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Day 3 - Girugamesh - Gravitation

Release Date: 2014-09-24
Label: Danger Crue
Genre: Rock/Metal
Impressions by @Ito

Impressions by

Sample song:

Buy the album:
CDJapan | YesAsia | iTunes

Track durations is now revealed (NO longer song this time)
 
01. Un deux (3:33) 02. 咀嚼 (4:10) 03. 鱗 (4:03) 04. Phenomenon (4:01) 05. Cause of fickleness (3:25) 06. 濤声 (5:31) 07. 輪郭 (5:43) 08. Chain repulsion (2:48) 09. Midwife (4:11) 10. 禍夜想 (4:25) 11. 懐春 (4:22) 12. Behind a vacant image (4:59) 13. Sustain the untruth (4:25) 14. 空谷の跫音 (5:48) 15. The inferno (3:15) 16. Revelation of mankind (3:23)   Source is European iTunes Store: https://itunes.apple.com/gb/album/arche/id946048367

sukekiyo new mini album "vitium" will be released on 2015.02.04.
 
no more detail yet.

the following list has included the bandmen as real brothers (those being bold are known as elder brother):
 
Dr.ヤガミトール(yagami tooru)(樋口隆/higuchi takashi)(BUCK-TICK) & Gt.樋口豊(higuchi yutaka)(BUCK-TICK)
Vo.キリト(kirito)(村田信也/murata shinya)(Angelo) & Ba.KOHTA(村田康太/murata kouta)(Angelo)
Gt.弐(nii)(松枝武/matsugae takeshi)(girugamesh) & Dr.Яyo(松枝亮/matsugae ryou)(girugamesh)
Ba.&Vo.瞬火(matatabi)(陰陽座(Onmyo-za)) & Gt.招鬼(maneki)(陰陽座(Onmyo-za))
Vo.&Gt.&Prog.石井秀仁(ishii shuuji)(cali≠gari, GOATBED) & 石井雄次(ishii yuuji)(GOATBED)
Vo.TOTTO(ex-L,DEAR) & Dr.YOU-SUKE(ex-L,DEAR)
Ba.Chiyu(SuG) & Gt.TSUKASA(ex-ZUCK)
Ba.Zill(朝倉進五/asakura shingo)(Moran) & Gt.shia.(朝倉あき/asakura aki)(Chanty)
Dr.前田一知(maeda kazutomo)(ex-グルグル映畫館(guruguru eigakan)) & Vo.CUTT(前田一人/maeda kazuhito)(ex-SHAME)
Vo.哀憂(aiyu)(浅川隆/asakawa ryuu)(ex-Eile de Mu, now Double River Record president, NAGOYA HOLIDAY NEXT manager) & Ba.壱成(issei)(ex-Dali-->LOST NAME)
Gt.氷龍-hiryu-(KOUHEI)(ex-Neo) & Dr.MW(ex-DOWNER)
Dr.ライ(rai)(GIGAMOUS) & Dr.秀馬-syuma-(ワンネス(Oneness))
Vo.You(緑川裕宇/midorikawa yuu)(ex-LucaRia) & Gt.Taku(緑川拓/midorikawa taku)(ex-LucaRia, now Call Me(support))
Gt.アキ(aki)(パノラマ虚構ゼノン(XENON)) & Ba.テツヤ(tetsuya)(パノラマ虚構ゼノン(XENON)) (twin)
Gt.黒-kuro-(黒百合と影(kuroyuri to kage)) & Ba.K(黒百合と影(kuroyuri to kage)) (twin)
Vo.寛-HIRO-(加藤寛密/katou hiromitsu)(ex-V-last., now in Twins☆) & Gt.義-yoshi-(加藤義密/katou yoshimitsu)(ex-V-last., now in Twins☆) (twin)
Vo.Yo-shiT(xTRiPx) & Dr.ena(xTRiPx) & Dr.正人(masato)(ベル(belle))
Dr.秋田高輔(akita kousuke)(ex-レミング(remming)) & Ba.たきる(takiru)(ex-超時空アンドロイド-PIECE-)
Ba.ちか(chika)(弾丸 NO LIMIT(dangan NO LIMIT)) & Gt.大河(taiga)(My Fairytale)
Vo.&Gt.RYOJI(篠本竜司/shinomoto ryoji)(GYZE) & Dr.SHUJI(GYZE)
Vo.隆介(ryuusuke)(上村隆介/uemura ryuusuke)(慟哭～doukoku～) & Gt.文哉(fumiya)(上村文哉/uemura fumiya)(慟哭～doukoku～)
Gt.NARUMI(LOG-ログ-) & Gt.RUMINA(LOG-ログ-)
Gt.石川嘉彦(ishikawa yoshihiko)(ex-WERKMARE-->SONS OF NEW SCHOOL) & Vo.石川芳規(ishikawa yoshinori)(ex-SONS OF NEW SCHOOL)
Gt.仲程信恒(nakahodo nobutsune)(Raptor 9) & Vo.仲程信理(nakahodo nobumichi)(Raptor 9)
Gt.みる。(miru)(ex-メルヴェル(melvel)) & Gt.みるも。(mirumo)(メルヴェル(melvel)) (twin)
Dr.雀(suzume)(ex-ハイパーポケット(hyper pocket)) & Gt.かなた(kanata)(uni-ユニ-)

