sleepy coffee

DOBEが送る最強のキラーチューン、『新宿アスホール』、近日配信開始。
 
The strongest killer tune sent by DOBE, "Shinjuku Ashole", will be available soon

Gt.Kou. has joined DOBE on 1/31!
 
They will hold their oneman, "新宿アスホール" (Shinjuku Asshole) (best name) on 3/31 at Shinjuku Head Power
 

 

announcement tonight 

Isnt this the band that sells condoms at their shows 

Fucking great release, definitely infinitely better than their first full length (which even then isnt saying much). But ya this is hella solid, even all the non pv tracks hold their own.

so dimlim released misc on usa version. hmm...gotta say, i feel pity for all those people who are gonna die without listening to dimlim.
 
Ive heard a lots of different kind of music, from cannibal corpse to indian classical music, from neo folk to jpop but nothing soothes my soul as Sho's gender bending vocals.
 
All hail DIMLIM~

I thought it would have come in that cool little white bag, judging by how they advertised it

My physical copy arrived today (I’m in the UK) from Amazon! 

i havent seen it stated anywhere but KAZ from SLOTHREAT provided backing vocals on choruses in this album

this album's WEIRD but i'd rather have a few more strange ones like this than a hundred alright albums that do just fine.

not sure why the 'are they vkei or aren't they' debate is so lively when the music sounds more vkei than 鵬翼 & their looks are more vkei than 達郎's in 心のない町's PV. between this & DEZERT i'd say rather than declaring individual bands to have fallen off the vkei wagon we're seeing the early phases of another branch of this scene, like what we english-speakers call oshare/nagoya/angura/art kei. indie kei? i think it could be a thing & would love to see more of it

tbh retsu could put out a full album of SEs & i'd enjoy it - maybe that's bc i don't listen to enough actual IDM or Flying Lotus et al but either way it pauses & carries the mood of Misc. & CHE DO A RA both nicely; this is a hill i'll absolutely die on.

7/10 imho is the perfect rating for this album to end up with - every album dimlim puts out seems like a different band's debut & i hope they stay around to make 10+ more

If this is the sound they wanna go for moving forward then I'd like to think it's something theyll just keep getting better at with each new release. I know technically this isnt a new band or a debut album but that's kind of what it feels like (not in a bad way) and itll just take some time developing this new era of dimlim to reach their full potential. Unless of course they do another 180 with their sound in a year or two but I would like to see them move forward with what they went for in misc.
 
My first impressions I'd probably give the album a 7/10 but I need to sit on this for a week at least before giving a proper score.

For the most part I feel the same about the album as a whole being messy (dunno if any remainder gya would dig it), but at the same time...
 
This is probably one of the more exciting things I've listened to in a loooong time and I really want them to implement a lot of what's present here in a future release. It was not exactly the songs, but those brief "woah" moments that really made the album for me. I'd get into a groove and then there's this section of weird aural fuckery that gives me the tingles, but afterwards the track might lull out. The mixing is pretty great too, though I wonder if it's b/c I'm used to muddled cheap-kei production as of late. 
 
I have a good feeling I'll be listening to this album for at least a month.
 
Brief Notes:
The chorus of "MIST" on first listen kind of gave me レイラ/nil admirari vibes (?) "Take me out in the midnight" is the most Chon-like of the tracks, and it's super fun. "Funny world" is all over the place but it absolutely works. Sounds like it would be a killer live track. "+&-" at the beginning almost felt like an iglooghost track, but abruptly turned into a trap instrumental Beiber would use (a bit of a head scratcher.) The beginning of "for the future" sounded nu-BMTH, but the rest of the track was pretty normal. "Tick Tak" is godly, especially after 2:00. There are parts of "TO FOOL" that are a fucking trip, but then "Before it's too late" goes really heavy-handed with that nu-metal-like intro. Then it's just Sho screaming with R2-D2 getting the succ in the background and it sounds fucking goooood. "out of the darkness" starts out pretty nice and then the vocals get all sensual and whispery... then just goosebumps w/ those sub bass sections w/ bonus taser noises. "Lament" ended on a super fun note.

リリース： 2020年1月28日
レーベル： DUM LABEL.
 
▼収録曲
1. We’ve changed.now it’s your turn next
2.MIST
3.真夜中に私を連れ出して
4.Funny world
5.What’s up ?
6.＋&−
7.For the future
8.Tick tak
9.気付かない者たちへ
10.Before it’s too late
11.Out of the darkness
12.Lament
 
 

bueno ... ya estoy esperando mi copia de amazon.co.jp. Mientras tanto, he escuchado el álbum en Spotify varias veces y digo que tengo un sabor agridulce ... claramente la primera mitad del álbum es más olvidable, pero la segunda mitad me parece épica ... de la canción What "s up? es Es muy agradable escucharlos, canciones como para el futuro. Antes de que sea demasiado tarde o fuera de la oscuridad, hazme creer en ellas en el futuro.

