Zeus
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Posts posted by Zeus
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Tracklist:
1. OUSIA
2. THE WORLD IS MY ROOM
3. 赫音-finis- (guitar & bass re-recording & full remix)
4. 失い (guitar & bass re-recording & full remix)
5. TRIPPER (guitar & bass re-recording & full remix)6. RUVISH
7. DEJECTED RAIN (new arrange)
8. 赫音-justitia- (guitar & bass re-recording & full remix)
9. BLIND DAYS
10. THE HOPELESS
| I came for OUSIA and found some other goodies worth staying for too!
For better or for worse, I've stayed away from following the activities of THE BLACK SWAN too closely. I've been under the impression for the longest that they are another one of those bands - gaudy outfits, heavy guitars, formulaic songs, and a step above awful but nothing exciting that catch my attention. My fears stemmed from how bad NEGA burned out near the end of their career. They excelled at this gothic creepiness during their Rebirth Under the Chaos to approximately Grave of the Sacrifice era which was mostly lost when metalcore took the wheel. THE BLACK SWAN, in contrast, suffer from no such burnout. They succeed at recording genuine depression and pain. It feels much like NEGA during that time period mostly due to sharing a vocalist, but with OUSIA -dispersed- THE BLACK SWAN breaks away from the confines that NEGA never could. It's that rare album that despite its flaws did the near-impossible feat of taking a band I once thought was derivative and making them definitive (or at least demonstrating that these members are more talented and creative than I had given them credit for)."OUSIA" is eleven minutes of perfection. Opethian riffs are supported by progressive song structures that echo Dir en grey's "Macabre" and Nega's "虚しき「生」の寓意≒「死」の真意", but with enough flair and personality to be its own creation. The guest feature of 優(yuu)(ex-NEGA) on piano is impossible to miss, managing to work in an atmosphere this band usually doesn't go for. The great use of piano, acoustic, and electronic elements keeps the song entertaining for all eleven minutes and every member (even Jin) gets a moment to shine. Yuu's guest appearance makes this song, but the guitarists are the reason why I continue to revisit. They may be no Hizaki, but their virtuosity is something to behold as well; the amount of solos in this song alone are ridiculous. This is how you use influences!
No matter how many solos they throw into the mix to spice things up, Jin will likely make or break the experience. For me, this is his best and most consistent performance in recent memory. He's found the best way to harmonize with the music without sounding out of place. The worst thing I can pin on him is hitting a few sour notes here and there. Late album banger "DEJECTED RAIN" is a wonderful example of this. Jin shows his versatility as a vocalist with his arsenal of mumbling, banshee shrieks, and harmonizing. It impresses me enough to look past his limited singing range, and backed by a wicked riff it's one of the best songs on the album.
Before my hopes for a progressive visual kei band fully blossomed, reality came crashing through the window. There are more than a few flaws with OUSIA -dispersed-, one of them being that there seems to be little thought put into the track list beyond putting the best one first. "OUSIA" should be somewhere towards the middle to end of the album. The follow-up song "THE WORLD IN MY ROOM" is a discordant mess where the band never feels like they're on the same page. "TRIPPER" would be cool if it weren't for those awful eight measures both a minute in and after the solo that sound so lame compared to the rest of the song. "赫音-finis-" and "赫音-justitia-" have cool melodies but don't stick with me otherwise. Ending the album on a core note with "THE HOPELESS" was the last of many strange choices. Of all the styles they showcase on this album they end with the least impressive one.
As far as things sound, I would be wrong to not mention that OUSIA -dispersed- is the latest victim of the loudness war. It is very loud and the music sounds constrained on everything but my most expensive pair of headphones. It hurts to listen to after a few tracks honestly and considering the length this is a problem. The biggest offender by far in the mix is the sound of that bass pedal. It should sound more like a hollow thud or distant rumble and less like a typewriter to be most effective. The typewriter's clack permeates every track and takes quite a bit of power away from the metal.
Despite some missteps OUSIA -dispersed- is a very competent album with more than a few tracks worth revisiting. Among my immediate favorites are the title track, "失い", "DEJECTED RAIN", and "BLIND DAYS". It positively improved my opinion of this band by leaps and bounds. If this is an unfinished product, I can't wait to hear what the whole thing sounds like as intended.
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Best of 2015
I tried.
Crippling depression, chronic sickness, and a disinterest in almost everything coming out had me thinking twice about releasing a list this year. You guys motivated me to get off my ass and finish this, so this post is for you. I can say that most releases I was looking forward to from the beginning of the year either never came out or disappointed me. I also came across a lot of music that was "great" but not necessarily something I would enjoy sharing on this list. I waffled between adding one or two more albums but decided at the last minute to exclude them. This is by far my shortest list ever with only 13 entries but I kind of like it that way.
