhythms into the latter portions of the track. Production was jointly handled by Sato and engineer ZAK, who managed recording, mixing, and programming to capture the album's organic yet polished ambient flow, with ZAK's technical oversight ensuring clarity in the layered instrumentation.[31] Support member Honzi contributed keyboards and violin, adding textural depth with accordion and organette accents that enrich the track's melodic contours. Additional guests included singers UA and MariMari on vocals.[23]Composition and style
Overall structure
Long Season consists of a single composition that forms the entirety of the album, divided into five unmarked parts commonly referred to collectively as "Long Season." These parts are presented as separate tracks on the official release, creating a seamless narrative arc that unfolds without interruption despite the divisions. The intentional structure emphasizes the album's concept of a "long season" without clear beginnings or ends, fostering deep thematic immersion for the listener.[23][32] The piece opens with a gentle introduction spanning approximately the first 7 minutes (0:00–7:00), establishing the foundational motif through subtle layering. This transitions into a building phase from roughly 7 to 20 minutes (7:00–20:00), where rhythmic elements gradually intensify, developing tension across the second and third parts. An ambient interlude follows around 20 to 25 minutes (20:00–25:00), providing a moment of respite in the fourth part before escalating into a climactic resolution from 25 to 30 minutes (25:00–30:00). The composition concludes with a fading outro in the final 5 minutes (30:00–35:00), dissipating energy to close the arc.[33] These parts flow via subtle transitions, such as fading echoes and repetitive motifs that blend one phase into the next without abrupt shifts, maintaining the overall continuity.[23] The total runtime is precisely 35:16, as documented in official releases.[34]Musical elements and influences
Long Season blends elements of dub reggae, shoegaze, ambient, and neo-psychedelia to create its distinctive sonic landscape. The album features echoey basslines and offbeat rhythms characteristic of dub reggae, alongside the layered, reverb-drenched guitar atmospheres typical of shoegaze. Ambient and neo-psychedelic influences manifest through dreamy keyboard textures and spatial effects that contribute to an immersive, ethereal quality.[25][27][23] Key musical elements include the prominent application of delay and reverb on vocals, which envelop Shinji Sato's bright, falsetto delivery in a hazy, echoing aura. Cyclical drum patterns, driven by Kin-Ichi Motegi's propulsive backbeat and improvisatory percussion—including tabla—provide a rhythmic foundation that evokes reggae's rocksteady pulse. Instrumentation evolves dynamically across the track's parts, transitioning from sparse arrangements with piano motifs and synthesizers to denser builds incorporating violin, organ, and distortion effects.[23][27][25] The album draws influences from dub production pioneers like King Tubby, evident in its echo-heavy mixing and rhythmic experimentation, as well as the wall-of-sound guitar techniques pioneered by shoegaze acts such as My Bloody Valentine. It also reflects the Japanese psych-rock scene's integration of reggae and psychedelia, alongside broader Shibuya-kei inspirations from Western jazz, bossa nova, and French yé-yé. Thematic audio motifs, including wave-like swells and water sounds, create a sense of endless summer reverie, enhancing the track's cinematic, dreamlike flow.[35][23][25]Release and promotion
Packaging and artwork
The original 1996 CD release of Long Season by Polydor Records utilized a Digipak format, emphasizing the album's conceptual unity as a single 35-minute track with minimal track listing details confined to basic production credits and timings.[31] The artwork, directed and designed by Mariko Yamamoto and Mooog Yamamoto under Phonic, adopted a minimalist aesthetic featuring a subtle blue-toned landscape photograph of the Tama River near Mount Mitake, Tokyo, which captures expansive horizons suggestive of endless summer expanses.[36] This imagery aligns with the album's thematic exploration of prolonged seasonal reverie, as articulated in the liner notes.[37] The liner notes, sparse to match the release's experimental ethos, prominently include Shinji Sato's subtitle clarification: "LONG SEASON …we are not four seasons," underscoring the band's rejection of conventional seasonal divisions in favor of an extended, fluid temporality.[38] Additional booklet elements consist of photography credits to Ayako Mogi and Crion Yamamoto, alongside styling by Junko Ishiwata, with no extensive personnel breakdowns beyond core arrangements by Fishmans.[36] These notes prioritize Sato's lyrical and compositional intent over biographical or promotional text, reinforcing the work's introspective focus. Variations appeared in subsequent editions, particularly distinguishing the Japanese original from international reissues. While the initial Polydor pressing maintained the elongated Digipak to accommodate the artwork's horizontal flow, some domestic jewel case variants emerged shortly after, offering a more standard enclosure without altering the cover visuals.[31] Later vinyl reissues, such as the 2016 limited-edition LP from Universal Music Japan, preserved the core minimalist design.[39]Marketing efforts
