Deloras

Tracklist:
01. 東京、熱帯夜につき
02. 夜想GALAXXXY
03. サクラユメ
04. 甘美な嘘と退屈な薄紅
05. Relic Snow
06. 神様がもしいるなら

8/10 | DIV's unique blend of EDM and rock proves to be a winner!

Never a band to sit idle, young visual rockers DIV have continued their steady stream of releases and christened 2016 with their second and latest EP EDR TOKYO. The 'EDR' in the title stands for 'Electronic Dance Rock', and while electronics have always been present in DIV's music, they've mostly --with the exception of a few b-sides like "milky latte" and "東京ネクロポリス博物館 (Tokyo Necropolis Hakubutsukan)"-- operated on the peripheries: relegated to mood-setting intros, punchy breakdowns, and background frill. EDR TOKYO asserts itself as a more overt electronic endeavor, however. Their last single, the awesome, EDM-fueled "イケナイKISS (ikenai kiss)" gave us a good taste of what DIV's 'EDR' could sound like, and it's certainly served as precursor to the material on this EP.

The blithesome opener "東京、熱帯夜につ (tokyo nettaiya ni tsuki)" borrows some of the EDM elements of that song, but takes them a bit further, as guitars take a backseat to bright, layered synths and atmospheric bleep bloops. The song openly embraces electronics and effectively sets the precedent for the rest of the EP; each song is inundated with lively synth-work and programming that's both varied and meticulously applied. There may even be moments where you'll question if you're still listening to DIV or not; the main synth in "神様がもしいるなら (kamisama ga moshi iru nara)" sounds like something you'd hear in a
, and the heavy, electro-blended guitars in "甘美な嘘と退屈な薄紅 (kanbi na uso to taikutsu na usubeni)" would equally at home in a track by the GazettE, yet they implement all of this without really straying from who they are. This EP proves that DIV have thoroughly invested themselves in 'EDR' and the electronics here neither sound like a gimmick nor are they arbitrary sonic decorations. Every synth sounds like it has purpose and is an inherent part of the song.

Some may worry that the heavy-focus on electronic music may have come at a price, but rest assured, that is not the case. DIV have not neglected 'R' in 'EDR'! Tracks like "夜想GALAXXXY (yasou GALAXXXY)" and "サクラユメ (sakurayume)" have plenty of audible guitar work, yet are still seamlessly integrated with the electronics. "甘美な嘘と退屈な薄紅" and "Relic Snow", which are arguably the harder tracks of the EP, even boast a bit of breakdown chugging. Clever programming also pervades the EP, with the drums alternating between satoshi's live playing, techno kicks, dubstep-snares and more. Throughout EDR TOKYO, this creates a kind of aural symbiosis that draws forth the raving energy of EDM, but equally channels the adrenal charge of metalcore and the buoyancy of styles like pop-rock and pop-punk. In short, the EP still rocks out in spite of DIV's stylistic choices - no, perhaps even because of them.

EDR TOKYO does lose a bit of steam by the last two tracks, though. That particular duo seems to retread similar musical ground as the previous tracks, but that's a minor grievance, as both tracks still maintain enough personality to sustain the EP. Ultimately, DIV have accomplished what they've set out to do: they've successfully accentuated their electronic tendencies while maintaining their rock-oriented outlook. EDR TOKYO doesn't feel like a conscious shift in DIV's musical direction - it sounds like the band simply manifesting more of who they already were to begin with.
 
 
 
 
 
Purchase EDR TOKYO @ CDJapan
 

10 Types of J-Music Fans
 
 
 
 
The Casual That moment when you actually try to talk about visual kei with someone.
 
 
Pros: Potentially interested in learning more.
Cons: Unfamiliar with anything else an artist may have done.
 
 
 
 
The Expat
I'm into plush dolls. Native women are so overrated...
 
 
Pros: Did you need that ameblo post translated? They know a guy...
Cons: Will probably find a way to make every music discussion about j-music.
 
 
 
 
The Hoarder
The visual kei ward will be fresh af bby
 
 
Pros: They definitely have that super rare live distro file you've been looking for in flac.
Cons: It's just on their hard drive from 2001 packed up in storage.
 
 
 
 
The Otaku
How otakus share rarez
 
 
Pros: Deep and knowledgeable about music, may have variety in taste, love spreading music
Cons: Can be very difficult to find common ground musically, don't like sharing, neurotic habits
 
 
 
 
The Historian
Visual kei alone would take up half the chart but historians disagree on how many different sub -keis there should be.
 
 
Pros: A walking encyclopedia of obscure musical knowledge
Cons: Doesn't know anything about anyone you would care about
 
 
 
 
The Elitist
Start by listening to some real music n00b
 
 
Pros: Actually has dope music taste (on occasion)
Cons: Spends too much time being an asshole, too selective, not open to new things
 
 
 
 
The Shadow
Is it safe to come out?
 
