Illumi

Some cool ones that come to mind:
 
- anything by 88kasyo junrei: These guys have been such a trip all the time, hard to choose a release. I'm just glad they exist.
- BUCK-TICK - Arui wa Anarchy: A very strong and playful album after being so long in the game. No choice but to stan.
- cali-gari makes it hard to just choose one, as I'm really fond of both their albums 11 and 13. Crazy/weird/beautiful stuff.
- Chemical Pictures - Sekai wo utta otoko: Yeah, it's a compilation of singles but wow! Creative juices and catchiness overflow.
- DIR EN GREY - DUM SPIRO SPERO: Can't forget this ridiculously monolithic album. DEG goes ham on the avantgyarudo vibes.
- Grieva - Oni to kage / Shuuen: Speaking of DEG... ;D When thinking of full albums in recent vk, I can't go without these two.
- KYOKUTOU GIRL FRIEND - Katte ni shiyagare: One of my most-played albums. A+ punky songs presented in A+ arrangements.
- MUNIMUNI - MAGICAL MOONIES: Another one in heavy rotation. The songs, the sound, the gloom, everything works.
- Psysalia Psysalis Psyche - #7: I know, it's more like a singles collection, but damn. Insanely catchy indie-rock, miss them so much.
- SPEECIES - SOVILLETTA / SEXIVIA: Always fun times with these two records. There's just something irresistible in their style.
- Vior gloire - Gloomy and wakeful night: Possibly in the top 5 of best indies-vk albums of the past decade. 'nuff said.
 
I probably missed a few other greats, but right now these are all I could think of.

I'm surprised that there's no artist page.

it is mentioned at Moi dix Mois one-man live "Dis inferno Ⅷ～LAST YEAR PARTY～" at Shibuya duo MUSIC EXCHANGE at 2015/12/12 that their new album is planned to be released in 2016, although details have not yet been finalized
 
 
btw they will hold their live at Mt.RAINIER HALL SHIBUYA PLEASURE PLEASURE at 2016/03/20 and at Shibuya WWW at 2016/03/21
 
 
SET-LIST at 2015/12/12:
 
SE.The Pact of Silence
01.Diabolos et Angeli
02.Material Death
03.Deflower
04.Embrace
05.front et baiser
06.Perish
07.the Prophet
08.In paradisum
09.The Seventh Veil
10.Night Breed
SE.Sacred lake
11.Twilight flower
12.Immortal Madness
13.Dead Scape
14.Beast side
15.Ange〜D side holy wings〜
16.Je l'aime
 
EN1
01.deus ex machina (Vo.Seth / Gt.Sugiya / Gt. Hayato / Ba.Ryux / Dr.Mana)
02.Vizard

Three things in life are inevitable as a visual kei fan: death, taxes, and your favorite band ending activities. If you are a fan of llll-Ligro- , then you experienced all three at the same time when they announced their second disbandment. I wasn't super into the band at the time of both of their disbandments, although they were on my radar and not on my shit list, so I can sympathize with fans who had to deal with heart break twice. Fans of yesteryear went through a similar phase with UnsraW's vocalist Yuuki, and depending on who you talk to he still hasn't gotten back to his prime ten years later. The similarities are so striking it's hard to resist the comparison. But this review isn't about UnsraW, it's about llll-Ligro- and their unreleased second album 弔 (Tomurai). The three tracks that managed to survive stand as a reminder for what could have been, and what should have been.

Before its cancellation, 弔 was announced for a 2018-05-30 release. Artwork and booklets were probably designed and pressed, but no scans other than the front exist. A track list was released but we don't know how many of the nine unreleased songs were finished. The album was delayed multiple times due to Hinata and Kazari's habit of postponing releases for the sake of quality, but Hinata's refusal to finish recording his parts due to acute chorditis implies that at least some of these songs were unfinished. As is, it will be impossible to give a full review of it, but there are several tracks we can reflect on. Those tracks are comeback single "INVICTA", live distributed single "basket case", and other promotional single "INVISIBLE INDIVIDUAL". "深閑ガラス" (Shinkan Glass) is a track played at their last live but no recording of it exists.
 
 


弔 (Tomurai)
1. Blame me (SE)
2. INVISIBLE INDIVIDUAL
3. basket case
4. Shinkan Glass (深閑ガラス)
5. Kuroneko wa Kaku Katariki (黒猫は斯く語りき)
6. Ratai Are Hateta Hyou (裸体荒れ果てた標)
7. DIRGE OF INFECTION
8. HIRAETH
9. INVICTA
10. Mist
11. DEEP SIX
12. Seija no Koushin (聖者の行進)
13. Kanransha wa Adabana to (観覧車は徒花と)
14. Isho (遺書)
 
 
Despite all the material released as a part of llll-Ligro- 's first phase, "INVICTA" isn't the ball scorching metalcore banger I was expecting. The unassuming opening does a lot to disarm the listener, and on the first listen I thought this was going to be a ballad, but before long the song ratchets up the complexity and the aggression. The band dips their toes into the progressive metal waters with this one, as everything from synthesized piano keys to acoustic guitars and a generous amount of toms and cymbal crashes makes an appearance. Hinata's vocals are one of the most striking elements of the track, featuring his signature skill of deftly switching between harsh growls and pig squeals. Sometimes the transitions are so fast I'm not sure if it's all natural or studio magic, but having to perform that live is absolutely killer. It's a seven minute trip far more realized than most of their contemporaries. If every band has their magnum opus, "INVICTA" could be theirs. This must have been a product of their time as 時限式:uadjet (jigenshiki:uadjet).
 

"INVISIBLE INDIVIDUAL" is a much more straightforward track, and would have been the first track on the album after "Blame me", which is an SE so I don't count it. There are a lot of cool ideas here. I think my ultimate favorite part is around 3 minutes, where Hinata's clean singing is laid over his screaming, creating a great dynamic tension to push the song into it's last section. The piano motif returns again, which makes me suspect that we would have gotten at least one piano ballad on the album. There's also some pretty dope bass slaps before the eagle scream halfway through where I expected a breakdown to appear, which is what cemented my opinion of this track as an above average metalcore dirge. 