Artist: 陰陽座 Album: 風神界逅 (Fuujin-Kaikou) and 雷神創世(Raijin-Sousei) Score: I need new pants.
What band could possibly release a double concept album that eclipses their magnum opus? This band.

It may have taken them three years, but 風神界逅(fuujinkaikou) and 雷神創世(raijinsousei) are a monolithic compendium of Onmyouza's self branded youkai heavy metal. Translating to "Fuujin Against the Realms" and "Genesis of Raijin", respectively, these two albums together weave a saga about a war between the gods of wind and lightning. 風神界逅 is the more accessible of the two despite a bit of atmospheric self-indulgence, and is where the concept starts proper. Opener 風神(fuujin) sets a light, brisk pace with wood instruments which builds up into a small orchestra over two and a half minutes. A low rumble resembling thunder from the drummer tops everything off, lending a complexity unexpected of an instrumental introduction, and paves the way for the next few tracks.

Saying that 風神界逅 dominates from this point on is an understatement. Temper your expectations for aggressive metal and in turn be rewarded with the most creative rock music this band has ever written. Every single song is amazing. Tracks that kick serious ass are littered throughout 風神界逅, starting with 神風(kamikaze). A by-the-book melodic heavy metal number that cements the tone for the first half of the album, what it lacks in wow factor it makes up for in consistency. For the uninitiated, this is the first introduction to the sonic angel Kuroneko, the operatic, emotive front woman who nails every note from beginning to end. Her expressive vocals take center stage on every song she's in across both albums and shares singing duties with bassist Matatabi more than ever.

故に其の疾きこと風の如く(yue ni sono toki koto kaze no gotoku), 然れど偽りの送り火(saredo itsuwari no okuribi), and 飆(tsumujikaze) are just as aggressive as 神風 with impressive solos that push the album forward and maintain momentum. 一目連(ichimokuren) is notable for Kuroneko's enka performance, which adds a nice traditional touch and is a treat to hear her use. 無風忍法帖(mufuu ninpouchou) differentiates itself as the purest example of Onmyo's rock and roll spirit. The result of a band comfortable enough with themselves to experiment and have fun, it grooves hard despite breaking immersion. However, the album doesn't solidify it's position as one of the top releases of the year until it hits its climax at 八百比丘尼(yaobikuni). An eight minute progressive behemoth, few words exist to describe how beautiful this track is. A masterpiece that obliterates everything that comes before and after it, 八百比丘尼 starts with a tone suggestive enough to summon spirits and a distorted, hypnotic electric guitar which provides the barest of main melodies. Slow, deliberate buildup comprises the first three minutes, with elements weaving in and out repeated and rephrased as Kuroneko grips your attention for the entire song. Starting strong and improving as the song goes along, it picks up pace with the solo three minutes in. From there, the song starts taking shape, culminating in a second, more technical solo and an explosion of piano, violin, and multiple guitars at the apex. The song comes down from it's climax the same way it started, with the immediacy of the first few minutes replaced by confident resolution. If you listen to nothing else from this album, listen to this.