 
Pros: The coolest peeps in the scene for sure.
Cons: Rarely ever advertise themselves as a J-Music fan
 
 
 
The Bangya Believe it or not they're sitting in assigned order.
 
 
Pros: They actually support the movement.
Cons: Describe going to lives as 参戦 (lit. "going to war").
 
 
 
 
The Hype Beast
This new visual kei band's releasing a 7-TYPE live distributed 30 copy single campaign based on the days of the week all recorded, mixed, and mastered in the same day! Pre-ordered all seven already!
 
 
Pros: They're on top of everything that's happening
 
Cons: Listens to Instigate the Grief and THE RUDIE SATAN PARK for pleasure.
 
 
 
The Tanuki
qurl you won't believe what i just found about about satsuki...
 
 
Pros: They got all the details about everyone
Cons: All but one of them are a lie (and they might not know which)
 
 
I hope you enjoyed the read! Are there any you think I missed? Comment and leave them below.

FUCKING GOALS!! want a Yoshi/Tenten duet singing KuRt

Maybe someone can do it better than me cus I'm doing this really fast but here's a rough translation.
First one:
 
I'm the one who hates living. And other people hate dying. Those kind of strangers exists. Is that human happiness? But I'm still tired. It started again. When I close my eyes I wish for the next day to not come. And without a single second of sleep a torture like tomorrow is waiting for me. I don't know but for some reason I lost 7 kilos in a week.
 
Second one:
When is valentine*!!! Meidai's ita chocolate is my favorite!!

this one.
 
* It's a custom in Japan for girls to give boys chocolate and boys give back at white day.

This picture was posted on MBHI official twitter

Also, their main picture has a type with
「Re: My BACTERIA HEAT IsLAND」


2016.4.2 comeback!!!!!!!sdSscafvbhkhzsgncs


てんてん profile picture

Artist: グリーヴァ (Grieva) Album: 妄想主義者ノ背徳。(Mousou shugisha no haitoku.) 1. Type[艶] (Tsuya) (SE) 2. 自己精神殺害推進會 (Jiko seishin satsugai suishin) 3. 妄想主義者ノ背徳 (Mousou shugisha no haitoku) 4. Art play 5. 夢デ逢ウ貴女ガ削除デキマセン。(Yume de au kijo ga sakujo dekimasen.) 6. 密室104号室～暗イ部屋二僕ト君～ (Misshitsu 104-goushitsu～kurai heya ni boku to kimi～) 7. 腐『furan』乱
Rating: | No need for grievin', visual kei is not dead!
 
Grieva sure came into their own over their few years of activity. Starting out as a glaringly obvious exercise in old-school DIR EN GREY fanboyism (pretty much producing a blueprint replica of the Gauze album), they raised lots of eyebrows but also gained an ever-growing fanbase. They've been churning out release after release like clockwork, a practice that few can pull off successfully while maintaining quality. These guys, however, not only manage to put out consistent tunes, but also seem to be slightly evolving every year. While there's no drastic change in sound (thank god for that!), they're constantly tweaking their formula and instrumentation to achieve a greater effect. Their latest mini album, Mousou shugisha no haitoku demonstrates this tendency excellently.

From the kick-in-the-teeth industrial beats of the intro to the impressive sonic diversity of the closing track, Grieva presents a fine-tuned version of their vision: building upon the legacy of the old-school with youthful vigor, and a tad more than a pinch of craziness. On the one hand, compositions like the title track or "Yume de au kijo ga sakujo dekimasen" burst forth from the speakers with a mixture of yesteryears' melodic sense coupled with a truly modern (or post-modern?) approach. On the other hand, we're inevitably treated to a small number of songs where Grieva wear their hearts on their sleeves a bit too obviously. It's hard not to recall exact moments from DIR EN GREY's back catalog when you hear the intricate lead guitars of "Art play" or the jackhammering bass in "Misshitsu 104-goushitsu～kurai heya ni boku to kimi～". The difference this time (compared to, say, their debut album) is that they were able to fully integrate these parts into their songs, not sticking out like a sore thumb throbbing with plagiarism. "Misshitsu 104-goushitsu..." even has a music box interlude reminiscent of a certain DEG classic – it's hard not to crack a smile of appreciation at the homage.

The arrangement and delivery of the songs deserve praise too, where it's due. Even though the mini album starts off in a rather repetitive fashion (after a surprisingly bangin' intro SE) with "Jiko seishin satsugai suishinkai", they more than make up for that later on. Tracks like "Art play" employ a wide array of styles, from metal chugging to upbeat ska-influenced guitars, resulting in nice changes of pace and dynamics. As soon as you're beginning to feel you're listening to 'just another typical Grieva tune', they change it up ever so slightly, introducing an interesting guitar tone or effect. In short, it's hard to get bored while listening to Mousou shugisha no haitoku. This statement is ultimately solidified by the closing track "furan", an ambitious composition that goes from a punky, all-out shoutfest (props to those pipes, Kyouki!) to an unexpectedly sweet melodic guitar solo, short bass and piano interludes and a driving chorus. It is a thrilling, dare I say progressive, finish to an already cool release.

