Sider【蘇る死の楽団サイダー】(yomigaeru shi no gakudan Sider) best CD "Sider Best CD" will be released at 2017/10/31 (2,160yen), which will be sold in advance at their live at Shibuya REX at 2017/10/29 and songs included will be re-recording ver.
[track list]
DESTROY
HONE MADE AI SITE
2999
Thema of Sider
ミノタウロスの皿(minotauros no sara)
SPEED DESTROY
Sider【蘇る死の楽団サイダー】 is Sendai-based continual session band active for long period and with lots of members
Sider Best CD recording members:
No.000【ファンタスティック】殺女(ayame)：Vo.&Prog.
No.005【サディスティックローズ】Sady：Gt.&Ba.
No.014【ミニスティッチDX(どっちよ笑)】零闍(reito)：Vo.
No.018【卍インターナショナル】卍(manji)：Gt.
No.042【ゴブサタ】森(mori)：Ba.
No.047【メルシー☆カタギリ】KATAGILY：Vo.
No.053【ムーンライトキラー】キラ(kira)：Dr.
No.054【マーダァルーシー】izumi：Gt.&Ba.
July is a bittersweet month for Kagerou fans, as the infamous charisma vocalist himself, Daisuke was both brought into and taken out of this world within the month. Kagerou are a band that have been impossible to replace, both in the the Western and Japanese fandom, as seen in the outpouring of emotion that happens every year on the net around July. Kagerou--the band--isn't just their vocalist, nor are his talents confined to Kagerou, but his passing marked the end of an era. The legendary bands of the mid-late 2000's i.e, MUCC, D'espairsray, lynch., merry, Nightmare and The Gazette all had their roots in the early 2000's, with many of the mentioned members playing alongside each other--most notable being the historic Beauti-Fool's 2003 multi-band event. They were all doing the most in their early eras, embracing eclectic and varied looks and styles in the shadow of visual kei's mainstream success and eventual demise. Daisuke's passing marked the end of the decade in which those aforementioned groups had come through the scene and out of it, shedding their visual flair for a more straightforward rock image and fading into the background of the scene as bands from the mid-late 2000's took over the reigns. They kept their followings, don't get it twisted, but they were in a different category from the hot new faces of the time, i.e. Sug, Versailles, ScreW, Alice Nine, Sadie, etc. While a lot of the earlier bands managed to reach a more constant, and arguably mainstream level of fame past 2010, we've been left wondering what might have been with Kagerou. While Kazu and Yuana continue to play in the scene with Stereo C.K and in sessions, it's on a much smaller scale than their peak of fame. 2006 marked the end of Kagerou, Daisuke passed in 2010---but this isn't a sad history lesson.
So why, in 2017, are we discussing Kagerou's tunes from 15 years ago? If you've ever listened to their output from that era, you'll know what I'm going to be getting at. The 2002-2003 era was Kagerou as they were gaining steam--nowhere near their peak popularity with Rakushu and not as polished as their endroll Kurohata. What it was, a raw, aggressive synthesis of alternative rock, 90's visual kei and alternative metal. If this mix sounds familiar, that's because it is, with some of today's hot bands including DEZERT, Xaa-xaa, R-Shitei, Kuroyuri to Kage and Gossip in addition to some legendary names of yore, Girugamesh, Awoi, Sel'm operating on the very paradigm that Kagerou had worked to create--with more than a bit of imitation between them. It's not always songs note by note being ripped off, but rather several stylistic elements that function as motifs in Kagerou's discography that come up time and time again among kouhai bands. Trying to claim the influences of newer bands is an exercise in caution, as while something may sound like a rip off, it could be a rip off of a rip off and you can't know for sure. I won't claim Kagerou's influence as universal, original, or unique (although if you disagree with the latter I'll kick your ass), but I will argue that their 2002-2003 run was the most influential two-or-so year run of any band in the early 2000's. While MUCC and DIR EN GREY were equally prolific and influential in this era, Kagerou's contribution has been overlooked in the greater scheme of visual history, which I hope to address here. If you children think that Vulgar invented visual kei, you're in for a fucking surprise because I've heard more nods to old Kagerou from 2013 onward than anything from aforementioned album in the past half-decade. I think this has more to do with the old school revival we've been experiencing as of late, with bands foregoing bland metalcore rehashes and instead embracing the roots of the genre from the late 90's and early naughts. Some historical context will be missing from the following ~mini~ 'dissertation', because I'm not a vk historian (unfortunately), but I'll try to go through everything as clearly as possible. Now without further ado, lets track Kagerou's discography in this era.
