The problem in german language is the grammer... like same in portuguese that have so much rules. Also, portuguese language have all sounds of german (exception the word "ich"). So, i can speak german like german native.
True, my problem sometimes is with prepositon in german because have many meanings in portuguese and makes me crazy to try understand.
DALLE new single "witch craft pictures EP" will be released at their live "TOKYO DEATH DISCO #4" at Shibuya VUENOS at 2016/05/06 (2 TYPE)
CD+DVD edition (1,500yen) will include CD (2 songs)+DVD (including "witch craft pictures" PV), and CD edition (1,000yen) will include CD (2 songs) only
Recommended New Tracks: February 2016!Greetings, fellow Monochromians! February has come and gone, and the year has already yielded a ton of musical goodies! We've got a lot to recommend this month. and we've also got a handful of new contributors this month! Please welcome our new ORZ members @emmny (altho he has contributed before), @togz, and @tetsu_sama69 into the fold! I'd also like to give a shout-out to our guest contributors this month, @yakihiko, and @Matsuchan! So saddle in and check which out what we've got to recommend this month. Let us know what you think and feel free to discuss your own picks as well! If it conveniences you, you can check out our YouTube playlist for this month here! ^^
@emmny's Picks: "月-MOON"byAvelCain AvelCain are currently one of my favourite active bands, so while this song was technically released in the tail end of January, I gotta shout it out anyway. "月-MOON-" is actually the opening theme to an upcoming 'movie' called MOONBOW which vocalist Karma is acting in, so how it'll fit into the context of the movie is beyond me since few details have been released (as per AvelCain's mysterious shtick). The song works great as a standalone single; eve, their producer and main songwriter pulls out all the stops, pairing heavy chugging guitars with a cloyingly sweet chorus and surprisingly prominent string arrangements. "月-MOON-" is a lovely pop song at its core, but it leaves me wondering whether AvelCain will push their poppy sensibilities further and further away from their alt-metal roots as the current flagship band of Shizumiya Records for the sake of their popularity. While there's a certain level of quality we can expect from AvelCain, they always have a surprise or two to throw at listeners, which is why I'm on the edge of my seat for the release of 蘇-よみがえり- (yomigaeri) in March.
"Luxuria" by MALISEND Malisend's debut mini-album ロストソレイユ (lost soleil) suffered from something I'd like to call preview-disorder. You know when you're so hyped for a band's release that you listen to the promos for weeks before the actual release but when you hear the full songs they just feel kind of stale? From what I heard on the previews, it was awesome--dark, brooding metal with a heavy gothic/coll:set-era D'espairsRay influence. Unfortunately, the songs didn't develop well enough to keep up with all the ideas thrown at listeners. "Luxuria" should have suffered the most with its relatively short running length of 3:30, but the doomy guitars and ominous vocals reminiscent of iconic D'espairsRay fan favourite "Garnet" paired with a furious drum section are too delicious to resist. The breakdown at the last minute of the song where the song crumbles before heading back into the riotous verse is nothing short of breathtaking, and that moment sealed its fate as an album highlight.
"形の無い、何よりも、愛したのは、お前だけが" "(katachi no nai, nani yori mo, aishita no wa, omae dake ga)" by gibiky gibiky gibiky highfashionparalyze, the odd nagoya kei outfit originally composed of Aie and Kazuma (ex-merry go round, smells) changed their name earlier this year to the equally odd "gibiky gibiky gibiky" in response to the addition of bassist Kazu (ex-kagerou) and Sakura (ex-l'arc en ciel, zigzo), signaling a new era and sound for the band. They operate on the outskirts of visual/nagoya kei, as their sound is mostly based off of improvisation with a heavy noise/experimental rock leaning. This song has been around in one form or another since the band's 2009 demo, surfacing again as a full-band remake on the live distribute single MA&MA&MA from 2015, which will again be featured on their upcoming first full length album. While HFP/gibiky 3x can be quite hit-and-miss given the jarring vocals and off-kilter guitar work, "形の無い、何よりも、愛したのは、お前だけが" is absolute alt-rock perfection. Kazuma can easily overpower a track with his intense vocal acrobatics, but aie and co. keep up without missing a beat, turning a once haunted and sparse demo in a brilliantly melancholy full-band arrangement.