There is no lack of slower, more introspective moments on the album either. Ballad 雲は龍に舞い、風は鳳に歌う(kumo wa ryuu ni mai kaze wa tori ni utau) soars into the stratosphere while Kuroneko puts her opera training to good use. As far as the slower tracks go, this is at the top. Likewise, mid-tempo number 蛇蠱(hebimiko) follows 一目連 with pulsating bass, generous accompaniment, and a mesmerizing chorus that sounds like it came from a spell-book. Very reminiscent of 金剛九尾 era tracks, it surpasses them because it doesn't meander in it's own atmosphere. The album ends on an upbeat pop note with 春爛漫に式の舞う也(haruranman ni shiki no mau nari). It's almost become a tradition to end albums with the most accessible track of them all. If the depth, complexity, or traditional Japanese influence of earlier tracks weren't to your tastes, give this song a spin. It's at odds with everything else on the album, but fits in nonetheless.

If my glowing impressions of 風神界逅 were enough to get you curious, then it's time to blow your mind. 雷神創世 is the better album out of the two. It will go over much better with those desiring a more metal-oriented sound. Consistency is this album's strongest point. Every song uses the same batch of ideas, but Onmyouza synthesizes them in such a way such that they all are distinct and complement each other nicely. Contrast the ominous, brooding opener 雷神(raijin) with rocker 而して動くこと雷霆の如し(shikoushite ugoku koto raitei no gotoshi). The former ensnares the listener with weaving a thick Asian melody backed by hollow drums to produce an atmosphere that demands your attention. The latter has a guitar driven melody with a piano introduction and a notable guitar solo. Both songs feel like they're cut from the same cloth, yet they're on opposite ends of the album. This speaks to the amazing execution of the concept behind this album.

There isn't a moment on 雷神創世 where the music isn't charging ahead at full speed. Songs may feature the occasional slow melody break, but every song is as metal as this band gets. The party starts with the second track 天獄の厳霊(tengoku no ikaduchi), and from there it only gets better! The only snag is 人首丸(hitokabemaru). It's the first time Matatabi has done an entire song with only harsh vocals and no assistance of Kuroneko. He alone cannot capture the dynamic vocal range I've come to expect from Kuroneko, and some dimensionality in the music is missing. Not that 人首丸 is a bad track - it's just that every other track is better.

雷神創世 is the spiritual successor to 魔王戴天(Maoutaiten), and an alternative take on the sound scape explored by 2011's 鬼子母神(Kishibojin). Even the thirteen minute epic 累(kasane) - while not as impressive as 八百比丘尼 - weaves a tale so epic you can feel the emotion without needing to understand the lyrics. Kuroneko's trademark sinister laughter makes an appearance too! Standout tracks of 雷神創世 include 夜歩き骨牡丹(yoaruki kawarabotan), which sounds like a new take on an early Onmyouza sound, previously released single 青天の三日月(seiten no mikaduki), and ending track 雷舞(raibu). 雷舞 is the most straightforward, rock-and-roll album finisher from Onmyouza ever. Both Matatabi and Kuroneko duet the entire time with with an amazing amount of energy, and do a great job of engaging the listener right up to the very end. This is impressive when the album borders on two hours of content.

雷神創世 may be a notch above 風神界逅, but both take the spot as Onmyouza's best albums to date and get better with every listen. I have no idea what direction they will go after this and I have no idea how long it will take them to get there, but I'm ready anticipating something big. Onmyouza have made it clear that they are not done yet. Successfully pulling off a double concept album with only one song that was less than amazing, this is something every lover of metal, rock, operatic female vocals, or Japanese culture and music should listen to. In a year full of amazing music, these two albums sit at the top.

Artist: coldrain Album: UNTIL THE END Score: coldrain are fighting for international attention, but are they ready? Hailing from Nagoya, coldrain is a five piece band that over the last few years has found itself stepping out of Japan's alternative rock scene and into the global post hardcore market. Most recently, they've spent their time recording with notorious hit-maker David Bendeth. coldrain are the type of band who hit the ground running seven years ago and have no visible intent on stopping any time soon.

coldrain crack open this mini album with some stereotypical teen angst lyrics on "AWARE AND AWAKE". Moving past that, the music has a nice groove to it. The time-signature changes and the transitions from heavy verses to arena-rock choruses show small hints of the band's diversity. However, the entire song is quite cookie cutter, predictable, and falls into mediocrity. I can imagine this serves well as an introduction to new listeners who may not know quite what coldrain are capable of. It's wrapped in an easy to grasp package with all the mainstays of mainstream metalcore virtues. If you enjoyed this song, then the rest of the album will bode well for you, but if you're long-time fan, it might leave much to be desired. "EVOLVE" blasts you in the face with much more intricate guitar work straight away. Just when you expect to hear a standard post-hardcore chorus, the song teases you with a sludgy bridge first, which at least is a step in the right direction. This track shows more diversity in the first minute than the previous track en masse and sounds infinitely more brutal- partially due to Katsuma's solid double bass drum work. "AWARE AND AWAKE" sounds whiny and weak in comparison. Lyrically, "YOU LIE" treads familiar territory that other songs on this album have already covered, but it's much more emotional and bears a stronger alternative rock influence that gives contrast to the bridges and breakdowns. This song proves that sometimes less is more, and band's needn't reinvent the wheel to remain poignant and connect with the audience.

