bonsaijodelfisch

well, there used to be a huge thread about touhou and tons of touhou bands/circles somewhere on this forum, but i think it got deleted at some point. i'll try the short version here in the spoiler, zess can probably give lots more insight.

okay, no idea how soundcloud code works here these days  but i made a new thing.
 
obvious influence is obvious, whoever likes novembers, the piqniq, klan aileen etc. migh find this somewhat enjoyable^^
 
oh, so this is how soundcloud works :P, got it...
 

2016 just constantly has to remind us how shitty it was. goddammit what a loss, such a unique band

| From Beehives to Water Lillies 
 
 

 
illion, is the solo project of RADWIMPS' Yojiro Noda, released his first album Ubu on February 25th 2013 in the UK through Warner Brothers Records. Since the debut of illion, the 2nd awaited album finally surfaced nearly three years later on October 12th 2016. Three years is a lot of time for a musician to grow and learn about their taste when it comes to musical composition. P.Y.L reflects change while staying true to the sound illion represents. 
 
This album resembles remnants of Ubu.  "Told U So" falls along the same feeling as "BEEHIVE", though that doesn't go to say it doesn't sound new and unique, they're two completely different songs. Both offer complex rhythms (clapping, synths etc), but "Told U So" contains more depth with electronics which makes it feel emotionally heavier. "Water Lily", which was released prior to P.Y.L as a single, has a completely fresh sound. Drifting, or floating is the best word to describe what "Water Lily"  should physically feel like. There's a special type of contrast between the echoing synths, the light strum of guitar, and distorted base that carries Yojiro's flowing vocals. The bar was set high for P.Y.L with such a teaser. There is an interactive site here with vibrant and abstract visuals to compliment the aura of this song, where viewers have the opportunity to manipulate the fade in and outs of the song while utilizing the colors and images spread out through the screen.
 
"Highlight (feat. 5lack)" has to be the strangest addition. The beginning sounds extremely relevant to the flow of the album and sticks to the sound illion promotes but it shifts about halfway through when a rap lays over a very sluggish instrumental. This track was also released before the full album just after "Water Lily", but it sounds disjointed from the overall picture P.Y.L should create. A change in musical direction really shines in "85", "P.Y.L", and "Wander Lust". All three introduce unpredictable synth techniques that wouldn't be expected from Yojiro. "85" essentially sounds like something right out of Tron or Outer Space. The combination of soft vocals, an 8-bit bass line, and an 80's synth drum beat makes this the most unique track on the entire album. "P.Y.L" and "Wander Lust" are very similar in a sense that they have distorted synths that sound broken,  like when something goes in and out of frequency causing an echo and static. Both have powerful vocal melodies to accompany their peculiar usage of distortion. 
 
"Miracle" deserves it's own category for having a very smooth and jazzy vocal melody with a very waltz-y piano instrumental. It's the first of eleven songs and works not only as a great opener but a smooth transition from illion's previous album UBU. There's a singer-songwriter section to this release as well. "Dream Play Sick", "Ace", and "Strobo" use orchestral instruments and progress with a very melancholic feel. "Strobo" combines harp in a circular pattern while the piano reinforces the beat with a few chords here and there making the vocal melody the center of attention. The most emotionally heavy is "Ace" which is prominently piano. It's a very simple track, but the whisper-y vocals are chilling and almost haunting. "Dream Play Sick" is a little more playful with phrase pauses and is mainly guitar and vocals for the most part in the beginning (give or take a few claps, static, disjointed violin and layered choppy vocals that resemble some of the techniques used in "MAHOROBA" from UBU). 
 
Overall this album went above and beyond new material. Yojiro Noda really explored and reached a new level with this release even if a few tracks didn't hit home. "Highlight (feat 5lack)" is the weakest but it's forgivable with songs like "85", "P.Y.L", "Water Lily", and "Told U So" that just hit the ball in to a whole other ball park. 
 
 
Support the artist!
 
CDJapan | iTunes (USA)

I think you got this the wrong way round. Your justice system and your religion are messed up, if you can incriminate, arrest and imprison people for swiping over 10x5 cm touchscreens. Honestly capturing a poliwag is probably one of the least harmful things happening in church ...

I think you got this the wrong way round. Your justice system and your religion are messed up, if you can incriminate, arrest and imprison people for swiping over 10x5 cm touchscreens. Honestly capturing a poliwag is probably one of the least harmful things happening in church ...

loving these lists. with studying days over it has become considerably more difficult to roam the internets for new music to discover, so these lists are a great help. Also i would have NOT expected to ever get into a new VK band again. Good job "Develop One's Faculties"!! very nice surprise. vocalist reminds me a bit of god and death stars.
 
EDIT: also, sweet jesus, need to get my hands on some of that Club Fujin goodness...
(and yes, as i wrote already someplace else, that aimer+TK is probably one of the greatest songs to be written/performed/recorded in the last 5-10 years, i'm not even joking)

loving these lists. with studying days over it has become considerably more difficult to roam the internets for new music to discover, so these lists are a great help. Also i would have NOT expected to ever get into a new VK band again. Good job "Develop One's Faculties"!! very nice surprise. vocalist reminds me a bit of god and death stars.
 
EDIT: also, sweet jesus, need to get my hands on some of that Club Fujin goodness...
(and yes, as i wrote already someplace else, that aimer+TK is probably one of the greatest songs to be written/performed/recorded in the last 5-10 years, i'm not even joking)

Recommended Tracks: July
 
Your friends on the Official Reviewer team are back with another month of tunes we have hand picked for you to jam to.
We hope you enjoy and let us know what you think!
 
 
@beni's picks
 
"CALL" by スカート (Skirt)

Simplicity can sometimes make a gem, and what do we have right here? One hell of a shiny one! The track may be painfully short, but it's one I never fail in returning back to now and then. With vocals that can be described as laid-back on almost the same scale as ASIAN KUNG-FU GENERATION'S Gotch, with a touch of melancholy especially due to the overall sound, this is one you can categorize as 'great indie goodness'. You'll easily recognize this track amongst any other, due to its opener of a single riff. The sprinkles of piano elsewhere, including a build up in its bridges makes this one a necessary repeater of a tune. Underrated is an understatement for this band!
 
"秘密 (Himitsu)" by SUPER BEAVER

Now this is just getting ridiculous, lads! You'll be appearing in our Recommended Tracks each month if you don't slow down any time soon! As I continuously MUST point out how SUPER BEAVER are getting better and better with each release, their singles and PVs continue to impress me as soon as I hit 'play'. Using a similar formula each time of quick but melodic vocal work against an instantly recognizable and complimentary beat, "Himitsu" is just as tastefully addictive as all their recent pieces. Fast paced, but exquisitely tuneful for exactly four minutes, it's a catchy and memorable ride, which seems to end all too soon! If you have yet to check them out, you must give them a try at least this once! And just for the record, the album that track appears on entitled 27 really deserves your attention too! These guys will not be halting their winning spree any time soon.
 