A year ago, with the release of their 2nd full-length album Shuuen, I couldn't imagine Grieva going any further in terms of quality, but along came this release and blew me away. Granted, Kyouki and co are still far from being the most original bunch of visual kei musicians, but who needs that when you have a reliable, constant supply of kickass tunes to rock out to? I could hardly ask for more.


Support the band! Buy the mini album @ CDJapan
Buy the mini album @ Yesasia

Artist: D Single: HAPPY UNBIRTHDAY 1. HAPPY UNBIRTHDAY 2. Funny Bunny! 3. HAPPY UNBIRTHDAY (Instrumental) 4. Funny Bunny! (Instrumental) 5. レピドプテラ (Lepidoptera) 6. レピドプテラ (Lepidoptera) (Instrumental) 7. 兎角國の蟹 (Tokakukuni no Kani) 8. 兎角國の蟹 (Tokakukuni no Kani) (Instrumental) 9. HAPPY UNBIRTHDAY (Wonderland Remix ver.)
Rating: | Hey, I can dig this!
 
I'll come clean right now and say that I've never been able to appreciate D. I have listened to both VAMPIRE SAGA and Genetic World out of curiosity after noticing their popularity a while back but neither left an impression on me. As of 2015, their latest look sparked my interest for the second time. The Alice in Wonderland influenced attire went down well in my eyes because it meant a change not just in appearance, but sound too. I saw a chance and I took it. It's a welcome change for those, such as myself, who couldn't quite get into them before.

The concept of the single is just the tip of the iceberg. With four out of nine of the tracks being instrumental (all types-wise), I don't find the music as noteworthy when stripped of Asagi apart from the very cool and neat parts of riffs, especially in the title track. What it does manage to do without much effort is show off this fantasy-like world they're conveying, and that's evident throughout, so kudos to the guys for keeping this concept running strong.

"HAPPY UNBIRTHDAY" and "Funny Bunny!" are definitely deserving of the top spot on the single in every way. The choruses are fun, catchy, and most importantly, have replay value. They're two sides of the same coin: "Funny Bunny" has its hyperactive, SuG-like chorus while also filled with growls and aggressive, heavy playing from the whole band. It's a perfect mix. "HAPPY UNBIRTHDAY" oozes with goodness from start to end, sounding very much like disbanded Oshare Kei groups. Its flow is far more steady than the title track, and plays almost like an anime theme song because of its structure and sound.

Asagi's vocals in "レピドプテラ (Lepidoptera)" are deeper here than anywhere else in the single. This really goes well with its opening sound that encourages Halloween-y imagery. The chorus has a very charming pitch. It's not as sugar coated as the previous two tracks, but the playful beat is still rather Oshare Kei sounding. The verses make the track seem to have a climactic build, almost like it's been ripped out from Disney's Notre Dame's finale. It sounds quite mismatched, starting out with spooky atmosphere that jumps suddenly to a poppier chorus. While at times it may come off as jumbled, at least it doesn't stay in one lane like "兎角國の蟹 (Tokakukuni no Kani)". If "レピドプテラ (Lepidoptera)" didn't have any of its charms I pointed out above, then it'd sound like "兎角國の蟹 (Tokakukuni no Kani)". The only welcome inclusion the track has is Asagi's high pitched vocals that I was missing.

Track nine was the only song I was worried about, seeing as it's titled as a remix: "HAPPY UNBIRTHDAY (Wonderland Remix Ver.)", but even that isn't as diabolical as I was expecting. The chorus is actually double the fun from the original! You're winning me over, D. Possibly the one most obvious catch with this sound change is the lack of Asagi showing off. From what I've heard of D, his vibrato, growls and high pitched vocals are almost non-existent in this single, apart from certain sections in only two tracks. You have the operatic appeal with background group vocals here and there, so it's still D but just coated with Tinkerbell's fairy dust.

While the majority may not be fond of this latest addition to their discography, think of those like myself who could never get into their music because it didn't do it for us. Now with a change of pace, this is the starting point, for myself and possibly others to finally enjoying the band. What doesn't do it for one person can be a blessing for another, and I believe this single is a fine example of this.