 
"FADE AWAY" has a fun, fast-paced, bouncy feel and is the high point of this EP, even if the lyrics are contrary to the atmosphere. This feels like the major crowd pleaser on the record and could easily fuel some fierce circle pits. It also carries the album's most infectious chant-along mantra, "until the end, you never learned, you never learned what it means to love". The band 'chooses their moments', so to speak, with the sparing breakdowns to retain a strong momentum throughout the song. They do a good job of keeping things from becoming monotonous by injecting a monstrous breakdown instead of the default pop formula ending that repeats the chorus into oblivion. Opening with an emotive, squealing guitar, "MARCH ON" is another strong showing. This track ushers in some restrained verses and continues the album's theme of chanted vocals, making this song's title easy to remember. The song builds on solid guitar work and explodes into machine gun riffing before the breakdown (which is unfortunately located at the exact same place as the previous song). The interesting guitar effects from the intro return to add dimension to the end and transitions nicely to the next song. "HOUSE OF CARDS" starts slow and sultry, with a lonely resonating bass line and a delayed piano effect that sounds both haunting and seductive. Drums fill in the hollows of the second half, and by the time the instruments have gelled together, most of the song has already passed you by. The last chorus feels like it slips through your fingers, all too soon, as it returns itself to an echoing wisp of notes. Normally I take issue with ending mini albums on somber notes, but this one leaves us with a great cliffhanger for the next release.

 
UNTIL THE END does as much right as it does wrong and it's hard to say who I would specifically recommend this release to when it comes down to new or old fans. They did the smart thing and tacked these songs onto the deluxe edition of their previous album, The Revelation, for international fans. The variety in the tracklist feels like the band wanted to show all of their strengths in the short number of tracks, but it also brought some glaring weaknesses to light. As for strengths, it really plays on Masato being one of the few English singing Japanese vocalists who was raised bi-lingual from birth. His English is about as perfect as you'll find in this scene. The band has a great pop sensibility and knows how to change with the times; being one of the few bands that has actually gotten heavier as they've gained popularity. Regardless, the major weakness of this album is the stale and formulaic songwriting. One of the pitfalls of having good pop sensibilities is the double-edge of sticking to the cookie cutter format of pop songs. The moments when this album gambles on mixing up that formula are when it truly starts kicking some ass.

 

I've not seen it myself, but the poster catched my eye when I saw it on Netflix. Looks good judging from the poster.

I've never actually tried this band, but I'm curious to check it out now given your review/rating.

Artist: DuelJewel Album: Story Score: Heroes in shiny visual kei costumes have come to save you. Story marks Hayato's triumphant return from hiatus earlier this year due to throat problems. It also hallmarks DuelJewel as one of the few visual kei bands that have stayed together for over 15 years and still release music. Their sound has grown and matured whilst remaining true to its core of soft flowery ballads cleaved with hard rock shred.

"Days" is reminiscent of a nostalgic visual kei fairy tale with a beat that makes you want to clap along. Hayato's voice soars, as clear and inviting as ever, as it weaves in and out of falsetto. The guitar work allows the song to swell with each chorus until it explodes into a solo plucked from the heavens. "It's just love" builds off of the previous song and settles into a sing-a-long song structure. The bass is much more prominent and brings necessary weight to the song. It settles into wide open soundscapes that rise and fall with small clips of distorted guitars. The simple melody is catchy, as if it were specifically written to be a single. "Sad/Mad" and "Sunset Riot" raise a tower of intensity through the first arc of Story as full-on headbangers. "Maze" doesn't lose any momentum yet smooths things out with contemporary visual kei riffage and a gloomy atmosphere. In spite of this, the song finds a way to lift you up by the end and stills your heart just in time for "Chronos" to raise your pulse again with its anime theme levels of grandeur. This feeling is magnified by the abundance of synth and effects. "アビスライフ(Abyss Life)" and "SLIP FROM MY HANDS" drive the album towards its frantic apex.