The album Long Season was released on October 25, 1996, in Japan through Polydor Records, with limited initial marketing efforts aligned with the band's status as an underground act in the alternative rock scene despite their recent major-label signing. Promotion centered on live performances during the "Long Season '96-'97" tour, which included shows in Nagoya at Club Quattro on December 3, Kobe at Chicken George on December 4, and Tokyo at Akasaka Blitz on December 26, where the band delivered full live renditions of the album's titular 35-minute track. Media outreach involved interviews in Japanese rock magazines that emphasized the album's experimental single-track structure, including a cover feature in Music Life (October 1996 issue, Vol. 250).[40] While no major singles were issued from the album itself, the preceding promotional single "Season"—released in September 1996—provided an entry point for radio airplay of related material.[41] At launch, international exposure remained minimal, confined largely to Japan's indie networks, with broader recognition emerging later via word-of-mouth among global alternative music enthusiasts.[23]Commercial performance
Chart performance
Upon its release in 1996, Long Season by Fishmans peaked at number 100 on the Japanese Oricon Albums Chart.[13] This marked a slight decline from the band's previous album, Kūchū Camp, which had reached number 88 on the same chart earlier that year.[13] The modest performance underscored Fishmans' strong but niche fanbase within Japan's indie and dub-influenced rock scenes, where their experimental approach—particularly the album's structure as a single, extended 35-minute track—hindered broader mainstream appeal.[23] Limited international chart presence followed, with no notable placements outside Japan at the time, reflecting the album's initial domestic focus under Polydor Records.[36]Sales and certifications
The album has benefited from an enduring cult following among alternative music enthusiasts, leading to broader recognition within Japan's indie rock scene through consistent reissues and fan-driven demand. Its commercial trajectory marked a turning point for Fishmans, transitioning from niche appeal. Internationally, reissues have increased its availability, facilitated by limited-edition vinyl and CD releases in markets outside Japan starting in the mid-2010s, including a 2016 remastered SHM-CD edition that introduced the album to global audiences. While no formal certifications such as gold status (typically awarded for 100,000 units in Japan during the era) have been documented for indie releases like this one, the album's physical and digital longevity underscores its commercial resilience. Post-2010s streaming has generated revenue, with the full album stream on YouTube accumulating over 1.5 million views as of November 2025 since its 2016 upload.[42] This has contributed to digital plays on services like Spotify and Apple Music that have amplified its accessibility and earnings.Reception and legacy
Critical reception
The Long Season received widespread critical acclaim upon its release, praised for its intricate storytelling, emotional depth, and authentic portrayal of working-class life in Northeast China's rust belt. On Douban, it holds a 9.4 out of 10 rating from over 900,000 users as of 2024, reflecting strong audience appreciation for its blend of suspense, humor, and social commentary.[43] On IMDb, the series is rated 8.8 out of 10 based on over 1,500 reviews.[2] Critics highlighted the series' tight plotting and character-driven narrative. Foreign Policy described it as "the funniest, saddest show to come out of China," commending its exploration of industrial decline and personal regret.[4] Global Times lauded it as a showcase of high-quality Chinese television, noting its suspenseful elements and hints at new possibilities for the industry.[9] Reviews on platforms like MyDramaList emphasized the dry humor and irony that mask underlying tragedy, with one calling it a "slow-paced suspense thriller" that conceals profound themes.[44]Cultural impact and awards
The series has been recognized for elevating Chinese drama standards, particularly in depicting post-reform era challenges like factory closures and economic hardship. It sparked discussions on social media about Northeast China's "rust belt" history, resonating with audiences amid ongoing economic concerns.[43] By 2024, it was frequently cited in lists of top Chinese dramas of the year, influencing subsequent works in the crime and family drama genres.[45] At the 32nd China TV Golden Eagle Awards in 2023, Fan Wei won Best Actor for his role as Wang Xiang. The series secured the Best Mini-Series award at the 18th Seoul International Drama Awards in 2023, with Fan Wei also winning Best Actor there. In 2024, director Xin Shuang won Best Director at the 29th Shanghai Television Festival's Magnolia Awards. It was nominated for multiple categories at the Huading Awards and included among excellent dramas at the Golden Eagle Awards.[46]Track details
Track listing
Long Season is structured as a single continuous composition subtitled "....We Are Not Four Seasons," with a total runtime of 35:16. Although presented as one track on formats like digital streaming services such as Spotify, the original CD release divides it into five untitled sections without formal breaks, allowing for easier navigation while preserving the seamless flow. Vinyl editions, including the 2016 reissue, similarly treat it as a cohesive piece across sides, without additional bonus tracks in standard variants. The sectional divisions, based on the 1996 original release, are as follows:| No. | Title | Duration |
|---|---|---|
| 1 | Long Season (part 1) | 8:43 |
| 2 | Long Season (part 2) | 5:24 |
| 3 | Long Season (part 3) | 6:33 |
| 4 | Long Season (part 4) | 4:47 |
| 5 | Long Season (part 5) | 9:49 |
Personnel
The album was recorded in July 1996 at Vivid Sound Studio, Hawaii Studio Ver 2.1, and Little Bach, and mixed at Hawaii Studio Ver 2.1. Production- Producer – Fishmans, ZAK
- Programming, mixing – ZAK
- Recorded by – Tak, ZAK
- Vocals, guitar – Shinji Satoh
- Bass – Yuzuru Kashiwabara
- Drums – Kin-Ichi Motegi
- Keyboards, violin, chorus, tambourine – Honzi
- Whistle – Masaki Morimoto
- Backing vocals – Butchy, MariMari, Naoko Ohmiya, UA
- Art direction, design – Mariko Yamamoto, Mooog Yamamoto
- Photography – Crion Yamamoto, Ayako Mori
- A&R – Masaki Morimoto, Toshiya Sano
- Executive producer – Ichiro Asatsuma, Yoshiyuki Okuyama, Tadataka Watanabe