BLU-SWING - FLASH Japanese Latin-influenced jazz hop is unusual to say the least, but BLU-SWING knocks it out of the park with FLASH. I've been on the prowl for a band to replace the hole Tokyo Jihen left behind for quite some time and BLU-SWING comes the closest. They may not fill that jazz pop niche exactly, but their sound is compelling enough in its own right. The way the band mixes in pop, swing, and lounge are impressive and make for an album that will keep you on your toes. The thick double bass and the trumpets will battle for your attention, but it is ultimately Yu-ri Tanaka who captivates me most. Her sultry vocals have a presence which cannot be denied and this is one of the rare cases where her English is on par with her Japanese! On the rare occasions where she is not present, the band is more than capable of weaving enchanting jazz melodies sure to create relax and chill vibes. Jazz fans will find plenty to sink their teeth into with FLASH, but I'm of the opinion that this is a sleeper album that's not to be missed by anyone!
Charisma.com - OLest Flaws aside, OLest bangs hard. "やれよ。" (Yare yo.) and "ダリぃだらりん" (Darii Dararin) should come with a doctor's warning about how infectious it is. I can't forget to mention the poisonous lyrics, furious flows, and banging beats that lace this album from beginning to end. So while you're trying to convince yourself "超絶に胸が痛んでいるあなたの上司" (Chouzetsu ni Mune ga Itandeiru Anata no Joushi) doesn't sound vaguely like disco, you're still wrapping your head around what "お局ロック" (Otsubone Rock) was. Charisma's biggest problem is that OLest will always be compared to DIStopping, and it doesn't quite reach the bar their debut album set. Over time, I've come to appreciate how much more mature and refined OLest is, managing to be both shorter and more diverse at the same time. Give it a spin if you're in a mood for some pop music.
COHOL - 裏現 If one desires a panoramic view of what black metal has to offer today, look no further than COHOL. 裏現 is 39 minutes of the rawest - and surprisingly well produced - black metal Japan's produced all year. It's difficult to appreciate the beauty at first; tremolo picking, blast beats, and screeching vocals are not my first idea of "beautiful". In addition, the five years since their widely acclaimed 2010 album 空洞 has seen the band shave away their influences, making 裏現 a less approachable album from the start. But within the depressive madness there are fleeting moments of tranquility, sadness, lament, and all sorts of negative emotions which paint a panorama of modern suffering. When remarking on how many things are done right, one realizes how much of a rarity it is to get such a no-frills, straightforward black metal release. This album's so good, I think we may be referencing it as a staple of the genre sooner than we think.
Earl Sweatshirt - I Don't Like Shit, I Don't Go Outside This album can also be called "Memoirs of a Depressed Semi-Famous Rapper Trying To Sort His Life Out", but it doesn't fly off the tongue as well. Everything from the title to the dark, bass-heavy beats to the lyrical content reinforces this belief. But sometimes genius sprouts from the darkest of depressions, and Earl is an up and coming rapper I've had my eye on for quite some time. Not to say that this album is without it flaws but when Earl Sweatshirt is on fire he kills it. His flow has also improved since Doris, sounding more alive and forceful (despite the irony that he's more troubled than ever). The depressing atmosphere engages the listener and really becomes part of the music instead of becoming overbearing. Surprisingly, the best track he released this year - "Solace" - isn't featured on this album but I think you should check it out anyway.
Kamasi Washington - The Epic This was one of my more accidental happy discoveries this year. "The Epic" is amazing debut album by Kamasi Washington, which I checked out on a whim due to rave reviews by several other people. This turned out to be the jazziest rabbit hole I've ever had the pleasure of tripping into. Soon after, I discovered that Washington was a member of the studio wrecking crew that brought Kendrick Lamar's "To Pimp a Butterfly" to life, which only piqued my interest more. The second was that he toured with Snoop Dogg and released this album on the Brainfeeder label - both circumstances that don't often cross paths with jazz. I enjoy jazz but I am not the biggest expert on it, but I can say that it's fallen to the side in recent decades for other, more immediately engaging musical styles. "The Epic" feels like Washington's attempt to assert that jazz can be as invigorating and exciting as the musician wants it to be. For an album that spans over two hours, it does a very good job at gently introducing a new listener to the world of instrumental free form jazz while also hitting with enough substance to ensnare veterans too! If you enjoy jazz in any form, whether straightforward or cut with other genres, you owe it to yourself to check this out.
KEEL - Cthulhu & R'yleh They are the Nagoya-kei super band that visual kei deserves, and also the band it needs right now. KEEL are also that band that we never knew we needed. "the god and death stars" are off trudging along in their corner, "HOLLOWGRAM" couldn't fill the void that 9GOATS left behind, and the inclusion of girugamesh's bassist Shuu was an interesting, but surprising choice that's paid dividends for them. However, nagoya kei hasn't been able to pull it together in some time and present a band with some real promise. So when they released Cthulhu and R'lyeh earlier this year we listened. I don't know about you, but between both albums I heard everything I was missing and more. The melancholic bass and wistful atmosphere are mainstays of the type of sound this band is going for, but more importantly than that there is a polish over all twelve songs, as if every member took lessons learned from their own bands and put their all towards this one. The result is nothing less than the top release(s) of the year. They are not just our heroes. They are our silent musicians, our watchful composers, our winners of 2015's top album of the year.