 
After that adventure, "奇跡の花(kiseki no hana)" offers a much needed melodic break and showcases operatic influences with angelic choir segments and leads us to "君の世界で(kimi no sekai de)", a full on ballad. Robust and overflowing with dark beauty; it's precisely how a classic visual kei ballad should feel. The way DuelJewel pulls you in shows you why they have remained relevant for all these years. "愛愁メランコリア ～Story Ver.～(Aishuu Meloncholia ~Story Ver.~)" is a second take on a fan favorite from '06 that never secured its place on any of DuelJewel's albums. I view this song as a "thank you for sticking with us" message for their fans. The Story Ver. has much better production that strengthens some of the buried instruments in the original recording. It is a perfect way to wrap up this album and bookend the wonderful nostalgia found in the first song. There isn't much else I could ask of the band to improve upon with this album. My only small gripe is that they could have broadened their horizons with more new influences. With that said, it doesn't negate that Story is a great album and addition to anyone's record collection.

 

WRITE-UP:
 
INTRO:
  The latest album by ALSDEAD, featuring the debut of their new drummer NIKKY (ex. GALEYD), and another obligatory change in their overall sound, feel, and direction.   An album that feels much more 'complete' than its contemporaries, with a solid feel and delivery throughout, providing another replay-button-friendly experience to my library.  
THE SOUND:
 
As similar to previous albums as it is different, they have kept the hard edge to their sound, while putting more emphasis on the individual instruments, and made the vocals fit in more as not necessarily leading the track, with melodies that are still strong and memorable, but do not rise above the value put on the guitars, or other instruments.
 
The signature cinematic ALSDEAD synth sound is back, with an even higher quality than ever. They definitely distinguish themselves as having some of the best synth's today, with more tracks that allow you to pleasurably follow the synth all the way through, and simply enjoy the unique tone, melodic value, and refined nature of production surrounding them. To me, the usual sign of having great tone is having notes that sound not as if they are coming from an instrument, and aren't registered by the listener simply as strings being picked, or keys being pressed on a keyboard, and ALSDEAD definitely accomplishes this on IDEA 
 
THE FEEL:
 
The tracks STARLESS and KILL THE KING should give you a starting point of what this album will sound like. It wavers in both directions: Softer with more synths, and harder with more grit and rough guitar. It is atmospheric, yet still comes off as a track-by-track experience, based on emotional expositions, raw emotions put into words that are either carefully articulated in Picture, or rudely shouted in D.9.N. 
 
It's emotional, atmoshperic rock-music storytelling that is delivered not with sap and melodrama, but with attitude.
 
HOW IT STACKS UP TO PREVIOUS ALSDEAD ALBUMS: 
 
If you have been following them, you have probably noticed that each album marks the end of one term in ALSDEAD's sonic history, and begets another. Their debut had an emphasis on heavy emotions, bad mental states, and a wailing, dramatic sound to match this. MODALITY felt like a series of short stories, with more of a straight-forward rock feel. Seperator felt like one long, interconnected story with a deeply atmospheric feel, and dark, sleepy nature to it in between harder songs.
 
IDEA almost feels like it mixes all of these elements together, while adding in some hard rock, some soft ballad elements, and some 90's rock mechanisms.
 
In terms of overall experience and enjoyment, I think after the initial adjustment to your expectations, and the fact that it doesn't sound exactly like older ALSDEAD, it holds up very well as another great entry into their library.
 
 
Track Count: 13
Listens: 20-25
Production Quality: 
Overall Rating: (This rating took some time to think over, as my first impression was of a 4.0, then built up to a 4.5 after about 20 listens, yet if I go with my gut, and realize how every track on this album hits home with me, and how much I am now enjoying it, I have to give it a 5.0)
 
Worth the Purchase?
If you have enjoyed their singles since Seperator, and have been a fan in general for any of their past releases, I highly recommend this. A solid album throughout, that shows no signs of inserted filler. The tracks are all solid, none get left behind in memory, each one brings something to the table, and overall this is a stand-out album that brings a lot to the table.

Not loving the fact that people get totally offended by someone's straightforward discomfort towards certain futile arguments against this release - sure, feel free to criticize this album as much as you want. But if "sounding like Dir en grey" and "having "bad" titles" are integral parts of your criteria (or if you side with people who prefer such criteria)...I might put it mildly as well: get out.
 