The last track that was released was "basket case", a live distributed teaser that ended up becoming their last official release. This would have followed "INVISIBLE INDIVIDUAL" and does a good job providing contrast to the first track. This wasn't uploaded anywhere else, so I'll try to give a good description of how the track sounds. "basket case" opens up with a short, distorted riff into a chorus with clean vocals with a straightforward, 'four to the floor' drum beat. The main guitar riff of the song sounds mental and the song moves at a frantic yet restrained pace, alluding to the title. Most of the singing is clean and takes place with Hinata's higher register, but mid range barks, growls, and a pig squeal makes an appearance shortly after the second verse. There's a strong emphasis on twin guitar melody for this song. The chorus has a very stereotypical visual kei melodic progression, so much so that I feel like I can place at least the first few notes of "basket case" from another song, but I can't figure out which one it is yet.

"basket case" descends into thirty seconds of noise as the track winds down to an end, and I find myself feeling saddened that the album will never be released in its entirety, and that I'll never get to hear "深閑ガラス" (Shinkan Glass). llll-Ligro-  hold the crown for visual kei bands with one of the most promising yet unfulfilled musical development arcs of all time, and that's not a title I'm keen on reassigning any time soon. Based on what I've heard, 弔 would have been the album that made a fan out of me. I just know there's a copy of the unfinished masters sitting in a vault in Japan somewhere, and perhaps a second or third copy on a hard drive, but the odds that we'll ever get to see or hear any more of this album are slim to none. At this point, I'd even take a mini-album of whatever is fit enough to be released.

A lot of unknowns remain around the members and the state of the band. Can Hinata ever sing again? Is the relationship between Hinata and Kazari too strained to imagine a third reunion? Do they even want to try or will they both move on to new, separate projects? I am reluctant to stoke the fires of hope for the remaining llll-Ligro-  fans out there, because that's just cruel, but the scene has shown with both HIZUMI (D'espairsRay) and Yuuki (UnsraW) that there's always a chance for Hinata to return.

Their new album 「転生輪廻」(Tenshô rinne) will be released on 2018.11.14.  
 
TYPE A : 3780 yen
CD : 13 songs
DVD :
01.  「転生輪廻」(Tenshô rinne) (PV + making-of)
 
TYPE B : 3780 yen
CD : 13 songs
DVD :
01. +「遠塵離垢」 multi-angle version LIVE DVD
 
TYPE C : 3240 yen
CD : 13 songs + 2 bonus
 

 

 

 








 
 
 
 

Okay, been gone for a bit, but there's huge news. The new album has been announced, it'll be called Destroyed to Discord and the Reason. They also have new oversized parkas and dolman shirts as well as having launched a new web store.

 
 
 
 
 

Their new mini album "BEYOND" will be released on 2018.11.14.
 

 

 

 

 

 

SET-LIST at 2018/04/24:
1. カラス〜悲しい瞳の中で〜 (karasu ~kanashii hitomi no naka de~) 
2. Precious rain
3. Rushed Blue
4. 「悪戯」(itazura)
5. グラナディアの花言葉 (guranadira no hanakotoba)
6. Flowers
 
ENCORE
7. 『dope』
 
 
SET-LIST at 2018/07/11:
1. カラス〜悲しい瞳の中で〜 (karasu ~kanashii hitomi no naka de~) 
2. Rushed Blue
3. Dearies
4. グラナディラの花言葉 (guranadira no hanakotoba)
5. Flowers

MERRY has unveiled their new look and have updated their live schedule:
7/6 ガラ (Gara) Birthday Live 第三回自作自演「39グッドバイ」@ 渋谷duo MUSIC EXCHANGE
9/23 システム エムオロギーExtra～テツ (Tetsu) revenge～ @ 盛岡CLUB CHANGE WAVE
9/24 システム エムオロギーExtra～テツ (Tetsu) revenge～ @ 秋田CLUB SWINDLE
MERRY Autumn Tour 2018
10/12 Nagoya Electric Lady Land
10/13 Creative Center Osaka Umeda Club Quattro
11/7 恵比寿LIQUIDROOM
10/30~31 Merry Halloween Party ～Trick or MERRY～ @ HOLIDAY SHINJUKU
 

Noi'x will hold a one day revival gig at Ikebukuro chop on 7th of april.
 
More details to be announced later.
 
 

Ex DISGUST and BLAZE vocalists new project "peach" has formed.
 
Members:
 
Vocalist: K (ex Disgust)
Vocalist: Ryu (ex BLAZE (Raki))
Guitar: 鴃-MOZ-
Bassist: 葵月 (kizuki)
Drums: けんぼー
 
They have held their first live on 27.10.2018 at LIVE HOUSE Rumio at which they have released their first live distributed demo "OUT OF GREED".
 
 
Setlist of their first live:
 
OUT OF GREED(オリジナル) (original song)
 
以下 マキシマム ザ ホルモン  (Maximum the Hormone)
What's up, people?!
え・い・り・あ・ん
絶望ビリー
「F」

MUNIMUNI will release their new mini album "月光男の日記 / A Diary of Mr.Moonlight" on 2018/10/31 (2,600円). It will include 6 tracks and a whopping 32-page booklet with photos, lyrics, band member interviews and liner notes.
 
Tracklist:
01. THE MOONLIGHT SONG
02. NEW ORDER LOVE SONG
03. TIME IS FATE
04. VELVET魅惑TONIGHT (Album version)
05. B-BOY
06. THE SHADOW 2
 
Thought this would be a full-length finally, but oh well, at least they're keeping their schedule this time.  Can't wait!

i did my best!

lynch./GUILTY
lyrics. hazuki  music. yusuke

i close my eyes and swim
feel like i'm melting into the sea that leads to you

i don't wish for anything more than this
ah, what a sinful night

you
show you a dream, set alight a sleepless dream

fluttering, falling into your depths
softly sinking into your depths
i stop time and i'm falling

i close your mouth with a kiss
feels like my whole life is paralyzed

i can't wish for anything more than this
ah, i don't even need an answer

you
break you into petal-pieces*, kill you with mischievous fingers

fluttering, falling into your depths
softly sinking into your depths
hold my hand

you
i'll forget you when the sun rises
like this
let me show you a dream that never ends

why
did i love you?
why...?

fluttering, falling into your depths
softly sinking into your depths
i stop time and i'm falling

*"into pieces" barabara is written with the kanji for roses. i have a feeling this song is related to VARIANT from the ETERNITY single which has similar lyrical themes -- swimming, blood = flowers, killing.