@fitear1590's Picks: "さようなら僕だけの人 (sayounara boku dake no hito)"byベル (belle)Belle most notably features guitarist Yumehito (ex-2 different versions of Ayabie). Since their debut in late 2014, they mostly flew under my radar, first sparking my interest last fall with their "ビードロ (vidro)" video, which harkened back to some late 90s/early 2000s white kei guitar tones! While that song was good, the new PV track from their first full album is perfucktion. The band reminds me of カルペディエム (Carpe diem) with their beautiful sense of melody and tastefully exaggerated vocals. And again, Yumehito's airy guitar tones are just lovely. There's definitely something very refreshing about this band in the current scene. Skip to 1:31 in the video to hop straight to the music!
"欲望の歌 (yokubou no uta)" by ゴールデンボンバー (Golden Bomber) Oh. My. God. I think we collectively shit ourselves when known troll band Golden Bomber released this PV masterpiece. From the obvious MALICE MIZER and LAREINE costume homages, to the more subtle nods to X-JAPAN/Dir en grey and Versailles-esque music, there's plenty to enjoy for longtime fans of the scene. Whether it's chubby-faced Gacktmijo with braces or playing with the "PV white girl" trope by having fake-Klaha chase her through the forest while striking vanity poses, the video is just a blast. I never found the appeal in this band, but recently, something's clicking. The vocalist's contribution on the recent スピッツ (Spitz) cover album was actually beautiful and now this hilarity. There's a special place in VK hell for Golden Bomber, but you know what, I think they're totally down to own that spot!
"灰燼に帰す (kaijin ni kaesu)" by サウイフモノ (souiumono)Souiumono may have recently announced their disbandment, but at least they're going out with a bang. Not only did they have the most entertaining and RPG-appropriate announcement (@Trombe's translation: "the band will disband as demon boss is defeated, curse is dispelled and subjugation quest is cleared, and peace of the world is restored"), they also left us farewell album GAME OVER. While there are a few too many old tracks, the new ones do not disappoint. Track two, composed by bassist Nuppe, combines the heaviness we've come to know in this last era of souiumono with SACCI's gorgeous dramatic choruses, recalling something Merveilles-era Gackt might sing (yes, two MALICE MIZER references this month). I just hope we don't have to wait too long before the members resurface in new bands.
"Little Boy" by SeussSeuss's new track is a mellow indie anthem. The marchy beat is what initially pulls you in. When the vocals emerge from the dense spiral of riffs, they are a bit garbled. While Engrish can be a turnoff, I have definitely come to appreciate this song a lot more than their clunky twee pop single, "Dancing stupid". I find myself coming back to this latest track, for background music if nothing else. Their album TODAY WAS GOOD is out March 9th.
"エメラルドグリーン (emerald green)" by そこに鳴る (sokoninaru)Last year, I reviewed sokoninaru's debut EP I'm NOT a pirolian. "Emerald green" is the band's first single from their new mini, YAMINABE. How does it fare, you ask? Just based on this song, the band has streamlined many of perceived 'gimmicks' of pirolian's PV track "pirorhythm stabilizer 〜only your world〜," but vocalist/guitarist Suzuki does squeeze in a rad solo, as he's known to do. Overall, it's closer in style to “夏の落とし物 (natsu no otoshimono), which was my favorite from their first EP, so no complaints here. As far as I'm concerned, they work best when they're just a little more mellow. With 8 tracks on the upcoming YAMINABE, I think a lot of us will have a much better idea of how we feel about this polarizing band come March 9th.