"ACROSS" by 相川七瀬 (Aikawa Nanase)

I must admit right here and now that you're not the only one missing out on this brilliant madam. I've known her name for the longest time but have never given her a listen until this single of hers, and oh, how late I am to the party! With one hell of a strong, melodic voice for a mainstream/major singer, against music done by L'Arc~en~Ciel's Tetsuya (yes, that's right, have I caught your ears now?), "ACROSS" is a delicious blend of pop rock. Nanase's stunning voice stands out even more due to Tetsuya's welcome involvement with the sound, and that definitely helps this song attract attention. What's even more of an attraction is the PV, filmed in gorgeous 360 panorama motion shots, which makes it a pleasure even to the eyes!
 
"Fake" by GOMESS

GOMESS is one of my instant loves of this year, with "Fake" being the main culprit for this. As soon as I heard his music, what came to mind was a male rap version of Bonjour Suzuki, and early daoko. "Fake" is a tuneful lullaby track as you might have guessed with my artist examples. From just this one song, to the mini-album it appears on, GOMESS has skyrocketed up to being one of my favourite experimental rappers. As those who know me already, I'm not that much of a rap listener, yet I find GOMESS extremely special because I enjoy his music so much. This is not to be missed. This song, the mini-album, nor himself.
 
"BABY, BABY" by TWEEDEES

A very random but lovely find of this month is the jazz duo of TWEEDEES. If I had to be honest about me and jazz, I'd have to say I'm not the most favourable towards it save for certain groups (BLU-SWING and JiLL-Decoy Assocation), but when it's as cute and charming as this, who am I to ignore it!? Unfortunately unknown to the majority of us, TWEEDEES definitely deserve more fans who can kick back, appreciate and enjoy anything smooth, sweet and jazzy. It even has the approval from @CAT5!
 
 "カラーバリエーション(Color Variation)" by ケツメイシ (Ketsumeishi)
 
Talk about a match made in heaven (those clash of colours and awkward dance moves gets me every time)! Sounding exactly like how I'd think of Greeeen if they were an idol/dance boy group, this hip hop group of four (in fact) incorporates infectious rap and super pleasant singing in the chorus against the dancefloor (and even EDM) sound. This is definitely one of my guilty pleasure finds of this year (even that awfully cheesy music video is!), and I can't love it any more than I already do! If you're looking for something cheery now that we're coming to the chillier seasons, you better get up and moving to this! I know I can't stop myself!
 
 
@togz' picks
 
"この世界が嫌いな人へ (kono sekai ga kirai na hito e)" by Develop One's Faculties

Develop One's Faculties has always caught my attention with their unique sound in the VK scene. They never fail to incorporate quick and complex elements to at least one song per release. "この世界が嫌いな人へ (kono sekai ga kirai na hito e)" is a B-side off of their 4th single 斑 (mura). Though the song has a fast pace to it, Develop One's Faculties is able to accomplish layering smooth vocals over a funky slap bass line. My favorite part of this track is when the vocals and guitar work lift each other and reinforce this sort of staccato verse. It's a fun song that I would recommend to scratch the surface of this group.
 
"Water Lily" by illion

illion is the solo project of Yojiro Noda (Vocalist + Guitarist of RADWIMPS). It's been just over 3 years since the debut album Ubu. Originally, an untitled release was due out for illion on the 20th of July, but that got pushed back until fall.  The sad news was remedied by the announcement of a new RADWIMPS album to drop. Despite illion's release being delayed, this amazingly interactive teaser went live and "Water Lily" became available in the Japanese iTunes store on July 15th. This is a very ambient, upbeat, and space-y sounding track but offers a strong melodic vocal line. If you need some great thinking music or something to tide you over until the new RADWIMPS release hits the shelf then "Water Lily" is a must!
 
"黒い虹 (Kuroi Niji)" by THE NOVEMBERS

Even with their new album release right around the corner, THE NOVEMBERS surprise listeners with a sudden digital single release. This song will be on the new album Hallelujah which will be released on September 21st. "黒い虹 (Kuroi Niji)" represents many sides of THE NOVEMBERS as it sways from an aggressive grunge sound and floating chants to up-front chaos as everything mashes together. Given the unique layering of harmonizing vocals, the chants/singing during the song is clash-y but pleasing. If you're just checking out THE NOVEMBERS for the first time, this would be a great song to start with in preparations for their anticipated release come end of summer. On July 20th a link to purchase the song through iTunes was made available through various social media outlets. From the looks of it this song is just a limited time release exclusively for the Japanese audience. 
 
"Rx Overdrive" by Crossfaith 

After the band's most recent album Xeno, I felt a little let down. While I understood the direction the album went in and how it was beneficial to utilizing all their members equally, I do feel they lost a little bit of their punch. Xeno was still an album that translated well to a live setting, but it lacked the heaviness that drew people in from the beginning. Aside from the visually pleasing music video, "Rx Overdrive" replenished the heavier factors that people craved to hear again. This song has satisfactory synth usage that doesn't take from the importance and depth of the percussion area. Whether you're looking to give Crossfaith a second (or third) chance or are just checking them out, "Rx Overdrive" is a great place to sum up their journey to this point. 
 
 
@tetsu_sama69's picks
 
"SENSE OF ASH" by Insanity Injection

Hands down one of my favorite releases this year and a purchase I hardly regret every single time I hear this song. Granted, Insanity Injection has been met with mixed opinions, yet they always seem to strike it rich with me. "SENSE OF ASH" is a continuation of the chaotic hybrid that this band exists to be and does it so well. The haunting intro with light voiceover erupts into the unholy mess of screams from Kyouka and is spiced up with operatic vocals from Chaos. A cacophony of twisted guitars, heavy bass, noisy rhythm with an occult narration thrown in is a great treat if you're into dark and filthy sounding visual kei goodness.
 
"廻想ルナシエル (Mawarisou Luna Ciel)" by FerrisWheeL

You hopefully are listening to this treat of a song while you're reading this little blurb about its contents because I don't think I can completely explain how good this song is with words alone. FerrisWheeL is really underrated and should rightfully get more attention as their band continues on. They're also a pure example of the scene can still play "old-school" style visual kei and make it sound very unique in their own way. Maybe it's because the band is a wonderful collection of members from previous bands such as Crishuna, Cruicifixtion , and GRIST or that they're focusing more on making great music than just trying to sweep up fans by sticking to trends. "Mawarisou Luna Ciel "is a delightful listen and I do hope they continue with consistent music of this variety. This song is a a blast from the past and the opening guitar riff alone is enough to get almost anyone addicted to it.
 