I've transcribed the lyrics in kanji, but if somebody's willing to translate/romanize, I'll gladly update. All spacing is a replication of how it is printed in the liner notes.
2. Divine Error
3. Citrus
3. Faceless

「月夜に欠損少女」
作詞 : zin
作曲 : TEM
編曲 : Noulla
 
 
- こじ開けられた肋骨の中の拍動 -
- 送り出されるのは抗い難い【欠損】の感覚 -
UNDER THE MOONLIGHTS
I WAS POISONED BY LUST.
耳障りの良い言葉だけじゃ貴方も私も満たされなくて
UNDER THE MOONSHADES
I WAS SUNK IN SYRUP.
死ぬまで貴方の傍に居るって此れで証明ができたでしょう
- SCISSIONS -
「君が愛おしい」と「もう離さない」と、腕を切り落として脚を切り落とした。
- 私の腕はすっかり失くなってしまったのに指先が何かに触れた気がして戸惑った -
- 愛情か狂気か私にはもうわからないけれど、其れが私が此処にある存在理由 -
閉ざした二人だけの世界。
貴方が帰って来てくれればいいの。
「嗚呼、幸せ」
今宵もゆらゆらゆら奏でる愛の唄。
私は貴方の物よ。
今宵も抱いて髪を撫でて優しい接吻をして。
此処でしか生きられない、
【達磨に成った人形】を。
狂った二人だけの世界。
貴方とただ壊れていければいいの、
「嗚呼、尊い」
今宵もゆらゆらゆら蕩かす愛の唄。
私は貴方の物よ。
今宵も咲いて舐めて吐いて汚して好きにして。
貴方への愛に狂う、
【薬漬けにされた奴隷】を。
- 閉塞した此の密室で、
刻々壊れていく心が -
- 月の満ち欠けを忘れようと、
此処でいいと間違ってしまった -
もう帰れない。
今宵もゆらゆらゆら咲かせる愛の唄。
私は貴方の物よ。
あの時泣いて堕ちて朽ちて見つけた月の下。
迷いを忘れられたの。
【最後は私を食べる人】と。

(for a request)
 
 
Lyrics: Miyaaku Sensha
Music: Kirihira Ranse
Kanji Source: blog
 
Kanji: 切断ダリア
 
Romaji: Setsudan Dahlia
 
English: Severed Dahlia
 
Romanization and translation done by me.
Corrections and suggestions are much welcomed~
Enjoy! ^^

Greetings, MH! The ORZ team just recruited new members, so we are back stronger than ever with our latest batch of recommended tracks!  Check them out and let us know what you think!
 
(We apologize if some videos aren't available due to region restrictions!)

@-NOVA-'s Pick
 "Reason for being" by NIL UNDER RAIN

NIL UNDER RAIN is a new band fronted by Vo. Kyoma (ex-RevleZ) and backed up by ex- Xepher members and its bringing a lot of HEAT!!! "Reason for being" is packed with solid riffs, breakdowns (3 of them to be exact), and an amazing solo. The song alters from two distinct styles, slow and soft to fast and heavy. As the song approaches its peak the band begins a breakdown sequence and builds up the beat by playing faster. While all this happening, Kyoma adds a couple growls and Kaana takes the beat away with a very unique solo. It's been 2 years since RevleZ disbanded but to my  surprise Kyoma's singing style hasn't changed. His growls may not be as strong and powerful in this single, but hopefully they will be in later releases. It's clear these guys have worked hard on making a strong first impression since there are no signs of 'cheap-kei' here. This song is a great start to what may soon become an amazing band and maybe surpass RevleZ and Xepher's level of success. I think the fact that all these guys aren't new to the scene really helps them. Also their previous bands have made names for themselves. Hopefully this band can go far.

@The Reverend's Picks
"働かずに食う [IA Ver.]" by KOHH
"I Don't Work [IA Ver.]" by KOHH

You know that slightly anxious moment when you’re talking about music with a new-ish acquaintance and start to say 'This sounds nerdy, but I really like this Japanese…'? This song and video are exactly what that other person is thinking as soon as you drop the J word. "I Don’t Work [IA Version]" is a chiptune (hell, part of it is literally a chopped-and-screwed version of some music from the original Super Mario Bros.) remix of KOHH’s original "I Don’t Work" with the vocals completely replaced by vocaloid singer IA. What was originally a lackluster not-single-worthy-even-though-it-was-one (KOHH sounded bored on it, he doesn’t even shout out Oji once!) mid-tempo hip hop track is transformed into something bright and addictive and maybe a bit subversive when filtered through the trippy lens of pink-haired IA and the accompanying ‘90s CGI reel of a video.

"Melon Soda" by tricot

The crown princesses of poppy math rock are back with their third album 3. "Melon Soda" is the second single from the new album and one of their most accessible songs to date. It starts with the bassist showing off her chops and follows with a mostly mellow, pretty song. My fave part is actually the second guitarist interrupting the sweet song with some purposeful background feedback at :54. Tricot, as usual, have a great combination of female vocal melodies and non-traditional indie rock. The video doesn’t really have a story, as much as a central conceit. Basically everything is moving backwards (except for the vocalists lips!)... which is done very artfully, but it seems like most of the girls’ actions are not things they’d normally be doing as much as they are things that beat you over the head that they're backwards (ripping paper, pouring things out, putting a newton’s cradle in some coffee what??)

@plastic_rainbow's Picks
"Grateful Dead" by MINAKEKKE

A new female singer-songwriter enters the scene with her debut album called TINGLES. Before you think that MINAKEKKE is some generic pop singer, let me tell you that she's like no other. Instead of singing cheap love songs, she mixes genres like folk, shoegaze, new wave, and goth together into one album full of a haunting sweetness. One highlight of the album is the song "Grateful Dead", which takes you to a realm of 80s gothic horror with a roar of a thunder at the beginning. Some drum machines, gloomy guitars, and tambourines creep in and you've got everything laid out. MINAKEKKE's lovely and swaying vocals; however, soften the threatening mood and carry you gently through the horrific ordeal. If you like uplifting acoustic guitars and folk drums, or dreamy synth melodies, to haunting organs and creepy guitar noises, be sure to check out the rest of the album. With MINAKEKKE's mesmerizing vocals, you will surely be swept away into her dreary, yet peaceful, world of darkness and dreams.
 
