doombox

Welcome back to our monthly collection of songs we thought rocked this month! And boy, oh boy, is this month packed full of quality tunes! So please keep your arms and legs securely next to you until this ride comes to a full stop. We apologize some videos may not be available to view in all regions. And we'd like to thank our guest contributors @Ada Suilen and @chemicalpictures for joining us once again! 
 
 
Recommended Tracks: September 2016
 
 
@beni's Picks
 
"たぶんわたしがゆうれいだったら (Tabun watashi ga yuureidattara)" by Her Ghost Friend

I admit that I was a bit late to this party, but throughout the entire month, I mashed the repeat button YouTube to this tune. One of the best ways to describe Her Ghost Friend is probably comparing her to Izumi Makura and Bonjour Suzuki, mixed with Etsuko Yakushimaru's anime tunes, but even cuter! Hold your horses though, it's not rap at all!  The act is comprised of duo singer Shinobu Ono and DJ Obake. The synths over a relaxing, almost ambient but playful beat makes this such a joy to listen to. With a childish yet ethereal voice, Her Ghost Friend have certainly caught my fancy.
 
"Kiss" by lovefilm

Even though their first ever album was quite a flop to me, I at least took this with me for keeps. lovefilm was quite a new name to many, and probably even more to come. I only managed to discover them from following the label UKPROJECT, and I'm sure glad it was "Kiss" I stumbled upon. The band have the female and male duo vocals going on, which is always a treat to the ears -- especially when both are so similar. It's especially sweet when they harmonize, and while the tune is definitely simple, it's worth your attention at least once for the feel good vibes.
 
"Cruisin' Cruisin'" by bonobos

Many thanks to @CAT5 for showing this to me firstly. For someone like myself who doesn't know the first thing about groove, this is a great starter. Everything about "Cruisin' Cruisin'" is just... well, cruisin'! The smoothness of everything, from the seemingly effortless cool vocals to the - just as amazing - chill instrumentals makes this so serene. For a linear, five minute track, you'd be surprised with how quick it seems to end. You can't help but be sucked into the whole feel of the tune. As I've said before, there's only a handful of such musicians I know and enjoy, such as cero being the closest act to them, so being exposed to even more brilliance is a pleasure! And I know it goes the same for everyone else too. Don't miss this!
 
"supercell" by Cö shu Nie

I had known this name for quite a while thanks to @CAT5, who had brought them up to me once again since their music change with this. And now I can't stop digging them! The now rocking pop duo do not let up their energy with this super number. The chaotic yet gorgeous tune is certainly energetic, and with the strong and lush female vocals of Mirai Nakamura, it really stands out and makes an impression. It's a move from their indie/math sound, and a change I've seen no one disagree with. I can safely say they have a least one more fan after this genre switch! I'm sure they'll quickly start to garner attention.
 
"She won't forget" by Someday's Gone

Telling the story of remembering fond yet bitter memories in the corner of a coffee shop, "She won't forget" is an instantly catchy number, relatable, genuine and real. The balance of sweetness with the vocalization "dood, dood, do do do" from pleasant, youthful male voice with the clearly bitter lyrics makes for an emotional and impactful listen. I can't blame anyone to be turned off at the rather amateurish Engrish delivery, but if you can overlook that and enjoy his voice, then you've sure got a nice little gem here. Also, any music video recorded in a coffee shop is the definition of cute, so how about adding "She won't forget" to your memory?

"CRAZY" by I don't like Mondays.

Everything about these guys is so infectious with each and every piece they put out! I have no idea how they do it. How they manage to make a great mixture of Japanese and English, while making it sound as good as it does is beyond me. The effortless Western feel and sound these guys can put out is so very impressive, and deserving of much more attention. From the incredibly... questionable music video style, to just how god damn gorgeous everyone looks, you'll be 'CRAZY' if you don't end up feeling like grooving to this! Be sure to check them out sooner or later while they're on fire with all their recent output!
 
 
@fitear1590's Picks
 
"Ice Candy" by カフカ (KAFUKA)

Last year, pop rockers KAFUKA put out Tokyo 9 Stories, a commendable album. Less than twelve months later, they're already back with another one, AINKSKI (あいなきせかい / ai naki sekai). While I haven't heard the full release yet, "Ice Candy" puts the album off to great start. It's a jaunty romp, punctuated with some surprisingly fuzzy guitar riffs. Frankly, I didn't know the boys had it in 'em to go in an even moderately shoegaze direction. Color me intrigued. The PV matches the aesthetic with some icy Super 8-style film footage. Let's hope the rest of the album has some nice surprises too!
 
"美しい火 (Beautiful Fire)" by THE NOVEMBERS

It's no secret that I'm a huge fan of NOVEMBERS ~dream ver.~, so when they gave us a second taste of their new album (Hallelujah) via Soundcloud, it was love at first listen. "Beautiful Fire" is gorgeous and the polar opposite of the shoegrunge grittiness of July's "黒い虹 (Black Rainbow)," which was also stellar. This track has more conviction than the dreamy, yet wispy work on last year's Elegance and it also marks a glorious return to those warm horn arrangements, a nod to 2012's stunning GIFT EP. They add a nostalgic touch here, as well as on album-closer "いこうよ (ikou yo)." There's plenty to chew on with Hallelujah, so be sure to check it out if you haven't already!
 
"ポイズンベリー (poison berry)" by トキノキト (tokinokito)

 
Tokinokito seem to be slipping under people's radars, but if you're a neo-VK fan, what's not to like? They come bearing surprisingly slick visuals for a super indies band and with "poison berry," they introduce a quirky take on the graveyard circus sound so dear to their heavier contemporaries GRIMOIRE. The track opens with spooky chimes and accordion, just in time for Halloween! Then, whimsical synths and noodling guitar riffs lead us into the meat of the song. The verses are an unconventional mesh of time signatures that take some getting used to, but it's kind of brilliant. Tokinokito continue to grab my attention, so I think I'll be in it with them for the long haul. Hope you'll join me!
 