@tetsu_sama69's Picks: "朱色の空 (Shuiro no Sora)"byDeathfina When I first heard of this band, I was a little hesitant - mostly because Haku's vocals in his previous band Mitht needed a lot of work and I was concerned there might not be much improvement on his end... I was very wrong. After returning to the Visual-Kei scene with Deathfina, their first release, "Shuiro no Sora", really impressed me, especially the A-Side track of the same name. Even though it's a slower song, it packs a lot of emotional energy in it, which is something a lot of bands have trouble doing for me recently. There isn't a point where the instrumentals derive from the feel of the track, and it's not overtaken by the slightly gothic synths, Haku's deep vocals help bring together this pretty solid song.
"若者離れが止まらない!" by ZETSURIN⚡HAGUKIThis release totally came out of nowhere for me and latched onto me with its super infectious and groovy vibe. ZETSURIN⚡HAGUKI came from the ashes of now disbanded Tokyo Heroes and didn't pull any punches, especially with the title track "Wakamono Banare ga Tomaranai!" It's an extremely energetic track with a sweet and tasty Spanish guitar flavor. I've tried to get this song out of my head since I first listened to it, but once the bass line kicks in and takes you to the chorus, it's hard to resist the urge to jam to this addictive song. It's also hard to pick exactly what I like the most about this song because, overall, there isn't a weak point in the instrumentals or the vocals and something about it reminds of the heavy, jazzier songs MUCC used to release.
"9rue1 au5ocracy" by Insanity InjectionFirst of all, y'all knew this was coming, and a track of this single had to make it on here, especially since I've been looking forward to this band since it was revealed it was an actual band. I was also more than happy it was released internationally so anyone can buy it online almost anywhere! Even though I enjoyed the single as a whole, one song hit me right where it made my heart explode into a ball of happiness. "9rue1 au5ocracy" is everything batshit I hoped this band would release, and if you like a heavy, dark punch to the face followed by a train of wild screams, then this is the real deal. Chaos's and Kyoka's vocals dip up and down into a mingle of sweet, strange harmony before twisting into dark, hard-hitting and chaotic screams, spiced with pure head-banging instrumentals throughout.
@Zeus's Picks: "Vinyl"byHOLLOWGRAM Halfway between 9GOATS and GULLET, HOLLOWGRAM never had the spark to their music to really catch on. Anyone that's dabbled in visual kei can tell you how important it is to stand out. That's why vocalist Ryo's sudden outburst to start "Vinyl" off is so important. The confused electronic elements and the lifeless guitar work are out, and rock is in! Coupled with a charismatic vocalist who is the very definition of consistency, it is difficult not to lose yourself in this song. "Vinyl" sounds like KEEL without aie's influences, that Nagoya kei guitar tone, and aggressive bass. Ryo intends to do something totally different with HOLLOWGRAM than his previous projects and it appears that the band needed some time to truly come together. If this is the new direction they wish to go in, I will gladly follow.
"Strong Fate" by 和楽器バンドI'm left wondering where this band pulls their influences from every time they release a new single. "Strong Fate" is a ballad with a twist near the middle and the end because despite the name, this band is anything but "traditional" compositionally. Vocalist Yuuko Suzuhana has a habit of stealing the limelight - and it's not hard to when you are this talented - but for once it's the entire band which grabs my attention instead. Different instruments take center stage depending on the tone called for at the moment, so the transitions between the koto/shakuhachi and the guitar/percussion are not only refreshing, they feel natural too! The atmosphere conjured is intense. It's incredibly satisfying to be lulled into a state of complacency only to skyrocket into the stratosphere without warning. And of course I can't forget to mention the major label production which turns everything up to 11. Yet another interesting single from one of my guilty pleasures.
"B.R.N" by Insanity InjectionBetween his flamboyant taste in visual kei apparel to sounding like he never left 1999, Kyouka's antics will never get old to me. INSANITY INJECTION is the new band I have been waiting for and picks up right where Kyouka's other bands left off. One half old-school kote kei charm and the other half mental badassery with those eagle screams to top it off, this is the most inspired revival kei sound I've heard in quite some time. On top of that, the looks and production values put the visual back in visual kei. The falsettos and that chorus drive the cheese home even more. "B.R.N" is a very interesting first single, and I2 is shaping up to be the experimental mess that DROSERA OBLAAT. was meant to be. I can't wait.
