In a Model Room
| In a Model Room | ||||
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| Studio album by P-Model | ||||
| Released | August 25, 1979 | |||
| Recorded | Tokyo, 1979 | |||
| Studio | Sunrise Studio (Recording & Mixing) Freedom Studio Electro Sound |
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| Genre | ||||
| Length | 33:28 | |||
| Language | Japanese, English | |||
| Label | Warner-Pioneer | |||
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| P-Model chronology | ||||
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| Singles from In a Model Room | ||||
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In a Model Room is the debut album of Japanese band P-Model.
By 1978, Susumu Hirasawa, guitarist and vocalist of Mandrake, one of the few Japanese progressive metal bands at the time, was unsatisfied with the style the band worked in, feeling that progressive rock had lost its social relevance and became solely for entertainment. By then, Mandrake had only achieved reception by a niche live audience that were into progressive rock and bit parts. Around this time, Hirasawa came across punk rock groups like Sex Pistols, 999 and Métal Urbain; their band also discovered the /live house, where they were introduced to new wave music and visuals. Sensing that it was the advent of a new era, Hirasawa and keyboardist Yasumi Tanaka started writing songs in the punk/new wave style, and cut their waist-length hair short. Mandrake had turned into a half-hearted band and, after declining an offer from the director of Victor Music Industries, Hirasawa decided to "abort" Mandrake, characterizing it as the defeat to commercialism. The band's final live performance was a three-hour show at the Shibuya Jean-Jean, meant to be the symbolic burial of Mandrake's aborted body.
On New Year's Day 1979, the members of the band held a meeting to decide how they would reform. Bassist Tohru Akutu, still attached to progressive rock, decided to depart from the band. The instruments which "emitted a pretentious grandeur" (most of them painted in dignified colors like purple, gold and burgundy) were either repainted in bright colors (like yellow, light blue and pink) or sold off to buy ones more adequate for what the band envisioned. It was decided that their name would be changed to something that evoked the new development of a mass-produced industrial good.
Most of the songs on the album were created by Mandrake late in the group's existence, which allowed for a quick debut release. The songs show a tendency for complex compositions and unusual time signatures. The lyrics reflect on the sociopolitical issues of Japan at the time, during the Japanese post-war economic miracle, and were influenced in part by Nineteen Eighty-Four.
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