Support the band! CDJapan
Japanese iTunes

Artist: Kamijo Title: Royal Blood~Revival Best~ 1. Emblem 2. Imperial Concerto 3. 薔薇は美しく散る (Bara wa Utsukushiku Chiru) 4. Aristocrat's Symphony 5. 蝶の花 (Chou no Hana) 6. Audrey 7. この世で一番美しい薔薇よ (Kono Yo de Ichiban Utsukushii Bara Yo) 8. 冬東京 (Fuyu Tokyo) 9. Heel 10. God Palace 11. Royal Blood
Rating: | Looking back with rose colored glasses

 
 
In celebration of his 20th year performing, Kamijo released two new albums: 20th Anniversary All Time Best～革命の系譜～ (Kakumei no Keifu, a collection album of songs from his past bands) and Royal Blood ～Revival Best～. While an anniversary collection is not surprising, as many big artists do this at important landmarks in their careers, an album of songs from older bands is fairly unusual. A collection of songs from old bands that are also completely rewritten is even rarer. Royal Blood  ～Revival Best～ is a gift to long-time fans in more ways than one, and it breathes new life into the classics Kamijo has written.
 
As shown by the tracklist above, Royal Blood is a mixture of songs from Lareine, Versailles, New Sodmy, and 3 (and a half) new original tracks.  All of the older songs are more than remade—they’re reinterpreted. For example, “Aristocrat’s Symphony” has been stripped down of it’s grandiose symphonic metal roots and has been turned into a slower ballad accompanied completely by orchestral arrangement, whereas “薔薇は美しく散る” was turned into a fast paced, yet flowery, metal song. The degree in which songs were reimagined varies greatly, however. For example, the new version of “God Palace” has very little different in arrangement aside from the guitar solo, which was made to sound a lot more like a solo that could be found on the Jealousy album. While much of the instrumental parts are largely the same, it is fairly obvious that the lead guitar is not Hizaki as the guitar timbre changed and the general delivery is less show-y. That doesn’t make Kamijo’s entrance after the solos are over, with a resounding “WATASHI WAAAAAAAA,” any less stupendous.
 
Of all the reimaginations, “薔薇は美しく散る,” “冬東京,” and “Imperial Concerto” were my favorites. As mentioned above, the first has been reinterpreted to be more metallic than the orginal without really losing much of it it’s original flare. My only gripe with this song is that he removed the musical equivalent to the gaussian blur filter used in this ABBA music video that used to grace the middle of the song. I’ve also added a new favorite Lareine song to my repertoire, which is 蝶の花 (Chou no Hana). I love the gentleness of this song and its simple beauty in the chorus. After listening to the original, it is safe to say this is more or less just an updated version—no crazy metal renditions of this song were done.  I will say, though, that I was floored by the new version of  冬 東京 (Fuyu Tokyo). The new introduction is just magical and the overall rendition just brings this song to life in a completely new way. These are all examples of remakes done right—what I want are old tracks remade in a new way and Kamijo gave me exactly what I was looking for.
 
Viewing this album through a critical lens, it is possible to find several areas in which Royal Blood could have done better. For me, most of the shortcomings were in the new songs. It took a lot of thinking to determine if this was because I was just so impressed with the remakes that any of his new material just would easily be outshone, or if the newer tracks were actually just sub-par for what I was expecting. In the end, it was a fair mix of both for me. “この世で一番美しい薔薇よ”  (Kono Yo de Ichiban Utsukushii Bara yo), as the first victim, left me unimpressed. The title itself was too close to as “薔薇は美しく散る” for me and thematically “the prettiest rose in the world” just seems trite at this point. This, coupled with a highly predictable chord progression in the main melody,  didn’t leave me wanting to wake up and smell the roses.
 
“Heel,” another new addition, was more ~experimental~; here, Kamijo tried to incorporate some tango elements into his normal compositional style with mixed results. What was odd about this was that the melody during the verse dragged on for way too long. This melody is a super drawn out vocal line where he bellows dangerously close to being dissident to the rest of the music before gingerly teetering back to safety, then repeating another two or three times. It’s like watching that game where people stab a knife in the space between their fingers quickly to freak out their mom. In this situation, I’m that mom and I am very concerned. Daredevil party tricks aside, this song does have a really nice chorus. I usually skip to it when listening to the song, though.
 
The last new song is the title track of the album, “Royal Blood.” It originally starts off like some sort of epic symphonic piece, bold and bombastic like “Aristocrat’s Symphony” was (the original). To my surprise, it eventually mellows out to become the perfect balance of mixing all of his past bands together –Versailles guitar work and symphonic elements, Lareine guitar and vocal harmonies, and something from that one New Sodmy song, I guess. Did you guys know he was also in a band named New Sodmy? They were a thing for a bit and made music or whatever. Yep. So, basically, this song is this album’s version of “片手に夢を持つ少女” (Katate ni yume wo motsu shoujo) —an up-tempo hype song, probably used as an encore closing.
 
All in all, Royal Blood was a great album solely for the excitement of waiting to hear old songs done anew. I was pretty bummed that Metamorphose got cut, and kind of surprised Fiancailles wasn’t included (unless he didn’t actually write that, but it was objectively Lareine’s best selling song). Maybe in the future we’ll get some more Revival Best songs, but for now, I am content with how this played out and fully expect a full effort dedicated to putting out new material soon.