Be sure to check out Cthulhu - the companion mini album to this one released earlier in the year - as well! I basically see them as one album anyway...
Kendrick Lamar - To Pimp A Butterfly "To Pimp A Butterfly" is already a classic and it hasn't been but a year since this album dropped. It's equal parts lyrical skill, amazing guest features, good concept, stellar production, and great timing. "To Pimp A Butterfly" dropped in a year where racial tensions in America are at an all time high. There are no shortage of complaints and issues that plague the African American community today and Kendrick tackles most - if not all of them - on this record. TPAB flies in the face of the general image of the rap community, which prizes braggadocio, flashy, high-class lifestyles, and the street life over relatability. This alone is a refreshing change that isn't found often in mainstream hip hop. What makes this a success is that he doesn't let get all preachy and let his message get in the way of his music. A lot of the album is focused around the use of "I" instead of "U" (a song so emotionally destructive anyone who has lost a friend to street violence can shed a tear), and at points Kendrick becomes so emotional it's as if he's a friend pouring his heart out to you drunk. He took pain and turned it into art. Hell, if even Obama named "How Much A Dollar Cost?" (which criticizes his policies) as his favorite track of the year you know what's up.
lynch. - D.A.R.K. - in the name of evil - I wasn't too fond of the direction lynch. took after I BELIEVE IN ME. As they became more insistent than ever at playing the most core of metal, the pop hooks and musical variety which formed the core of their sound started becoming more uncommon. GALLOWS was a complete departure from everything I liked about the band and I thought they lost their spark for good. Thankfully, D.A.R.K. -in the name of evil- marks the return of old lynch. with a roaring vengeance. They finally got a handle on the metalcore sound they've been flirting with for the last few years, and the pop hooks that formed the backbone of SHADOWS and I BELIEVE IN ME make a triumphant return. "EVOKE", "FALLEN", and "INVADER" show three distinct sides of lynch, which range from alternative metal headbangers to those touching ballads we all love. There are even the visceral bangers still exist such as "BEAST" and even the jazz-inspired "GHOST" offers up a side lynch. I haven't heard in years. This is the perfect fusion of old lynch. and new lynch. and it's not hard to fathom why it's one of the best albums released this year.
THE NOVEMBERS - Elegance A more polished alternative to last year's "Rhapsody in Beauty", "Elegance" hits you like a blunt weapon; you'll feel the impact the first time but it needs some time to feel the full effect. It's not uncommon for the vocal melodies or the dreamy, hypnotic guitars to echo in your mind long hours after listening to their music. It's short length makes it feel like a teaser, but at the same time it feels like the perfect length for the mood it sets out to accomplish. THE NOVEMBERS may not be the easiest band in the world to get into, but what they provide is a complex style and musicianship that has so far been unmatched by their contemporaries in the scene.
the piqnic - ZyouK Being a Japanese post-rock band is hard. When you're not drawing comparisons to the instrumental giants like Mono or sgt., you have to deal with competition from other, well-established bands. Stray too close to the textures and moods conjured by, say, downy, and you're automatically marked for more critical inspection. It takes a good band to trace in another band's footsteps. It takes an amazing band to take an established sound and run with it. That's why it's a shame that such a great album was limited to 300 copies, because the piqnic did just this with ZyouK. They've only been a band for two years, but they play a very dark, brooding, hypnotic shoegaze that pulls in influences from many scenes. "hinata" and "si" are noteworthy for their minimalistic ambiance which helps to break up the more intense offerings such as noise-laden "ZyouK" , the energetic "krs", or the surprisingly bright and hopeful "O". Fans of shoegaze or post-rock that don't mind messy production will adore this.
Sigh - Graveward "Graveward" is the product of a band that's scraped every corner of their black metal musical melting pot for over fifteen years. The compositions are as well-thought out and intriguing as ever, reflecting the two and a half years it took to compose and record, and they improve with each listen. The production is crisp, clean, and devoid of quirks, which is a first! The balance between the metal antics of the band and the epic aspirations of the orchestra is nothing less than stupendous. Featuring guest performances from Trivium's Matthew Heafy, DragonForce's Fred Leclercq, Shining Sweden's Niklas Kvarforth, Rotting Christ's Sakis Tolis, and The Meads of Asphodel's Metatron should let you know this is big. Most bands would crumble performing music this complex but Sigh makes it seem effortless. It's easy to overlook just how good this album is. At its core, "Graveward" is very much a black metal record. But with so many elements, twists, turns, and strokes of genius, this album surpasses any type of simple classification. Its chaotic nature may come off as a gimmick to some, but even if it is, it's one that requires incredible amounts of musicianship to achieve. Those very same qualities make this album so much fun to listen to and leave me in awe at how creative one band can be. Due to how the voting panned out, "Graveward" didn't feature on our Top 25 (it was #27 for those interested) but it has solidified itself as one of the best metal albums of 2015. Period.