+1

Wow this is better and more than what america got I'm jealous 

all crowd related stuff
 
furi, rows and everything else that makes freaking metalcore concerts look like a kids show live audience or smh

IMHO this is yet another the case of the "NOT HEAVY = HORRIBLE" tired trope, similar to what happened with DEZERT.
 
And yes, while I was also expecting more, there's also a lot of raw good ideas here, that could definitely have used a couple months more to flourish. After Rijin there was Kidoairaku, so I'l treat it as what it is: a conceptual release, an experiment to further polish the identity they are looking for.
 
highlights: What's Up?, Lament, MIST, Tick Tak, out of the darkness

少女A（※17才） (2019)
 
Mathilda are a band I was immediately on board for. They debuted with a messy look that used every color in the crayon box, as well as whatever was found in the scrapbooking drawer. They even shot a PV in front of that silver tinsel background from 2004 that I was convinced was never ever going to be making an appearance in vkei again, along with a sound that was clearly inspired by Aicle。. What began to happen, however, is that they eventually grew into something else. And then something different. And then something else again. It seemed like each release in their relatively frequent release schedule came with a change that read more like a loss of identity, rather than a metamorphosis. Would their sophomoric mini-album yield the same results?
 
We start with カバートアグレッション (Covert Aggression). As this title implies, this song is on the heavier side and is more nü-metal influenced than many of their past works. I recall enjoying the main guitar riffs, but ended up disliking the chorus because it felt disjointed and didn’t have the real bite I wanted it to. In fact, it reads as annoying. What’s more is that this sounds like they used minimal dubbing, and as a result their use of only one guitar becomes glaringly obvious. It’s perfectly possible to be vkei with one guitar, even though bands dub in up to 6 guitar lines to make the song sound full and to cover up and weaknesses in capability, but in this case Covert Aggression would have benefited from this technique. The single guitar line, coupled with the lack of any sort of synth or mellotron harmonies, leave this song feeling like they forgot to put the hooks in. I will say though, their bassist definitely stepped it up in this song. So far, we are off to a bit of a rocky start.
 
 
Next comes the title track. I don’t have the lyrics in front of me, but I assume there’s something about murdering teenagers in here based on the album art that has a school girl’s corpse jutting out of a sewer pipe. Everything I said about the previous song, reverse. Instead of more guitar and focused melodies, we have simpler bass lines, several guitar parts, and a lot of synth and piano inserts strung between each musical phrase. For the context I assume this song is played in, it is surprisingly upbeat sounding. They experiment with a bit of clean tones and circus inspired melodies (my favorite, honestly) throughout the section about 2/3 in. The other main melodies of this song are a patchwork not unlike what Lack-co. used to do, and also like Lack-co., it is sometimes hard to see how these different ideas actually relate when they’re being tied together by brute force. I do enjoy the bright and sparkly guitar work during the chorus for the way it reminds me of things like CanzeL, but as I sit here writing this, I cannot help but notice that I can only say something positive about this song when I am dissecting it into its respective pieces. 少女A (Shoujo A) has its moments, but the jigsaw pieces seem like they were forced to fit. This ends up being a solid “middle of the road” for me. It may win over some new fans, but it is far from being their best work.
 
Vanquish is a bouncy rush song. It starts off with some ripping paper sound effects (shade towards their 0.1g drama?) and rushes head first into its first verse. The chorus of the song is accompanied by constant blast beats, in spite of the almost entire cleanly song vocals and surprisingly slow pacing. Immediately after the chorus is a pretty good break down, followed by a rehashing of the main guitar melody. Towards the end of the song there is an acoustic break that repeats the guitar theme, before bleeding into the last chorus. Vanquish is rather short lived, clocking in at just over 3 minutes. I did really like this track, and it sounds like it was written for some wild furi when being performed live.
 
はみがきのうた (Hamigaki no Uta) starts IMMEDIATELY at the end of the previous song and grabs your attention with really high pitched guitar akin to something Marina-era Vidoll would have done. I am always surprised when this happens because I think it’s just a bonus round of Vanquish, but it’s definitely it’s own animal. This song is more demented sounding than everything that’s come before it and really has me feeling like I’m listing to a modern version of something like “サンガコロンダ,” except it’s about...brushing your teeth? Dental hygiene is important. The chorus is a lot brighter than I originally anticipated, with some clean tone accented chords and that twinkling guitar sound that Lynch. does, before returning to the darker motif the song established earlier. I could have done without the weird fairytale sounding bridge in the middle of the second verse, but whatever. This is one of their better songs 🦷
 
Confi Tranquilizer is a perfect example of what I meant by “they keep trying to figure out what the hell they want to sound like,” because we totally shift gears here. Instead of being a distant Diru relative, watered down by 6 generations of visual kei extinctions, we are presented with a chip-tune song dug up from Metronome’s early career. Pulsing electronica backbeats during the (scream-sung) verse, very little guitar flourishes, and the very slightest hint of a vocoder (just a little, as a treat). Needless to say, this stark change in direction had me befuddled. But once the ice cream headache died down, and I really could listen to this with my brain turned off a bit, I realized two things.
 
