togz

Wonderful review. I have yet to listen to the release because I'm iffy about how much I'll like it. I love RADWIMPS and Noda's first album, but the recent MVs have yet to captivate me. But I must admit "Water Lily" is growing on me (Just love that "From Beehives to Water Lillies" line you did) now that I've returned to give it another listen now, and I have a feeling I'll also dig all the songs you wrote at the bottom as the highlights. I may have to revisit that website on more occasions too. THAT was entrancing. Reminds me of Namie Amuro's Golden Touch. Thanks for reminding me I still need to give it a listen, and for making me enjoy "Water Lily" even more!

| From Beehives to Water Lillies 
 
 

 
illion, is the solo project of RADWIMPS' Yojiro Noda, released his first album Ubu on February 25th 2013 in the UK through Warner Brothers Records. Since the debut of illion, the 2nd awaited album finally surfaced nearly three years later on October 12th 2016. Three years is a lot of time for a musician to grow and learn about their taste when it comes to musical composition. P.Y.L reflects change while staying true to the sound illion represents. 
 
This album resembles remnants of Ubu.  "Told U So" falls along the same feeling as "BEEHIVE", though that doesn't go to say it doesn't sound new and unique, they're two completely different songs. Both offer complex rhythms (clapping, synths etc), but "Told U So" contains more depth with electronics which makes it feel emotionally heavier. "Water Lily", which was released prior to P.Y.L as a single, has a completely fresh sound. Drifting, or floating is the best word to describe what "Water Lily"  should physically feel like. There's a special type of contrast between the echoing synths, the light strum of guitar, and distorted base that carries Yojiro's flowing vocals. The bar was set high for P.Y.L with such a teaser. There is an interactive site here with vibrant and abstract visuals to compliment the aura of this song, where viewers have the opportunity to manipulate the fade in and outs of the song while utilizing the colors and images spread out through the screen.
 
"Highlight (feat. 5lack)" has to be the strangest addition. The beginning sounds extremely relevant to the flow of the album and sticks to the sound illion promotes but it shifts about halfway through when a rap lays over a very sluggish instrumental. This track was also released before the full album just after "Water Lily", but it sounds disjointed from the overall picture P.Y.L should create. A change in musical direction really shines in "85", "P.Y.L", and "Wander Lust". All three introduce unpredictable synth techniques that wouldn't be expected from Yojiro. "85" essentially sounds like something right out of Tron or Outer Space. The combination of soft vocals, an 8-bit bass line, and an 80's synth drum beat makes this the most unique track on the entire album. "P.Y.L" and "Wander Lust" are very similar in a sense that they have distorted synths that sound broken,  like when something goes in and out of frequency causing an echo and static. Both have powerful vocal melodies to accompany their peculiar usage of distortion. 
 
"Miracle" deserves it's own category for having a very smooth and jazzy vocal melody with a very waltz-y piano instrumental. It's the first of eleven songs and works not only as a great opener but a smooth transition from illion's previous album UBU. There's a singer-songwriter section to this release as well. "Dream Play Sick", "Ace", and "Strobo" use orchestral instruments and progress with a very melancholic feel. "Strobo" combines harp in a circular pattern while the piano reinforces the beat with a few chords here and there making the vocal melody the center of attention. The most emotionally heavy is "Ace" which is prominently piano. It's a very simple track, but the whisper-y vocals are chilling and almost haunting. "Dream Play Sick" is a little more playful with phrase pauses and is mainly guitar and vocals for the most part in the beginning (give or take a few claps, static, disjointed violin and layered choppy vocals that resemble some of the techniques used in "MAHOROBA" from UBU). 
 
Overall this album went above and beyond new material. Yojiro Noda really explored and reached a new level with this release even if a few tracks didn't hit home. "Highlight (feat 5lack)" is the weakest but it's forgivable with songs like "85", "P.Y.L", "Water Lily", and "Told U So" that just hit the ball in to a whole other ball park. 
 
 
Support the artist!
 