"Where the Falling Angel Meets the Rising Ape" by CyclamenMember change-ups have haunted Cyclamen like no other over the last few years, but that doesn't stop magnanimous front man Hayato Imanishi one bit! Cyclamen is a band that moves through phases and now is that time where we return to explore the softer, more tranquil side of Cyclamen's sound. "Where the Falling Angel Meets the Rising Ape" as a tribute to Terry Pratchett, author of the Discworld fantasy novels, is touching enough. What really sells this track for me is how super chilled and dreamy the atmosphere is, reminding me so much of the whimsical adventures detailed in the "Discworld" series. I'm genuinely saddened when it comes to a close, but the short length works in it's favor too. It's nice to see Cyclamen still experimenting and with all of the new tracks we've been getting previews of. I'm excited to see where this band goes next!
"「サプリミナル・ダイエット」" by Charisma.comNow let's talk about catchy! I've gained a soft spot for this dynamic duo ever since DIStopping. Their music meets at the three way intersection of culturally relevant, catchy, and hard hitting without coming across as too preachy or holier-than-thou. "Suppliminal Diet" - a combination of "subliminal" and "dietary supplement" - discusses the harm that the media and society causes by promoting unhealthy body types. The focus on how society/media is a supplementary diet pill is crazy genius and the music video is great fun while still keeping that signature Charisma.com weirdness. It's a tad over produced, but hats off to the girls for making such a high energy song with an important meaning! It seriously gets catchier with every listen. I already can't wait for 「愛泥C」.
@togz's Pick: "Veiled Eyes"byPLASTICZOOMSPLASTICZOOMS has always been a band I found interesting whether it be because of their flaws or unique musical choices. Over the past few releases, this band has shown great change in their sound and style. Veiled Eyes doesn't fail to bring change to the table yet again. It was announced that this song would be a digital release but... I didn't realize the song would be so digital. While I don't think this one track sums up PLASTICZOOMS as a whole, I do feel it's a great song to check out as it does have hints of that more New Wave sound mixed with their previous Nu Goth tendencies. Aside from the mixture of the previous two genres, they've added a lot more electronic elements that really boost the song in to a dance-like groove. The bands production and mixing quality seem to be improving alongside Sho's vocal range. This song is a lot of fun, and I've been waiting for PLASTICZOOMS to release this for sometime. I wasn't disappointed and you won't be either! If you'd like to check this track out, you can purchase it on itunes~!
@beni's Picks: "No. 2"byCIDERGIRL Being their first track on their latest second mini-album, there's a lot to love with this indie, all male band despite their petite discography. The familiarity of the chorus in "No.2" might be too along the lines of 'been there, done that' but it somehow makes it instantly memorable. The crystal clear vocals and poppy yet rocking melodies is something to be enjoyed by plenty of us.
"氷の皿 (Ave Maria)" by Poet-type.MWhat a find to get into the swing of things for 2016. Being a member of two late rock bands, namely BURGER NUDS (1980) and Good Dog Happy Men (1999) didn't stop this dude from going to even greater things as a soloist back in 2011 and again in 2013 after a pause in activities. The Visual Kei-esque vocals took me by surprise at first until I was lulled into the dreamy sound of the tune and fell for everything that makes the song. The mix of soft rock and electro makes for a contemporary mash of differing genres which works wonder, and with his lush, distinctive vocals it all mashes splendidly together. It's another of those underwater/deep blue sounding songs that comes off as peaceful and romantic, leaving a super lasting impression.
"Urusai." by SUPER BEAVERSUPER BEAVER have been on a roll recently and there's no stopping them. Continuously getting better with every release, "Urusai." is proving to be their bulls eye - their best song to date. At only two minutes and thirty five seconds long, the tune is a roller-coaster, squashing in its energetic chorus three times and a softer, slower couple of verses. The song is fittingly named "Urusai.", as we all know means 'shut up'. The song opens with vocals from all the guys and guitar chugs that penetrate your ear drums, instantly becoming addicting. Being a short song that packs a punch, I can promise you that you'll be coming back to it repeatedly. Loud, obnoxious, and bursting with energy, SUPER BEAVER certainly are a super bunch.