Sadie 真緒(mao) & 美月(mizuki) unit "The MUMMY" will hold their one-man live "Sleeping With The Darkness" at Nishikujou BRAND NEW at 2015/12/19-12/20 and at Shibuya DESEO at 2015/12/25

DIV new maxi single "イケナイKISS(ikenai KISS)" will be released at 2015/10/28 (2 TYPE)
 
limited edition (1,944yen) will include CD+DVD (including "イケナイKISS(ikenai KISS)" PV)+trading card (1 out of 5 in random), and regular edition (1,296yen) will include CD only
 
[CD track list]
01.イケナイKISS(ikenai KISS)
02.捕食する夢に羊は踊らない(hoshoku suru yume ni hitsuji wa odoranai)
03.Metronome (included in regular edition)
 
 
first press will enclose "DIVイケナイくじ(DIV ikenai lottery)" for the following prize:
 
grand prize (limited 5): 2015/11/07 one-man live ticket+DIV goods assortment gift+meet & greet
A prize (limited 20): 2015/11/07 one-man live ticket
B prize (limited 50): 2015/11/07 one-man live special cheki
 

Best New Tracks: August 2015

As always, another month has passed and the ORZ team has a great selection of music to recommend! Feel free to comment or discuss any of this month's picks and even offer your own as well!
Visual Kei
"流星群 (Ryuuseigun)" by A9

"千年DIVE!!!!! (Sennen DIVE!!!!!)" by Antic Cafe

"Parasite" by JILUKA

"パレード (parade)" by KEEL

"EVOKE" by lynch.

"saw.[ss_ver.]/takumi_mix" by StrangerSaid.

"OMINOUS" by The GazettE

"ぺど。(pedo.)" by 黒百合と影 (Kuroyuri to kage)

Rock / Metal / Punk
"最後までII (Saigo Made II)" by Aqua Timez

"岩窟の聖母 (Gankutsu no seibo)" by Bird In A Cage

"Words Of The Youth" by coldrain

"Devil's Party" by Crossfaith

"Before My Hands Become Stained With Blood" by LAST CALIX

"Animus" by MAGNETIC NORTH

"ALONE" by MY FIRST STORY

"シャーロットの森 (Charlotte no mori)" by THE TEENAGE KISSERS

"いいから (ii kara)" by WANIMA

"解離と労働 (kairi to roudou)" by それでも世界が続くなら (Soredemo Sekai ga Tsuzukunara)

"ドミナント (Dominant)" by ヨモギ|イ|チヨウ (yomogiichiyou)

Indie / Alt.
"Letter" by androp

"Moonlight" by Language

"u.n.o" by mothercoat

"Chilico" by PELICAN FANCLUB

"Sweet Wave" by Praha Depart

"Drive" by Ropes

"幽霊の集会 (yurei no shukai)" by 井手健介と母船 (Kensuke Ide & Bosen / Kensuke Ide & His Mothership)

"銀河の恥・・・ (ginga no haji...)" by 八十八ヶ所巡礼 (88Kasyo Junrei)

"mana" by 浮遊スル猫 (fuyusuru neko)

Pop / Idol / Electronic / R&B / Hip-Hop / Other
"プライド革命 (Pride Kakumei)" by CHiCO with HoneyWorks

"Q and A" by la la larks

"遥・i m a (haruka i m a)" by Menoz

"FR/DAY NIGHT" by phatmans after school

"生きるガール (ikiru girl)" by SHISHAMO

"years" by サカナクション (sakanaction)

"Escalator Step" by 大野由美子 (Yumiko Ohno)

See you next month!

Ok, this is my first time listening to this band. Don’t know the history behind them, but I saw some hype surrounding them so I decided to check them out. 
 
I’ll get right to the point and say it left me very unimpressed. This a below average release.
 
First off the intro track is way too long. It isn’t interesting enough and is very stale, not much if anything changes over time. Should have scrapped this track or cut it down to under a minute. I did love the screams at the beginning though.
 
The next three songs have lots of problems. First the synth leads and electronic bits are way too overused. In some instances they’re used effectively, but during the main parts, they’re not melodic or interesting enough, or don’t have sufficient support from the rest of the instruments. Heretical Child is the prime example of this. If your'e going to rely on synth leads you better make them melodic and memorable. 
 
Another issue with that track is the transition into the chorus and the chorus itself which is really weak.
 
Jubaku is a slight improvement, but its still a below average track. The chorus is passable on this song, but the rest of the track is forgettable. It’s trying to be a heavy hitter, when in execution is comes across as a generic and a convoluted mess. Those “heavy” parts ruin whatever interesting ideas the track had going for it.
 