CDJapan | iTunes (USA)

Great Review! 
 
I checked them out during their earlier releases... but I'm curious about this one now. Definitely going to check it out. :'3

臓器のノゾキ穴。(Zouki no nozokiana)


Track list:
01.チョコレート階段(Chocolate kaidan)
02.「洗脳」(Sennou)
03.液状部屋 (Ekijou heya)
04.絶倫フルコース (Zetsurin full course)
05.「腐乱腐乱」 (Furanfuran)
06.すてきな唄。 (Suteki na uta)
 
吐瀉物 (Toshabutsu)


01. 吐瀉物 (Toshabutsu)
02. 「便所2」 (benjo2)
 
The great part of being a visual fan is all the unpredictable wackiness that happens behind the scenes. I don't think anyone would have predicted that one of the best visual albums of 2015 would have come from a band that had only a demo-tape before their full album release. This band burst onto the scene with a foul sound: even among their contemporaries who borrow from the early 2000's visual-kei sound, Kuroyuri to Kage were different. Their songs moved along with a hauntingly heavy feel, more akin to the sounds of sludge-metal than the hyper-sanitized metalcore/djent hybrids currently reigning the scene. It was especially wild considering this was the new band of Memento-Mori, a band with a heavy japoneseque leaning. Their image was as dark as their doomy sound, led by the particularly enigmatic and freaky vocalist Karasuna Mei. Themes of perversion, darkness, rape, murder and anything else you wouldn't ever want to see unless it was in a horror movie make up the lyrical themes and concepts of their releases. A period of long inactivity towards the later half of 2015 had stans suspicious, so the news that they'd be dropped from AINS and losing two founding members to retirement wasn't all that big of a shock. That said, they chose to continue independently* on their own label Yamikakumei with a four member lineup, recruiting a support drummer. What did the future hold for a once very promising band on one of the best labels in the scene?
 
Kuroyuri to kage return from flopsville after some label drama and losing two original members, releasing Zouki no nozokiana and Toshabutsu in 2016, slaying our existence. What could have been a recipe for disaster has been whipped into a yummy two course meal by the master chefs behind KTK, albeit made of human flesh and blood. Dinner is the mini-album Zouki no nozokiana, the band's second mini album and first formal release after the departure of guitarist Koyomi and drummer Mutsuki, released on the 10th of August, 2016. Dessert is Toshabutsu, the band's second single, released on the 2nd of November. So without further ado ladies and gentlemen, let's say grace and sink our filthy forks into this!
 
These releases are similar enough stylistically to fall under one review, they could have been recorded in the same sessions—that said, Kuroyuri are quite consistent with their sound. Make no mistake, this is the same band from 2015 for the most part, the differences from their prior output are quite fine, but still prominent. The most notable difference is the more direct sound: all the tracks here follow the same mid-tempo crawl Kuroyuri have been known for, shedding the ballads and faster songs from their debut. The blast beats are entirely gone, and so are the eerie music box ballads. The single guitar setup has pushed more of an emphasis on electronics and less on lead guitar parts, the surprising old-school solos Koyomi whipped up in the past are noticeably absent. To compensate for the missing guitar, along with the newly added bleepbloops, the bass is turned up to 11—and I mean it. The bass pummels like no one's business. I haven't heard basslines this obnoxious since like...ever. The way the bass is mixed is also fascinating, on the surface it's just a lot of clacking, trembly bass work. The magic comes when you crank the volume up; the low end is massive, almost like a subwoofer was dubbed over the bassline. The bass and guitar almost occupy the same amount of space in the mix, so you will hear every bass hit and every note K plays. The end result is a more pummeling sound, less Kagerou and more Slipknot or Korn. It's all less dynamic than their first two releases, which is a bit of a loss for me, but it's an interesting way Kuroyuri have chosen to advance their sound and adapt to the member changes.
 
