I was drawn into Haircuts for Men for purely aesthetic reasons. The greek marble, the Japanese translations, techno-luxury splendor and the cleanly compressed samples immediately brought to mind vaporwave motifs from the turn of the past decade. But Haircuts for Men clearly holds such visuals and sound at a distance. There is a place for Haircuts for Men in the catalog of digital decay and late-capitalist mall-rot, and discussions that involve the themes and significance of Floral Shoppe and Lindsheaven Virtual Plaza- but it's also undeniable that this is a project that is attempting to have a different conversational all together. One about affection and solitude- versions of which that do not recognize the silent resignation of a life lived vicariously through the internet.
I take for this as evidence Haircut for Men's early work, especially 大理石のファンタジー. This is an album that I believe crystalized the potential of the project, and is, not surprisingly, one of the producer's more popular releases. The compositions on this album are smooth, almost to the point where they glide off the senses- like individual drops of rain that together form a storm that batters your bedroom window while you sleep. There are no diverting glitches or pranks involving pitched vocals on this album; there are only melody, a beat, and atmosphere.
Haircuts for Men's conceit at this stage of their output seemed to be the use of instruments and tools most commonly found in electronic dance music (synths, drum machines, and vocal samples) but used to weave together a kind of moody futurist jazz. Inviting and relaxed, but undeniably illusive- the music is struck by a perceptible tremble of anxiety. Like there is something that it wants to say, but can't quite find the lexicon for it. Or rather, wishes to forget the words it wants to speak, and wait until the moment when they could be said passes. The expression of this conflict on 大理石のファンタジー finds its way to our ears through synth lines that stumble over each other, awkwardly but charmingly on "現実に戻っ長い旅," and a breakbeat that pushes back against a light funk bass and purring pianos on "私はビバップを見てきました," in a way that doesn't seem rude, but does manage to firmly resistant the enticements of the sounds that surround it.
This tension, I think, is paralleled in the manifestations of idealized masculinity, male sexuality, and bondage that appear on the covers of Haircuts for Men's later albums. Our society has an uneasy relationship with men. They are viewed as threatening and predatory, filled with society's projected fears, like they were empty vessels. I sense a desire to be seen as more in Haircut for Men's work. To break through the walls of silence that men experience between each other, as well as the hollow, wring of panic that grips others in their presence. But most of all, in 大理石のファンタジー, I hear a desire for to be seen, as a source of comradery and love- as fraternal and sensual; as intimate and extravagant.