sukekiyo - VITIUM Last year, I said that IMMORTALIS "left me somewhere in the middle". It was too long and I always believed it would have been better as an album and a mini. VITIUM is proof of that. Smaller releases mesh with sukekiyo's sound much better and while I expected it to be good, I didn't expect it to be this good. For starters, the atmosphere just pours out of every note on each song, backed by Kyo's colorful vocals, creating an overwhelming suffocating experience that almost makes you forget this is a mini-album. We all know by now that avant-garde rock with some progressive and folk elements wrapped around haunting, unsettling Oriental melodies is sukekiyo's bread and butter. The music is as dense as ever, requiring several listens to appreciate the more subtle elements and transitions, but there are still plenty of refreshing moments to engage any listener. The rolling bass that kicks off "leather fields" and the solo in "celeste" are two of my personal favorite moments, and they're of the more immediate, jaw-dropping kind. Go on, give it a try or five.
和楽器バンド - 八奏絵巻 I hope that out of the eight of them, one of them realizes how much of a fanatic I am. I write about them every chance we get to the point that it's a core part of my online persona to some degree.
Oh well, there are far worse bands to stan.
This time last year, they were a fringe curiosity from the vocaloid scene that showed some promise. One year, three anime themes, and a handful of singles later and we're already talking about being signed to a major label deal and releasing their first original album. That's huge. 八奏絵巻 (Yasou Emaki) pulls no punches and misses no opportunities. The anime themes "戦-ikusa-", "反撃の刃", and "なでしこ桜" all make an appearance, as well as their infamous cover of "千本桜" and their newest PV single "暁ノ糸", which flexes their musician skills and record company's budget equally. The biggest surprise of all is how diverse they can be without breaking their theme. There's the slow, melancholy ballads, rock anthems fit for closing out King Crimson concerts, and everything in between. I think they're at their best when they're dark, mystical, and push the rock side of their sound to the max. There's something here for anyone remotely interested in what they offer, and this is an album I see myself revisiting for many years to come.Thanks for reading (or skimming)! Leave me some comments below.
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imo, it's a good news.
If you're going to go with the unpopular opinion, you need to say why. Otherwise, this is an inflammatory post that adds nothing to the discussion. Please think this through more fully before responding with these kinds of answers in the future.
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Mao and Mizuki back on their kotekote game? This already interests me more than the last five years of Sadie. Waiting for some samples.
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Very well vk-centric done list @Minami! I lol'd at #4. I saw a news topic by them once and jokingly said I needed to check them out due to their name. Now I probably will check them out some more they sound pretty cool! Other than that I recognize none of these bands. Shows how out of touch I am with the scene.
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Very interesting list yakihiko! It's no secret that ORZ doesn't cover the nitty gritty of visual kei, so I love seeing lists like this that cover music I miss. With all of the common releases throughout a lot of these lists, I may have to check out a few like MBHI and K2K.
I'm also glad that those BB codes are proving useful to you
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just want to mention, slowly working my way through the list and it's been an absolute blast so far. need to catch up on so many bands. (btw, would some kind of playlist feature be possible for this site? it sure would help a lot for all the "Picks from month" and other lists...)
I'll think about it. We will be upgrading in the near future so I'll see what's possible.
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Thank God I always disliked New Year's Eve otherwise I would be fucked right now und wouldn't come home because of the terror warning.
Stay safe man.
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No offence, but this is getting really strange. Sounds like oshare is a separate genre now.
I always though that
Visual kei is genre that requires 2 components: flashy looks (hairstyles, make up, costumes) + music itself. And here we go - as a musical genre vk contains a big variation of musical directions. It's really hard (and no particular need) to divide it into subgenres, but there are actually styles that have common characteristics that allow to unite them into separate subgenre.
Oshare kei is one of most obvious visual kei subgenres, which is characterized mostly by positive music and vivid looks.
So I wanna hear opinions why oshare is not part of vk anymore.Thanks.The way I understood it, visual-kei is a big umbrella which has several sub-scenes, including but not limited to oshare-kei, nagoya-kei, kotekote-kei, etc. So for example all oshare bands are visual but not all visual bands are oshare. I just see them all as different flavors of visual-kei. I have heard of some more esoteric *-keis which describe the mannerisms of how they dress, but I have never heard anyone claim that these sub-kei's are completely separate from visual kei.
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I'm cautiously optimistic. I haven't heard anything by them in what seems like ages so I hope they've found themselves again and get back to releasing some classics. Their music has been just "good" lately.
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The most mysterious kusomen to me is Rubik's vocalist Kei, who was released from the band in 2013 for "inhumane acts". Did we ever find out what that actually meant?
I can take a very good stab in the dark at what it might be but I have literally no evidence other than the lack of evidence.
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Vocal cord surgery? What happened to her?
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Monochrome Heaven Top 50 of 2015
#10-#1
10. "Enigmatic Feeling (2015 mix)" by 凛として時雨 (Ling Tosite Sigure)
The turbo-charged rock power-trio Ling Tosite Sigure has blasted into the new year with their very first Best-of album. While old-time fans may be pleased to hear remastered tracks from early in the band's career, the most ironic production-makeover takes place with this song - which is only a few months old. The new mix is fully realized and shows that Ling can still be effective, even when they're creating anime themes.