Onto the individual releases, Nozoki... is a 6 track mini, half featured in the prior mail-order/live-limited singleうろんなチョコ冷凍。(Uronna Choko Reitou.) from April 2016. “Chocolate kaidan”, “Zetsurin full course” and “Suteki na uta” are all remastered from their original demos, sounding noticeably sharper and less lo-fi, while the rest are new tracks. That said, the production job on the mini is far from perfect, it's rather obnoxiously clipped. “Chocolate kaidan” isn't too notable a track but serves as a solid into for the rest of the album. Tt follows from Kuroyuri's original formula of clean, reverb-y guitar parts paired up with a heavy chorus and clean vocals, originally featured to brilliant effect in “Yokusou”. “Sennou” takes no prisoners, melding djent-y riffage (!!) with an alt-metal crawl, dubstep breakdown (??) and insane vocals. The subtle shifting of the track's rhythm and Mei's contrasting vocals make it an album highlight and totally addictive. “Ekijouheya” isn't as interesting as the rest, but is notable for the wild Korn-esque scat vocal breakdown and amazing slap bass solo in the middle. The new emphasis on electronics/manipulation is on full display here, as the buzzy synth duels against the guitar and bass in the verses. “Zetsubou full course” features some disturbing child choir echoing Mei's vocals in the intro and chorus, and is home to the sole guitar solo on the album. The track overstays its welcome at just over five minutes long, but it is one hell of a freaky track. My favourite track, “Furanfuran” follows right after, opening with a barrage of alt-metal riffage and slap bass all while Mei goes insane in the back. I'd like to think this is a really fun live song, as the rhythm goes perfectly with moshing furitsuke, or choreography. The track builds in its noisiness while Mei goes back and forth between a hypnotic vocal melody and utter madness, all before coming to a pretty end. “Suteki na uta” is more or less a different variation of all the flavours already offered on the prior tracks.
 
Toshabutsu is where shit hits the fan (harharhar), by way of the title track; the best song Kuroyuri to Kage have released since “Yokusou”. The track opens up with trippy, oddly manipulated and dissonant chords (Inquisition, anyone?) backing the usual alt-metal crawl. It segways into the typical effects-laden clean guitar+bass passages Kuroyuri have basically trademarked at this point. The tension mounts with some operatic vocals, all before melting back into the same intro passage while Mei delivers the chorus. It's an odd chorus in that it's long and not all that catchy, but the way the guitars drop and Mei comes in with the lyrical delivery is so fucking addictive. Listen to this on blast and I guarantee you'll be slow headbanging like a maniac. This is so, so heavy in a way only Kuroyuri can do. Also notable is how Mei sticks to mostly clean vocals throughout the song, but ends up heavy enough to demolish your head. “Benjo2” is the b-side for “Toshabutsu”, and it sounds nothing like the original “Benjo”; rather serving as the manic release for “Toshabutsu”'s composed heaviness.
 
These releases aren't enough to convert Kuroyuri naysayers, but definitely warrant a listen from people who might have written them off in the past. In that same length, Nozoki... and Toshabutsu are stripped down enough to possibly alienate old fans who might not like their new, meatier sound. That said, if you're tired of the mass spawning of Deluhi clones, try-hard deathcore bands and oshare kei, and you reminisce about the days when MUCC were actually heavy and when Slipknot and Korn ruled MTV, then give this a listen. Dinner and dessert were delicious today, thanks for joining in on today's feast. Now, if you'll excuse me, I have to the wipe the blood off the corners of my mouth and get to cleaning up this mess. I think i'll need more bleach. Until next time.
 
Both Nozoki no nozokiana and Toshabutsu are available for sale at CD Japan here and here respectively.
 
8/10
 
*the question remains as to whether they were actually dropped by AINS or whether something else is going on behind the scenes that we don't know; so for the intents and purposes of this review assume they're independent

Here's an easy solution:
check the topic -> see that they're not japanese -> move along.

Thanks! Much appreciated! 