I don't have much to say about the album itself (Aoi Mochi summed up most of my thoughts sweetly), but gotta give my 3 cents:
 
"Vicious of Absolution" and "Story of a Different Dimension" have their ultra-nostalgic charm in my book - the former being some sort of "back-to-mid-00s-j-rock"-flavored semi-ballad and the latter for being a proper,superior package of everything they did back in PLAY DOLLs "The Red" clearly shows that they acknowledged most of their faults in self-titled - the hell, the improvement itself is unexpectedly huge! I didn't personally feel like "Aqua" was "too long" - the pacing was neat, not to mention the finish The only mattering downside for me at this point would be "Alone". It's all fine, except that I don't feel "Mar Maroon"-y ballads that much (Wataru sounds quite monotonous too).
 
All in all, neat album! 8,5/10

Artist: 12012 Mini: XII Score: After years of uncertainty, 12012 finally leave their fans a release that shines with confidence.
12012 have been struggling to find their sound for quite some time now. Throughout the years they have had a number of stylistic changes, jumping between gothic hard rock tunes and gentle pop melodies before settling on dark chugfests. It’s ‘Deicida of Silence’ and ‘The Swan’ which grabbed my attention, with new guitarist Saitou embellishing the band’s sound with the technical skill missing from their lacklustre self-titled album. With the announcement of their final EP before an indefinite hiatus, I was expecting 12012 to leave with the same deafening roar they displayed with their latter EPs. On the contrary, ’XII’ signals another sonic change for the band. Rather than creating more confusion for fans, 12012 seem to have found their identity.

What hits you about ‘vicious of absolution’ is how calm it sounds in comparison to ‘The Swan’. The downtuned riffs and thunderous drums have been given less precedence, instead running in tandem with audible basslines and gentle piano tones. Although lacking in sheer volume, the opening track is a brilliant showcase of Wataru’s vocal skill. The poor engrish and harsh vocals that hampered previous releases are gone, leaving us with a strong and emotive voice which has been missing since ‘Seven’. Although a quiet track, the intricate bassline, tinkling piano, and complex drumming in the background perfectly complement Wataru’s voice, creating a dark and despondent atmosphere fitting for the band’s potential final release. Devoid of chugging, screaming, or deafening blast beats, the song sets the tone for the majority of the EP.

‘story of a different dimension’ leads into more familiar territory, sounding like an experiment between ‘Diamond’ and ‘The Swan’; catchy and instrumentally balanced, yet dark and with a killer riff you’ll be humming for days. Again, Wataru’s vocals are impressive here, perfectly matching the energy of the song without going overboard. The chorus in particular highlights this, as well as the foregrounding of the bass guitar on ‘XII’, which allows the whole EP to sound more atmospheric than previous efforts. Saitou’s guitar work is also given a larger role in this song, infusing it with some much needed energy after the previous solemn affair. Due to its catchiness, infectious rhythm section, and frenetic opening riff, this is easily the strongest song on the EP and one which best shows the band’s newfound confidence.

This leads into ‘the red’, which is reminiscent of 12012’s latter EP. The sludgy guitar is back along with the guttural growling and desperate shrieking. Although out of place compared to the rest of the EP, the song is a perfect fusion of their pop and death metal sounds, with clean vocals and melodic instrumentation placed in parallel next to their binary opposites. Although the weakest song on ‘XII’, it displays a successful amalgamation of 12012’s previous sounds. Although this fusion is explored in every track on the EP to some degree, it’s this song which makes it the most apparent due to the ever-changing musical atmosphere.

In sharp contrast to this, ‘alone’ is taken straight out of 12012’s poppier back catalogue, making it a less challenging track. From the guitar tones to Wataru’s softer crooning, the song could have easily been slotted into ‘Mar Maroon’. Initially I couldn’t bear it; the mildness of the track detracting so much from what I was now used to from the band. However, repeat listens revealed the track to be one of the most musically balanced, with each member being easily audible. Due to this, the song is fuller than ‘the red’ in terms of its sound and allows each member to stand out in their own way. Not only does this make the song pleasant to listen to, but it also helps to convey the sound of ‘XII’ through its rich instrumentation. Complemented by basic guitar chords and beautiful piano, this song shows how 12012 can write a good pop song without deviating from the gloomy theme of the EP.