 
@Original Saku's Picks
 
"鬼 (Oni)" by クリープハイプ (CreepHyp)

This month kicks off with one of my most anticipated albums - Sekaikan from CreepHyp - and it does not disappoint. "Oni" is like a crazy train ride with a dose of peculiar sounds and grooves, it includes all the quirky aspects from this band that I love. From the wacky backing vocals to the unorthodox instrumental sounds to the eccentric vocal style of Ozaki. It's all there in a little package waiting to be unwrapped, I love it. One of my favorite albums of the year from one of my favorite bands, check it out. I will however forewarn any new listeners that Ozaki's vocals can be an acquired taste. Sometimes he sings in such a high pitch that it can be hard on the ears, but his eccentricity is very lovable once you've warmed up to it.
 
"twoface" by Aimer

I'm by no means a stranger to Aimer. I've been listening to her output for years in anime openings/endings and soundtracks, but lately I've noticed a slight shift in motivation or direction. That brings us to her new album daydream, and in particular the song "twoface", with music produced by Uchisawa Takahito from androp. This track has a lot of power behind it, which I don't often hear from Aimer songs, and it has caught my attention because of that. She performs wonderfully here and is in top form. That, combined with the interesting instrumentals and direction, makes this one of my favorite songs from her. I can't exactly put my finger on what has changed, but I feel that we have only just begun to see what she can do.
 
"Groovy Cony" by Casablanca

This is a  sleeper pick from last month that I wasn't able to get to since it came out so close to the deadline. Casablanca a newly formed band comprised of Yoko (noodles), Sawao Yamanaka (the pillows), and Shinya Kusube (Radio Caroline) - a veritable super group if you will. With such talent coming together, there was no doubt in my mind that their first album Another Story would be quality tunes, but nothing prepared me for the instant gratification that I received upon listening to this record. "Groovy Cony" is just one of the amazing tracks from this debut release that has a particular sound that I can only describe as nostalgia in a bottle. With Sawao's guitar work, backing vocals, and composition, and Kusube's loud and proud drumming, we have a instrumental style that harkens back to the sounds of old. You then add in Yoko as the lead vocalist and we have a distinct sound that feels nostalgic and fresh at the same time.
 
 
@togz' Picks
 
"Redemption" by Her Name in Blood 

I became a little concerned for the direction of this album with the release of the "Bakemono" music video. However, the majority of the tracks on this release really caught me by surprise. "Redemption" was the composition that grasped my interest the most. The guitar work in the beginning serves as a great hook for the entire track regardless of the repetition. Although the guitar riffs aren't very complex and we get a lot of palm-muted chugga-chugs, I found myself subconsciously bobbing my head along. The strongest aspect of this song is the catchy chorus. Ikepy's vocals really show growth with the range, depth, and stamina of his cleans. I can only hope to enjoy this song live some day. This is a must listen!
 
"海の静寂 (Umi no Seijaku)" by downy

I'm fairly new to the world of downy, but I have this song along with a few others to thank for getting me hooked. I'm not sure if this song is a great representation of all of their past work, but I can vouch that it's a great easy-listening track. I admire the flow of this song because of it's slow jazzy mood with silky-slick vocal phrases.  It's a rather sluggish song, but it's not muddy and it's tasteful. It works as great thinking music, inspirational music, or just something to sit back and relax to. 
 
"愛はなけなし (What Little Love)" by THE NOVEMBERS

THE NOVEMBERS never seem to disappoint, but this song in specific really resonates with me from their new album Hallelujah. The intro is a beautiful and emotionally dark combination of beautiful acoustics and muted guitar strums. Kobayashi's voice enters in a lullaby-esque melody, which fits his voice flawlessly given that his tone can range from a whispering chant to raw shouting. The middle section of the song is an interesting direction change and really jumps back to their dream-pop sound, but remains able to melt back into the solemn vibe of the song overall. While I would highly recommend the whole album, this track is where I'd start.
 
"ぴゅーぱ。( Pyupa/Pupa)" by PIGLOW in GLOOMY

I feel like visual kei has become a realm filled with cookie-cutter bands and finding gems is a chore. I listened to PIGLOW in GLOOMY on a whim, and while I wasn't amazed, I wasn't disappointed either. This track is off of their first mini-album むくあ(mukua) which was released August 31st. I like this track because it has hints of what visual kei sounded like when it was at it's peak for me, which was the obscurely mellow intros that lead into heavy guitar riffs and gave off a psychedelic sort of vibe.  The composition itself isn't too complex, but it shows potential to head in a very interesting direction. The vocal style also reminds me a bit of Karma from AvelCain, so if you're in to that I'd say they're worth a listen!
 
 
@emmny's Picks
 
"頭蓋、紛い (zugai, magai)" by gibkiy gibkiy gibkiy

Grandpa-kei' icons ggg return with a new single for September, hilarious titled I LOVE YOU. Considering how dark their sound is, a simple 'I love you' is an ironic declaration more so than a love letter. While the title track of the single has a stutter-y groove and an old-school merry go round vibe, "Zugai, Magai" chooses instead to brood and melt in its own darkness, giving a nod to later-era merry go. Kazuma's yelling has been a love-hate affair on their past material, as i enjoy his clean vocals more than his dragged-out-vibrato-whimper-yell, but it sounds perfect haunted on this track. I don't think anyone would have predicted ggg's success (or existence) 10 years ago, but this oddly random project has flourished into one hell of a beast. They exist on a creative plane far from their contemporaries, yet with an incredibly familiar sound that grows in magnitude with each release, it's incredibly thrilling to watch.
 
"EVIDENCE" by lynch.

Gang vocals? Yes. Delayed and reverberated clean guitar intro? Hell yeah. Compression for the gods? You know it. Thumping metalcore break down? Duh. Fist pumping chorus? Absolutely. lynch. basically rehashing what they've been doing for the past 3 years but still managing to blow our ears in with some surprises here and there? Thank god!
 