@tanukityler
This is all I have on hand, but once I'm done dog sitting and get back home to booklet, I'll try to type out the rest. 
Most if not all words/lyrics are by Ikepy and Jamil and most if not all music is by Daiki.
 
Hope this helps!
 
 
Free Me
 
Redemption
 
All This Pain
 
LAST DAY
 
Bakemono
 
 

hi, i'm ryan... i've been lurking here since forever, created an account a few months ago, and lately something's been telling me i should try to talk here more.
i'm not terribly good with forums though - something about the way anything i'd say gets kept on the site forever seems to trip me out a bit.
and i'm not sure how much of value i'd have to comment - so, i'll try to make myself useful and get to posting some (probably wildly inaccurate) translations~

as far as me....... got into vkei with ナイトメア about when their s/t came out, haven't found a band that resonates more with me since.
p sure i can find something to like in just about any style/scene, but i really think vkei hit its golden age between 1997-2007. at least to me.
as of typing this i'm also stanning diru, mucc, the gallo, and meji pretty hard. and since 2014 i've been living in varying degrees of Worried About Royz.
 
IRL i work at a sushi/udon place, it's p great, and i'm trying to get the hang of this whole 'understanding and speaking japanese' thing. it's hard tho.
Oh, and i'm trying to get a band together. also hard.
and that's basically it for me because i have no life outside visual kei.

Nice to meet all of you though - even if i haven't said much anything before i owe y'all a lot for recommending a lot of my fav bands.
special shoutout to all the staff/mods, rarezhut guys, and everyone who translates band shit bc it'd be so much harder to get into this dumb scene without people like you putting in all the work.

Oh and @ everyone feel free to hmu on twitter, username's same there as here
 

On September 10
 
 
 
1st Album DOPEDOWN
 
1.MASK
2.Anthem of Mavericks
3.Revolve
4.MONSTARIZE
5.Prologue
6.不退転
7.Kingdom
8.Sign
 
 

Going to Seattle for sure

Headlining Tour:
 
Tickets go on sale 2016.11.22
Pre-Sale Begins on 2016.11.21
*Pre-sale codes are given to anyone that pre-orders the album here*
 
More Info

I feel like I certainly need to study a bit more before jumping in to something like that.... but eventually that sounds like a cool idea.

Would you guys be interested in practicing on HelloTalk with me? If so, I can share my username and we can practice too : D
Of course there'll be other people as well. But I can help with getting around the app and understanding how it works. It really helps a lot.

I think I love you lol

@togz I used my mad mouse drawing skillz to explain, hope it makes sense :v
Also, please don't pay attention to the grammar now since this is casual japanese.
 
A: nani sore? (what's that?) -- far from speaker
B: kore wa GREEN THING desu! (this is a GREEN THING!) -- close to speaker

When (A) says "what's that?" they mean to ask what is the thing that is far from the speaker (A) but close to the listener (B).
 
A: ja, are wa? (then, what's that?) -- far from both
B: ah! are wa MONSTER desu! (ah! that is a MONSTER!) -- far from both

Then, (A) asks what's that thing that's far from both of them, so they can't use "sore" -- it's far from the listener (B) too. In this case, use "are". (B) does the same, for the same reason.
 
A: dore ga MONSTER desu ka? (which one is the MONSTER?)
B: migi desu. hidari wa KAWAII NEKO desu ne. (the one on the right. the one on the left is a CUTE CAT, right?)

There are two things there, so (A) asks "which one" of those is the monster. (A) uses "dore" as a way to say "which one", it's a way to express a question. Of course we already know the monster is the one on the right, since the one on the left is a very, very realistic cat.
 
The same relation can be found on other examples with kono, koko, etc.
Just to clarify:
 
* when talking about something
- KOno... (this...) -- close to the speaker. | Ex.: kono KAWAII NEKO ga suki desu (I like this CUTE CAT)
- SOno... (that...) -- far from speaker, close to listener | Ex.: sono MONSTER ga kirai desu (I hate that MONSTER)
- Ano... (that...) -- far from both speaker and listener | Ex.: ano GREEN THING wo tabetai! (I want to eat that GREEN THING)
- DOno... (which...) -- the distance doesn't matter, it's used to express a question regarding something they don't know about | Ex.: Dono ningen ga ichiban oishii no ka? (which human is tastier?)
 