"desperate" by chariots

The official return of chariots was definitely the hype train that I got on right away. I've always enjoyed the interesting evolution they've gone though since their start. Though, Kisai is a great release overall and is a refreshing continuation for the band since before they went on break to take progressive steps towards the style of heavier music. "Desperate" ended up being my favorite track from the single overall because I just couldn't resist putting the song on repeat. Perhaps it's the chugging guitars from KAZ, strong bass from Jin, perfect drumming from MIKAGE, and rough vocals from Riku that are an amazing mix that definitely comes together to make a stimulating hefty load of power metal. 
 
 
@emmny's picks
 
"period" by ギルガメッシュ (girugamesh)

And here ends Girugamesh's legacy... the band responsible for getting a fair chunk of this forum into the j-rock scene throughout the better part of the past decade or so is over. It's worth noting how much of an influence they've had on the current scene (in case you're new), with their current output being ripped-off by the new visualcore bands and their mid 2000's material serving as a large influence to revival kei groups. After my first few listens of "period", I was entirely gobsmacked at how well they managed to combine their current slick yet brutal metalcore sound with the moody alt-metal atmospherics of their indies days. It doesn't entirely sound like a Chimera left-over, but "period" definitely borrows from its predecessor's theme of mixing old and new, bringing the concept to a fever pitch. The end result is a driving metalcore/djenty banger with ominous chord progressions, the standard anthemic chorus and interesting use of orchestral programming--up until 4 minute mark. The outro begins as ambient synths and piano underscore satoshi's distorted crooning, then suddenly everything drops out and a hellfire of grinding guitars and furious drum fills close the track while they glitch into oblivion. The curtain falls, applause, goodbye.
 
"百鬼夜行" (hyakki yakou) by 己龍 (kiryu)

BPR's flagship band return with their fifth full-length album Hyakki yakou, featuring a title track so good your eyes will probably water, your neck might snap and you will 100% be reminded as to why you ever liked the shit-show known as visual kei in the first place. Hyperbole? Absolutely. Kiryu deserve every smidgen of praise they get given how consistent they've been for the past 9 years. Year after year, they've been serving their signature mix of all things dramatic and neo-japonesque with a healthy dose of ADHD oshare fun and a kote kei lean ALL topped with sharp progressive tendencies. "Hyakki yakou" is a manic mix of everything Kiryu have ever done, but it remains fresh because of how brilliantly the song flows. The track opens with a wild piano riff and matching insane shrieks from Mahiro, the guitars duel in that signature late 90's staccato riffage under a soaring flute-sounding riff as Junji goes off on his drum set, not missing a beat or accent. All that said, this is just the first 30 seconds or so; "Hyakki yakou" is wildly textured in its arrangement, as typical of a band who pays abnormally close attention to detail. To spare you all a 3 page long in depth explanation of all the reasons why this song utterly slays, shut me up and just give it a listen.
 
"右手のナイフ、左手のヒス" (Migite no knife, hidarite no hiss) by SAVAGE

So I thought I was stanning trash last month with the VEXENT feature... but y'all underestimate my ability to literally swim in the dumpster of visual kei trash to pull out some more crap. Here comes SAVAGE to the rescue, the new band of ex-Depain members who are more known for having girls hawking over them than releasing anything of substance. But, there's a catch to this: SAVAGE's trash is occasionally amazing. As per Depain's discography, there are some surprisingly great songs here and there; nothing original, but definitely well-done heavy kei. "Migite..." is the best song SAVAGE have put out since "Biran", and probably the best song they've ever done. If there's one thing they do well, its creating a menacing atmosphere that few current bands can replicate. "Migite..." slinks around with its dark mood, further punctuated by the use of space in the song and Ryuka's eerie tone deaf robot vocals. A creepy music box interlude half way leads to an especially amazing fast section, driven by Takeru's ghostly seven-string guitar riffage and some great old-school blast-beats. "Migite..." is a fabulous throwback to when the height of heaviness was bands like Dio, NEGA, UnsraW, Awoi and -OZ-, back when visualcore had a bit more dirt on the surface. Despite all the trash I've talked about SAVAGE, this is not only an amazing track but ultimately a necessary throwback considering how sanitized the current scene can be.
 
 
@fitear1590's picks

"ぼくのことすき (boku no koto suki)" by クウチュウ戦 (koochewsen) 

Koochewsen has sky-rocketed to become a new favorite of mine. It appears that they're slowly weaning us off their extra progressive sound, but trust me, they're not boarding the shuttle to Genericville by any means. The PV track for their upcoming mini 超能力セレナーデ (chounouryoku serenade)  is a noisy helping of synthy power pop. I always appreciate a band that can fuse talent and a good sense of humor--a combination that they are currently killing. I know you love retro astronauts delivering an anthemic chorus in zero gravity just as much as I do!
 
"秋明菊 (shuumeigiku)" by 神はサイコロを振らない (kami wa saikoro wo furanai)

Back in March, @saishuu introduced us to a very special band in the indie scene, kami wa saikoro wo furanai. Their polished math-rock riffs and warm, soulful vocals (pretty uncharacteristic for a scene dominated by high-pitched, shrill, and/or nasal singers) set them apart from the average newcomer, right from their first PV. For their aptly named debut mini-album, anfang (German: beginning), they've presented us with "shuumeigiku," which continues the gorgeous guitar work and soaring choruses. If you haven't checked out kamisai yet, now's the perfect time!
 
"Métamorphose (LA VIE EN ROSE KAMIJO -20th ANNIVERSARY BEST- Grand Finale)" by LAREINE

One-day revivals might be en vogue right now, but often they're just a last-ditch effort for old bands to make a quick buck. Rarely do musicians take this opportunity to go all out, but shortly before New Year's Eve of 2015, KAMIJO did just that. Playing a special 20th anniversary show, he brought all his past and current projects together into one mega-show. Of everything that went down that night, I think many of us were most excited to see LAREINE take the stage again.  While bassist Emiru has remained active (albeit, behind the scenes), we haven't seen or heard from guitarist Mayu or drummer Machi in around 10 or 15 years, respectively. To see the four of them so seamlessly pick up where they left off is just uncanny. They even played my favorite song, "Métamorphose"! Fortunately, the entire 'LA VIE EN ROSE KAMIJO -20th ANNIVERSARY BEST- Grand Finale' concert experience has been immortalized on DVD for all to see--an absolute must-see for KAMIJO fans of all eras.
 