"KOKO" by WEAVERLike SUPER BEAVER, WEAVER is a band that I hold close to my heart because of their charm. There's something strangely surreal, empowering and warm about their music, and "KOKO" is probably their best song to prove this. With a sound that sets them apart from your usual pop/rock bands in America only because they're Japanese, "KOKO" is both engaging and has too much repeat factor for its own good. The song has plenty of colour and character to it thanks to the structure which is similar to that of the dubstep genre; a strong and loud build up before the chorus hits. Artistic and full of flare, there really isn't a dull moment in "KOKO".
@doombox's Picks: "KICK ASS HERO"byFEELFLIP & SKALL HEADZTo celebrate their ongoing ska punk festival concerts with the same name, band bros FEELFLIP and SKALL HEADZ put out a kick ass song to go along with just how kick ass it must be to bring the entire Japanese ska punk scene together year after year. The song and video are a high energy romps true to the spirit of both bands' work with strong horn sections and lots of pop-punk ruckus that proves that the more the merrier, indeed!
"時を貫く槍(toki o tsuranuku yari)" by Within The Last Wish I've been in love with this track since the video came out last month, but when I saw it was recently uploaded to Bandcamp for ￥200 (with a second and equally amazing song) I had to snatch it up, asap. I have a major weakness for the screamo-esque vocals over hyper-melodic post-hardcore and the swirling dissonance that radiates from this track. Within The Last Wish have masterfully crafted a powerful and memorable approach to tackling age-old feelings of loss and introspection.
"Delicious" by MONKEY MAJIK It's hard not to dance along to this feel good jam from what is probably one of the most unassuming J-pop groups in history. If MONKEY MAJIK didn't release something new for the Year of the Monkey it would be a sad missed opportunity for sure. The song, and hilarious video, play on some retro 80s-inspired jazz-funk complete with jazzercize dancers in horrible spandex to round out the 'it's so bad, it's good' concept. The music and lyrics are extremely catchy as we'd expect, but they're also a bit of a new leaf from your typical acoustic-ballad style MM is known for. It ends up being just the spark of creativity needed to keep things fresh, yet familiar.
@CAT5's Picks: "gods"bymothercoat After the release of last year's super solid album "GOHUM", indie-quirksters mothercoat have returned with a new single, and they've stepped their game up another notch! "gods" almost sounds like a mash-up of their previously released songs "fake a fake" and "post", sporting a slightly mathy main riff that's rhythmically remeniscent of the former, yet carries the buoyant energy of the latter. The production on "gods" is also noticeably improved from the band's 2015 output. Every instrument is clearly audible with a pristine sense of individual space and clarity. Even with the vocals laid atop, everything jives pleasantly as a whole. "gods" is a distinctly 'mothercoat song', but it should appeal to any fan who likes a bit of 'pep' in ther indie-rock 'step'. ; )
"C.P.U."byマリアハト (Maria Hato)If there's one thing you should know about me, it's that I fucking LOVE mmm (me-my-mo). Who is mmm? You're right to ask. Chances are you probably haven't heard of her unless you're an ardent fan of Japanese indie-folk singers. Long story short, she's an underground folk musician that got her start in 2006 and has been involved with the scene since, performing with several bands like oono yuuki, Oh Shu, and Aniss & Lacanca. She has a unique voice and a penchant for writing compelling songs. She could release a record of herself blowing into a mic, and I'd still love it. I'm biased. Sue me. Thankfully, the music she makes is actually much more interesting that. After a brief 'retirement' from the music world in 2013, she returned in late 2014, much to my delight. She's also resumed activities with her band マリアハト, and they've just released this utterly fantastic 7inch single. mmm has always shown unorthodox tendencies in her music, but "C.P.U." is, without a doubt, her most adventurous song to date. It starts off simple and pleasant enough, but then veers off into an unexpected breakdown, complete with tribal drumming and noise-sax, before diverging even further into a psychedelic-dub haze. The song never looses its way, however; these aural detours somehow feel like they were a planned route all along. I love it! Be sure to check out the equally trippy PV in the spoiler!
