A Train Ride Through Japan: Shilly Shally by Satomoka

Design by Diego Gonzalez

By Andy Brown

There are certain albums that set a perfect vibe. Whether it’s the perfect album for a fall walk, an oddly specific playlist for when you need to satisfy your desire to be sad about growing up, or the ideal road trip album, songs change our mood and set the scene. Satomoka’s shilly shally has that specific vibe – a bike ride through the Japanese countryside, a train ride surrounded by greenery, people-watching while enjoying your favorite drink in the sun. Satomoka’s talk-singing, pop-forward vocals and bubbly instrumentals are an addition to Japanese indie pop that brings you to another place. 

Satomoka, a singer-songwriter from Okayama, Japan, released her sixth studio album, shilly shally, on September 30th of this year. Satomoka has been making music for over a decade, and has garnered a small but dedicated following, especially in Japan. Shilly shally is reminiscent of Indie J-Pop legends such as Lamp, especially if you like the upbeat, vibrant instrumentals on Lamp’s For Lovers album. The star of shilly shally is the collection of quirky instrumentals, featured more heavily on tracks like “中華ランチ” (Swan Boat) that blends synthesizer smoothly into the upbeat vocals compared to tracks like “ゆうとむ” (Yutomu) which have a softer orchestral sound, pushing Satomoka’s vocals to the front.

The album is not without its shortcomings, with songs often blending together in their sameness, and Satomoka’s higher vocals at times coming off as shrill or strained. The first track “人生は退屈だ！” (Life Is Boring) tests Sakomota’s vocal abilities a little too much. Some of her high notes sound a little shaky and overall took me out of the sound. On the tracks with more eclectic instrumentals, however, her vocals blend well with the peppy instrumentals, featuring layered and radiant organ, flute, and bubble sound effects. My favorite track on the album is the fourth, titled “喫茶ドエル” (DOELL), which features a fun collection of instruments, such as the clarinet, piccolo, and organ, performances that all really bring out the brightness of her vocals. When listening I couldn’t help but wish I was outside with the sun on my face, walking around the Boston Common. The titular track “shilly shally” features a rock-aligned sound with more focus on electric guitar performances. Satomoka’s lower-range vocals blend smoothly with the busier instrumental, compared to her more vocal-forward songs, like Yutomu, which has a shakier sound from the more tense, higher vocals. 

When listening to shilly shally, I couldn’t help but imagine myself on a high-speed train as I watch the greenery float by, spotting little bodies of water, and enjoying the journey just as much as the destination. One thing I really appreciate about listening to music in a language I don’t speak is I am able to envelop myself in the pure sound of the song, letting it take me places in my imagination that are sometimes prevented by listening to lyrics. If you’re wanting to take a short trip to Okayama, even just for an hour, give this album a listen.