This skillful mix of genres is also apparent with the EP’s closer, ‘aqua’. The longest track on ‘XII’, this song starts with a simple electronic backing tune and piano. Once again, Wataru’s vocals take centre-stage here alongside a sombre bassline. It takes a while for the song to gain pace but as soon as the drums kick in, ‘aqua’ is given real weight. Matched perfectly by the louder, more insistent vocals, a true sense of closure is given to the EP. Wataru’s plaintive cries also convey the sadness behind the band’s hiatus which makes the song much more emotive. Sadly, this climax is followed by a clumsy guitar solo which sounds like a collection of odd notes thrown together. Unlike the bass solo preceding it some minutes before, it doesn’t seem to match the key of the song and stands out in the wrong way. The song’s length is also a drawback, weakening the effect of ‘aqua’’s impact through its meandering middle section. In spite of this, ‘aqua’ is an emotional piece and a fine way of ending ‘XII’.

I was disappointed with this EP at first. I hated that the band had changed their sound despite creating something unique with ‘Deicida of Silence’ and ‘The Swan’, flippantly disposing a genre that suited them well. Despite its lack of initial impact, I found myself listening to this EP over and over again, realising each track was as infectious as the last. As a result, ‘XII’ isn’t a step backwards at all, but a display of maturity caused by a fusion of everything that makes the band great. The EP is heavy but in a different way; with nothing used to excess. Every track demonstrates each member’s technical skill with darker, heavier material, but also an awareness of the fans and what they’ve wanted since ‘Seven’ or even ‘Play Dolls’. Due to this, they leave the scene with their most memorable release to date, covering all past soundscapes in a fusion that is a pleasure to listen to. If they ever come back - and I truly hope they do - this is the 12012 I want to listen to. This is 12012 at their finest.

Artist: girugamesh EP: Gravitation Score: After a few years of borderline radio-friendly stagnation, Girugamesh have hit back with quite possibly their best release yet.
After a few years of borderline radio-friendly stagnation, Girugamesh have hit back with quite possibly their best release yet. Last year's Monster symbolised a beacon of hope for both fans and the band. The aggression was back, the heaviness was back, Girugamesh was back. Although steeped in pop-sensibilities at times, the album took a 180 from pop to electronic metalcore, leaving the burning wrecks of Now and Go far behind.

It's been a year since their last full-length Monster, and Gravitation not only keeps this reclaimed heaviness in place but polishes it to perfection. Kicking off with their hardest song to date, 'Go Ahead' lures you in with gentle tones before ripping your head off. Satoshi's transition from gentle crooning to terrifying growls, for example, are nothing short of frisson worthy. Having the rawest vocals, the hardest breakdown, and the most memorable chorus, this song characterises the EP and spearheads their new sound. As a song that can only be described with superlatives, 'Go Ahead' highlights how Gravitation has led the band to a new level of heaviness. This permeates throughout the EP. While 'Reflection' displays a hard metalcore influence, for instance, 'Vortex' goes beyond that, opting for a thrashy deathcore vibe; a massive departure from Go in many respects.

I thought it would let up at some point but the whole EP is like this; every time a lull in the intensity is expected, it continues its bombardment of chunky riffs and pleasantly incessant drumming. This is exemplified best in 'Reflection' where Satoshi tries to do some severe damage to his throat...in the best possible way. They could have included a slower, gentler track to give the listener a breather, but instead they opted for five heavy songs varying in loudness and intensity. The infectious electronic elements and catchy vocals which have characterised their more recent efforts are used to full effect here, modernising their previous sound and making each track as memorable as the last. All of these elements culminate in 'Vortex' which, replete with screams, riff-heavy guitar work and double-bass pedaling, is the best way to end Gravitation: in the same loud and exciting way in which it started, exuding a confidence not found on their older material. This is the Girugamesh we wanted after Music and the band sure as hell knows it.
 
By cramming everything their fans love about them into one neat package, Girugamesh has created their best effort yet. Contrary to more recent releases, the intensity and loudness of their old sound is back and better than ever. While taking a new form reflective of some current "-core" genres, classic Girugamesh permeates to the point where they might win their older fanbase back.

Upon listening to Gravitation it's clear that Girugamesh are back and louder, heavier and better than ever!

Wow Zess, that was a mouthful. Cool review tho, even if evidently I'm on the other side of the field so to speak.
 