"カミソリ (Kamisori)" by ザアザア (Xaa-xaa)

Osaka it-band Xaa-Xaa are once again spamming us with music, this time in the form of a 3-month consecutive release around the theme of 'despair'. "Kamisori" is the first incarnation of this project, and Xaa-Xaa handle the questionably triggering concept with fury and also grace. "Kamisori" features a thrashy guitar riff at its centre with this oddly cute wonky tone that keeps it from coming across too 'metal'. Kazuki's vocals are at times breathy, other times strained, increasing the tension behind the words (special shout out to that howl at the end). The song flows incredibly well, outside of repeating the main riff a few times too many. The progression from the breakdown to the solo is particularly awesome. Next month is looking to be great too...see y'all here in October?
 
"撲殺サマンサ (Bokusatsu Samantha)" by DAMY

I'm gonna be real honest with y'all (as you can always expect): there's little merit to the new DAMY record outside of DEZERT's obvious influence. I knew it was an enjoyable record, but I didn't find any new tracks were interesting enough on their own for a feature. It works better as a whole... except for "Bokusatsu Samantha". This is straight up catchy metal-kei that stands amazingly on its own--so we'll forgive the fact that this technically came out in 2015. There's not much to rave on about this track, it's not that complex, or original, or all that interesting--but it's so fucking fun. You'll be screaming along to the gang refrain in no time, not knowing the band's detailing whacking a girl over the head to death. Intellectual music has it's place, but sometimes you just wanna whip your hair to some depravity--thank god DAMY make music for that.
 
 
@Zeus' Picks
 
"The Love From a Dead Orchestra" by Versailles

Versailles' return and announcement of new material is the greatest gift they could have given to their fans. There's been a dearth of good symphonic visual kei acts to fill Versailles' flowery rococo heels, but they didn't go out on the best note, so their Greatest Hits release feels less like a cash-in and more of an attempt to convince us there's enough magic to keep going. The tracks they chose were among the best of the best, but one in particular caught my eye almost instantly. I prayed and fantasized about what an updated rendition of "The Love From a Dead Orchestra" would sound like for years as it's always been a bold song held back by constrained production choices and a vocalist who had not yet adapted to his range. The re-recording exceeded my expectations. Some rough transitions were smoothed over with the inclusion of new instruments, everything was redone from scratch, and new lyrics were added to cover up sparse interludes. In terms of low-hanging optimizations to the melody the band plucked them all and then some. What's harder to communicate with words - and what Versailles did successfully - is play like a band. There's the perfect mix of old Versailles and new Versailles here to both restore my faith and keep my interest for what's to come.
 
 "孤独旋回 (kodoku senkai)" by downy

It's no secret that I'm all about downy's latest LP, 第六作品集『無題』 (Mudai), but it's hard to describe in words the emotions I feel when listening. If I had to choose one track that captures the entire feel of 『無題』, it would be "孤独旋回" (kodoku senkai). If 『無題』 were a story, "孤独旋回" would be the tense rising action before the climax. The rhythm is as tortuous as it is both uplifting and oddly distressing, beckoning the listener this way and then another with the variations in tempo and theme. I can feel the members of downy flexing their knowledge of musical theory on me with this one. Fans of post-rock and mathy melodies still new to downy just might fall in love. Moments of tranquility are upended into a whirlwind of emotion, painted with the melancholy tones of vocalist Robin Aoki. Such a description is fitting for a track named "Revolving Loneliness". One of the best tracks of September for sure!  
 
 
@CAT5's Picks
 
"2772" by ZA FEEDO

Initially appearing on a Yasei Collective feature back in 2014, ZA FEEDO have finally come forth with their debut album  2772, sporting what they describe as a 'Futurist Polyrhythmic Tropical Bad Ass FUJIYAMA Sound '. While they site acts like Aphex Twin, Little Dragon, Miles Davis, and bjork as influences, on their latest PV for the title track "2772", ZA FEEDO's off-kilter grooves and soulful vocals land them closer to the realm of Spangle call Lilli Line. The song has a great balance of experimental ingenuity and accessible, pop charisma. Let's hope the album is just as good!
 
"星雲ヒッチハイク (seiun hitch-hike)" by TAMTAM

TAMTAM originally made a name for themselves by creating a delectable fusion of Jpop and dub. They tried a few new things in 2014 - most of which seemed like a direct appeal to the Anime industry - but thankfully, they've returned to form on their new album NEWPOESY, even stating in their promo campaign, "Back to the Riddim"! The album is full of sweet, soulful jams that, while enjoyable, are best appreciated as a whole. "星雲ヒッチハイク" stands out completely on its own, though! It's an epic, expansive groove and the most pristinely gorgeous track of not only the album, but of TAMTAM's career thus far!
 
"白薔薇のララバイ (shirobara no lullaby)" by 手嶌葵 (Aoi Teshima)

When it comes to Jpop songstress Aoi Teshima, her music is just as classy, elegant, and beautiful as she is! She just released a new album titled 青い図書室 (Blue library) in celebration of her 10th anniversary and it's expectedly lovely. "白薔薇のララバイ" is particularly extravagant, with its somber, psychedelic-folk sound that harkens back to 70's kayōkyoku ballads, and even brings to mind the likes of Douji Morita. Absolutely stunning!
 
"Falling Alone" by Aimer

Hot on the heels of her recent single "insane dream" (produced by ONE OK ROCK's Taka), Aimer has finally dropped her new album daydream this month, which features three additional tracks penned by Taka as well. Of the three, "Falling Alone" serves us the kind of riveting pop-rock we've come to love from Aimer - even towering above "ninelie", which was produced by 'Mr. epic' himself, Hiroyuki Sawano. Taka and Aimer have proven to be a potent combination. The chorus of this song is EVERYTHING!
 
