Partially growing out of their success in the country they were named after, as well as growing friendship and affiliation with such bands as Yellow Magic Orchestra, Japan, on Tin Drum, made its most unique, challenging, and striking album. It was also the final full studio effort from the group, and what a way to bow out -- there was practically no resemblance to the trash glam flailers on Adolescent Sex anymore. Rather than repeat the sheer restraint on Gentlemen Take Polaroids, Tin Drum is an album of energy, Sylvian's singing still the decadently joyful thing it is, but the arrangements and performances tight, full, and active. The fusion of exquisite funk courtesy of Karn and Jansen's joined-at-the-hip rhythm section and a range of Asian music influences, from instrumentation to subject matter, combined with an even wider use of technological approaches to create the dramatic, sly songs on offer. Only the Talking Heads showed the same attempt at reach and variety at the time, at least in the Western rock world, but Japan arguably outstripped the New York band with its sheer sense of theatrical style. To top it all off, the band was more popular than ever, with "Ghosts," an appropriately haunting ballad notable for its utterly minimal arrangement, almost entirely eschewing beats for Barbieri's textures and Jansen's work on marimba, becoming a Top Ten hit in the U.K. The wound-up dancefloor art grooves of "The Art of Parties" and especially "Visions of China," the latter featuring what has to be Karnand Jansen's eternal highlight performance (check out Jansen's jaw-dropping drum break) were also notable efforts. Meanwhile, the evocation of Chinese culture in general continued with such songs as "Canton," a slightly martial, stately march with clear inspiration from the country's classical music tradition, and the concluding "Cantonese Boy." ~ Ned Raggett, All Music Guide
Tin Drum is the fifth and final studio album produced by the British band Japan. Released in the U.K. in late-November 1981, the album continued their now developed use of electronic elements coupled with traditional instrumentation, but leans far more towards far-eastern influences than any of their previous albums. Guitarist Rob Dean had left the band by this point, with Sylvian taking on his duties which had become surplus to requirements in terms of their musical direction.
Four of the album's eight tracks were released as singles in the UK ("The Art of Parties", "Cantonese Boy", "Visions of China" and "Ghosts"), whilst a live version of "Canton" was issued as a single to promote the Oil on Canvas live album in 1983. Of these, the most commercially successful was "Ghosts", a minimalist, drum-free song which reached No.5 in the UK. "Visions of China" and "Cantonese Boy" also made the UK Top 40. The album itself peaked at #12 in the UK, and was certified "Gold" by the BPI in 1982.
In 2000 David Sylvian re-recorded "Ghosts" using the original Japan backing track and included it on his compilation Everything and Nothing.