"Saddest Song" by 北出菜奈
"Saddest Song" by Nana Kitade

Feeling sour about Nana Kitade's new music direction ever since her comeback, I was pleasantly surprised to see that there were 1-2 enjoyable tracks from her new album VIOLET BLAZE. In her previous solo work, she donned a charismatic gothic lolita rock star appearance, but this time around she disrobes her old rock style and takes on a new electronic pop star approach. Even for someone who doesn't often listen to such kind of music, I was quite impressed by Nana's beautifully strained vocals in "Saddest Song". The track opens with a tune that oddly reminds me of the "Intro" by The xx (excuse me if I butcher this comparison), but with added-in dubstep breakdowns, serene droning, and of course, Nana's feminine vocals. The other highlight of the album is "Borrowed Time" and I highly recommend her new album to all Jpop listeners.
 

"Unfading Scent" by Shelling

 
I recently found out about this shoegaze/dream pop band hailing from Tokyo that has been around since 2007. Despite being around for that long, they've only released a total of three albums, with their newest one being Waiting For Mint Shower!! . Shelling consists of two members: female on guitar/vocals and male on guitars, who like to call their music 'sherbet pop'. Quite fitting for any shoegaze/dream pop band. Their music touches on the roots of shoegaze and creates a heavy wall of noise that is layered by creamy ethereal vocals, as done with the track "Unfading Scent". If you’re looking for some of that My Bloody Valentine or Slowdive distortion, Shelling is the way to go.

@qotka's Picks
“N.G.Y” by 麗麗-reirei-

It's camp time! These indie kids are back with their first single since reforming, paying tribute to their hometown of Nagoya. Usually I'd write this kinda thing off as a graceless attempt at taking a karaoke in-joke gag and trying to make it happen -- and let's face it, things that are never going to happen are rife in indie vkeiland. But reirei's self-appointed Nagoya ambassadorship reads as sweet and genuine, loaded with heaps of self-deprecating humor both Nagoyites and outsiders can relate to.  Traditional-sounding synths, a copy-paste shamisen sample layering the back of the mix and full Nagoya-inspired frocks - "N.G.Y" is a low budget production but hardly a half-assed one. If you're going to let everyone in on your private joke you have to make it as elaborate as possible, and there's nothing more elaborate than Nagoya Castle shoulder pads. The result is so clumsy it's endearing; makes you wanna attend their live and rock out to this with their fans. All three of them. Hell, the chances of me visiting Nagoya this year have tripled since this was released.

"トイレでGO!" by cali≠gari
"toire de GO!" by cali≠gari

Moving on from thrift-shop drag to a cult classic. cali≠gari are back at it, promoting their latest release 13 with a fun track that may not be the strongest one on the album but does a great job at showcasing the band’s signature grotesque tongue-in-cheek vibe and dark humor. They accomplish this by giving a taste of their more mischievous punk-rock side - strong but measured thick bass slapping, rushed percussion and The Other Shuuji’s playful vocals/storytelling. Coupled with a morbid PV featuring a housewife snapped and gone murderous, "toire de GO!" is what cali≠gari are all about: shock value that always seems to border on some sort of a social or political saying without ever explicitly going there. In this case, it could be the story of a woman getting her revenge at an abusive partner, or just another one of those 'murder mysteries' that get on the news every once in a while - 'man cooked and flushed down the toilet by ex girlfriend' sounds like great click-bait. Either way it's a well-told, engaging story that'll have you hooked start to finish. And if for some reason you haven't had the chance to check out this band yet and you have a taste for everything dark, twisted and queer, this could be your gateway. Just sayin'! 
 
"地獄のこども" by Luminous101
"Jigoku no kodomo" by Luminous101

Musashino city’s finest – Luminous101 may still be playing livehouses where most of their audience consists of the other five bands on the lineup, but they sound a lot bigger than that. "Jigoku no kodomo" may not be the most sophisticated track you’ll hear in 2017, but it has a beautiful, bright melody with clear Britpop influences and just the right gentle vocals to go with it. Only time will tell if this band will survive the cruel reality of Tokyo's indie music scene, but for now we have this sweet piece of pop candy that's guaranteed to put a smile on your face -- at the moment only available on YouTube.

@tetsu_sama69's Picks
 
"VENOM" by REIGN

So... this stuff right here. This song is just amazing. All of it sticks right into my vein and gives me tingles in a particular part of me that I want more of. Something about "VENOM" feels so much like And, yet REIGN adds a whole new spice that takes me back to why I like Ikuma so much as a musician. Its opener is a twisted rhythmical party which is only enhanced further by their new drummer Kazuharu. It tears into a mess of screams and heavy guitars that may have been a bit too much, if it weren't for the fact that the song takes quite a bit of turns that it sweeps you up into a sweet melodic tornado. REIGN has definitely discovered their own personality with "VENOM" and are stepping away from their more spooky-kei background into a force to be reckoned with.
 
"ボクノ悪イ癖" by ヴァージュ
"Boku no Warui Kuse" by Virge

First of all, everyone who whined about Ryo from Medina being the vocalist for this band needs to sit down and check themselves because they're obviously delirious and need to see a doctor to get their heads checked. Virge is 100% proof you should never judge a band by who the members are, but simply by what they put on the table. UTOPIA is a treasure trove of visual gold and it's refreshing to see that guitarist Sizuki and bassist Shin still possess the musical prowess that made MALISEND more than just a momentary blip on the radar. Virge has the spirit of older visual styling that is very evident in its composition, especially in "Boku no Warui Kuse". The screams and clean vocals are just the sprinkles for this musical cake that has been baked to perfection. Even the synths are nowhere near overdone and fit so perfectly that you can tell there was great effort put into the framework of the song and the mini-album as a whole.
 