"Migimimi" by Migimimi sleep tight

What happens when you blend 少年記 (shounenki) levels of melodrama with a cold hazy Instagram filter? Well, you get Migimimi sleep tight, a new project featuring Megamasso's Ryohei.  Anyone with some background in VK will probably agree that the band's visuals and sound are mind-boggling. Shouldn't you be dressed up like a revolutionary French aristocrat or in some kind of PVC outfit to be making those exaggerated hand gestures and reaching passionately toward the camera? Shouldn't your jovial extras waltzing through the forest be random melancholic white girls? Shouldn't that deserted cliffside beach be Lockheart Castle? In all seriousness though, the song is tight--it's just the incongruity of it all that makes it even more interesting.
 
"NECRO" by MORRIGAN

I haven't followed MORRIGAN, but they are my guilty pleasure for the month. This era of heavy 'neo VK' is generally not my bag, but every so often, a band hits all the cliches in just the right way and produces something totally solid. That describes "NECRO" to a tee. It starts off with a spooky carnival arrangement, which is easily a top 5 way to my heart. Then, it gets br00tal with some trashy harsh vocals. Following a by-the-numbers songwriting approach, there's even the obligatory sudden melodic chorus, but you know what? It's beautiful and I can't help but be drawn in by the gaudy drama of it all. #wiredforVK
 
"Alaska" by South Penguin

Following my disappointment with ミツメ's (mitsume) awkwardly funky A Long Day album, I had to look elsewhere for my sunny, laid-back guitar pop fix. Cue South Penguin's "Alaska," which is my official beach-kei recommendation of summer 2016. It's all here, from the jangly Mac Demarco-style riffs that are are gentle as the ocean breeze, to the vibrant bass licks that form the groovy backbone of the track. Subtle synths pulse in now and again to provide a touch of dreaminess, making this the ideal track for your summer strolls with your head carelessly in the clouds.
 
"ハイゼンベルク (heisenberg)" by ツヅリ・ヅクリ (TSUZURI.ZUKURI) 

Combo breaking the shit out of my sausage fest of a list (sorry about that, btw), we have TSUZURI.ZUKURI. Discovered purely through the art of clicking through YouTube, this duo immediately grabbed my attention. ”Heisenberg" is a lavish composition, featuring angelic piano, sweeping chimes, dramatic strings, and skilled percussive work which is both delicate and epic--you'll hear what I mean. The true star of the show, however, is vocalist Mumu, whose ethereal range is truly a beauty to behold. With a multitude of mini and full albums under their belt, it'll take a while to catch up, but I'm excited to delve more into TSUZURI.ZUKURI.
 
 
@CAT5's picks
 
"us" by Aimer

Alongside the likes of supercell and EGOIST, I consider Aimer to be one of the reigning queens of the modern anison world. It's an area of music as oversaturated as any other, but Aimer stands out easily with her towering vocals and her top-quality collaborations with some of the finest composers in the field - Yoko Kanno and Hiroyuki Sawano to name a few. On her latest, double a-side single insane dream/us, she adds Taka (from ONE OK ROCK), and TK (from ling tosite sigure) to her list of  musical consorts. "insane dream", which was penned by Taka and also features him on vocals, is an instant banger and it was honestly difficult for me NOT to write about that song. But the TK-produced "us" takes the cake! It's epic pop-rock at its best - somber, atmospheric, and cinematic with all of TK's signature touches and Aimer's dramatic crooning operating in perfect harmony. TK hasn't written a song this good for himself OR his band in years. These two make a killer pairing, and I'd love to hear them work together again!
 
"グルメ紀行(Gourmet kikou)" by 婦人倶楽部(fujin club)

Thank the universe for providing me with a keen musical network of friends. A pal of mine introduced me to this group recently, and since I haven't been exploring new music like I used to, and there's been almost no mention of this band through popular Western J-music channels, I would have completely missed out on FUJIN CLUB if not for his recommendation! I was specifically introduced to them through this song/video, and it was love at first listen. They have a very organic pop sound with bright melodies and crisp and colorful, classical instrumentation - somewhat similar to WUJA BIN BIN. "グルメ紀行" sounds like how watching a Ghibli movie feels. It's cozy, endearing, and pure, yet it evokes a sense of wonder and tugs at your imagination. Fantastic!
 
"Talisman" by Boris

You know a band has reached an unrivaled level of badassery when they can release a disc of bonus material that puts the actual albums of most other bands to shame. That's exactly what Boris has done. 10 years after the release of their classic, Pink, they've reissued the album as a deluxe version with a second disc titled Forbidden Songs. The bonus disc features nine previously unreleased tracks, and it fuckin' rocks. I mean, Boris practically piss quality music, so it's difficult as hell for me to single out one song above another. But since I have to pick, I'll go with "Talisman". It's an absolutely crushing stoner-doom number that harkens back to 2002's Heavy Rocks, yet is equally apt as an extension of Pink. If hard rock is your thing, then be sure to check out the deluxe edition in its entirety. If you're already a Boris fan, you won't want to miss any of the gems on Forbidden Songs either!
 
 
@Zeus' picks
 
"LEM" by KEEL

KEEL is why I don't cry about disbandments anymore. When 9GOATS imploded and girugamesh hung up their hats, I was distraught...until this band rose from the ashes to scratch an itch those two could never get. It's a fusion of turn of the century nagoya kei with modern heaviness and sensibilities visual kei hasn't seen since the legendary deadman. With four of the most seasoned musicians in the scene, there's a lot to love about KEEL. I cannot deny how straightforwardly emotional their music is on their single Ugly duckling, and is how B-side "LEM" won me over; rhythmic bass, pounding drums, and the constantly shifting guitars are easy to get lost in. It's heavy without being distracting and the melody slides into semi-amorphic nagoya kei melancholy and song structure so naturally it's a little scary. The bridge and the chorus in particular send shivers down my spine when Ryo alternates between his crooning vocals, his rasp, and his normal range, showcasing his deceptively wide range and those trademark KEEL croons. You never quite know what's coming next until the end. I look forward to the day when KEEL announces a proper full-length album.
 
"詩踏み(utafumi)" by DIR EN GREY

Dir en grey drops the nuanced groove and focus on atmosphere for pure aggression and it's absolutely amazing. Distilling all the best parts of their last three albums into a three minute songs is a herculean task, but Dir en grey do it right. "詩踏み"'s loose structure takes a few listens to digest, yet it still manages to create a claustrophobic, religious experience with the atmosphere that keeps my ears glued to my headphones. The completely mental music video and their accompanying look has quickly become my favorite one of year, perfectly capturing the aggression, energy, and confusion of the song. If this is a sign that they've embraced their visual kei roots once more, this is one hell of a return! As we approach their 20th anniversary, "詩踏み" is a bold statement that Dir en grey isn't done yet.
 
