[header]MERRY - NOnsenSe MARkeT[/header]
[header]Rating: | Who (or what) is MERRY? ... THIS is MERRY:[/header]
01. iNtO the mARkeT
08. Zombie Paradise ~地獄の舞踏曲~
02. NOnsenSe MARkeT
09. Carnival
03. 東京
10. Station 07
04. 自意識過剰型木偶人間
11. 千代田線デモクラシー
05. ZERO -ゼロ-
12. 梟
06. 暗闇にピンク
13. Unreachable Voice
07. Hide-and-seek
14. 群青
If anyone asked me about MERRY, I would show them “NOnsenSe MARkeT.” This is the definitive MERRY album! Not only is this album representative of MERRY as a whole, it pulls off quite a few things that don’t commonly work in Visual Kei. From the very first tracks, “iNtO the MARkeT” and “NOnsenSe MARkeT,” we have: an introduction that segues beautifully into the second track, beautiful acoustic guitars that don’t sound too poppy and in fact, add to the atmosphere (You’ll hear more in “Unreachable Voice”), and we get some fine-tuning and maturing of their previous sound from (the less than stellar received) “Beautiful Freaks.”
This album is full of throwbacks to their past styles, giving us some “現代ストイック” (Generation Stoic) vibes, a few “M.E.R.R.Y.” vibes, a little bit from “nuケミカルレトリック” (nu chemical rhetoric), and so on, while ultimately refining the sound of their previous effort. In Visual Kei, it’s not uncommon for a throwback or continuation to yield something stale, or perhaps “uninspired,” and perhaps that continued sound becomes another on the long list of (unwritten) definitions for that… “G” word (generic). But on this album, MERRY manages to show remnants of their past while keeping things fresh.
In Visual Kei, it also seems uncommon for bands to modify a recent sound for the better. If you didn’t like “Beautiful Freaks,” do not turn away from this album. The songs on this album are much more interesting and engaging, and the overall “package” is more cohesive.
One thing that contributes to the greatness of each song is the flow of the tracklist, and hearing each song in the midst of another. When I first heard “ZERO -ゼロ-” in late 2013, I completely dismissed it, despite instantly falling in love with the previous single “梟” (Owl), but hearing that song on this album made it a more enjoyable one. Although I will say, that pseudo-reggae break in the middle of the song had me cringing.
Let’s talk about Hide-and-Seek for a bit. It’s got a ‘surf-meets-’60’s jazz club’ kind of vibe, with emphasis on the jazz club, all the way down to the way all the instruments were equalised in production (just for this song); it sounds a bit like a live recording that took place at a jazz club. The song is also a rare example of how you can create one song, that can remind the listener of another (SID’s “妄想日記”), without it sounding like a carbon copy or ripoff.
Some more honourable mentions include the segment of the album from “暗闇にピンク” (Pink in the Dark) to “Carnival.” These are just damn fun songs, and overall give a similar kind of vibe. These songs are essentially the party of the album, especially “Zombie Paradise ~地獄の舞踏曲~” (Tango from Hell). After the party ends, you go to “Station 07” and take a train home… the rest of the album still has some energy, but it effectively winds down. And “千代田線デモクラシー” (Chiyoda Line Democracy) is just catchy as fuck, with the melody and that accordion.
I am about to eat my words about one song…
I thought that the album ending with “群青” (Aquamarine) was going to be bizarre, and leave the album unfinished. But when I read @*littlelamb’s comment about the song having a strong message to stay positive and hopeful, I kept an open mind. “群青” as an ending is not as bizarre as you may think. It does give you that sort of “to be continued…?” feeling, but it doesn’t feel wrong. It doesn’t leave you frustratingly thinking “where’s the last track??!!,” but instead, it leaves you anticipating MERRY’s next chapter. It’s saying, “this is where we’ll stop… for now. In the mean time, keep your head up!”
Every time I listen to the album, it doesn’t feel all that “experimental,” but in hindsight after listening, there are quite a few things that I can think of that would count as “experimental.” So maybe this album does have those moments, such as the Halloween dance track “Zombie Paradise ~地獄の舞踏曲~,” and the vintage sounding “Station 07” - “千代田線デモクラシー,” but the album isn’t scattered, or disjointed. The album is very cohesive and the tracklist flows quite nicely.
Honestly, I am highly impressed by this album, and am already considering it my favourite MERRY album. While I can’t say I’ve listened to a single album in their back catalogue as much as I have this one, I see this turning out to be their most memorable. If you want some material from a band that’s been around for awhile that can say “yeah, we still got it!,” listen to this album! If you’ve heard of MERRY, but haven’t really been engaged into their sound, listen to this album! If you’re new to Visual Kei, and wanna try out another cool band, listen to this album!