"Sunshine Freeway" by I love you Orchestra

I love you Orchestra is one of those bands that look brilliant on paper, but unfortunately, have yet to deliver anything truly substantial. With two drummers and three guitarists, one would expect some level of brilliance, but so far, their releases have consisted of songs too spastic to really get into, and songs too short to offer anything memorable. Thankfully, their sound finally seems to be coming together on their third and newest album Crack. "Sunshine Freeway" reflects this by perfectly balancing out the band's spastic tendencies with more accessible melodies and a coherent structure. The song feels more like an actual experience now, as opposed to just passing sounds. Japan's instrumental scene has been lacking lately, but these guys may just put a 'Crack' in the monotony!  
 
"see through sway in you" by 別野加奈 (Kana Wakareno)

Kana Wakareno is a young singer, pianist and cinematographer, who just recently released her third album forget me not, and it's absolutely exquisite! Her music is based on her own, imaginary/fictional landscapes, and through each track, you get a clear sense of her cinematic visions. The minimalistic melancholy of "see through sway in you" congers up a particularly visceral scene, with its mournful, yet gorgeous melodies and subtle background noises that sound to be the crackling of a fire - you get a sense that there's warmth nearby, but at the moment, there's something comforting about how numbing the cold is. Amazing.
 
"六月ノ雨ニ討タレテ (rokugatsu no ame ni utarete)" by alt of the society

Real Japanese emo is a bit of a scarcity. The scene is relatively small, and there aren't an abundance of fans in or outside of Japan, so I was pretty delighted when I finally got my hands on alt of the society's new album 追憶の風景 (tsuioku no fuukei), which was released all the way back in March! Not only was my need for this style of music sated, but the album also provided a few gems as well - "六月ノ雨ニ討タレテ" being one of them. It's a track with a traditional kind of post-rock build, starting relatively calm and then climaxing into a swell of emotion. Easily one of the most compelling tracks of the album!
 
 
"滅菌、消毒、絆創膏。(mekkin, shoudoku, bansoukou.)" by Chanty

Chanty are undeniably a VK band, yet they've continuously proven that their appeal extends beyond the scene. They're just as at home being on the same bill as VK bands like Grieva and Kuroyuri to Kage as they are sharing the stage with "non-vk" acts like indie-rockers aquarifa. On their latest album 不完全な音楽 (fukanzen na ongaku), they continue to straddle that line between unabashed "vk-ism" and indie appeal - they're almost like a VK version of cinema staff in that regard. "滅菌、消毒、絆創膏。" takes that archetypal, circus-y VK rock sound and amps it up a bit with the spastic recklessness of a 9mm parabellum bullet or Arukara track. This song is a helluva lot of fun!
 
"灰よ (hai yo)" by 平沢進 (Susumu Hirasawa)

The musical wizard of everything wondrous, the one and only, the legend himself, Susumu Hirasawa has just released Ash Crow, a compilation of songs he's composed for the Berserk franchise over a span of 20 years. The compilation features songs from the Berserk movies, games, and even some of the new insert songs from the Berserk 2016 anime - most notably "Hai yo"! The song is suitably dark and epic, evoking the grim nature of the show while providing the perfect backdrop for the demonic warfare of the series. It's a song that's both uniquely Hirasawa, and uniquely Berserk. It's a shame that the Berserk 2016 anime wasn't worthy of such a great piece!
 
Guest Recommendations
 
@Ada Suilen's Picks
 
"1000 Years" by THE NOVEMBERS

After the dark and dreamy Elegance EP, The Novembers have come back with their sixth album Hallelujah. A product which doesn't disappoint for a single note. But if you isolate it carefully, you can see the single vibes that are inside it: nostalgic rock sound, with even a passionate soul full of adrenaline and astonishing themes, which I liked most. "1000 Years" represents perfectly the most rebellious and out-of-scheme style that this band could ever do (those grungy vocals!).
 
"Trigger" by MUCC

In my opinion, MUCC is one of the few bands which always opted to stupefy and to entertain in unusual ways (think about the genres they've showed off); in their latest single this happened once again. With an energetic A-side and a curious first track on the B-side, here we are in front of something which smells unexpected and incredible. "Trigger" appears as one of the 'black-sheep' of MUCC's discography, where a warm guitar intertwines with sublime vocals and the structure twists around itself each second for a whirling musical experience.
 
 
@chemicalpictures' Picks
 
"拒絶 (kyosetzu)" by SCAPEGOAT

SCAPEGOAT was always a hit-and-miss band for me. While I loved "告白＿時々、雨 (kokuhaku ___ tokidoki, ame)", I couldn't care less for the other five songs on the mini. What made me love it so much is that the guys have a concept of trying to tell a story through their songs. They got it right that time, and got it right on the spot again! The Nagoya-y vocal lines set the tone and create a heavy atmosphere full of visual kei tropes like whispers, moaning and slow paced singing. The lead guitar nicely defines the tempo, starting slow and exploding into a catchy, dark and powerful chorus that provides some nice headbanging moments. You can feel that they are trying to express that emotional burst through the chorus, and that's an interesting little quirk. Music-wise there is nothing really innovative to be seen here, but it's a nice banger on a slow vkei month.
 
"Jellyfish" by ZON

With their third single, ZON is showing how consistently good they are. All the songs are great on this single, but "Jellyfish" stood out mainly because of 834. I'd like to get everyone's attention on how good that guy is. The song already starts packing a punch: 834's drums all over your face, dueling with Mii's melodic guitar lines, while Azu does his thing. Everything is just fine, but it all goes wild in the chorus, with 834's drums again in the spotlight, urging you to stand up and dance. It's IMPOSSIBLE to stand still. They really let him go full crazy mode... It's interesting how he subverts the regular progressive rock beat infusing a high octane funky-afrobeat, making it so energetic and vibrant (lol, sorry I got a little carried away here, but he is THAT good!). Another nice touch is the transition on the three-minute mark from the classic vk slow bridge into fast chorus transition. Smooth AF. This is EDR with a capital R, guys. These guys can be HUGE in no time.
 