 
@doombox's picks
 
"One Last Time" by HONE YOUR SENSE 

Brutal metalcore? Deathcore? I'm not even sure anymore with all the labels these days, but I can tell you it's heavy and excellent. HONE YOUR SENSE never fail to impress with their releases and it sounds like upcoming mini album will pack quite a punch if "One Last Time" is any indicator, which I am positive it is. The song is fast and furious, yet clear enough for all of the technical guitarwork and lightning speed drum fills to have equal footing. It's the kind of thrill ride only HYS is capable of giving you and if you haven't checked them out yet, I highly encourage that you do so!
 
"忌際(kisai)" by chariots

When the return of chariots was announced I took my time getting around to catching up with them. I half expected more of their previous melodic style heavily laden with the usual visual kei tropes. Color me surprised when I checked out their latest release and was, quite frankly, blown away. I would have never expected a heavier, more orchestral turn towards power metal. But stepping outside of the box is exactly what the doctor ordered. And while Riku may have kept most of the spotlight for himself in the previous incarnation of chariots, taking a chance to let everyone else shine only brings up his own caliber of vocal delivery to meet them this time around.
 
"Nightcrawler" by OBLIVION DUST

Four years is much too long to go between OBLIVION DUST releases. VAMPS and FAKE? are just no substitution for the original, as fun as they may be. And the trio are back to their old tricks (and a couple of new ones) on the most recent release DIRT this month which had a surprisingly quiet release. The songs are more of what we have come to expect from OBLIVION DUST's electronically-charged industrial rock with Ken Lloyd's signature whine. "Nightcrawler" follows suit and serves as a great introduction for newcomers and a fun romp for die hard fans as well!
 
 
 
Guest Reviews
 
@chemicalpictures' picks
 
"100年前から、こんにちは。(hyakunen mae kara, konnichiwa.)" by Develop One's Faculties

If I had to choose one band to be the flagship of current VK, it would be Develop One's Faculties. They are all extremely gifted musicians who aren't afraid of experimenting and infusing their songs with new sounds, which makes Yuya's project is much more interesting than your average VK experience. In this song they get in touch with their indie rock influences, Yuya's clean riffs could be easily seen in bands like cinema staff or androp. Johannes is a beast as usual, DOF's 'let it loose' style let him shine so much more than his previous works. This kind of approach is very healthy for them as a band and for the scene, as VK could use more genre-bending bands, instead of the regular chugga-chugga we are used to. Overall, while this is definitely not their most creative or innovative effort, it is one of those songs to end the encore of a concert in such a high note you'll end up wanting more.
 
"人魚姫(ningyo hime)" by FoLLoW

FoLLoW is one of those acts that gets under people's radar for a reason I don't really know. Their sound is TIGHT. MASASHI's vocals are really on point, perfectly expressing his feelings and guiding the listener through the song. I also really like maki's drum lines; while basic, they help give an edge and nicely dictate the rhythm of the song. The 03:33 part into the last chorus is really powerful and emotional. All in all, this is by no means an epic song, but everything here matches so perfectly I can't help but have a smile on my face by the end.
 
 
@Ada Suilen's picks
 
"詩踏み(utafumi)" by DIR EN GREY

I have to admit that 'not visual' DEG were not one of my favourite bands until I heard "Rinkaku". And with "Utafumi", despite of its length, they enhanced their style at an incredible level. The technique is incredibly relevant in this dim and painful track, where Kyo's theatrical and creepy approach fits incredibly with the whole thing. Surely one of the best tracks of the year!
 
"斑(mura)" by Develop One's Faculties

One of the best rookies so far have probably reached the best of themselves. Their eccentric rock sound evolved a lot, arriving to touch more unpredictable and skillful features, where their latest song, "Mura", represents the apex of what was their project; with sublime funk bass lines and beating rhythms, this band literally caught my heart and my ears.
 
 

Thank you for hanging out with us another month! 
Special thanks to our guest reviewers! If anyone would like to be a guest reviewer in the future please contact @doombox for more info!
 
 
 
 

agreeing with the general notion on aimer. just want to throw in, that her kanno yoko collab and this TK collab are in my opinion probably the two best single pieces of music of the last 5-10 years. Not as in jrock, pop,  japanese or else. music, full stop. It's almost annoying how perfect these tracks are.
 
EDIT: sorry for derailing a bit, however back to topic: yes, a whole TK/Aimer album would be something i would consider donating internal organs and/or limbs for if necessary. 

It's nearing twenty years together for one of the most prolific bands to come out of the visual rock movement. MUCC were able to start out as a band of ragtag oddballs to become one of the most eclectic and resilient bands in the scene today. Though, they still manage to fly under the radar for many, especially newer, visual kei fans. Even with the string of anime themes they've worked on, MUCC seem to have their own corner of the market they had to forge for themselves and have never settled fully into any trend or label. Maybe it is that unpredictable nature that scares prospective fans off, but this list is here to tell you that it shouldn't. MUCC have covered enough ground with their career that there really is a little something for everyone in there. You just gotta dive in! So to help we've gone ahead and ranked every MUCC album from worst to best!

It should go without saying that this list is subjective and an artist that has been around this long with such a wide spectrum of influences is hard to pin down. So we welcome discussion about your own favorite albums from MUCC and why you love them! 
 
 

Worst to First: MUCC Albums
 
 
 

15. アンティーク (ANTIQUE) [1999]
Depending on which pressing you have of ANTIQUE could determine how you feel about this release (since the tracklist for the second pressing a year later was rearranged and included a brand new song) or you could have been stuck with much of the foreign fan-base who had to wait until the re-recorded re-release 哀愁のアンティーク(aishuu no antique) allowed us to finally get our hands on the sought after tunes. It's no stretch of the imagination that ANTIQUE ranks low among fans due to the combination of its rarity and shoddy production quality. However, as far as quality of first releases go, it's not the worst any of us has heard, that's for certain. You can still find all the core MUCC melody traits in this release, especially when you compare "九日(kokonoka)" to the updated version on Cover Parade years later where only a few small updates were necessary to bring the song seamlessly into their modern sound-- mainly Tatsuro's vocals and Satochi's drum fills. But fans of MUCC at their quirkiest will easily see the merits of ANTIQUE, even if the band themselves had not come to their full potential just yet.
Highlights: オルゴォル(ORGEL), 四月のレンゲ草(shigatsu no rengesou)
- @doombox
 
 
 