- @CAT5
9. "Red Carnation" by Jupiter
I am unfortunately in the boat of people largely disappointed with Jupiter's THE HISTORY OF GENESIS. This particular song, however, was a surprising return to what we've come to know and love from the Versailles members -- something epic, fanciful, and pompous. Due to the violin by ex-A's Rookie Fiddler, the majestic harp throughout, and female guest vocals, the song introduces a number of new elements, which ultimately set the song apart from the rest of the drab album. Take a listen and transport yourself to a fantasy world of castles, moonlight, and
rosecarnation-obsessed vampires! Whatever becomes of Versaipiter in 2016, I want them to at least achieve the glory of this track.
8. "戦-ikusa-" by 和楽器バンド (Wagakki Band)
Ever since "Senbonzakura" set the otaku part of YouTube on fire, this band's rise has been impossible to stop. They've made strides in a year which take other bands three or four to reach. The three members of Hanafugetsu have realized there's a winning combination in fusing traditional Japanese instruments with the spirit of rock and roll, and they're stretching it as far as it can go. Note that stretching isn't necessarily a bad term. There's only so much one can do when restricted to a theme this precise, and yet Wagakki finds ways to surprise again and again. Wagakki-Band seem desperate to fill a hole in the Japanese music scene that's been missing for some time and I look forward to our new overlords delivering lots of quality material in the near future.
- @Zeus
7. "Foster Mother" by sukekiyo
With the release of VITIUM, sukekiyo is proving that they're a beast of their own, viable by their own merits - and not just DIR EN GREY #2. The two bands bands may share some simularities, but sukekiyo is already yielding tunes to distinguish themselves. "Foster Mother" in particular is a peculiar track. It's a dark, trip-hop-esque tune with an ethereal seductiveness to it and a steady groove. It's the most straightforward song on VITIUM (which probably makes it the most readily memorable), but it also has an immersive quality to it - one that easily lends itself to repeat listens.
- @CAT5
6. "パレード (parade)" by KEEL
Is it really a surprise that KEEL would be featured? As soon as the 10 second mark of "parade" hits, aie's signature guitar sound pops up and I'm in love! In this track, Ryo does an effectively creepy whisper through much of the verses and the chorus is a beast. On the whole, I'm still not wowed by KEEL, but on this track and "禍人 (kajin)", the music and vocals come together in a beautiful way and I can definitely hear some magic. Their next mini-album R'lyeh slowly won me over, so I'm looking forward to seeing KEEL develop in 2016--all the pieces are there!
5. "蕾 (Tsubomi)" by SCAPEGOAT
This song is a wonderfully dark and romantic ballad. I was surprised to hear them change gears and do something in this vein so well when they are predominantly known for their heavier work, but SCAPEGOAT have grown in leaps and bounds in their 6 years together. "蕾" is a direct reflection of that. It flows along with increasing emotional intensity and never feels like it drags or stalls out. It all culminates in a song worthy to be a staple in anyone's playlist.
- @doombox
4. "きれいな海へ (kirei na umi e)" by THE NOVEMBERS
Over the past 5 or so years, THE NOVEMBERS have developed a sort of yin and yang persona, drifting effortlessly from dark, angsty and melancholic to light and airy, yet never straying from their core sound. As you might imagine, their latest EP "Elegance" focuses mostly on the band's more whimsical side. "kirei na umi e" is undoubtedly the centerpiece of the EP. While the other songs on the release are more than pleasant enough, they also tend to waddle in their own atmospheres a bit too much, but "きれいな海へ", with its smooth, buttery basslines and all of its jangly guitar goodness, seems more assured and self-aware. It's a standalone song from an EP that's best appreciated as a whole.
- CAT5
3. "発火 (Hakka)" by KEEL
KEEL is a Nagoya-kei super band if I've ever seen one and it's been quite some time since a nagoya-kei band made some serious waves in the scene. It's almost cheating how good this band is: when you put the masterminds behind 9GOATS BLACK OUT and deadman together in one project, only good things can come of it. The rhythm section plays with a tight groove that will stick in your head like a harpoon, but it is Ryo's haunting vocals which commands your attention. The unrestrained rawness of his singing contrasts with his falsettos during the chorus. The melancholic mood of the track is distinctively aie as well; I can't associate this particular combination of harmonic scale and guitar tone with anyone else. A dramatic tour de force of a particular breed of visual kei that desperately needed a revival. Not quite rising from the ashes of the god and death stars, deadman, or 9goats, but a delightful fusion of all three that will easily leave you wanting more.