Thanks for hanging out with us for another month of songs and we hope you enjoyed them as much as we did! Please comment below if you had any special songs this month you didn't see listed above that deserve some attention! We'd love to hear about them, or any of the songs we've listed above. Please let us know what you thought.  If you'd like to become a guest contributor for Recommended Tracks next month please contact @doombox!
 
Until next time~

Welcome back to our monthly collection of songs we thought rocked this month! And boy, oh boy, is this month packed full of quality tunes! So please keep your arms and legs securely next to you until this ride comes to a full stop. We apologize some videos may not be available to view in all regions. And we'd like to thank our guest contributors @Ada Suilen and @chemicalpictures for joining us once again! 
 
 
Recommended Tracks: September 2016
 
 
@beni's Picks
 
"たぶんわたしがゆうれいだったら (Tabun watashi ga yuureidattara)" by Her Ghost Friend

I admit that I was a bit late to this party, but throughout the entire month, I mashed the repeat button YouTube to this tune. One of the best ways to describe Her Ghost Friend is probably comparing her to Izumi Makura and Bonjour Suzuki, mixed with Etsuko Yakushimaru's anime tunes, but even cuter! Hold your horses though, it's not rap at all!  The act is comprised of duo singer Shinobu Ono and DJ Obake. The synths over a relaxing, almost ambient but playful beat makes this such a joy to listen to. With a childish yet ethereal voice, Her Ghost Friend have certainly caught my fancy.
 
"Kiss" by lovefilm

Even though their first ever album was quite a flop to me, I at least took this with me for keeps. lovefilm was quite a new name to many, and probably even more to come. I only managed to discover them from following the label UKPROJECT, and I'm sure glad it was "Kiss" I stumbled upon. The band have the female and male duo vocals going on, which is always a treat to the ears -- especially when both are so similar. It's especially sweet when they harmonize, and while the tune is definitely simple, it's worth your attention at least once for the feel good vibes.
 
"Cruisin' Cruisin'" by bonobos

Many thanks to @CAT5 for showing this to me firstly. For someone like myself who doesn't know the first thing about groove, this is a great starter. Everything about "Cruisin' Cruisin'" is just... well, cruisin'! The smoothness of everything, from the seemingly effortless cool vocals to the - just as amazing - chill instrumentals makes this so serene. For a linear, five minute track, you'd be surprised with how quick it seems to end. You can't help but be sucked into the whole feel of the tune. As I've said before, there's only a handful of such musicians I know and enjoy, such as cero being the closest act to them, so being exposed to even more brilliance is a pleasure! And I know it goes the same for everyone else too. Don't miss this!
 
"supercell" by Cö shu Nie

I had known this name for quite a while thanks to @CAT5, who had brought them up to me once again since their music change with this. And now I can't stop digging them! The now rocking pop duo do not let up their energy with this super number. The chaotic yet gorgeous tune is certainly energetic, and with the strong and lush female vocals of Mirai Nakamura, it really stands out and makes an impression. It's a move from their indie/math sound, and a change I've seen no one disagree with. I can safely say they have a least one more fan after this genre switch! I'm sure they'll quickly start to garner attention.
 
"She won't forget" by Someday's Gone

Telling the story of remembering fond yet bitter memories in the corner of a coffee shop, "She won't forget" is an instantly catchy number, relatable, genuine and real. The balance of sweetness with the vocalization "dood, dood, do do do" from pleasant, youthful male voice with the clearly bitter lyrics makes for an emotional and impactful listen. I can't blame anyone to be turned off at the rather amateurish Engrish delivery, but if you can overlook that and enjoy his voice, then you've sure got a nice little gem here. Also, any music video recorded in a coffee shop is the definition of cute, so how about adding "She won't forget" to your memory?

"CRAZY" by I don't like Mondays.

Everything about these guys is so infectious with each and every piece they put out! I have no idea how they do it. How they manage to make a great mixture of Japanese and English, while making it sound as good as it does is beyond me. The effortless Western feel and sound these guys can put out is so very impressive, and deserving of much more attention. From the incredibly... questionable music video style, to just how god damn gorgeous everyone looks, you'll be 'CRAZY' if you don't end up feeling like grooving to this! Be sure to check them out sooner or later while they're on fire with all their recent output!
 
 
@fitear1590's Picks
 
"Ice Candy" by カフカ (KAFUKA)

Last year, pop rockers KAFUKA put out Tokyo 9 Stories, a commendable album. Less than twelve months later, they're already back with another one, AINKSKI (あいなきせかい / ai naki sekai). While I haven't heard the full release yet, "Ice Candy" puts the album off to great start. It's a jaunty romp, punctuated with some surprisingly fuzzy guitar riffs. Frankly, I didn't know the boys had it in 'em to go in an even moderately shoegaze direction. Color me intrigued. The PV matches the aesthetic with some icy Super 8-style film footage. Let's hope the rest of the album has some nice surprises too!
 
"美しい火 (Beautiful Fire)" by THE NOVEMBERS

It's no secret that I'm a huge fan of NOVEMBERS ~dream ver.~, so when they gave us a second taste of their new album (Hallelujah) via Soundcloud, it was love at first listen. "Beautiful Fire" is gorgeous and the polar opposite of the shoegrunge grittiness of July's "黒い虹 (Black Rainbow)," which was also stellar. This track has more conviction than the dreamy, yet wispy work on last year's Elegance and it also marks a glorious return to those warm horn arrangements, a nod to 2012's stunning GIFT EP. They add a nostalgic touch here, as well as on album-closer "いこうよ (ikou yo)." There's plenty to chew on with Hallelujah, so be sure to check it out if you haven't already!
 