14. 哀愁 (Aishuu) [2001]
Aishuu wasn't so much a 'new' release as it was a collection of MUCC's demo songs re-recorded. Ironic that this collection would also become so rare the re-recordings would be recorded yet again in just over 10 years time. This does seem to be a theme with MUCC. To find re-imagined versions of songs and remixes on their B-sides is a pretty common occurrence. Aishuu offers probably the truest sense of MUCC's humble beginnings and musical roots. Though, it suffers mostly the same issues as ANTIQUE with muddy guitar tones where Miya had not yet perfected the nu-metal low-end he was going for or how to level harmony vocal tracks into the mix properly. However, diversity of the tracks was a step in the right direction and it helped this album feel more creative despite its shortcomings. There's also the live staple of "ロバートのテーマ (Robert no theme)" (Robert being the frog puppet and companion of Yukke that was a part of many performances over the years) that helped make this release a must-have for early Muckers. 
Highlights: 花(hana), 狂想曲(kyousoukyouku)
- @doombox
 
 
 

13. カルマ (KARMA) [2010]
Even though KARMA ranks fairly high in its home country, it did not resonate as well with many fans outside of it. Part of loving MUCC is accepting their wide range of musical styles and experimentation, at least until they ventured further into electrorock and EDM than they ever had before with this release. MUCC's albums flirted with dance-pop influences leading up to it, yet KARMA pressed on past the point of no return. Outside of layering dance beats and synth on many of the songs, there wasn't much new, creative songwriting going on. Though one could argue that MUCC's main foray into new territory is how they blend outside genres onto their core sound. And in countries where rock and dance genres couldn't be more separate, this choice alienated a large portion of their audience. The greatest crime on KARMA is perhaps that the definitive MUCC sound simply felt lost. They took a risk trading in their emotional, passionate approach for a colder, computerized one and it didn't quite payoff. However, this may be the album for curious listeners who never could get on board with the "old" MUCC style as it's the antithesis of earlier works such as Kuchiki no tou.
Highlights: ケミカルパレードブルーデイ(CHEMICAL PARADE BLUE DAY), A., フリージア Karma Edit(FREESIA Karma Edit)
- @doombox
 
 
 

12. 痛絶 (Tsuuzetsu) [2001]
The quintessential release from MUCC's indies period is hands down Tsuuzetsu. Unfortunately, that didn't help many of the songs on it stand the test of time. Even the digital re-release sounds muffled and lo-fi without any of the usual analog charms which makes the repetitious nature of the songwriting near un-listenable at points. But since we're nitpicking the recording quality as the biggest flaw in this release, it still easily tops the rest of MUCC's catalog from this era. It's evident the band finally solidified their foundation working together and for the first time some bass even got its turn in the spotlight since YUKKE's addition. This came in the form of the song "夜(yoru)" which he also composed the music for. Some of Tatsuro's trademark vocal tricks make solid appearances on this record as well. Even though a number of songs were still hit-and-miss for Tsuuzetsu, the band's energy was undeniable-- especially at the time of its release when visual kei was gaining attention in the global market.
Highlights: 盲目であるが故の疎外感 (moumoku de aruga yue no sogaikan), 断絶(danzetsu)
- @doombox
 
 
 

11. シャングリラ (SHANGRI-LA) [2012]
MUCC's Shangri-La was the first album I decided to try out when it came to picking a release from their discography back in 2013. From there I've checked out THE END OF THE WORLD, 鵬翼 (houyoku) and 極彩 (gokusai), but Shangri-La still stands as my most favored. Despite its backlash, it is well worth a shot just as much as their more preferred albums. This is especially true to those who are on the same boat as I was at first. There's so many sounds the guys implemented in such a standard sized album, that it becomes especially enjoyable the more spins you give it. From the hard opening hitter ,"Mr Liar" , to the opposite of the rocking, jazzy "ピュアブラック (Pure Black)", and even anime tie-ins "Nirvana", the opening to Inu x Boku, a pleasant, soft rock number and "Mother", an emotional belter from Naruto. Tatsuro even shows us a powerful and heavy side in the tear-jerking closer of "Shangri-La". While it's understandably not everyone's cup of tea, especially for their fans, this can be a great choice for those pondering where to start with them.  There's clearly a lot a variety and appreciation that can come from it. No matter what your taste is, a mixed bag of an album such as this one may have at least a couple of tracks you'll dig (or hate to admit you do!).
Highlights: G.G., 狂乱狂唱~21st Century Baby~ (kyouran kyoushou~21st Century Baby~), Marry You, 夜空のクレパス(yozora no kurepasu)
- @beni
 
 
 

10. 葬ラ謳 (Homura uta) [2002]
Homura uta served as a major transitional album for MUCC. Finally there was solid production which had been the band's largest hindrance up until then. "絶望(zetsubou)" unleashed the most nu-metal aggression anyone had heard from them as yet and it could not have been a more perfect time to rocket MUCC into the national visual kei scene under the wing of Danger Crue Management. Not only was Homura uta their largest collection of songs to date, the consistency of the entire album was an entirely new level for them. With some money backing them and good advice from their management, Homura uta's songs were much more approachable to the average rock listener but that doesn't mean some cringe-worthy moments didn't slip through. Tatsuro still had a tendency to howl out vocals that were beyond his capabilities, certain songs remained too repetitive, and attempts at other genres (such as jazz) weren't integrated very well that felt like distractions rather than proper additions to songs. In spite all of that, it was still a huge step in the right direction and the the industry undoubtedly began to take notice.
Highlights: 絶望(zetsubou), 前へ(mae e), 黒煙(kokuen)
- @doombox
 
 
 

9. THE END OF THE WORLD [2014]
We've cracked the top 10! And even though I'm personally a huge fan of this album, it seems fair that due to its somewhat recent release date and it being one of MUCC's more musically diverse albums it hasn't connected in the way some of the other albums have. THE END... genre-splices everything from metalcore in "ENDER ENDER" (while gaining some street cred by featuring gang vocals from scene veterans ROACH and new poster kids MAKE MY DAY among others) to disco and funk influences in "369(miroku)".  There are also some beautiful ballads and mid-tempo numbers that are the heart of the record. It opens up fierce and feisty, but easily half the album heavily pushes the emotional spectrum which is a side of the band that hadn't been in the forefront for a few years.  THE END... ultimately serves as a collection of mini-experiments in MUCC's sound instead of a large departure in the way KARMA was. This approach kept the album more accessible for fans of any MUCC era. Electronic bleeps and bloops are at a minimum on this release -mainly the singles- and it's hard to deny that the organic rock feel is the band's strongest suit. 
Highlights: ENDER ENDER -album edit-, HALO, Hallelujah 
- @doombox
 
 
 