KOko, SOko, Asoko and DOko are the same, but about place. Here, doko is using to ask "what place", i.e. "where".
There are some other variations too, but it's always the same.
Hope it didn't sound too confusing...

| From Beehives to Water Lillies 
 
 

 
illion, is the solo project of RADWIMPS' Yojiro Noda, released his first album Ubu on February 25th 2013 in the UK through Warner Brothers Records. Since the debut of illion, the 2nd awaited album finally surfaced nearly three years later on October 12th 2016. Three years is a lot of time for a musician to grow and learn about their taste when it comes to musical composition. P.Y.L reflects change while staying true to the sound illion represents. 
 
This album resembles remnants of Ubu.  "Told U So" falls along the same feeling as "BEEHIVE", though that doesn't go to say it doesn't sound new and unique, they're two completely different songs. Both offer complex rhythms (clapping, synths etc), but "Told U So" contains more depth with electronics which makes it feel emotionally heavier. "Water Lily", which was released prior to P.Y.L as a single, has a completely fresh sound. Drifting, or floating is the best word to describe what "Water Lily"  should physically feel like. There's a special type of contrast between the echoing synths, the light strum of guitar, and distorted base that carries Yojiro's flowing vocals. The bar was set high for P.Y.L with such a teaser. There is an interactive site here with vibrant and abstract visuals to compliment the aura of this song, where viewers have the opportunity to manipulate the fade in and outs of the song while utilizing the colors and images spread out through the screen.
 
"Highlight (feat. 5lack)" has to be the strangest addition. The beginning sounds extremely relevant to the flow of the album and sticks to the sound illion promotes but it shifts about halfway through when a rap lays over a very sluggish instrumental. This track was also released before the full album just after "Water Lily", but it sounds disjointed from the overall picture P.Y.L should create. A change in musical direction really shines in "85", "P.Y.L", and "Wander Lust". All three introduce unpredictable synth techniques that wouldn't be expected from Yojiro. "85" essentially sounds like something right out of Tron or Outer Space. The combination of soft vocals, an 8-bit bass line, and an 80's synth drum beat makes this the most unique track on the entire album. "P.Y.L" and "Wander Lust" are very similar in a sense that they have distorted synths that sound broken,  like when something goes in and out of frequency causing an echo and static. Both have powerful vocal melodies to accompany their peculiar usage of distortion. 
 
"Miracle" deserves it's own category for having a very smooth and jazzy vocal melody with a very waltz-y piano instrumental. It's the first of eleven songs and works not only as a great opener but a smooth transition from illion's previous album UBU. There's a singer-songwriter section to this release as well. "Dream Play Sick", "Ace", and "Strobo" use orchestral instruments and progress with a very melancholic feel. "Strobo" combines harp in a circular pattern while the piano reinforces the beat with a few chords here and there making the vocal melody the center of attention. The most emotionally heavy is "Ace" which is prominently piano. It's a very simple track, but the whisper-y vocals are chilling and almost haunting. "Dream Play Sick" is a little more playful with phrase pauses and is mainly guitar and vocals for the most part in the beginning (give or take a few claps, static, disjointed violin and layered choppy vocals that resemble some of the techniques used in "MAHOROBA" from UBU). 
 
Overall this album went above and beyond new material. Yojiro Noda really explored and reached a new level with this release even if a few tracks didn't hit home. "Highlight (feat 5lack)" is the weakest but it's forgivable with songs like "85", "P.Y.L", "Water Lily", and "Told U So" that just hit the ball in to a whole other ball park. 
 
 
Support the artist!
 