Black Lilly started off promising with the cool piano, creepy vocals, guitars and drudging bass lines and then the crappy synth leads and the band trying to be brutal ruined it.  Come on guys >.< this song had potential.  
 
Anaclisis. Ok, I actually like this song. It’s the only track the band got right when it comes to mixing the electronic and metal styles. The composition and build up of the song actually make sense. There aren’t any distracting electronic leads, the transitions are serviceable, the chorus is decent, and the band properly used a breakdown.  \m/  The only moment on this release when I went hell yeah and wanted to headbang. 
 
  The last track on this release is probably the best. It’s a ballad and it’s actually well done. Good emotional chorus, cool piano accompaniment, nice string sections, and mandatory emote solo. If only the rest of the of the songs on this release could have been held to this standard.
 
One last problem I have with this release is some of the guitars solos. Heretical Child has the worst solo I’ve heard in a while. Even the solo on  Anaclisis is not that good. It’s literally just a wah pedal that leads into sustained half/whole notes. It ends up sounding very boring, and emotionless. Which is strange because the solo on Jukai no Yubiwa is actually really good. I don’t know what’s up with the inconstancy but that needs to be fixed.
 
If 5/10 indicates a average run of the mill album, then I’m going to have give this release a 3.5/10.
 
 
Too many songs and pitfalls ruin it and the only 2 good tracks can’t make up for that. 
 
Things the band needs to get together
 
- Better electronic leads
- Know when to transition into heavy parts ( don’t just randomly throw the listener in and out.)
- Get better at combining the electronic and metal aspects. 
- Improve the guitar solos

Artists: Dead Children
Album: Haunted Vox.
Date: 2015.08.19
Label: Licht Entertainment
 
Mini-Album debut for Ray's new powerhouse known as Dead Children. With an enjoyable demo single under their belt, they set out to continue pleasing and impressing those longing Nega fans and new listeners alike. There is nothing terribly new or groundbreaking to be heard here. However, this lineup has strong chemistry and a lot to offer in it's simplicity. Take a chance if you haven't already!
 
01. D.N.A. - The band's first SE track opens with an echoing shriek sounding as if it were taken from classic horror cinema. This was heard back when the previews were originally posted for Haunted Vox. Replacing the words "Dead Children" with SE title "D.N.A." (Personally I like how it sounded originally but it really makes no difference lol.) a heavy, stifling industrial beat chugs in with a tantalizing gothic synth dancing overhead. The screams eventually return, spanning not quite two minutes, I find this entirely jam-able from beginning to end, perfect to set the pace. For what it is: (5.0/5.0)
 
02. Heretical Child - Kicking off with a blast from the drums and a scream from Minami, Heretical Child hits a catchy industrial metal riff that certainly reminds me of other artists in the genre like the late D'espairsRay. The synth over the main riff is not so appealing to me but serves to be less noticeable in the energy of the song. The verse begins with whispered lines and the choir synth gives a distinct "haunted" vibe. Continuing now with full harsh vocals, the patterns of which continue to make me think of Manson. Finally we reach Dead Children's catchiest chorus yet. After a short interlude, you'll be deafened by a shrill, distorted guitar solo that is very hard to digest for the first few listens. Heretical Child along with the SE has gotten the most replay thus far. Good call including the main riff again through to the end. (4.5/5.0)
 
03. Jubaku ni Mushibamareta, Nama o Nozomu Tsubasa - Heavy, heavy, heavy. No punches pulled. Barking and growling, a slow, stomping riff that is hard to disappoint. Good variety of sound although I feel Minami's harsh vocals are more filtered than other songs? Difficult to tell as I've never gotten to hear the demo single in prime quality. The Chorus is stark and dramatic, an octave higher than expected perhaps. This is one that makes me interested to hear more choruses from him. There isn't a lot to pick apart here. Just over 3 minutes and all quite good. (4.0/5.0)
 
04. Black Lily - The previously-shared PV track for Haunted Vox. Begins to feel that much more like Nega. Starts with a muffled vocal solo before the song breaks down to it's expected level. The background sounds subtly make this song what it is, and Ray's bassline is quite hard to ignore. The synth over the main riff this time around is VERY cool although the riff itself sounds a bit like a refocusing of the general style in CLOSET. Minami's growls are invigorating and the rhythm has a lot of replay to it to begin with. The chorus too ends up sounding like the reforming of the melodies from the CLOSET single. This is something I'm looking past, with the previous single being a demo, but it did reach my attention lol. The PV for this song is also beautiful and a great introduction to this band for those who don't know of them. (4.5/5.0)
 
05. ANACLISIS - Following a pounding bass intro, ANACLISIS hits with a quick chorus line before getting serious. Originally I had a problem with the common move of sticking the chorus right up front that has ruined VK songs for me in the past. This song however benefits by providing a little experimentation by their current standards. I'm very into the fragile falsetto sound shown off here. I cannot even hide my shame from how much I love the breakdown and growl at 1:53. No shortage of haunted synth and actually a nice general guitar solo to offer which Heretical Child was sorely missing. This took the most to grow on me of this mini album. Still growing, but I play it more now than originally!  (3.5/5.0)
 