"おしまい" by キズ
"Oshimai" by Kizu

No one expected a band like Kizu to turn out this way with lead singer LIME taking front, who previously sang for oshare kei band LEZARD. The supercharged opener takes over you in way that you just can't help but burst out in a fit of headbanging. Every single member of the band strikes a match that starts a musical firestorm. Despite the darker nature of the band, LIME's unique vocals fit perfectly with the heavier instrumentals and is well aware of his vocal boundaries. The whole song is perfectly executed and the psychological aesthetic fits so well with the band. I had "Oshimai" on repeat for almost a good hour at work when it popped up. The track is an instant infectious hit for anyone who likes a bit of dark drama in their visual kei bands without being overwhelmed by terrible synths and ugly vocals. It'll be interesting to hear the full release along with seeing what else Kizu will bring in the future.
 
"ゲシュタルト" by ピサロ
"Gestalt" by Pisarro

If you've been sleeping on Pisarro you're definitely missing out big time,  which could result in a possible negative judgement on you and your visual taste. Anyone should be familiar with their vocalist Kairi from SIVA/gaNesha who formed Pisarro in 2016; with experienced members from Cardinal, Varyl, and LucaRia. Pisarro has had a colorful discography so far, and with "Gestalt" they just keep on delivering. "Gestalt" is a wonderful treat for the ears with its solid melody and execution that doesn't turn into a stereotypical visual power ballad. The clean guitar solo from Kaede is a highlight as it's not drawn out and fits like a puzzle piece that was missing to complete the excellence that is "Gestalt". 
 
@emmny's Picks
 
"昨日の怖い夢。" by 黒百合と影
"Kinou no kowai yume" by Kuroyuri to kage

FULL DISCLOSURE: I was held against my will for 30 minutes by KTK stans in exchange for this review after calling the song a flop upon first listen. I would like to officially recant my statement calling "Kinou no kowai yume" a 'flop' and formally change the legal status of the track to a 'bop'. KTK have been a bit controversial for me within the past year or so, as they have taken a major stylistic detour post-member departures. While I've gotten used to their new style, I can't fully shake what could have been from their first album. One day I was walking back alone from a night of rowdy drinking and gossiping from a bar and I decided to play this track again, turning it up a little bit more than usual. I didn't pick up on any of the following before that listen, and it is imperative for anyone to play this song as loud as you can possibly tolerate. The track opens with the biggest riff Kuro's put to record and K's pummeling, clanky bass work not far behind; the bass and guitar are mixed in a way that sounds like a sandwich to my ears at full blast; guitar occupies mid while bass takes sub/bass and treble. The end effect is maddening and I'd liken it to deep frying my ears. Mei's vocals bring in the first verse, and he kills it with the wobbly, atmospheric vocals that are now his trademark while K's minor scale riff weaves in and out of his voice before launching into grunts. Chorus comes, rinse and repeat. If you'd like to have a pleasant little goth nu-metal audio experience, go ahead and play it at normal volumes. If you want to feel the claustrophobic, nauseating intensity that Kuroyuri to kage are known for...heed my recommendation.
 
"「哀しい日はいつも雨」" by シェルミィ
"Kanashii hi wa itsumo ame" by Shellmy

Shellmy are coming for world domination and you heard it here FIRST...although you might not be able to tell based on this song. PV spot on Danger Crue aside, it's a totally unflashy or "major" sounding ballad; the band eschew their bittersweet sound for Plastic Tree melancholy, with Hyo's usually unaffected vocals turning into a tastefully emotive vessel for the delicate lyrics. It's not so much lyrical melodrama as it is a simpler, more honest look at a breakup told through our beloved 'sadness=rain' trope...literally. Hyo's gotten a following through being relatable to fans; talking about suicide, bullying, depression and the like with candor and "Kanashii hi wa itsumo ame" continues with that very personal, detailed, storytelling/writing style that is otherwise missing from the scene. Shellmy gave us the ballad we wanted but didn't think we deserved in 2017 and at this rate their upcoming full-length will be the album of 2017--this time we deserve it though, the year's been dry for visual kei. Here's to hoping Shellmy will save the day.
 

@Original Saku's Pick
 
"メロス" by 水曜日のカンパネラ
"Melos" by Suiyoubi no Campanella

Coming off of the successful album SUPERMAN from earlier this year, we have a new single from dance electro-pop juggernaut Suiyoubi no Campanella. "Melos" makes for a nice track showcasing some more of that EDM sound that has been ever-present in the SUPERMAN material,  but with some good variations that shows it can stand on its own. The chorus has a catchy hook that draws you in with a mesmerizing vocal assault from KOMUAI combined with the electronic beats that really rock your core. While not a complete departure from the album singles we've heard previously,  "Melos" does tread more into the EDM realm previously mentioned and makes for a great album follow up. It also sounds excellent on my AVR speaker setup; the production is polished and mixing is clear as water.

@fitear1590's Picks
"Afterglow" by The fin.

It's been over a year since we last heard from The fin. with their disappointing Through the Deep EP. Although they have downsized to being a trio now, their sound is slowly returning to form. The billowing keys and powerful drumming in "Afterglow" recall some of the band's signature work from their gorgeous debut album Days with Uncertainty from late 2014. Adding to the mix is a simple, but deliciously fuzzy bassline that lends the song a slight post-punk edge underneath all the fluffiness. Admittedly, "Afterglow" does come off a bit interlude-y; I hope we'll be treated to a full album sometime later this year, so the song can display more synergy with surrounding tracks.


"深呼吸" by PELICAN FANCLUB
"shinkokyuu" by PELICAN FANCLUB

2015 was the year of PELICAN FANCLUB, hands down. With two glorious mini albums, these giant-T-shirt-wearing newcomers won me over. They were poised to become my favorite J-indie band, but their next release OK BALLADE, although solid, just plateaued my appreciation for the band. Overall, I'm afraid their recent debut album Home Electronics is continuing that trend rather than raising the bar set by their excellent early releases. Having said that, there are some highlights planted throughout the album, one of which is the opening gambit "shinkokyuu". Endou's effervescent voice and the blissful riffs set an uplifting tone. Hopefully, Home Electronics will prove to be a grower over the course of the year, but for now I'm content with cherry picking individual tracks like this one.