- Zeus
2. "Death in Reverse" by Mono
It doesn't matter how many songs Mono puts out that follows their tried and true post-rock formula; each song manages to satisfy me like I've never heard it before. I feel comfortable sliding "Death in Reverse" among other Mono greats such as "The Flames Beyond The Cold Mountain" or "Ashes in the Snow". Best described as a compendium of strained emotion and chaotic complacence backed by an underlying current of anticipation threatening to explode into a wall of sound at any moment, it subverts all expectations by never quite getting there. It ends before it ever really begins, with the abrupt outro bring to mind garbled imagery of life and death lost to the never ending march of progress. Even the album cover is an infant surrounded by a crowd of demons, illustrating both "life" and "death" perfectly. Each Mono song is inspired by a story or a collection of feelings which the band translates musically. This time we were lucky enough to get comments from guitarist and main song writer Takaakira Goto, in which he explained his interpretation of the song:
"The theme of this track is life and death and regeneration. Even when our bodies decay and decompose, our souls will prevail unchanged. Our bodies will act as seeds for the next generation, while our souls will journey together into our new eternal life. This is the story we want to explore with our next album, a portrayal of our journey through life towards death; from living out our lives proud and high, to bodies immolating, infused with precious memories… and through the vast, noisy tunnel of space, we become pure souls – a single drop of water in the fountain of life.“
Mono in 2016 can't come any faster.- Zeus
1. "EVOKE" by lynch.
After GALLOWS, I thought they were bent on becoming purely a metalcore band, but EVOKE shows a side of lynch. I haven't seen in a while. The re-recording of DOZE wasn't a coincidence; the entire single picks up where SHADOWS left off. EVOKE in particular reminds me a lot of ADORE, but with some extra energy and aggression they gained from their last two major releases. The striking melody of the chorus and the breakdown set everything over the edge, and the song keeps you pumped until the very end. Even the production is on point, which I can't say about their last few releases. This is exactly the kind of music I've wanted them to make for the last several years. Something in me wonders if the band has realized that what was lacking in their new "sound" was the pop and hard rock influences that they've been forcibly suppressing, because these feels so natural the progression from GALLOWS to this is plain awkward. It wouldn't be wrong to say that EVOKE is an adrenaline shot straight to the eardrums. I bet this rocks even harder live.
- http://monochrome-heaven.com/index.php/user/2220-zeus/'>Zeus
I hope you enjoyed reading the list and saw some familiar favorites along with some new faces! Tune in tomorrow for December's BNT!
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Downgrade to Windows 7 again. Or try to love Windows 10. I'm pretty sure the first option is what you're looking for.
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Monochrome Heaven Top 50 of 2015
#20-#11
20. The GazettE - "OMINOUS"
There's nothing like the slow burn at the end of a monolithic album to end on a poignant note. It's a different beast entirely when those last five minutes are the pinnacle of the entire experience. OMINOUS slides in comfortably alongside tracks like DIM SCENE, 千鶴 (Chizuru), and 体温 (Taion), which is really high praise considering how universally recognized these songs are for excelling at atmosphere and execution. They also come at the end (or near the end) of their respective albums, working as a type of summary for the piece as a whole. Songs like OMINOUS don't come around often from this band; this only happens when the GazettE leverages effective use of atmosphere, electronics, acoustics, and synthesizer with their rock sensibilities without letting their ambitions get the best of them. It's so good it's transcending the language barrier and catching the eyes and ears of westerners, quick to draw up comparisons with big name bands like KATATONIA to really drum up the hype. It's not easy to explain why the intro is so gripping when there's nothing going on at all, or why that progression around the middle is to die for. Let's just say that it's by far the best track on all of DOGMA, representing the conceptual feel of the album while resembling nothing on it. If you haven't heard it yet, do yourself a favor.
- @Zeus
19. PELICAN FANCLUB - "Chilico"
When I first wrote about PELICAN FANCLUB's PV track "Dali", I thought I had their sound pretty much pegged. Imagine my surprise when I found that they opened their self-titled mini album with a full-on shoegaze track! Prepare to be smacked in the face with an ethereal wall of guitar noise. The chorus then takes the track in a different direction, lending it a bit of an anthemic edge. @CAT5 has likened them to THE NOVEMBERS, so if their mini this year was too soft for you, you just might be a fan of this song! But don't just stop there--PELICAN FANCLUB has so much more variety to offer than what is heard in these two featured tracks.
18. coldrain - "Words Of The Youth"
The boys are back with a fist-pumping, shout-along, summer anthem. This is the coldrain I've been waiting to hear again. While their last few releases have felt a little diluted, "Words Of The Youth" shows coldrain have absolutely returned to form. Musically, they've held on to their heavier side, but the strong melodic chorus is exactly what this band excels at and the balance this song finds is damn near perfect.