1- this is actually fun?
2- when compared to their very early releases, this song is one of the possible paths the natural progression of a neo-osare (I’m not calling them “kirakira” because what they draw influences from are quite clearly osare bands from the late 2000’s) would take.
 
In a sense, this is them giving me what I asked for. I didn’t recognize it at first, but this beepboop bop could have very easily been some sort of Aicle or ALiBi b-side. I am half tempted to theorize that there’s some Kingdom Hearts level delusional storyline going on here where none of the plot makes sense until you put it together, but then again, this is indies vkei and that’s giving a band here for the easy puss way too much credit.

 
クレプトマニア (Kleptomania) - Spooky music box? Early Loop Ash band guitar riffs?
 

 
This is a true return to what I had expected of this band from the jump. The song that this immediately reminds me of is Aicle’s “僕は魔王”. I love the little flourishes between phrases and manic outbursts throughout. The chorus isn’t the best to me— compared to the rest of the song it starts off a bit lethargic and doesn’t build into anything extremely catchy. One thing I want to emphasize is that even though they are doing something I’ve been asking for, that doesn’t make them immune to criticism or give them a free pass. I find myself forgiving too many shortcomings in music just because it reminds me of something else, or because it is a style I enjoy. I definitely appreciate Kleptomania for what it is, but it isn’t the acme for this band.
 
毒キノコ (Doku Kinoko): ??? Three times in a row?? This is bright song with twinkly synthesizer, playful guitar lines that are often scale runs, and those whiny vocals that osare was known for. A very surprising end to this mini album, but it was definitely long overdue. An enjoyable listen, but I don’t know if there’s much under the novelty for me. A good entry to their discography to show the judges #diversity.
 
At the end of the album, I am left with a question. Which is the real Mathilda? There’s the heavier, psychotic and menhera band that lives in the first 4 tracks, and then there’s there 2000’s homage-kei band that appeared in the last 3. When it comes time for them to disband, I would not be surprised if they made two collection albums for each of these personalities, if that’s even what they are. It would be one thing if they had two distinct styles as a theme, but as others have said, I think this is more due to a lack of vision and trying things until they stick, rather than a calculated presentation. Shoujo A is actually a good mini-album. It might win you over if you’ve never tried them before, and it may even win you back if you peaced out after their second guitarist quit. It just feels like their discography has the track lists for each release randomly sorted, which makes looking at the bigger picture unsatisfying.

Isnt this the band that sells condoms at their shows 

[tracklist]
01. 音無 (Otonashi)
02. カケチガイ (Kakechigai)
03. 激情 (Gekijou)
04. 白日 (Hakujitsu)
05. 雨音と憂鬱 (Amaoto to Yuuutsu)
06. お伽噺 (Otogibanashi)
07. 無垢 (Muku)
08. 「追憶」 (Tsuioku)
09. 蕾 (Tsubomi)
10. うたかた (Utakata)
11. ズタズタ (Zutazuta)
12. 絶望輪舞曲 (Zetsubou Rondo)
13. 焔 (Homura)
14. 芽生え (Mebae)
DVD-01. 音無 (Otonashi) PV
DVD-02. 絶望輪舞曲 (Zetsubou Rondo) PV

[tracklist]
01. Graffiti Shock!!-SE-
02. メリケンロック (Meriken Rock)
03. もう絶好だ！ (Mou Zekkouda !)
04. 社会のちり箱 (Shakai no Chiribako)
05. モンキーパニック (Monkey Panic)
06. 僕は涙が出ない。 (Boku wa Namida ga Denai.)
07. ピストルゲーム (Pistol Game)
08. 馬鹿とハサミの使い方 (Baka to Hasami no Tsukaikata)
09. 爆裂メリーさん (Bakuretsu Merry-san)
10. DARLING?
11. 閃光 (Senkou)
12. 夕焼け小焼けでまたいつか (Yuuyake Koyake de mata itsuka)
13. ヘイセイ後遺障害 (Heisei Koui Shougai)
14. 明日ミサイルが来ようとも戦争が起こってもここで歌いたい。(Ashita Missile ga Koyoutomo Sensou ga Okotte mo Koko de Utaitai.)
15. お前が死んでも誰も悲しまない。(Omae ga Shindemo Dare mo Kanashimanai.) (Bonus track)

Tick tac best song, might need a few more listens to digest though.