CDJapan | iTunes (USA)

| From Beehives to Water Lillies 
 
 

 
illion, is the solo project of RADWIMPS' Yojiro Noda, released his first album Ubu on February 25th 2013 in the UK through Warner Brothers Records. Since the debut of illion, the 2nd awaited album finally surfaced nearly three years later on October 12th 2016. Three years is a lot of time for a musician to grow and learn about their taste when it comes to musical composition. P.Y.L reflects change while staying true to the sound illion represents. 
 
This album resembles remnants of Ubu.  "Told U So" falls along the same feeling as "BEEHIVE", though that doesn't go to say it doesn't sound new and unique, they're two completely different songs. Both offer complex rhythms (clapping, synths etc), but "Told U So" contains more depth with electronics which makes it feel emotionally heavier. "Water Lily", which was released prior to P.Y.L as a single, has a completely fresh sound. Drifting, or floating is the best word to describe what "Water Lily"  should physically feel like. There's a special type of contrast between the echoing synths, the light strum of guitar, and distorted base that carries Yojiro's flowing vocals. The bar was set high for P.Y.L with such a teaser. There is an interactive site here with vibrant and abstract visuals to compliment the aura of this song, where viewers have the opportunity to manipulate the fade in and outs of the song while utilizing the colors and images spread out through the screen.
 
"Highlight (feat. 5lack)" has to be the strangest addition. The beginning sounds extremely relevant to the flow of the album and sticks to the sound illion promotes but it shifts about halfway through when a rap lays over a very sluggish instrumental. This track was also released before the full album just after "Water Lily", but it sounds disjointed from the overall picture P.Y.L should create. A change in musical direction really shines in "85", "P.Y.L", and "Wander Lust". All three introduce unpredictable synth techniques that wouldn't be expected from Yojiro. "85" essentially sounds like something right out of Tron or Outer Space. The combination of soft vocals, an 8-bit bass line, and an 80's synth drum beat makes this the most unique track on the entire album. "P.Y.L" and "Wander Lust" are very similar in a sense that they have distorted synths that sound broken,  like when something goes in and out of frequency causing an echo and static. Both have powerful vocal melodies to accompany their peculiar usage of distortion. 
 
"Miracle" deserves it's own category for having a very smooth and jazzy vocal melody with a very waltz-y piano instrumental. It's the first of eleven songs and works not only as a great opener but a smooth transition from illion's previous album UBU. There's a singer-songwriter section to this release as well. "Dream Play Sick", "Ace", and "Strobo" use orchestral instruments and progress with a very melancholic feel. "Strobo" combines harp in a circular pattern while the piano reinforces the beat with a few chords here and there making the vocal melody the center of attention. The most emotionally heavy is "Ace" which is prominently piano. It's a very simple track, but the whisper-y vocals are chilling and almost haunting. "Dream Play Sick" is a little more playful with phrase pauses and is mainly guitar and vocals for the most part in the beginning (give or take a few claps, static, disjointed violin and layered choppy vocals that resemble some of the techniques used in "MAHOROBA" from UBU). 
 
Overall this album went above and beyond new material. Yojiro Noda really explored and reached a new level with this release even if a few tracks didn't hit home. "Highlight (feat 5lack)" is the weakest but it's forgivable with songs like "85", "P.Y.L", "Water Lily", and "Told U So" that just hit the ball in to a whole other ball park. 
 
 
Support the artist!
 
CDJapan | iTunes (USA)

| From Beehives to Water Lillies 
 
 

 
illion, is the solo project of RADWIMPS' Yojiro Noda, released his first album Ubu on February 25th 2013 in the UK through Warner Brothers Records. Since the debut of illion, the 2nd awaited album finally surfaced nearly three years later on October 12th 2016. Three years is a lot of time for a musician to grow and learn about their taste when it comes to musical composition. P.Y.L reflects change while staying true to the sound illion represents. 
 
