When Hiroshima cut their self-titled debut album in 1979, record executives at their own label placed bets that the band’s unprecedented amalgam of traditional Japanese instruments, American jazz structure and Latin percussion – an intriguing but ultimately refreshing anomaly in the waning days of the disco era – wouldn’t make much of an impact in terms of sales or critical acclaim.
Thirty years later, Hiroshima has remained very much in the game. And they’ve done so by sticking to that original philosophy of blending genres to map out and promote unlikely artistic and cultural connections. After three decades, in a time when the globe grows smaller and more connected by the day, and sounds from all over that globe can be found in almost any piece of contemporary music, it appears that the world may finally be catching up with Hiroshima.
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