8. T.R.E.N.D.Y. -Paradise from 1997- [2015]
MUCC have always claimed to write music for themselves despite expectations and criticism, though TRENDY is proof the band is not out of touch with their fanbase in the least when it comes down to it, even if they aren't always understood by them. In fact, MUCC wanted to show their fans some love with a release written specifically with the live performance in mind and inspiration from fan favorites over the years. This brought the four main instruments and rock sound back to the forefront and gave a lot of fans exactly what they had been waiting for. Small inspirations from THE END... still carried over in very subtle synth harmonies, and guitar-work dropped the -core and kept it mostly hard rock this time around. While purists could argue MUCC should have pushed the envelope more on this record, it still ends up being a seriously fun release for new and old fans alike as it sits right in a sweet spot. Headbang, jump, mosh, fist-pump, tap your toes, or sway, this release works hard to get you moving along to it and showcases a lot of strong hooks to sing along to.
Highlights: 睡蓮(suiren), TONIGHT    
- @doombox
 



7. 是空 (Zekuu) [2003]
From the first notes of "心奏(shinsou)" you will know you are in for a totally new and improved MUCC. This album marked their major label debut with Universal Music and it was obvious the band put their best foot forward. The down-tuned, distorted, intensity of Zekuu was its own force to be reckoned with as MUCC continued their forward momentum from Homura Uta the year before. Their style-hopping had streamlined and finally fused genres creating the what would from then on the be the 'core' of MUCC's distinctive sound. The album was so well received that "蘭鋳(ranchuu)" became a resident staple of their live sets for the next ten years. As much as MUCC like to re-record their songs and put new spins on them it's surprising they haven't chosen to rework any material from Zekuu. Maybe even MUCC know these songs are too sacred at this point. The album isn't perfect, the bass levels are too high, vocals too low, and the guitars down-tuned to oblivion. But that was also extremely common for the time this album was released and the nu-metal hints were the perfect thing to separate them from the rest of the pack within the visual scene to begin to focus their sights on the much larger mainstream rock stage.
Highlights: 我、在ルベキ場所(ware, arubekibasho), 1979, 蘭鋳(ranchuu)
- @doombox
 
 
 

6. 6 [2006]
How fitting our number six ranking would belong to none other than this release. 6 felt like it was a solution to the band having too many strong songs for their previous album but not enough to make it a double album. So they waited a few months and kicked out this gem. And whereas Houyoku had felt more conceptual and showed the band's softer side, 6 effectively came back swinging full force. It resonated with an underlying sense of power and optimism for how dark and aggressive the compositions were, save for the weirdness of "夕紅(yuubeni)" that was simply the random folk-country visual kei crossover you never knew you needed in your life. MUCC were nearly at the pinnacle of their popularity and their confidence really came across on this record. 
Highlights: フォーティーシックス(fourty-six), 夕紅(yuubeni)
- @doombox
 
 
 

5. 朽木の灯 (Kuchiki no tou) [2004]
You could almost cut MUCC's career into eras of three albums each. Kuchiki no tou would round out the darkest era that started with Homura uta and Zekuu. This album was the most poignant of the three, and some of the most down-tuned as well as speedy guitar work in the form of "濁空(dakuu)" really brought it to a caliber all of its own in their discography. Expectations had skyrocketed thanks to the band's recent growth spurt in popularity and MUCC delivered. Kuchiku no tou is full of hard-hitting, near bulldozing compositions that for many fans to this day still can't be topped. The band didn't need any tricks or 'bells and whistles' to sell the album, they had learned their strengths and had enough kick-ass songs for a surprisingly long 15 tracks. I don't think anyone would have complained if they added a few more and went for a legit double album with this one but that doesn't seem to be MUCC's thing. Though the album blazes by pretty quickly at just over an hour, the final track "朽木の塔(kuchiki no tou)" is a strong contender for MUCC's pièce de résistance, as it sprawls out over an expansive eight minutes and sucks you down to the deepest pit of your own soul. 
Highlights: 幻燈讃歌(gentousanka), 路地裏 僕と君へ(rojiura boku to kimi e), 朽木の塔 (kuchiki no tou)
- @doombox
 
 
 

4. 鵬翼 (Houyoku) [2005]
MUCC was one of the bands that did the deed of getting me sucked deeply not just into visual-kei but Japanese music in general. The first album of theirs that I owned and listened to was 鵬翼 (Houyoku) and it sealed the deal on me being a fan of their music. It's a very strong album and takes you on a emotional roller coaster in a way not much artists can. I remember getting it a little after it came out and being completely sucked in from the moment the opening track "輝く世界 (Kagayaku Sekai)" started and not being able to refrain from putting the album on repeat. Maybe that's why 鵬翼 (Houyoku) as a whole has such an impact on me, at the time I was going through a lot of loss and emotional turmoil in my life and music had a big part in helping me move on from that. The album as a whole may have a strong theme of loss but in the end empowers you to move on become a stronger person. At least that's the way I interpreted it when I gave it a listen and if you're going through some emotional turmoil give 鵬翼 (Houyoku) a listen and maybe you'll get some musical freedom from MUCC to help you move on from your pain.
Highlights:  1R, 雨のオーケストラ (Ame no Orchestra), モンスター (Monster)
- @tetsu_sama69
 
 
 

3. 球体 (Kyutai) [2009]
One of MUCC's most well-rounded albums (pun intended!), Kyutai  really shows yet another new fire had been lit under MUCC put everything they had on display. There's fist-pumping rock anthems, headbangers, dance-able jams, and even near-religious experiences in the operatic surprise "讃美歌(sanbika)". Kyutai is more rock driven than its predecessor Shion, however there is synthwork layered ever-so-subtly in the background if you listen for it. It truly feels like a combination of their previous two albums worked seamlessly into one plus some interesting experimentation to spice it up. The band showcases all of their best facets without straying far from their core strengths yet kept the album fresh. It's no small miracle MUCC were able to keep pressing out fantastic album after album during this decade leading them to be one of the most prolific bands in modern visual kei!
Highlights: 咆哮(houkou), アゲハ(ageha), 陽炎(kagerou)
- @doombox
 
 
 

2. 志恩 (Shion)  [2008]
I remember when I first heard the singles leading up this album and getting so hyped for it because MUCC just fit into the style of music I loved. For me 志恩 (Shion) is my favorite album that MUCC has ever done and it's one I always go to when I need great music to give me life again. From the beginning of the album you're pulled into a rush of chugging heavy instrumentals and rough vocals that take you over to point where you can't refuse the call of the repeat button. There's a lot of flavors put into 志恩(Shion) from the insane harmonica spiced addictive sound of "ファズ (FUZZ)" to the energetic positive powerhouse of "フライト (Flight)". And then it shifts to the emotional rollercoaster of "空忘れ (Sorawasure)" and the extremely touching and dark tinted taste of "リブラ (Libra)". 志恩 (Shion) overall is right in the vein of what represents MUCC's heavier side and is the first album I would go to when it comes to introducing someone to their music.
Hightlights: THE ENTIRE ALBUM IS THE HIGHLIGHT YO!
- @tetsu_sama69
 