☆Guest☆ Picks: "殉恋歌(junrenka)" by BORN Bringing the typical BORN music format, "殉恋歌(junrenka)" is such an amazing song, with heavy bass, average drums, guitars as always fitting very well with each other and with high traces of Ryoga's epic and crazy singing style. If you know how each member's voice sounds, you can clearly notice all of their voices in some parts of the song, which make this, and their last single even greater.
-submitted by @yakihiko
"Ruin"byDeviloofDeviloof is a 5 member Deathcore band from Osaka claiming to be the "Most violence and extreme Visual Kei band" and with their 1st Single "Ruin", which was originally released in December but made available through indie-CD shops since February 10th, they definitely proove that they have every right to do so! A pretty good amount of blastbeats, and probably the heaviest breakdowns and most nasty-sounding vocals of the scene make this song a must listen for every fan of heavy Visual Kei..
-submitted by @Matsuchan
See you next month!
hi, i'm chris. i type in small letters because it's cute.
i've been a fan of visual kei since 2001 that i can remember (my favourite band at that time was dué le quartz, i'm still collecting everything i can find of them since i was too young to buy things online at the time and didn't live in japan).
for the last few years i'm being an obsessive fan of mejibray (mostly koichi). i have a big collection of stuff and don't know how many times i've been to their live and instore..
i'm also following morrigan lately and trying to see them when i can.
my favourite 'old' music is everything of kiyoharu/kuroyume/sads. i was able to see kuroyume live last year finally~~ every other time i tried to buy kuroyume or sads ticket it was sold out before i could buy..
there are a lot of other artists i like but i don't want to start trying to make a big list.
i decided to join this site because i was lurking reading about new bands and i thought i could make some friends here who are into the same stuff.
2 Plastic Tree flyers (bonus freebies, nice!)
heidi. - 翼 (通常盤) (帯無)
DuelJewel - VISIONS (limited edition?)
lynch. - enemy (limited edition) (帯無)
Jin-Machine - さよならアキラレモン (limited edition)
彩冷える-ayabie- - 桜舞う季節に (TYPE A)
R指定 - スロウデイズ (通常盤)
葵＆涼平 - モノクローム (TOKUMA limited edition) (case-less)
オトガデッド - Asterisk
Plastic Tree - Single Collection
Plastic Tree - トレモロ
Plastic Tree fan club 'zine (another nice freebie)
I might wanna replace a few cases, especially "enemy" (that poor case is all banged up).
トレモロ was the second only time I've won a little "bid war" on the RH streams, and it's one of the rare instances where I get a CD purely for the artwork.
Oh... and I need to brainstorm on new places to put my CDs...
... 'cause I have a few more on the way
... and some more that I plan on buying...
Schwarz Stein will hold their one-man live "The Beautiful Decadence" at Takadanobaba AREA at 2016/04/15, and Kaya will hold solo one-man live at Shinjuku ReNY at 2016/07/13
Kaya will join management agency CHATEAU AGENCY at 2016/03/01 (agency of KAMIJO & Versailles), and Kaya will be opening act of KAMIJO Japan Tour 2016 "Aestheticism"
| Plastic Tree execute an album with more highlights than a thick, full head of hair can take.
It's impossible for 'disappointment' and 'new Plastic Tree album' to be together in the same sentence, as they prove once again. 剥製 (Hakusei) is the bands thirteenth full length album and it's been a painful wait even with a handful of singles and another mini-album occupying us up until December of last year. But it can be safely said that it was well worth the wait.
Much like how Ink worked with a complimentary opener and closer, 剥製 is organised in the same manner. Being a dramatic and emotional instrumental as the final track, but with a bit of Ryutaro goodness in the first one, both match wonderfully. This encourages a repeat thanks to the same soft piano melody used in both to tie them together. "●静物" (●Seibutsu) ends the album on a gorgeous yet sad note, quite literally, while "◯生物" (◯Seibutsu) sets a tone that captures the shoegaze genre that plays off of Ryutaro's vocalization like a charm.
