“There’s no need to all become one. There’s nothing special about becoming one, anyway. Just enjoy things your own way. Thank you!”
These were the words of Suchmos frontman YONCE. The band returned to the stage on June 21 after nearly four years away, and while just seeing them all back together in one place was already moving enough, once YONCE spoke those words to the crowd, it was clear the Suchmos spirit had returned in full force. Some 200,000 people tried their hands at getting tickets for a mere two-day concert—proof that, even if their kind of music feels like a new trend, it’s actually part of an undeniably long legacy. Whether they were fans who experienced the sensation firsthand back in the day, or discovered the significant influence of Suchmos later through countless younger bands who looked up to them as heroes, I’m pretty sure they all must’ve been inspired by the carefree way they dismissed convention with, “There’s no need to all become one.”
Those who hold a love of Suchmos know one thing for sure: Even if they look familiar standing up there onstage, the newness of their music means they’ll never present the same silhouette twice. Looking back, their discography has been a string of pleasant betrayals. They introduced their urban charm to the world through the Black-music-inspired rhythms of “THE BAY,” then went on to redefine the future of J-pop in a single stroke with their album “THE KIDS” and tracks like “STAY TUNE,” blending crafty melodies with delicious distortion and becoming more than just music—they were a lifestyle.
After unintentionally rising to stardom, the band put out “THE ASHTRAY,” a transitional work shaped by a focus on songs used in other media. While the album had hits like “VOLT-AGE,” there was also a sense of complacency with tracks like “808,” which stuck to the same style as “STAY TUNE,” something they were later very forthcoming about: “We tried to make something aimed at the masses,” they said, “and realized it’s ultimately not something that’s possible for us to do.” But they then followed almost animalistic instincts, and declared a complete break from the past and redefined themselves with “THE ANYMAL,” an art/progressive rock album. By that point, they’d successfully shed the skin of their former selves and transformed into a new version of Suchmos—one emboldened by limitless musical freedom.
The band’s ethos—to turn away from formulas and frameworks—continues to shine on their latest EP, “Sunburst.” During their comeback performance, they led into “STAY TUNE” by saying, “We’ll now perform a cover,” showing exactly how they’re planning to treat their biggest hits in this new, improved form. All 18 minutes of the new EP is overflowing with the revolutionary spirit they’ve put forth. The opening track, “Eye to Eye,” slowly raises the curtain with its subdued guitar. It feels familiar at first, acting as a sort of buffer as we’re introduced to the band’s new direction. In a blend of R&B and acid jazz sounding like it came out between the first and second studio albums, Suchmos’ more fluid performance shows a clear evolution in sound from each member of the band.
At the forefront is supporting bassist Ren Yamamoto, a longtime friend of the band with a bold playing style, complemented by TAIKING’s light, rhythmic strumming, OK’s steady drumming, and the extra layers provided by TAIHEI’s synth work, all working together to bring the song to life. YONCE’s vocals, sung with the mindset of a fresh start and full of wordplay (“kobanzame obanzame”), encapsulate the exact excitement the track aims to evoke. Meanwhile, KCEE’s perfectly placed scratching immediately signals to the listener that this is a Suchmos original. There’s something organic about the infinite capacity they have to play off one another, even when they seem to be operating independently—something that’s brought to a new level thanks to their capacity to embrace one another’s style using the experience they gained while working solo. And this song proves just that.
This aspect is heightened even further in the single “Whole of Flower,” released in the lead-up to the album. Though a simple song with clear, straightforward playing, it feels like there’s more emphasis on the improvised solos than on the ensemble, likely because they mostly avoid repeated riffs, instead feeling like every instrument is taking the lead—like they weren’t aiming for perfect harmony, but instead laid down a few basic guidelines and built up the sound from there. The roughly minute-long bridge starting around two-and-a-half minutes in is a vivid example of this—almost a jazz jam session that opens up into a marvelous soundscape where each instrument asserts itself without ever encroaching on any other’s space, and proof positive of the idea that “there’s no need to all become one.” Pivotal here is the incredible range YONCE shows off with his vocals. An immaculate means of connection between the contrasting moods of the verse and the bridge, they perfectly embody the concept of being separate but together.
Those two tracks can be seen as reconfigurations of the band’s long-standing legacy. For “Marry” and “BOY,” though, Suchmos ventures into uncharted territory. “Marry,” with its folk-influenced sound, naturally draws numerous comparisons—to the Motown vibe of the Temptations’ “My Girl,” Niagara Records songs like those by Eiichi Ohtaki and Tatsuro Yamashita, and the music of Yuzo Kayama. With lines like, “Let’s get married, let’s live together,” it captures one of life’s moments in vivid color. Overall, the track brings to mind some songs from YONCE’s other band, Hedigan’s, and brings a heavier, more human sound to the album, showing influence from everything that happened before and since the band took its break. Considering the band has long worked to capture the fleeting sensitivities of their time, a song centered around a major life milestone might seem like unfamiliar territory to their fans at first, but the new take shows once again that the group’s staying true to their unique identity.
The closing track, “BOY,” feels both deeply personal and like something the band’s been eager to say out loud. It’s an introspective journey where they start with a retro rock ’n’ roll rhythm for the foundation, then almost cover up the occasional lapses into sorrow with hints of humor in their playing, and pair it all with YONCE’s raw, emotional vocals that leave all sense of logic behind. It’s as if they’re performing a ritual essential for rekindling the band.
“Your overflowing tears / Ring through the sky in echoes as they spread, spill, fall”
— “BOY”
The lyrics evoke an image of crying over someone and those tears turning into rain that nurtures new life—imagery that naturally brings to mind late Suchmos member HSU. They’re channeling hope and an unwavering new resolve with their determination not to let the sadness that consumed them hold them back anymore and to hold on even more tightly to the things that need holding onto. This sentiment seamlessly connects with the lyrics to “Whole of Flower”: “Sadness is not gone in my head but / Let’s live and laugh one day after another.” Nothing shows the band doesn’t consider it just another song quite like the lingering feelings after emerging from the tunnel of intensely emotional music as the track heads towards its climax.
There’s a lot of meaning packed into the title “Sunburst”—a yearning for light after a long spell of darkness. Coincidentally, it’s also the title of the final album put out by the Birthday, a band that got their start before Suchmos. The two groups were supposed to share the stage in 2020, but the pandemic put a stop to that, and three years later, the Birthday singer Yusuke Chiba passed away. The deeper and darker the shadow of loss, the more desperate the need for light becomes.
Amid the whirlwind of what must have been immense despair, Suchmos refused to simply be left with the sadness of their loss. They transcended the emptiness left behind by the loss of their friend, cultivating an even stronger bond through the collection of musical experiences they’d had as individuals. Born out of such experiences, “Sunburst” demonstrates that over 18 minutes—a rainbow beneath sunlight of their own making. It’s a universal truth that people are destined to move forward, and this comeback album, which marks the band’s shift away from fleeting impulses and toward the ups and downs of life, will leave yet another indelible mark on the world of music. With more refined performances, musical freedom that nevertheless maintains unshaken musical depth, and an even profounder sense of identity with a philosophy that “there’s no need to all become one,” the short EP might feel like it’s over as soon as it starts, but it serves as a kind of teaser for the career turn they’re about to take—one that will be anything but ordinary. And in fact, we’re already standing right in the middle of this new beginning as it unfolds.