"ポイズンベリー (poison berry)" by トキノキト (tokinokito)

 
Tokinokito seem to be slipping under people's radars, but if you're a neo-VK fan, what's not to like? They come bearing surprisingly slick visuals for a super indies band and with "poison berry," they introduce a quirky take on the graveyard circus sound so dear to their heavier contemporaries GRIMOIRE. The track opens with spooky chimes and accordion, just in time for Halloween! Then, whimsical synths and noodling guitar riffs lead us into the meat of the song. The verses are an unconventional mesh of time signatures that take some getting used to, but it's kind of brilliant. Tokinokito continue to grab my attention, so I think I'll be in it with them for the long haul. Hope you'll join me!
 
 
@Original Saku's Picks
 
"鬼 (Oni)" by クリープハイプ (CreepHyp)

This month kicks off with one of my most anticipated albums - Sekaikan from CreepHyp - and it does not disappoint. "Oni" is like a crazy train ride with a dose of peculiar sounds and grooves, it includes all the quirky aspects from this band that I love. From the wacky backing vocals to the unorthodox instrumental sounds to the eccentric vocal style of Ozaki. It's all there in a little package waiting to be unwrapped, I love it. One of my favorite albums of the year from one of my favorite bands, check it out. I will however forewarn any new listeners that Ozaki's vocals can be an acquired taste. Sometimes he sings in such a high pitch that it can be hard on the ears, but his eccentricity is very lovable once you've warmed up to it.
 
"twoface" by Aimer

I'm by no means a stranger to Aimer. I've been listening to her output for years in anime openings/endings and soundtracks, but lately I've noticed a slight shift in motivation or direction. That brings us to her new album daydream, and in particular the song "twoface", with music produced by Uchisawa Takahito from androp. This track has a lot of power behind it, which I don't often hear from Aimer songs, and it has caught my attention because of that. She performs wonderfully here and is in top form. That, combined with the interesting instrumentals and direction, makes this one of my favorite songs from her. I can't exactly put my finger on what has changed, but I feel that we have only just begun to see what she can do.
 
"Groovy Cony" by Casablanca

This is a  sleeper pick from last month that I wasn't able to get to since it came out so close to the deadline. Casablanca a newly formed band comprised of Yoko (noodles), Sawao Yamanaka (the pillows), and Shinya Kusube (Radio Caroline) - a veritable super group if you will. With such talent coming together, there was no doubt in my mind that their first album Another Story would be quality tunes, but nothing prepared me for the instant gratification that I received upon listening to this record. "Groovy Cony" is just one of the amazing tracks from this debut release that has a particular sound that I can only describe as nostalgia in a bottle. With Sawao's guitar work, backing vocals, and composition, and Kusube's loud and proud drumming, we have a instrumental style that harkens back to the sounds of old. You then add in Yoko as the lead vocalist and we have a distinct sound that feels nostalgic and fresh at the same time.
 
 
@togz' Picks
 
"Redemption" by Her Name in Blood 

I became a little concerned for the direction of this album with the release of the "Bakemono" music video. However, the majority of the tracks on this release really caught me by surprise. "Redemption" was the composition that grasped my interest the most. The guitar work in the beginning serves as a great hook for the entire track regardless of the repetition. Although the guitar riffs aren't very complex and we get a lot of palm-muted chugga-chugs, I found myself subconsciously bobbing my head along. The strongest aspect of this song is the catchy chorus. Ikepy's vocals really show growth with the range, depth, and stamina of his cleans. I can only hope to enjoy this song live some day. This is a must listen!
 
"海の静寂 (Umi no Seijaku)" by downy

I'm fairly new to the world of downy, but I have this song along with a few others to thank for getting me hooked. I'm not sure if this song is a great representation of all of their past work, but I can vouch that it's a great easy-listening track. I admire the flow of this song because of it's slow jazzy mood with silky-slick vocal phrases.  It's a rather sluggish song, but it's not muddy and it's tasteful. It works as great thinking music, inspirational music, or just something to sit back and relax to. 
 
"愛はなけなし (What Little Love)" by THE NOVEMBERS

THE NOVEMBERS never seem to disappoint, but this song in specific really resonates with me from their new album Hallelujah. The intro is a beautiful and emotionally dark combination of beautiful acoustics and muted guitar strums. Kobayashi's voice enters in a lullaby-esque melody, which fits his voice flawlessly given that his tone can range from a whispering chant to raw shouting. The middle section of the song is an interesting direction change and really jumps back to their dream-pop sound, but remains able to melt back into the solemn vibe of the song overall. While I would highly recommend the whole album, this track is where I'd start.
 
"ぴゅーぱ。( Pyupa/Pupa)" by PIGLOW in GLOOMY

I feel like visual kei has become a realm filled with cookie-cutter bands and finding gems is a chore. I listened to PIGLOW in GLOOMY on a whim, and while I wasn't amazed, I wasn't disappointed either. This track is off of their first mini-album むくあ(mukua) which was released August 31st. I like this track because it has hints of what visual kei sounded like when it was at it's peak for me, which was the obscurely mellow intros that lead into heavy guitar riffs and gave off a psychedelic sort of vibe.  The composition itself isn't too complex, but it shows potential to head in a very interesting direction. The vocal style also reminds me a bit of Karma from AvelCain, so if you're in to that I'd say they're worth a listen!
 
 
@emmny's Picks
 
"頭蓋、紛い (zugai, magai)" by gibkiy gibkiy gibkiy

Grandpa-kei' icons ggg return with a new single for September, hilarious titled I LOVE YOU. Considering how dark their sound is, a simple 'I love you' is an ironic declaration more so than a love letter. While the title track of the single has a stutter-y groove and an old-school merry go round vibe, "Zugai, Magai" chooses instead to brood and melt in its own darkness, giving a nod to later-era merry go. Kazuma's yelling has been a love-hate affair on their past material, as i enjoy his clean vocals more than his dragged-out-vibrato-whimper-yell, but it sounds perfect haunted on this track. I don't think anyone would have predicted ggg's success (or existence) 10 years ago, but this oddly random project has flourished into one hell of a beast. They exist on a creative plane far from their contemporaries, yet with an incredibly familiar sound that grows in magnitude with each release, it's incredibly thrilling to watch.
 