- @doombox
17. "Pairidaēza lost" by IX -NINE-
I had originally heard of members of IX through their previous band EATHERLY when I picked up their demo cd in a Tokyo cd shop which I proceeded to forget about. I will definitely say this new band is not going to be easily forgotten. I've seen many comparisons to sukekiyo, which I hate but have to agree with as I can definitely hear some similarities between the two. Thankfully IX lacks the pterodactyl screeches Kyo's become so good at. While "Pairidaēza lost" wasn't my favorite off the two-track EP, it's definitely what caught my attention drew me in. Everything flows together so perfectly, from the electronics to the ethereal vocals and sweeps you off into another almost dream-like world that I personally don't want to wake up from. These guys are offering their EP on soundcloud FOR FREE so give them a shot because they are totally worth it. ----> http://soundcloud.com/ix-nine-official
16. "灰色の森 (Haiiro no mori)" by My BACTERIA HEAT IsLAND
The one ballad track of their newest mini-album, '灰色の森' stands out for its solidness and catchiness. With small trinkles of piano keys, it's a hypnotising listen from start to finish. Instruments work and meld together effortlessly into a melodic tune alongside Tenten's emotional delivery. It's definitely the breakthrough point in 'MIMIC.'
- @beni
15. Mouse on the Keys - "the lonely crowd"
It can be tricky to make epic-sounding instrumental music without being cheesy. When Mouse on the Keys released the PV for "leviathan", it had all of the makings of an epic track, but it got a bit too self indulgent and lost steam in its progressiveness. "the lonely crowd" gets it right, though. It starts off strong and then simmers into an upwards curve, constantly rising in intensity. The piano work is relatively simple, but the band's trademark, aggressive percussion and the addition of a wailing saxophone take this track over the top.
- @CAT5
14. Lament. - "The Screaming Pain"
- @CAT5
13. DIV - "イケナイKISS (ikenai KISS)"
It took me until DIV's first album ZERO ONE to completely fall for them. However, their lackluster single-padded second album SECRET left a lot to be desired. After 8 months, they returned with a new single, but was it worth the wait? Unfortunately, the B-sides were forgetful at best. However, the A-side showed an improvement over the more mainstream style explored in the album's lead single "SECRET NIGHT"--no annoying 'GUILTY OR NOT GUILTY' sampling, at least. With its upbeat, yet headbangin' EDM-infused atmosphere, "イケナイKISS" demonstrates the kind of hybrid style that catapulted DIV to the forefront of VK's more electronic rock bands. Just feel free to skip the
Suiyoubi no Campanella has been receiving an insane amount of hype among Jpop fans over the past two years, and although I've been fond of their producer Kenmochi Hidefumi since his 2008 solo release "Falliccia", I've never given them the time of day - that is until I stumbled upon the PV for "西玉夫". It's an absolutely gorgeous track that lines up perfectly with the video's aesthetics, and it left one hell of an impression! Vocalist/performer KOM_I has your typical, talentless Jpop vocals, but there's something charming about the way she clashes with Kenmochi's whimsical melodies and meticulous programming that fuses trap jubilance with electro ingenuity. It's a one-of-a-kind mix that's only vaguely rivaled by acts like Charisma.com. At barely just three minutes long, "西玉夫" is a short song, but it'll keep you hitting the repeat button.
- @CAT5
11. DADAROMA - "最終電車 (saishuu densha)"
I have to give it to this band for skyrocketting in popularity the way they have, especially when they haven't even reached their first year anniversary yet. After releasing a video for "最終電車" that was so graphic it had to be removed and censored before it could return to YouTube, DADAROMA have figured out more than one way to get quite a number of jaws dropping and tongues wagging. But don't let that eclipse the fact that the band's musical consistency is still strong as ever. Much like their previous tunes, they continue to explore some metal-infused swing frontier here and harness a chaotic, yet danceable energy that is just plain addictive in this track.
- @doombox
See you tomorrow for the next ten! -
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glad to see so many bands I like in that post!!
damn now i feel like i need to check out that band with the super long name
(btw you used hitorie's pics twice?)
Thanks for that catch! And what bands in the post did you like?
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Monochrome Heaven Top 50 of 2015
#30-#21
30. "終幕の芥 (shuumaku no akuta)" by 滅びの美学 或は、加虐偏愛者の調性の確立 (horobi no bigaku arui wa, kagyaku henaisha no chousei no kakuritsu)
I felt compelled to include this band, if only for science. How often does a VK band get inspiration from atmospheric black metal? Not to mention, one of the members has a sniper rifle. I'm not sure if this song is just a demo (so far, the song only appears to be available via their YouTube channel), but in all seriousness, the music is pretty intriguing. The calmer moments of off-kilter riffs slowly build up into a grim, sprawling mass that is nothing to sneeze at, coming from ostensibly newcomers to the scene. We may never again get dank forest kvlt sniper kei, so let's be grateful.
29. "悲しくなる前に (Kanashiku Naru Mae ni)" by indigo la End
Enon Kawashima was on fire this year. I was initially very wary of his musical projects, but with his almost constant releases between indigo la End and ゲスの極み乙女。 (gesu no kiwami otome) these past few years, it seems like his prolific output is finally bearing fruit. I'd call it a fluke, but since I also recommended gesu's latest singles, it's quickly become clear to me that Enon is getting better, and is perhaps developing some sort of a musical midas touch. His latest single with indigo la End (their first with the new line-up) is wonderfully pop oriented, but still maintains that indie feel and aesthetic. The hook is instantly catchy and certainly the main draw to the song, but there's also some infectious riffage and tight instrumentation to keep you on your toes. If this is where indigo la End is headed, then I'm excited to follow!