The marker I'll be using to start my history is Kazu's addition to the band in late 2001, shortly before the release of Iro megane to scandal in January of 2002. If you recall, Kagerou have been around since the end of 1999, and they were active for almost two years with two other bassists before Kazu. He then stayed with the band 'till the bitter end in 2006, and in all honesty I don't see Kagerou without him. As a bassist, he was skilled in accenting Shizumi's percussive line while also playing second guitar at times to Yuana's loose riffs. He's written some totally hummable bass leads and composed more than a few amazing songs with these at the center of the composition. The moral of the story is that Kagerou became a well-oiled machine with Kazu's contribution, and I find Kazu to be instrumental in their later success—hence starting the timeline with his addition. While some great tracks came out of the pre-Kazu era, and @Disposable might kill me for omitting the 2000-2001 period, the best tracks that came out were re-recorded (as you'll soon see), for singles that fit our era of interest. The only stickler was “Nawa”, which was first released in 2001 and wasn't re-done until 2006's Shinjuuka best-of album.
Now that we've set up a start, the end coincides with the self-titled album's release tour finale at Kawasaki's legendary Club Citta, filmed for the live DVD/VT Zekkyou Psychopath at the end of 2003. Is this is the end as we know it? Of course not, Kagerou wrote their biggest songs well after this and their signature album with its wide foreign and domestic distribution, Rakushuu came after in 2004. However, this is where the visuals were more scaled back, with the band no longer looking like they just raided a consignment store on acid after a bad domestic spat. The metal edge changed as well, although not gone—as seen with “XII Dizzy” and other notable heavier outtakes—the band embraced a more clean alternative/visual rock aesthetic and sound. They were still vicious, putting on insane live shows as usual, but with greater maturity and restraint. If you're a fan, you kind of understand how their sound changed from 2003-2004 and onward, and while it wasn't a bad change by any means, it was a change that I don't feel fits in with the period of interest. Okay now we can actually get to the discography, sorry!
01/09/02
色メガネとスキャンダル
Iro megane to scandal
1.) 夕暮れの謝罪 (Yuugure no shazai)
2.)エキゾチックな感染症 (Exotic na kansenshou)
3.) 葬失 (Soushitsu)
05/04/02
蜉蝣事典 ＜大人の書店＞
Kagerou jiten <otona no shoten>
1.) アイドル狂いの心裏学 (Idol kurui no shinrigaku)
*note that there was no single ever titled after the track, this is a frequently misreported part of the discography in the west
1.) 十戒 (Jukkai)
2.) 迷走本能 (Meisou honnou)
3.) 根暗高速子守唄 (Nekura housoku komoriuta)
4.) 冷え性の女 (Hieshou no onna)
5.) 闇に笑う黒 (Yami ni warau kuro)
6.) マーヴェラスな首飾り (Marvelous na kubikazari)
7.) 雨の海岸通り(Ame no kaigan doori)
8.) 所詮、自分は犬であります。(Shosen, jibun wa inu de arimasu)
9.) ピチ崇拝 (Pichi suuhai)
10.) 過去形真実 (Kakokei shinjitsu)
11.) 渦(Uzu)
2002's string of singles are a perfect introduction to early Kagerou, featuring them at their most extreme and also at their softest. While some of the tracks were lost in time, others became eternal fan favourites and live staples until the very end. As for the killer live tracks, both “Yuugure no shazai” and “Wrist cutter” were exemplars. On studio, they're brief, rough and tumble tracks: “Wrist cutter” is a flurry of blast beats and thrash-y riffing and “Yuugure no shazai” a more punk-y styled early 2000's/90's throwback. In a live setting however, these ~3 minute tracks were stretched to 8-10 minutes at a time, building up tension in the audience with Daisuke's insane onstage antics and Shizumi working overtime while Kazu and Yuana either played off of each other or also dicked around with the audience. This is more or less the contemporary gyakudai number which is now a staple in any band's live repertoire. Common among the two tracks is the influence their guitar sound had on the scene as well. “Yuugure no shazai”'s guitar line almost deserves its own article, because there's an extensive list of bands who have ripped off the style and structure of the riff. What's unique about the riff is the way Yuana plays with the phrasing and pitch and how it interacts with an effect-laden guitar tone. The guitars are abnormally distorted and clipped, both in the context of visual kei and Yuana's sound overall. It almost sounds like someone put his rig through a bass distortion pedal, and the end result is this beefy and robust sound that has yet to be replicated in a visual band...think something along the lines of Dinosaur Jr. or something. This distortion also lingers a bit, almost suggesting a delay effect is thrown on as well. Anyone trying to cover the song has probably run into some difficulties with that sound, as it throws off the way its played—I know I have. The riff is a simple series of power chords, but the way they move up and down the neck in tandem with the furious rhythm, both in the verses and chorus are evocative of being shaken back and forward. Yes, a single riff made me think of being physically moved—physically and emotionally. What's cool is how completely fresh this sounds in the context of 2017 as well, it's kind of a jaw dropper to think this was released in 2002. That is in huge part to many bands taking a liking toward—what I'll now call—the shaking riff. You hear it all the time, In Xaa-xaa's "Shinitai", DEZERT's "Himitsu", Shellmy's "Katou zakuro" and so on. It's not the exact same, but that principle of moving up, down, and back up is eerily similar.