Guest Recommendations:
@Ada Suilen's Picks
"バライロノセカイ-Le monde de la rose-" by D’ERLANGER

If you have a little knowledge of the visual kei scene, you cannot miss something of this incredible band, one of the few which continued their brilliant work despite the changing times and the coming of new and fresh contexts. With their last work dated on April 2015, it was great to see them in action once again with a new album; the lead-track incorporates all the elements which drive the release and in general D'Erlanger's music, with a warm melody, energetic rhythm, where the guitars have a relevant role and touching vocals by Kyo, surely one of the best singers of the scene. A must for J-rock amateurs.

"TRIGGER (feat. J)" by Lynch.

 
Lynch. is one of the bands which mostly represented my personal experience in the J-rock universe and they never disappointed in being powerful and great, even when they seemed repetitive in their own. With the arrest of Akinori occurred last year, there was fear that they would lose their appeal, as expected in situations like these. But they didn't give up and continued to play as a four-man band, with a new release coming. The lead-track of Sinners EP, made in collaboration with J (bassist of Luna Sea), maintained the energy seen in their music, but this time there's something new, represented by an articulate vocal interpretation by Hazuki and a stronger technique from the guitars, for an addictive metal theme.

Thanks for checking out our recommendations this month! And another big thanks to our guest contributor Ada Suilen! If you have any thoughts on the list, or if you have any recommendations of your own, we look forward to seeing your comments below!

merrygoround is dead by Merry Go Round

1. 同化 (Doka)
  2. 失楽 (Shitsuraku)
  3. 液状 (Ekijou)
  4. 造形 (Zokei)
  5. NARCISSE
  6. 君は蜜よりも甘く(Kimi wa mitsu yori mo amaku)
  7. 赤い絲 (Akai ito)
  8. 切断TV (Setsudan TV)
  9. ザクロ色の月と狂った恋の旋律 (Zakurairo no tsuki to kurutta koi no senritsu)
  10. Beast
  11. CHEMICAL CANDY SHOW CASE
  12. FISH
  13. XX体質 (xxTaitshitsu)
  14. 毒蟲 (Dokumushi)
  15. 桜の満開の木下で (Sakura no mankita no shita de)
  16. SUICIDE DANCE
Ladies gentlemen and gays, I present to you the most underrated band of the indies (and major, believe it or not) scene in the 90's: Merry Go Round (otherwise stylized as Merry Go Round, Merrygoround,  メリーゴーランド, affectionally refered to as メリーゴ/merigo by japanese fans). I'm sure the rarez queens on here would beg to differ and probably offer up some other band with a bunch of apostrophes and misspent words in their title because Merry Go Round are too popular but NO. They have a point, as anyone worth their weight in Nagoya kei history knows the impact of Merry Go Round on the local scene at the time, but the lasting influence of Merry Go Round isn't as widely known. Here I've come, along with the aid of this thread to help decode the mystery that is Merry Go Round through their swan song best-of release from 2003, merry go round is dead. There's no better time to go into this, as gibkiy gibkiy gibkiy marked the return of Kazuma to the scene, and they are hot off the heels of a fairly large country-wide tour and now a 3man series of lives with DALLE and 101A. Gibkiy continue onward with merigo's legacy of avantgarde experimentation, pushing the boundaries of not only the visual kei scene, but the underground alt-rock scene. Merry Go Round's cult following continues onward long after their eventual demise, over 20 years after they had started in '91—they even have a fan-run “memorial site” in their honour, still updated to this day. At the party zoo event lives, there's been merigo respect sessions, with MUCC members playing in them. Their releases catch a decent value on the secondary market, with their best-of albums easily catching upwards of 8000 yen.
 
Something's in the water with these guys, and I don't think its any coincidence they are still mentioned in the same breath with the major label successes of the Nagoya scene despite their relative obscurity outside of the scene: Laputa, ROUAGE, Merry Go Round. The short answer is that they were legendary in every sense of the word; everything merigo did was fucking iconic. There was a sense of genuine darkness about the band, no one was flashing around their goth clothes for the chicks only to switch it up afterward when they got bored. The twitter thread was quite helpful, as they pinned a lot of influence to Merry Go Round that I didn't otherwise know. They claim that Kyo (DEG) and Daisuke (Kagerou) were quite influenced by Kazuma, and while I don't have anything to back this up, I totally believe it. Kiyoharu and his very obvious influence on like...99% of visual kei aside, Kazuma's edgy antics have clearly played a role on Kyo. He was the first person to rock the metal face piercings-all-over look, which Kyo later donned in the 2000's, coming to a fever pitch in the 2010's with band guys literally filling their faces with as many piercings as possible. Of more importance is the inheritance of an independent and unique being that merigo embodied; they were so unique that even the japanese source had to struggle from talking in hyperbole. Honestly, I'd argue that Kyo's closest comparison point is Kazuma, in terms of avantgarde leanings and their individualist persona that was cultivated through their almost outsider leaning art. They also pin Merry Go Round as the prototype for menhera love songs, whatever the fuck that means; my understanding of Kazuma's lyrics are limited but there's a lot of sex...s&m...sex...S&M! Of equal importance was this new influence of a darker perspective--taking into consideration the misfortunes of the world and informing one's art, which encapsulated a lot of themes which would later pop up in kotekei and the boom of menhera in the 2010s. Kazuma alone is not to credit for this, but along with the early Nagoya's kei scene's influence in ushering in this new era of ~yami~, he made a decent impact on the darker bands that would follow in later years.
 