- @CAT5
28. "Crepuscule" by Femme Fatale
Femme Fatale are a band I don't have the best relationship with--for whatever reason I'm just not into Kaya nor anyone this entourage brings along. However, in spite of a lack-luster title track, "Voyage" brings us two incredible B-sides. This one in particular turns up the creepy and delivers an emotional roller coaster, seething with pent up rage. I'm all about songs where Kaya loses his shit, and here his was flipped like pancakes.
27. "夢 (yume)" by THE MORTAL
Lord of darkness Atsushi Sakurai has taken a break from the iconic BUCK-TICK and formed a new side-band with a rather delectable line-up featuring Jake Cloudchair and members of downy and MY WAY MY LOVE. They just released a mini album titled "spirit" to whet our appetites before the full-length next month, and it's almost entirely full of covers from Atsushi's childhood, goth heroes like Bauhaus and Siouxsie & the Banshees. While all of the covers, except for one, are tastefully done and actually rewritten in Japanese, the band's original material is what's matters most. "Yume" is the 2nd original song on the mini album, and its ominous tone is right at home amongst the cover songs. THE MORTAL is sounding very promising right now!
- @CAT5
26. "シャッタードール (Shutter Doll)" by ヒトリエ (Hitorie)
Hitorie's music ranges from decent to brilliant, and while their latest mini album was a bit lower on the quality rung, they've stepped their game back up on with their follow-up single "シャッタードール". Wowaka's vocaloid-esque, rapid-fire crooning and the vibrant riffs that we've come to love are all in top shape, but the song is also the funkiest tune they've churned out so far. Interestingly, the other 2 songs on the single are instrumental, but this song jams so much that it doesn't even matter. If you're not doing this while listening, then I'm not sure what to tell you. At any rate, Hitorie has another new single set for release in the new year, and if "シャッタードール" is any indication, then they're headed for great things!
- @CAT5
25. "World is mine." by vistlip
'World is mine.' is definitely the happiest song on vistlip's recent album. Sporting a charming, oshare-kei tone to it, it's a playful and sweet sounding tune, with catchy lyrics being repeated during the chorus and synths going off throughout. And even with a few drops of Engrish and high parts in it, it asks to be played on only the most cheerful of occasions.
- @beni
24. "Daze" by Cuushe
It's not to often that my Japanese and Western music tastes converge, but it happened this year with Cuushe. This song popped up on my YouTube feed, because I subscribe to the Western label (Cascine) that put out Cuushe's upcoming release EP, Night Lines. I instantly fell in love with it (this single and the full EP)! The song works very well when you just need to chill out and take your mind somewhere else. I can also see it working very well as video game BGM, with its hypnotic, ethereal quality. I think the cover art nicely sums up the mood evoked by the song: cute, dreamy, and a little bit fantasy!
23. "Jesus Phobia" by ペンタゴン (Pentagon)
Pentagon continued to progress this year after a very strong start, and their newest multi-type releases has shown their widening versatility in a great way! However, my favorite was still the lead song as it brings us back to a darker side we have been missing since their debut. The chorus has a great melody that rounds the song out and saves it from any pitfalls of monotony. Meanwhile, Pentagon hold true to enough core elements that "Jesus Phobia" still fits perfectly into their short but solid discography.
- @doombox
22. "アカペラ" (A capella) by ペンタゴン (Pentagon)
Another song by Pentagon makes the list! This song plays on just the right amount of classic and modern visual kei influences. A lot of bands are after this sound lately, mixing electrorock with big wubwub-core breakdowns, but I have to give Pentagon credit for doing a particularly good job at it. Also, something in the singer's voice gives me Under Code Production heyday nostalgia feels. So between the clashes of emotion and the song's non-stop energy, it keeps a constant momentum all the way through. It's not hard to imagine the crowd losing it to this song live.
- @doombox
21. "marionette" by Lycaon
A boss song in a tiny package, Lycaon's last album hides a diamond in the rough. "marionette" is a petite track inside a packed album, but it is worth two minutes of your time simply because Lycaon went in a direction they've never attempted before and came out successful. Equal parts creepy and enticing backed by a dark cabaret atmosphere from beginning to end. it still manages to outshine the majority of 'camera obscura' with its simplistic yet catchy structure. Everything about it is repetitive, making for a straightforward formula, which results in one heck of an instantly catchy, memorable and headbanger song. Our biggest gripe with this song is that it's the only one of it's kind. Some bands, like LIPHLICH, have experimented with a similar sound here and there, but there is no foremost figure in the scene. If marionette is anything to go by, this is one fad that was right up Lycaon's alley. Unfortunately with the announcement of their disbandment, this is all we'll get.
See you tomorrow for the next ten!
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Someone I was acquaintances with in college (friend of a friend type deal) snapped and killed two people and then himself yesterday. I had lunch with this guy. I didn't think he would be capable of such a thing...