“Wrist cutter”'s structure is more so notable than a standout riff, especially the rhythm work as a alt-metal track. The bass plods pretty high up in the mix along with incredibly busy drumming from Shizumi, which carries the track as it moves through it's iconic thrashy riff and Daisuke's mad vocalizations. The jumping part toward the end (you'll know what I'm talking about) is notable too, as a fragment of the kote-kei era being repurposed into a metal track. I'm pretty sure any band guy that heard it, with the gang shouting vocals, screaming and start stop drumming was permanently entranced. Drawing from some recent releases, DAMY's “Eikyuu ni puppet” is like that brief section of wrist cutter being dragged out into a full song.
Another track that (I think) rounds out the holy trinity of 2002 Kagerou songs is “R-Shitei”. The takeaway message is not that R-shitei named themselves after this track (they probably did, lets get real sis) but rather the contrast between unhinged, chaotic verses contrasted with a saccharine chorus. While this is a common complaint with the current indies sound...don't get mad y'all, Kagerou did it first. That said, I understand why people see this as a cop-out, but with “R-shitei”, it doesn't come at the expense of a jarring key change, rather it fits into the contrasting structure of the track. Speaking of that chorus, it's damn glorious; Daisuke is at his finest melodically in the track—in stark opposite to his crazy talk/grumbling in the verses.
Among these big hits, there are many underrated gems waiting to be overturned as well. “Utsu” is a weird pick, especially as the band chose to play it at their last live—much to the possible confusion of those who were there (the footage looked awkward). Stylistically, it's closely aligned with “Wrist cutter” through the busy sense of rhythm, despaired chorus and insane end section freak-out. It's also a bop of the highest order, and a shame I discovered it so late. The little jazz break in the middle is somehow funny in the greater context of the track, but a great example of the varied and quirky compositional style of early Kagerou before they ended up toning it down. The two main ballads “Gozensanji no taiyou kousen” and “Soushitsu” pale a little bit in comparison to the band's later, Kurohata-era balladry as they go on for a bit too long and sound a bit messy. That said, the ideas they offer are the backbone of their later work. “Soushitsu”'s acoustic core is reworked into “Shizumu sora”, and “Gozensanji...”'s delicate lead guitar and percussion is heard again in “Wakaremichi” and “Kusatta umi de oborekaketeiru boku wo sukuttekureta kimi”, all of which were composed by Kazu. They're worth the listen for hardcore fans, as they're rewarding despite some of the fluff—but hey, not everything is perfect all the time.
Moving onto 2003, we see Kagerou releasing some more melodic singles compared to the 2002 era. “Yubikiri” and “Sakebi” are two tracks I often confuse for each other, partially because they're both beautifully melodic, bittersweet-sounding (although quite different) and a slight departure from their previous work, hinting at their future outlook. “Sakebi” was also their last pre-album single release, and from then on, the band's discography structure would change. Kagerou were an indies band up until the very end, despite being signed to their own sublabel under Free Will, Lizard, supposedly distributed under Sony. The Japanese wiki is in conflict with the English one, and even among Japanese fans there has been question as to whether Kagerou were indies or major. Their releases were big enough to have charted on Orikon's major charts, which began with Kakkokei shinjitsu, the band's second highest charting release at #40, just behind the 2006 Kusatta umi... 3 ver. maxi single release at #21. I'm bringing this up because while their label affiliation didn't change, they began followed the western/major band style of singles featuring lead tracks from upcoming/preceding albums, with a new b-side or two thrown into the mix. This was kind of a bummer and why their 2002-2003 era was so unique, partially because of the insane speed by which they were writing, recording and touring their songs, and also because of how much original music came out. Aside from “Meisou honnou” being featured in a 2002 VA, and the obvious “Kakkokei shinjitsu” inclusion, all the tracks from Kagerou were unique and unreleased. No 8 old songs on a 10 track release, no cashgrab compilation or mini-album, no bullshit.
