Okami Three Turns in a Colorful Performance on “Blue”

By Deuce

Okami Three’s game plan for its single “Blue”, which hit the streets a couple months back, is readily apparent from its artwork. It’s not just the blue-tinged effects of the images of the three performers in this band. It’s also the quasi-psychedelic appeal of this particular image, buttressed by the field in which they’re positioned, and the starkness of the colors in relation to it.

What the band’s unveiled on this track is a throwback jam to the 1970’s and some of the best repertoire’s of groups like Jefferson Airplane and others. The lead singer rides a spiraling acoustic guitar that’s deceptively simple over another track of the same instrument powered by bass and drums. It’s how he sings, however, and the very texture of that guitar playing, that hearkens back to some of the most compelling rock from the middle to the late 20th century.

It’s not just because of his high-pitched tenor, or the easy, meandering pace of the drums that gives him plenty of room to present a dripping melody that’s catchy the first time one hears it. It’s his vocal inflection (which is simply bananas at times and will likely have you trying to duplicate it in mid-song) and the very panache he displays that could easily have been heard on some of the best tunes from The Bee Gees.

Plus, he’s got a strong motif pertaining to the aforementioned color that stands out the strongest on the artwork. “I turned blue since you went away”, he laments in a way that’s somewhat tinged with the azure hue he mentions. His performance on the mic is galvanizing, fun, and one of the best treats on this track.

Another is the drumming. Fleet, swift, and surprisingly deft, the drummer is able to pepper merely keeping time for the other musicians and the vocalist with surprisingly quick snares and breakdowns that makes this cut move even though the pace isn’t necessarily fast. This formula certainly shines on the drum pattern on which the verses are structured, and is a noticeable attempt at enlivening the affair with a jubilant sense of energy.

The same applies doubly to the ferocious electric guitar that barges its way atop the other instruments on the hook, or maybe in the few poignant moments following the chorus and preceding the subsequent verse or bridge. However it goes, this is real music that anyone can feel and, for the most part, relate to.

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