This album resembles remnants of Ubu.  "Told U So" falls along the same feeling as "BEEHIVE", though that doesn't go to say it doesn't sound new and unique, they're two completely different songs. Both offer complex rhythms (clapping, synths etc), but "Told U So" contains more depth with electronics which makes it feel emotionally heavier. "Water Lily", which was released prior to P.Y.L as a single, has a completely fresh sound. Drifting, or floating is the best word to describe what "Water Lily"  should physically feel like. There's a special type of contrast between the echoing synths, the light strum of guitar, and distorted base that carries Yojiro's flowing vocals. The bar was set high for P.Y.L with such a teaser. There is an interactive site here with vibrant and abstract visuals to compliment the aura of this song, where viewers have the opportunity to manipulate the fade in and outs of the song while utilizing the colors and images spread out through the screen.
 
"Highlight (feat. 5lack)" has to be the strangest addition. The beginning sounds extremely relevant to the flow of the album and sticks to the sound illion promotes but it shifts about halfway through when a rap lays over a very sluggish instrumental. This track was also released before the full album just after "Water Lily", but it sounds disjointed from the overall picture P.Y.L should create. A change in musical direction really shines in "85", "P.Y.L", and "Wander Lust". All three introduce unpredictable synth techniques that wouldn't be expected from Yojiro. "85" essentially sounds like something right out of Tron or Outer Space. The combination of soft vocals, an 8-bit bass line, and an 80's synth drum beat makes this the most unique track on the entire album. "P.Y.L" and "Wander Lust" are very similar in a sense that they have distorted synths that sound broken,  like when something goes in and out of frequency causing an echo and static. Both have powerful vocal melodies to accompany their peculiar usage of distortion. 
 
"Miracle" deserves it's own category for having a very smooth and jazzy vocal melody with a very waltz-y piano instrumental. It's the first of eleven songs and works not only as a great opener but a smooth transition from illion's previous album UBU. There's a singer-songwriter section to this release as well. "Dream Play Sick", "Ace", and "Strobo" use orchestral instruments and progress with a very melancholic feel. "Strobo" combines harp in a circular pattern while the piano reinforces the beat with a few chords here and there making the vocal melody the center of attention. The most emotionally heavy is "Ace" which is prominently piano. It's a very simple track, but the whisper-y vocals are chilling and almost haunting. "Dream Play Sick" is a little more playful with phrase pauses and is mainly guitar and vocals for the most part in the beginning (give or take a few claps, static, disjointed violin and layered choppy vocals that resemble some of the techniques used in "MAHOROBA" from UBU). 
 
Overall this album went above and beyond new material. Yojiro Noda really explored and reached a new level with this release even if a few tracks didn't hit home. "Highlight (feat 5lack)" is the weakest but it's forgivable with songs like "85", "P.Y.L", "Water Lily", and "Told U So" that just hit the ball in to a whole other ball park. 
 
 
Support the artist!
 
CDJapan | iTunes (USA)

| From Beehives to Water Lillies 
 
 

 
illion, is the solo project of RADWIMPS' Yojiro Noda, released his first album Ubu on February 25th 2013 in the UK through Warner Brothers Records. Since the debut of illion, the 2nd awaited album finally surfaced nearly three years later on October 12th 2016. Three years is a lot of time for a musician to grow and learn about their taste when it comes to musical composition. P.Y.L reflects change while staying true to the sound illion represents. 
 
This album resembles remnants of Ubu.  "Told U So" falls along the same feeling as "BEEHIVE", though that doesn't go to say it doesn't sound new and unique, they're two completely different songs. Both offer complex rhythms (clapping, synths etc), but "Told U So" contains more depth with electronics which makes it feel emotionally heavier. "Water Lily", which was released prior to P.Y.L as a single, has a completely fresh sound. Drifting, or floating is the best word to describe what "Water Lily"  should physically feel like. There's a special type of contrast between the echoing synths, the light strum of guitar, and distorted base that carries Yojiro's flowing vocals. The bar was set high for P.Y.L with such a teaser. There is an interactive site here with vibrant and abstract visuals to compliment the aura of this song, where viewers have the opportunity to manipulate the fade in and outs of the song while utilizing the colors and images spread out through the screen.
 