"EVIDENCE" by lynch.

Gang vocals? Yes. Delayed and reverberated clean guitar intro? Hell yeah. Compression for the gods? You know it. Thumping metalcore break down? Duh. Fist pumping chorus? Absolutely. lynch. basically rehashing what they've been doing for the past 3 years but still managing to blow our ears in with some surprises here and there? Thank god!
 
"カミソリ (Kamisori)" by ザアザア (Xaa-xaa)

Osaka it-band Xaa-Xaa are once again spamming us with music, this time in the form of a 3-month consecutive release around the theme of 'despair'. "Kamisori" is the first incarnation of this project, and Xaa-Xaa handle the questionably triggering concept with fury and also grace. "Kamisori" features a thrashy guitar riff at its centre with this oddly cute wonky tone that keeps it from coming across too 'metal'. Kazuki's vocals are at times breathy, other times strained, increasing the tension behind the words (special shout out to that howl at the end). The song flows incredibly well, outside of repeating the main riff a few times too many. The progression from the breakdown to the solo is particularly awesome. Next month is looking to be great too...see y'all here in October?
 
"撲殺サマンサ (Bokusatsu Samantha)" by DAMY

I'm gonna be real honest with y'all (as you can always expect): there's little merit to the new DAMY record outside of DEZERT's obvious influence. I knew it was an enjoyable record, but I didn't find any new tracks were interesting enough on their own for a feature. It works better as a whole... except for "Bokusatsu Samantha". This is straight up catchy metal-kei that stands amazingly on its own--so we'll forgive the fact that this technically came out in 2015. There's not much to rave on about this track, it's not that complex, or original, or all that interesting--but it's so fucking fun. You'll be screaming along to the gang refrain in no time, not knowing the band's detailing whacking a girl over the head to death. Intellectual music has it's place, but sometimes you just wanna whip your hair to some depravity--thank god DAMY make music for that.
 
 
@Zeus' Picks
 
"The Love From a Dead Orchestra" by Versailles

Versailles' return and announcement of new material is the greatest gift they could have given to their fans. There's been a dearth of good symphonic visual kei acts to fill Versailles' flowery rococo heels, but they didn't go out on the best note, so their Greatest Hits release feels less like a cash-in and more of an attempt to convince us there's enough magic to keep going. The tracks they chose were among the best of the best, but one in particular caught my eye almost instantly. I prayed and fantasized about what an updated rendition of "The Love From a Dead Orchestra" would sound like for years as it's always been a bold song held back by constrained production choices and a vocalist who had not yet adapted to his range. The re-recording exceeded my expectations. Some rough transitions were smoothed over with the inclusion of new instruments, everything was redone from scratch, and new lyrics were added to cover up sparse interludes. In terms of low-hanging optimizations to the melody the band plucked them all and then some. What's harder to communicate with words - and what Versailles did successfully - is play like a band. There's the perfect mix of old Versailles and new Versailles here to both restore my faith and keep my interest for what's to come.
 
 "孤独旋回 (kodoku senkai)" by downy

It's no secret that I'm all about downy's latest LP, 第六作品集『無題』 (Mudai), but it's hard to describe in words the emotions I feel when listening. If I had to choose one track that captures the entire feel of 『無題』, it would be "孤独旋回" (kodoku senkai). If 『無題』 were a story, "孤独旋回" would be the tense rising action before the climax. The rhythm is as tortuous as it is both uplifting and oddly distressing, beckoning the listener this way and then another with the variations in tempo and theme. I can feel the members of downy flexing their knowledge of musical theory on me with this one. Fans of post-rock and mathy melodies still new to downy just might fall in love. Moments of tranquility are upended into a whirlwind of emotion, painted with the melancholy tones of vocalist Robin Aoki. Such a description is fitting for a track named "Revolving Loneliness". One of the best tracks of September for sure!  
 
 
@CAT5's Picks
 
"2772" by ZA FEEDO

Initially appearing on a Yasei Collective feature back in 2014, ZA FEEDO have finally come forth with their debut album  2772, sporting what they describe as a 'Futurist Polyrhythmic Tropical Bad Ass FUJIYAMA Sound '. While they site acts like Aphex Twin, Little Dragon, Miles Davis, and bjork as influences, on their latest PV for the title track "2772", ZA FEEDO's off-kilter grooves and soulful vocals land them closer to the realm of Spangle call Lilli Line. The song has a great balance of experimental ingenuity and accessible, pop charisma. Let's hope the album is just as good!
 
"星雲ヒッチハイク (seiun hitch-hike)" by TAMTAM

TAMTAM originally made a name for themselves by creating a delectable fusion of Jpop and dub. They tried a few new things in 2014 - most of which seemed like a direct appeal to the Anime industry - but thankfully, they've returned to form on their new album NEWPOESY, even stating in their promo campaign, "Back to the Riddim"! The album is full of sweet, soulful jams that, while enjoyable, are best appreciated as a whole. "星雲ヒッチハイク" stands out completely on its own, though! It's an epic, expansive groove and the most pristinely gorgeous track of not only the album, but of TAMTAM's career thus far!
 
"白薔薇のララバイ (shirobara no lullaby)" by 手嶌葵 (Aoi Teshima)

When it comes to Jpop songstress Aoi Teshima, her music is just as classy, elegant, and beautiful as she is! She just released a new album titled 青い図書室 (Blue library) in celebration of her 10th anniversary and it's expectedly lovely. "白薔薇のララバイ" is particularly extravagant, with its somber, psychedelic-folk sound that harkens back to 70's kayōkyoku ballads, and even brings to mind the likes of Douji Morita. Absolutely stunning!
 