Throughout their history, even through lineup changes, their brooding energy stayed constant and so did their experimental, post-punk edge. While firmly rooted in the history of the scene, they sounded equally distant and removed from the scene. Whereas other bands mixed in sharp melody and pop sensibilities to the doom and gloom of the time, Merry Go Round nixed conventional song structure altogether. They had the melancholy down pat, but they added an almost relentless sense of repetition. Songs wouldn't move much as compositions, focusing on a guitar motif or rhythm and pushing it to the desired running length. It's a sound that is hard to describe without listening to their songs, but also a sound that varies with time. Notable is a 1997 cover of Bauhaus's “Hair of The Dog”, in which the spacey guitar lead of the original is turned into a fast-flicking, treble-y riff; the rhythm replaced with a syncopated drum beat. Kazuma sings coldly, screaming and cackles hysterically, pushing the frantic energy of the song into maniacal heights. The end result is so fucking merigo that I'd have a hard time believing this wasn't the band's own composition. This speaks to the quality of the re-arrangement of the cover but also their brilliance, in turning the frantic yet restrained energy of the original into a fully realized, uniquely dark visual kei song. The guitar tone and technique are a definite echo of the indies sound at the time, but the chord progressions dubbed over the melody of the original are totally post-punk, dour and dire. It all makes a lot more sense when hearing "Ame to muchi", which is an original composition yet it manages to sound quite close to “Hair of The Dog”. This is a perfect representation of merigo's traditional sound, equally visual and goth. Besides, when was the last time you heard a visual band cover fucking Bauhaus? These two tracks are part of their old sound before '99, which was more typical of mid 90's gloomy-kei and Nagoya bands, but as they went on things got weirder and weirder, peaking with their 2000 full length. Past then, things got a bit more sober and streamlined, with a more rock sound but were still quite distant from the third generation of Nagoya kei, which included the more goth-inclined Lamiel, kein and later Blast and deadman.
 
Merry Go Round - "HAIR OF THE DOG"
 
Bauhaus - "Hair of the Dog"
 
Merry Go Round - "Ame to Muchi"
 
Speaking of all this history, lets get into the band's tea. merigo is messy to say the least, and there's not much I have to add that isn't already on the net, so I'll offer the interesting points. Merry Go Round's history is marked with stuff that doesn't happen at all anymore, including massive lineup changes, being together for 10+ years (believe it or not), falling in and out of major label contracts and a weird discography, with only 1 full length album and a scattering of minis and singles to count for the fajillion years Merry Go Round was a thing. Vocalist Kazuma and ex-Laputa guitarist Hideno were pretty much the only constant in the band's recording history, excluding their pre-demo years. Before '95 was probably a whirlwind, they cycled through 2 guitarists, 2 bassists and a drummer over the course of 4 or so years, with only recorded 1 demo (before their official demo) to show for their early years. None of the members at that time went onto any other bands after their time in merigo and so what went on in those years is entirely unknown, but totally interesting. I'd like to think the band was a volatile group of goths going around Nagoya with violence (a-la X-Japan), crappy music, drugs and S&M orgies but we might never know. The reality of the situation is likely a lot more boring, with Kazuma refusing to let go of his little project despite the financial and personal difficulties that come with trying to get a band going, especially considering it was before visual kei's mainstream popularity in Japan. They found stability after 1995, with their first main lineup's output stretching from '95-'98 before losing their only other composer, the now deceased Junna and drummer Kyo. Hideno then became the sole composer of the band's music, and whether for his personal taste or just overall circumstances, shit got very dark, very quickly. Song lengths could be brief, with weird minute-long voice solos or drag on for seven, eight minutes at a time with their typically minimal instrumentation, leaving Kazuma's croon to fill in the spaces. This was hinted at in their earlier days, as S featured the 12 minute monster “Dokumushi”, one the creepiest songs ever put to tape, which was composed by none other than Hideno. Catchy choruses became even more sparse, as songs were more about mood than melody. The jazz and industrial influence became stronger, with an alt-rock vibe creeping up on them in the later years, replacing the remnants of their old school style.
 
Basically, as an album, merry go round is dead is not much more than an afterthought. There's actual little reason to purchase the album, as its limited 1200 press has ascended it to god rare status and it doesn't show up often or for anything remotely cheap and all the tracks have been released before. That said, most of the stuff from their marder suitcase/Fuji days are impossible to find now. Nothing was done with purpose in terms of arrangement, inclusion of tracks, etc. The track list is mostly chunked from the original releases, with little integration. The first chunk was their new stuff from 2003, then most of the tracks from the 1999 singles, with only 2 other b-sides that went to their 1999 best-of REDDISH COLLECTORS NO DEAD ARTIST. There's a lot of overlap between these compilations, and REDDISH... is a weird enough album that it deserves its own article. There's a lot of repetition in their discography, but also a lot of remixes/re-recordings and little tracks thrown in as interludes. Their first full length is also entirely absent absent here, as well as pretty much anything during their second lineup. The only song unique to merry go round is dead was "NARCISSE", which was later thrown into a marder suitcase V.A comp. The last chunk was a throwback to their older days, with the whole IMPERIAL DRUGS single and “xxTaishitsu” thrown in for whatever reason, as it is the only track solely composed by Junna. The classic “Sakura no mankita no shita de” appears as well, with “Dokumushi” cut down to a slightly more palatable 4 minutes. “SUICIDE DANCE” is the only song composed by Kazuma and ends the album as a throwback to their eaaaaarly days, as the song has been around in some way since their first unofficial demo in the early 90's. In terms of the tracklist contribution, I'd chalk it to who owned the rights for the tracks as well as aesthetic representation. Even if the band wanted to include their stuff from the semi-major days, my guess is that they didn't have the rights to those songs, which were conveniently mostly Junna compositions. So whether by design or coincidentally, it's mostly Hideno composed, reflecting the musical design of the band from 1999-2004.
 
On to the music itself, it is spectacular to say the least. No matter how much you prime yourself to hear something of comparative style to other artists, or rather the inverse—expecting to hear something completely alien, the experience itself is neither. Tracks 1-6 were their post-2001 output, a mix of melancholy ballads and crunching alternative rock numbers. The sense of theatrics is mostly toned down for a primal rock energy. “Shitsuraku” is straight up aie chords played for seven minutes on end with what sounds like Kazuma on xanax. He takes the track towards a lullaby, threatening to pierce that threshold and roar yet it never approaches those heights. “Zokei” is among the best of the new material, with a percussive rhythm accented by dissonant guitar chords and Kazuma totally riding the track with vocals oozing sensuality. These tracks are a perfect example of merigo's penchant for repetition, as there are few diversions from the introductory chords and melodies. Hideno overlays a new motif or two to keep the songs from being mind numbingly repetitive, and it works to keep interest but otherwise keep the tracks hypnotic. “Narcisse” and “Kimi wa mitsu yori mo amaku” are shocking in that they're almost—joyful—ballads, not creepy or brooding (spare the intro to “Kimi...”) and a departure from anything they had done in the past. These were a look into merigo's possible future, a fascinating look at what could have been. I'm not sure it would have been a future we'd have wanted, but thankfully gibkiy gibkiy gibkiy came up 10 years later and swooped up the remnants of Merry Go Round's old craziness instead of letting this acoustic cheese bloom. That said, I like them in the context of the album's melange of mess.
 