"Highlight (feat. 5lack)" has to be the strangest addition. The beginning sounds extremely relevant to the flow of the album and sticks to the sound illion promotes but it shifts about halfway through when a rap lays over a very sluggish instrumental. This track was also released before the full album just after "Water Lily", but it sounds disjointed from the overall picture P.Y.L should create. A change in musical direction really shines in "85", "P.Y.L", and "Wander Lust". All three introduce unpredictable synth techniques that wouldn't be expected from Yojiro. "85" essentially sounds like something right out of Tron or Outer Space. The combination of soft vocals, an 8-bit bass line, and an 80's synth drum beat makes this the most unique track on the entire album. "P.Y.L" and "Wander Lust" are very similar in a sense that they have distorted synths that sound broken,  like when something goes in and out of frequency causing an echo and static. Both have powerful vocal melodies to accompany their peculiar usage of distortion. 
 
"Miracle" deserves it's own category for having a very smooth and jazzy vocal melody with a very waltz-y piano instrumental. It's the first of eleven songs and works not only as a great opener but a smooth transition from illion's previous album UBU. There's a singer-songwriter section to this release as well. "Dream Play Sick", "Ace", and "Strobo" use orchestral instruments and progress with a very melancholic feel. "Strobo" combines harp in a circular pattern while the piano reinforces the beat with a few chords here and there making the vocal melody the center of attention. The most emotionally heavy is "Ace" which is prominently piano. It's a very simple track, but the whisper-y vocals are chilling and almost haunting. "Dream Play Sick" is a little more playful with phrase pauses and is mainly guitar and vocals for the most part in the beginning (give or take a few claps, static, disjointed violin and layered choppy vocals that resemble some of the techniques used in "MAHOROBA" from UBU). 
 
Overall this album went above and beyond new material. Yojiro Noda really explored and reached a new level with this release even if a few tracks didn't hit home. "Highlight (feat 5lack)" is the weakest but it's forgivable with songs like "85", "P.Y.L", "Water Lily", and "Told U So" that just hit the ball in to a whole other ball park. 
 
 
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alright!
 
i've only been studying japanese on and off since about spring, but i've found one program that really  boosted my learning and gave me an amazing introduction to the language.
that program is Human Japanese!
the program is made by an english speaker, for english speakers. the author goes incredibly in-depth in every chapter, and in a way even the simplest of minds can grasp (like myself!) and in the most interactive, fun way possible.
the two programs, Human Japanese and Human Japanese Intermediate, have been the smoothest possible ride for me. i've just barely started Human Japanese Intermediate, but even by just completing its predecessor, i've learned a learned a good amount of grammar, the kana, vocabulary, fun cultural lessons and notes, as well as some small, nitty-gritty things about the language. i can't wait to get off my ass and finish HJ Intermediate because i know once i do, i'll be well on my way with this language!
i can't recommend this product enough, honestly. please note, the full versions do cost money, so give the trial a test run and see if you like it! (but i can almost guarantee you'll get sucked in right away, just as i was, and will end up buying the program.)
 
teamed with Human Japanese, i've recently (as in, four days ago) picked up an Android app called Japanese Kanji Study - 漢字学習 (i believe it's available on iOS as well). in the four days i've used this app, i've got 80 kanji under my belt. i can recognize and write nearly all of those 80.
only the N5 kanji are available for free. it costs $9.99 CAD to get the rest of the JLPT kanji, but i think it's worth it. i personally have not yet bought the full version as i'm not finished learning the N5 kanji, but as soon as i grasp those, i'll be buying the full version.
the app is a pretty standard drilling/quizzing app, but it does its job. i can't really cover everything it offers in words, so i suggest you download it and give it a shot!

This man has been on the scene for like a decade and still only knows how to make 4 different songs

Ohh I love it!
Also I'm experiencing major hair jealousy lol
Also damn they are selling so many tshirt bundles wth how am I supposed to choose just one...