06. Jukai no Yubiwa - Delicate piano and another vocal intro. This time not giving way to grueling heaviness as with Black Lily. The song stays airy as the drums march up to meet it. It's a slow progression ultimately leading up to a strangely sweet chorus. I believe the melody may be a bit above Minami's range, but you don't grow if you don't push I suppose. Shir0 and myself discussed this one to be hard to get into and hard to focus on while doing other things. It really is quite good to focus on, seems like a large undertaking for their current skillset on their first release. Unexpectedly, the song very softly twinkles out of existence with no sign of turning back or surprising with aggression at the last minute. (3.5/5.0)  
 
Conclusion: I think if anything could be improved on this release, it's the track ordering. Scaling down the energy though ANACLISIS and Jukai no Yubiwa results in me playing the first half of the mini much more than the latter half even remembering the closing tracks to be good. Placing ANY of the first 3 songs between these two could have done a world of good. Either way, put it on a playlist with Haunted Gate and CLOSET and you have a decently flushes out collection of songs. I'd love to hear anyone else's feedback on this mini album so hotly anticipated (...by me).
 
RECOMMEND: YES.

Covers

it is announced at MEJIBRAY live tour "毒(doku)" tour final one-man live at Akasaka BLITZ at 2015/06/21 that their new maxi single "パラダイム・パラドックス(paradigm paradox)" will be released at 2015/10/07 (3 TYPE)
 
limited edition TYPE A (2,160yen) will include CD+DVD (including "パラダイム・パラドックス(paradigm paradox)" PV), limited edition TYPE B (1,944yen) will include CD+DVD (including scene of their one-man live at Akasaka BLITZ at 2015/06/21), and regular edition (1,620yen) will include CD only
 
[CD track list]
01.パラダイム・パラドックス(paradigm paradox)
02.VICTIM(ism)
03.Negator NEGATOR (included in regular edition)
 
 
their new maxi single "SECRET No.03" will be released at 2015/11/04 (3 TYPE)
 
limited edition TYPE A (2,160yen) will include CD+DVD (including "SECRET No.03" PV), limited edition TYPE B (1,944yen) will include CD+DVD (including scene of their one-man live at Akasaka BLITZ at 2015/06/21), and regular edition (1,620yen) will include CD only
 
[CD track list]
01.SECRET No.03
02.door-zaki ma-die
03.RenYuS (included in regular edition)
 
 
btw they will hold their live tour "NEXT MAJORITY VENOMS" since Saitama HEAVEN'S ROCK VJ-3 at 2015/11/06 and up to tour final at EX THEATER ROPPONGI at 2015/12/18
 
 
they will hold MiA birthday live "NYANCOJIRU WARS" & birthday live eve "NYANCOJIRUの逆襲〜episode6" at Meguro Rock May Kan at 2015/09/16 and 綴(tsuzuku) birthday black-dresscode live "本棚" at Yokohama NEW SIDE BEACH at 2015/12/15
 

TYPE A (1,944yen) will include CD+DVD (including "ビードロ(vidro)" PV), and TYPE B & C (1,620yen) will include CD only
 
[CD track list]
01.ビードロ(vidro)
02.あなたまぼろし(anata maboroshi)
03.マリオネット(marionette) (included in TYPE B )
03.音見世ディスコ(otomise disco) (included in TYPE C)
 

ベル(belle) new maxi single "ビードロ(vidro)" will be released at 2015/10/21, for which TYPE A will include CD+DVD (including "ビードロ(vidro)" PV)

LEZARD×ペンタゴン(pentagon) 2-man live "りざペン(LEZAPEN)" at Takadanobaba AREA at 2015/09/06 will be available for watching through niconico
 
http://live.nicovideo.jp/watch/lv233194856

Dr.秒-byou- has joined AvelCain at their one-man live "釘、御札、午前二時…(kugi ofuda gozenniji)" at TSUTAYA O-East at 2015/08/29
 
 
their new maxi single "紅-べに-(beni)" will be released through fiveStars and at their live since Ikebukuro EDGE at 2015/09/19 (2 TYPE, 1,080yen each)
 
[track list]
01.紅-べに-(beni)
02.過食症(kashokushou) (included in live-limited edition)
02.×月×日、懺悔、寡黙ナル君二…(×gatsu×nichi zange kamoku naru kimi ni…) (included in fiveStars edition)
 
 
聖子-seiko- first one-coin single "ヒマワリノウタ(himawari no uta)" will be released at 2015/10/14 (1 song, 540yen, limited 500)
 
 
btw they will hold 聖子-seiko- birthday one-man live "ウシロノ正面ダァレ？(ushiro no shoumen dare?)" at Ikebukuro EDGE at 2015/11/22 and their one-man live "磔(haritsuke)" at Nagoya MUSIC FARM at 2015/12/24
 

I marked it as a review just to keep some poor sap from clicking it thinking that it's the DL topic. 
 