My thoughts on these 3 tracks (gonna go track-by-track cuz lel whatevs):
 
Theatrical Blue Black - Starts out with a light but powerful feel, and it's good to hear MiA finally utilize riffs on recordings he could actually replicate later in a live setting with just one guitar. The verses flow nicely into that bridge thingie, tho the screaming/squealing part is totally unnecessary, it feels like it's just there to "be there". Thankfully, the chorus is pretty sweet and sticks in your head immediately. Overall, a pretty cool track for an A-side with lots of energy, makes me hyped for the album (along with RAVEN).
 
BI"name"JIKA - I totally live for that cheesy synthy atmosphere in the beginning of the song, and then the weird clapping beat during the verse. xD It's something I haven't really heard from these guys yet, but still fits in well within their carved-out style. The chorus is surprisingly mellow (the beginning of the track somehow made it feel like a light-hearted feelgood party number)... then that last minute totally makes me lose my interest. Average song with some interesting bits sprinkled in.
 
HATE - Somehow I thought this was gonna be a fast punky SADS-like bomb (yeah, because of the title xD) but rly it's your regular MEJI'song with a bit more aggressive guitar parts and backing shouts thrown in (which I approve of!). This song kinda just flashes by you, there isn't much for it to stick in your memory. This is one of those tracks that might sound cool but ultimately it's just kinda hollow and by-the-numbers.
 
| an okay single, the usual (tho a bit better B-sides this time around, compared to their last one)

I guess it was the first DEG album many people listened to (inluding me), so it may be because of that too.

I am honestly surprised (in a good way) that WTD is currently in second. I was under the (apparently incorrect) opinion that it was not one of Diru more highly regarded albums.

WRITE-UP:
 
Matenrou Opera returns with an album that tastes like a concept album, yet leaves the over-all decision on whether it is or isn`t up to your interpretation.
 
The term Avalon refers to a place in so-called Arthurian legend, where both the Excalibur was forged, and legendary knights as well as King Arthur himself was buried. Some speculate it to be an island off the coast of Scotland and Wales.
 
The album is laden with sounds reminiscent of Medieval times, and song titles refer to heaven or paradise, which Avalon is a gateway to; that is where the concept album feel plays in, yet the songs actually tell varied tales which can not always be played in to the album`s title, and the inclusion of the previous single A-Side Orb further leads us astray.
 
Concept album or not, this album is definitely not a collection of different tracks or hits thrown together. It plays more like a film cut into different parts, telling different stories, but almost always fitting a certain feel, and that is the experience you get from this album. It has a common title, but the experience is a unique one. The `Opera` touch of the delivery along with a unique vocalist matched with a hard band delivers a one-of-a-kind experience, and I think that is really what you are getting from this album. It`s not another rock album, not another VK album, it is something of its own, and you need to sample the singles from the album to see if you will enjoy this experience. One key thing to keep in consideration is if you like the vocalist and delivery, as this is a comon point of divergence amongst opinion.
 
To me, this more of a sit-down and listen album rather than something you can throw on, although tracks like Orb, 隣に座る太陽 and クロスカウンターを狙え are the tracks I would think you are likely to throw on as stand-alone listens. The album doesn`t use hooks or catches as much as you would expect from a modern album, if you want a comparison, I would say it is more like Versailles from a different era.
 
Track Count: 12
Listens: 15-20
Production Quality: Great sound, yet my personal preference is for a wider sound stage and more clarity in individual intruments, esp. more of the guitars.Though they seem to specifically like putting emphasis on the vocals.
 
Overall Rating: Great album, defined, unique experience, listening on the I will skip some tracks, but if I want to let it play out there are no skip-inducing tracks.
 
Worth the Purchase?
For me, this is definitely worth the purchase. Although it is not an album that will get the most rotation. It is something I will keep in my library and bring out on occasion.

RIZE TO THA HOOD SHOOTING THE TARGETSSS
 
Ok, I love them but that tracklist... lol

Announcement leaked: Yoshiki will get a new haircut and sell his hair, with 3 types available. Type C comes with X SHAMPOO

『because latin is so 2011』

Alt. important announcement: Official X-Japan Brand Chastity Belt.
 
Yoshiki quoted as saying: "With this tool, you too can experience our next album. No release!"

Cooking With Yoshiki book confirmed for release, featuring over 20 recipes inspired by each X-Japan member.

X JAPAN will have important announcement at 2014/08/06

"With 10 re-recorded old songs and 1 new song"

"We've finally found a way to bring Hide back from the dead!"