 
 

1. 極彩 (Gokusai) [2006]
Were you really surprised? Of course it's Gokusai!! 2006 was such a great year for visual kei and Gokusai was one of the bright shining lights making that year so memorable. It's hard to pick stand out songs on this album when every track from the opener to the twinkly send-off song "流星(ryuusei)" is MUCC undeniably at their best. Admittedly, not as dark or heavy as their previous work, but the aggressive songs had the perfect amount of bite and grit to them, just enough to blend seamlessly when the band changed gears and slowed down for the emotional side of the album. "パノラマ(panorama)" pulled at the heartstrings as a dedication to the break up of ラヴィアンローズ(LA VIE EN ROSE), a brother-band of sorts that members are still close with to this day. And the song is still just as potent 10 years later, even if you never knew what it was referencing. The singles off of Gokusai were all strong, but when listening to the complete album it shows each and every song is just as strong and catchy as the next. Each shows a different side of MUCC leading up to it. Gokusai shot MUCC into the stratosphere to transcend the Japanese music scene, and by their next album they would be touring with some of the world's most famous rock bands of their generation. It would send them to tour the globe and cement themselves as no-longer up-and-comers but one of the pillars of the visual arena. 
Highlights: ALL OF IT. EVERY SONG.
- @doombox
 
 
 
Thanks for reading! ♪
Please share your favorite MUCC albums and songs with us below!

 
 
 

Watched the 2nd episode of Berserk today, and I found it enjoyable - in fact, I felt like it ended too soon, as I was engaged the entire episode. Still getting used to the animation. My biggest issue with it is the lack of emotion they're able to convey. When Farnese was whipping and going crazy on Guts, her voice actress was on point, but the character animation looked super stiff and rigid. Like Bonsai said, it felt more like I was reading a cut-scene on ps3/ps2 game as opposed to watching two lively characters interact. Definitely took me out of the moment a bit.
 
 
The golden arc is fantastic, but I've always kind of viewed that as its own thing. For the other arcs, when I read the manga, I never really got a sense of the "arcs". And I don't mean that in a bad way. There were certainly climaxes and quiet moments, but everything felt to me like one ever-ascending story. As for the current arc, if I have to compare it to the golden age arc directly, then the golden age would win. Although tbh, I feel like the original 1997 anime handled the golden age arc better than the manga did because they were able to better emphasize certain aspects much more. So it's certainly possible that they could enhance the source material imo. Either way, I think there's more than enough to make for a compelling season.
 
Also, I wonder if they're actually going to include this scene in the next ep or so: XD
 
 

not much of a reader, but recently ran through Andy Weir - The Martian in a couple of hours. Great book, it's really unconventional in its theme and way of narration, but it was a great experience. Probably the most plausible SciFi story i've ever come across and a great read in general!
 
10/10 would recommend
 
The Movie for it will come out shortly (by Ridley Scott), maybe that'll make reading the book redundant. I'm happy I read it anyways and still curious about the movie, reviews so far claim it's pretty good

agreeing with the general notion on aimer. just want to throw in, that her kanno yoko collab and this TK collab are in my opinion probably the two best single pieces of music of the last 5-10 years. Not as in jrock, pop,  japanese or else. music, full stop. It's almost annoying how perfect these tracks are.
 
EDIT: sorry for derailing a bit, however back to topic: yes, a whole TK/Aimer album would be something i would consider donating internal organs and/or limbs for if necessary. 

ok, i think i need to adress this.
i read that kind of argument a LOT and the hypocrisy behind it is just staggering.
 
when in a band the guitarist writes all of the music you don't hate on the other members for playing songs they didn't write, you don't hate on actors who perform in movies/theatre that they didn't write the piece they perform, you don't hate on classical orchestras that perform music by guys already dead for hundreds of years, but somehow it is "lame" and for some not really apparent reason without "soul" when 3 teenage girls perform a series of high-energy metal-gigs all over the world?
 
on top of that these tracks are so wildly creative, new and fresh, but apparently only the concept of a selling-machine?
u-huh, because death-core-powermetal tracks about chocolate with reggae parts and dragonforce guitar-solos are a failproof combination for big bucks. sure thing...
 
i can totally understand having a disliking for the cutesy high-pitched voices, or the riddicculous genre-mish-mash that is going on, or just the tracks in general for their complexity or whatever. 
but listening to those tracks it is painstakingly clear, that a LOT of creativity, thought, work and heart went into creating something truly interesting here
(and the amount of controversy they stir up is probably the most solid proof of that)
 
if now the second guitarist from the right is the writer of the tracks or not, how would that make any difference?

WE WANT THE BIRTH CERTIFICATE

you people don't seem to understand, that (not-)avatar IS trombe. They are the representative for all the unrepresented!

currently trying out some F2P mmorpgs.
so far tera online: hmmn, not sure
and blade & souls: awesome start! i hope it can keep that up and i'm curious how the multiplayer part of it'll turn out. fightsystem is awesome!

don't really know much of korean indie, but these guys peaked my interest...
 

 
they are in general more on the ballad-y side of things and thus often sound like an indie-rocked version of kpop, which is a beautiful thing
 
these on the other hand have a slightly mor rock/quirky/experimental vibe to them and thus remind very much of japanese indie, which obviously is nice aswell ^^
 

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
Songs: FLASH and 満ちていく体温
Charisma.com - OLest
Songs: お局ロック and こんがらガール
COHOL - 裏現
Songs: Depressive and Arche Pathogen
Earl Sweatshirt - I Don't Like Shit, I Don't Go Outside
Songs: Solace and Off Top
Kamasi Washington - The Epic
Songs: Re Run Home and Change of the Guard
KEEL - Cthulhu & R'yleh
Songs: deep sleep and fanfale
Kendrick Lamar - To Pimp A Butterfly
Songs: u and How Much A Dollar Cost?
lynch. - D.A.R.K. - in the name of evil -
Songs: EVOKE and BEAST
THE NOVEMBERS - Elegance
Song: きれいな海へ
the piqnic - ZyouK
Song: krs
Sigh - Graveward
Songs: A Messenger From Tomorrow and The Tombfiller
sukekiyo - VITIUM
Songs: leather fields and celeste
和楽器バンド - 八奏絵巻
Songs: 暁ノ糸 (Akatsuki no Ito) and Perfect Blue
Thanks for reading (or skimming)! Leave me some comments below.

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...)

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...)