Merry Go Round - "Zokei"
 
Then begins the older output (this album goes in reverse chronological order, basically, LOL), the more essential or classic Merry Go Round songs. “Akai ito” is the song that more or less got me hooked on art kei (I was already a Diaura stan, #sorrynotsorry), as the song was so...un-visual. It is a naked and haunting ballad, and it struck me as visual kei style vocals over a sped up Low or Codeine song. The guitar line had the dissonant feel of a darkened post-rock or midwest emo track, and I'm a huge fan of all of that so its safe so say I was shaking in my boots. To this day, it is my favourite Merry Go Round track and I literally melt the second I hear those opening chords. This haunting sound is echoed by “Zakuroiro no tsuki to kurutta koi”, which is in the same stylistic vein but a more drudgy, spacey number. Kazuma kills both with his vocals, dipping in and out of vocal acrobatics, occasionally pushing the border between fascinating and gratuitous but never overstepping his bounds. The template for these ballads is toward the closing of the album, with Merry Go Round's classic “Sakura no mankita no shita de”, which more or less birthed true emo balladry. It is covered in sessions to this day, and from merigo, it is the one track that is remembered from non-fans and fans alike as an iconic bit of Nagoya kei history. “Setsudan TV”, “Beast” and “FISH” are the flipside to the traditional melancholy rock balladry, as the band step into dub, industrial and jazz sounds. “Setsudan TV” is absolutely insane, with a thumping, urgent instrumental, not too far off from a cyberpunk anime soundtrack. Kazuma's vocals are...[redacted]. It's the peak of madness for the album and a track so bizarre it warrants a listen, just for the shock experience. “CHEMICAL CANDY SHOWCASE” is a look into merigo's traditional sound, as its a straightforward, punky rock piece.
 
Merry Go Round - "Akai ito"
 
From the traditional sound to the straight up old school, “xxTaishitsu” brings the vintage heat, as it is one of the older tracks. The looping/glitching vocals from “Setsudan TV” are here in a lower dosage, contributing to the intensely psychedelic vibe of the track. The track comes to a climax with a bizarrely spaced and composed solo, in a much higher pitched voicing than the rest of the track; it's orgasmic to say the least. If you're not air guitar-ing to it, then what kind of a wannabe guitar player are you? From then on comes “Dokumushi”, unfairly cut down from its originally wonderfully messy glory. In fact, the horrific and disturbing effect of the original is almost entirely lost in this 5 minute edit, as the song is made all the more creepy for how long it goes on for. The album ends with “SUICIDE DANCE”, an otherwise unremarkable song for how much it resembles other, better merigo hit songs; however, credit is due as this was the template for pretty much all of Merry Go Round.
 
Merry Go Round - "Dokumushi" (Live)
 
And so the snake swallows its tail, merry go round is dead. Hideno has pretty much fallen off the face of the earth, and that's a real shame. Otherwise, Kazuma's contribution in gibkiy gibkiy gibkiy keep the spirit of the old school alive, and that is testament to the strength of the Nagoya scene. There is nowhere else in vk, aside from the legends of the late 80's-early 90's that musicians have remained active for so long. Peers play with up and coming musicians along with their influences, producing new and dark sounds, equally indebted to the past as they are to the future. Here's to our darkened future, and the merry go round which will spin eternally.
 
gibkiy gibkiy gibkiy trailer
 
References:
please note that this is mostly limited to english sources, the gaps in my knowledge could possibly be filled by japanese sources or defunct english pages. please let me know of other additions and translations if possible, do it for the oldies!!! 1.) this awesome nagoya kei intro thread (JP)
2.) western news sources:
jame (s/o to the girl who upped the band bio in 2010, it was of great help) vk wikia junna memorial blogs compiled on shattered tranquility 3.) memorial site
4.) yunisan (song credits, lineup information, press numbers)
 
 

I'm back with the third installment of "Copy/Paste", where I roast visual kei songs under a microscope for taking an ounce or two more influence than they should from their favorite bands. This installment is focused on cases where it's incredibly obvious if you listen for more than a few seconds. Sometimes, I don't even think they tried to hide it.
 
Moran's "Lyrics of the DEAD"
stems from "Evolution" by Ayumi Hamasaki
Homage or Copy: Homage!
 
 
 
 
Viored's "君影草 (Kimikage Kusa)"
stems from "RED...[em]" by Dir en grey
"Kasumi" by Dir en grey
Homage or Copy: Copy!
 
 
 
 
 
√eight's "Illational of the people"
stems from "electric cucumber"by zilch
Homage or Copy: √eight's is a zilch cover band
 
 
 
 
Black Gene For The Next Scene's "DOOM"
stems from "INCREASE BLUE" by Dir en grey
Homage or Copy: Definitely a nod towards Dir en grey
 
 
 
 
 
Dir en grey's "Unknown...despair...a lost"
stems from "G" by Luna Sea
Homage or Copy: "Heavily" "inspired"
 
 
 
Xaa-Xaa's "ラストダンス (Last Dance)"
stems from "Dance Rock night" by girugamesh
Homage or Copy: You can play them one after the other and they line up damn near perfectly
 
 
 
 

ユメリープ(Yumeleep) new single "かげくいまくら" will be released at 2017/07/07. (1,500yen)
 

 

イスク(yesk)(Veritas en void) & Yao(Hysteria):

Veritas en void new album "STELLA MIIRA" will be released at 2016/09/02 (3,240yen)
 
[track list]
01.Träumerei
02.Lycanthrope
03.座礁(zashou)
04.Helter Skelter
05.CLUBROSSO
06.figues
07.黒い夢(kuroi yume)
08.silent majority
09.Venus has a tail
10.Lamia
11.Passiflora～針の筵(hari no mushiro)～
12.ヨスガノホシ(yosuga no hoshi)