As an indication of what was to come, “Kakkokei shinjitsu” was misleading. A TBS nightly sports show closing song, it is a bright and pretty song without the carnal, rhythmic flair that was overflowing on the S/T. It comes across as kinda boring, and even the cheap, skittery b-side on the single doesn't help much. It works better in the overall scheme of the album though, which is a truly dazzling piece of visual history. Kagerou is a heavy, dark, cohesive, grinding album with sharp poppy, melodic sensibilities in the mix, along the lines of DIR EN GREY's VULGAR, D'espairsray's Coll:set, and MUCC's Homura uta. To talk about individual tracks is kind of against the ethos of the album, as all the pieces work best within the context of the album. This is the opposite of their prior output, which was a bit spotty from release-to-release, and while the album comes without super standouts like the aforementioned tracks, what the band gained was a stylistic voice. This was the sweet-spot between their now waning old-school visual influence and alternative rock, alt-metal and post-hardcore songwriting, with a fair dosage of jazz, blues, and pop in the mix. Kazu most notably came into his own in this release, with a lot of punchy basswork—especially some notable slap sequences, as seen in “Yami ni warau kuro”. While this is an older album, the riffs here slap harder than anything DIR EN GREY released back then, and I'm still confused why they eat up all the acclaim around here for inventing alt-metal in Japan. What about that poly-rhythmic breakdown in "Nekura housoku komoriuta"? The opening lurch and howling despair of “Meisou honnou”? The tension-release in “Marvelous na kubikazari”? The DEZERT-core bass and guitar in “Ame no kaigan doori”? Bitch...this shit slaps. Speaking of DIR EN GREY, Shizumi always reminded me of Shinya in his earlier days--around the time both bands were active. His attention to detail and fills and frills, especially cymbal work and spacy drumming on ballads is a close parallel with Shinya's MACABRE-era drum work. The bands were close however, as they were both the big shots on Free Will at the time, with DIR EN GREY on the cusp on mainstream success.
Kagerou's OHP is still open, both in English and Japanese, and it's heartbreaking to navigate. The site hasn't been touched since 2005, with the copyright frozen in time, and a website design that must have been gorgeous for its time serving as a reminder of just how old we've gotten since then. Whats especially sad to me is how much they invested into making things accessible for their European/English speaking fans, considering no one does anything like that anymore. It's a kind of haunted place on the internet and in the fandom, but also a beautiful relic that continues to stand of a legendary band. July 31st has passed, happy belated birthday Daisuke. He would have turned 39 this year, and the weight of his passing isn't lost on me, especially in the writing of this article. Daisuke certainly talked the talk and later walked the walk with his depression, as it manifested in grotesque, macabre narratives within his music, but it's often times too easy to separate the artist from the art. I don't think the news of his passing came as that big of a surprise to die-hard fans, as he had documented his struggles in his poems for a while, but it didn't make it any easier a pill to swallow. At times, it's hard to read his lyrics knowing his eventual fate and partially why I avoided going into detail about his lyricism (spoiler alert, he's an amazing writer).
As I've said, this was the end of their proto-indies-whatever-the-fuck-era. Everything past this deserves an article of its own, and while I chose to explicitly focus on 2002-2003, it doesn't mean that the other eras are not as important—just that this period was the most influential by far on the current indies scene of 2014-2017. I'd love to hear what current visual fans who have no clue about Kagerou think of the tracks linked here, as I hope that you hear the bits and pieces of songs, think “Hey, maybe this does sound a bit similar” and maybe lend your ear toward the classics of the genre or venture beyond your post-2011 comfort zone. I've refrained from making this all about individual comparisons, but I welcome them as it's always interesting to compare and contrast present with the past. With the anniversary of his passing almost two months ago now, Daisuke touched many musicians and fans alike and to see the legacy of Daisuke and Kagerou, a full 15 or so years later in full bloom for 2017 is an amazing treat.
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