Didn't feel like waiting so here's some first impression that are likely to more or less remain as the final ones, because there's nothing really to particularly digest here for a seasoned gazette veteran - I would also be lying if I said that I didn't play the leaks multiple times throughout the course of the last few days. Imagine a ginormous abbreviated in my opinion in the beginning just in case I'll end up flip-flopping completely.  
 
It's still the same Gazette on this album as the last one and the one before that. The riffs are still by all intends and purposes Gazette riffs, Ruki's still the same Ruki he's been since 2010 and drawing parallels between the BD and Dogma songs is very easy, but Dogma's thing is that everything has been jacked up. Ruki compensates the lull he's been for years now with the screams and growls he started using last year, while the music is undoubtedly their heaviest and fastest. I think there's an energy and momentum acquired here that they've been sorely missing from their tracks akin to these especially in the last album. It's conceptual and uncharacteristically thematically consistent for them, and the pace doesn't let up at all with not a single slower number -with the exception of the very last track - or a token ballad taking any space from the overall run time, and to my complete and utter amazement the obnoxious meat headed catastrophes like Psychopath and the below mentioned Beautiful Deformity songs are completely absent. It's their darkest and heaviest overall, also unarguably their corniest - but it's not really a bad thing because I think it has helped Dogma to be more fun than their other recent discography.
 
So regarding the general quality of work here, if you think some of the songs from here are bad then check out some of the bangers from the last one like THE STUPID TINY INSECT or whatever the one with the long name near the end was; those songs are so unfathomably banal it makes me wonder just how on earth did I ever give a passing grade to the album. It's the little improvements they've done here that keep the bar from ever ascending to the levels of their absolutely worst, although I wouldn't be caught dead ranking this as their best either. 
 
At the end of the day it is an album full of the 2010's Gazette live bangers taken to the very extreme they'll probably ever be able to take it to. So even now when in effort to do this they've added a little metalcore to their bag of tricks, their own identity on this album is still unmistakable and these songs really couldn't be from any other band; this however is perhaps their greatest weakness also. A The Gazette song is such an established thing you can rest assured they're never ever going to divert from the set formula. I couldn't by any means call this album ambitious or anything of the sort, like as if they couldn't even sneak a few over the top breakdowns and shit in there somewhere? No they couldn't, because that's just not what The Gazette apparently does. Gazerock is a thing and I have my money on that not changing. However it does seem like they can slightly improve the facets of the things they are already doing. Even though a return to The Gazette of yore is what I hold the closest to my heart and I far prefer them being sappy instead of edgy, I'd like to think this album seems to like an essential step towards whatever is next. inb4 disbandment. 
 
 

it is announced at DADAROMA free one-man live "PROPAGANDA OF DADAROMA" at Shinjuku BLAZE at 2015/07/13 that their new maxi single "「最終電車」(saishuudensha)" will be released in early 2015/09, and their new album "dadaism #2" will be released in mid-2016/01, although details have not yet been announced
 
 
SET-LIST at 2015/07/13:
 
SE
01.「溺れる魚」(oboreru sakana)
02.SEX!
03.イントロ(intro)
04.腐ったミカンの方程式(kusatta mikan no houteishiki)
05.愁いリビドー(urei libido)
06.螺子(neji)
07.モルヒネ#1(morphine #1)
08.モルヒネ#1(morphine #2)
09.MONEY
10.KIDS WAR
 
EN1
「雨のワルツ」(ame no waltz) (PV)
01.ベルカとストレルカ(belka to strelka)

it is announced at LEZARD one-man live tour "おねがい❤トカゲッチュ！！" tour semi-final at Fukuoka DRUM Be-1 at 2015/08/22 that their new maxi single "かくれんぼ(kakurenbo)" will be released at 2015/12/16 (2 TYPE)
 
limited edition (1,944yen) will include CD (2 songs)+DVD (including "かくれんぼ(kakurenbo)" PV & making), and regular edition (1,296yen) will include CD (3 songs) only
 

Well this started out as ten ten solo project anyways. So I'm hoping the best vk djent band comes back and breed than ever! Maybe he wants to make it even more djent than before and add in awesome as solos and time sigs and none of the current members are up to par with his standard? This is my theory. Please let this be true!!! No I can't wait for my DVD to watch all these unreleased songs.

after being on hiatus at 2015/07/20, My BACTERIA HEAT IsLAND Gt.衍龍(kouryuu), Gt.大祐(daisuke), Ba.諒(ryou) & Dr.哲也(tetsuya) have departed at 2015/08/21