"フラスコ" (Frasco), track two, starts the album off beautifully after the wonderful opener, and while simple, it still stands out on its own. Its sound makes you picture a journey across a beautiful landscape. I get that feeling of travelling with this one, and moving onto my pair of favourites on the album, it only gets more adventurous in the mid section of the release. "インソムニアブルース" (Insomnia blues) has an unbelievable flow with an incredibly gorgeous chorus. Ryutaro's mumbled vocals are almost overpowered by the pounding music, fitting to their shoegaze tendencies. With a melody that reminds me of their classic song "水槽。"(suisou), it's another underwater like tune I always adore the sound of. The track that follows after this is more than fitting. "float" continues this setting, adopting a more peaceful sound. "float" is one of their more soft rock tunes, and while not much happens, that's how the magic works. It's another track that flows effortlessly, with slant rhyme schemes and repeated lyrics, coming off as rather romantic; it's a must include when going on vacation, despite what craziness they're probably singing about. "剥製" (Hakusei), as you might have noticed, is the album title's track, and most certainly deserving. Being one of their slowest songs, it grabs you straight away with a melancholic tune as they do best. The prompt whispering and drum hits at the start sets the mood and with it being the final track before the penultimate song, it sure is a climax despite its linear path throughout.
I can't forget to expand on the recent singles "マイム" (Mime), "スロウ" (slow) and "落花" (Rakka) that I mentioned earlier. Usually for me, the singles are always the stand out points, but this is the exception to the rule. The rest of 剥製 manages to prove its worth against the strong singles, and I personally find that incredible and rare. When looking at the singles on their own, "マイム" plays like a classic Plastic Tree tune, with questionable, riddle-like lyrics, and a psychedelic charm to it. This brings me back to how the band sounded on "トレモロ" (Tremelo) because of the theatrical delivery. While "落花" (Rakka) has a simpler structure, as I had already described in September's RT, it's still a very solid submission with instantly catchy and familiar riffs as expected. But it's "スロウ" (slow) that proves to be one of the highlights of 剥製 for me. The slower paced melody creates an idealistic, lonely setting - the kind Plastic Tree are known for forging. "スロウ" (slow) never quite reaches a climax, but it takes you down a current you wish wouldn't end. It's very complimentary to their similar song "Blueback" mixed with "Ink", which spells out perfection by the way.
The album isn't all peaceful sounding though. "スラッシングパンプキン•デスマーチ" (Thrashing pumpkin death march) is one of the louder songs Plastic Tree have put out, and while eccentric and bubbly, it comes off as lost and unnecessary. I'm grateful for the autotune put over Ryutaro's voice, making it even more entertaining; yet it almost comes off as another silly cover like they did with "バカになったのに" (Baka ni Natta no ni). While it's a neat addition and adds variety, it fails to pull through in the long run because it sticks out like a sore thumb, and not one you'd kiss better. On the topic of pain, there's also "ハシエンダ" (Haçienda), which comes off as a song I swear I've heard from them before. I thought I was going mental when comparing the track's title to their mini-album, echo's tracklist. Being one of the quicker paced numbers on the album didn't do it any favors, instead cornering it like a deer in headlights. It's enjoyable if you can forgive its copy-and-paste tune, but this time their experimentation made a song that just doesn't mesh. It's quite a bore if I had to admit it. There's also a track that fits nicely (well, not so nicely since it's not exactly a compliment) into the 'grower material' section. "告白" (Kokuhaku) was so mediocre on first listen, and against two similar and better tracks, this was left in the dust. But with a catchy chorus that invades your head space it does its job in complimenting its companion tracks.
If you're (somehow!) new to the guys, this is not to be missed. If you've been a long time listener of them, this is not to be missed. 剥製 may not be perfect, but it's going to be impossible not to treasure it as much as their previous works. Plastic Tree have surely made their fans proud. The band shows that you can still be simple yet effective when putting out music, doing what you're best at doing and still excelling at it (let's just forgive and forget those few clangers)!
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