"Falling Alone" by Aimer

Hot on the heels of her recent single "insane dream" (produced by ONE OK ROCK's Taka), Aimer has finally dropped her new album daydream this month, which features three additional tracks penned by Taka as well. Of the three, "Falling Alone" serves us the kind of riveting pop-rock we've come to love from Aimer - even towering above "ninelie", which was produced by 'Mr. epic' himself, Hiroyuki Sawano. Taka and Aimer have proven to be a potent combination. The chorus of this song is EVERYTHING!
 
"Sunshine Freeway" by I love you Orchestra

I love you Orchestra is one of those bands that look brilliant on paper, but unfortunately, have yet to deliver anything truly substantial. With two drummers and three guitarists, one would expect some level of brilliance, but so far, their releases have consisted of songs too spastic to really get into, and songs too short to offer anything memorable. Thankfully, their sound finally seems to be coming together on their third and newest album Crack. "Sunshine Freeway" reflects this by perfectly balancing out the band's spastic tendencies with more accessible melodies and a coherent structure. The song feels more like an actual experience now, as opposed to just passing sounds. Japan's instrumental scene has been lacking lately, but these guys may just put a 'Crack' in the monotony!  
 
"see through sway in you" by 別野加奈 (Kana Wakareno)

Kana Wakareno is a young singer, pianist and cinematographer, who just recently released her third album forget me not, and it's absolutely exquisite! Her music is based on her own, imaginary/fictional landscapes, and through each track, you get a clear sense of her cinematic visions. The minimalistic melancholy of "see through sway in you" congers up a particularly visceral scene, with its mournful, yet gorgeous melodies and subtle background noises that sound to be the crackling of a fire - you get a sense that there's warmth nearby, but at the moment, there's something comforting about how numbing the cold is. Amazing.
 
"六月ノ雨ニ討タレテ (rokugatsu no ame ni utarete)" by alt of the society

Real Japanese emo is a bit of a scarcity. The scene is relatively small, and there aren't an abundance of fans in or outside of Japan, so I was pretty delighted when I finally got my hands on alt of the society's new album 追憶の風景 (tsuioku no fuukei), which was released all the way back in March! Not only was my need for this style of music sated, but the album also provided a few gems as well - "六月ノ雨ニ討タレテ" being one of them. It's a track with a traditional kind of post-rock build, starting relatively calm and then climaxing into a swell of emotion. Easily one of the most compelling tracks of the album!
 
 
"滅菌、消毒、絆創膏。(mekkin, shoudoku, bansoukou.)" by Chanty

Chanty are undeniably a VK band, yet they've continuously proven that their appeal extends beyond the scene. They're just as at home being on the same bill as VK bands like Grieva and Kuroyuri to Kage as they are sharing the stage with "non-vk" acts like indie-rockers aquarifa. On their latest album 不完全な音楽 (fukanzen na ongaku), they continue to straddle that line between unabashed "vk-ism" and indie appeal - they're almost like a VK version of cinema staff in that regard. "滅菌、消毒、絆創膏。" takes that archetypal, circus-y VK rock sound and amps it up a bit with the spastic recklessness of a 9mm parabellum bullet or Arukara track. This song is a helluva lot of fun!
 
"灰よ (hai yo)" by 平沢進 (Susumu Hirasawa)

The musical wizard of everything wondrous, the one and only, the legend himself, Susumu Hirasawa has just released Ash Crow, a compilation of songs he's composed for the Berserk franchise over a span of 20 years. The compilation features songs from the Berserk movies, games, and even some of the new insert songs from the Berserk 2016 anime - most notably "Hai yo"! The song is suitably dark and epic, evoking the grim nature of the show while providing the perfect backdrop for the demonic warfare of the series. It's a song that's both uniquely Hirasawa, and uniquely Berserk. It's a shame that the Berserk 2016 anime wasn't worthy of such a great piece!
 
Guest Recommendations
 
@Ada Suilen's Picks
 
"1000 Years" by THE NOVEMBERS

After the dark and dreamy Elegance EP, The Novembers have come back with their sixth album Hallelujah. A product which doesn't disappoint for a single note. But if you isolate it carefully, you can see the single vibes that are inside it: nostalgic rock sound, with even a passionate soul full of adrenaline and astonishing themes, which I liked most. "1000 Years" represents perfectly the most rebellious and out-of-scheme style that this band could ever do (those grungy vocals!).
 
"Trigger" by MUCC

In my opinion, MUCC is one of the few bands which always opted to stupefy and to entertain in unusual ways (think about the genres they've showed off); in their latest single this happened once again. With an energetic A-side and a curious first track on the B-side, here we are in front of something which smells unexpected and incredible. "Trigger" appears as one of the 'black-sheep' of MUCC's discography, where a warm guitar intertwines with sublime vocals and the structure twists around itself each second for a whirling musical experience.
 
 
@chemicalpictures' Picks
 
"拒絶 (kyosetzu)" by SCAPEGOAT

SCAPEGOAT was always a hit-and-miss band for me. While I loved "告白＿時々、雨 (kokuhaku ___ tokidoki, ame)", I couldn't care less for the other five songs on the mini. What made me love it so much is that the guys have a concept of trying to tell a story through their songs. They got it right that time, and got it right on the spot again! The Nagoya-y vocal lines set the tone and create a heavy atmosphere full of visual kei tropes like whispers, moaning and slow paced singing. The lead guitar nicely defines the tempo, starting slow and exploding into a catchy, dark and powerful chorus that provides some nice headbanging moments. You can feel that they are trying to express that emotional burst through the chorus, and that's an interesting little quirk. Music-wise there is nothing really innovative to be seen here, but it's a nice banger on a slow vkei month.
 
"Jellyfish" by ZON

With their third single, ZON is showing how consistently good they are. All the songs are great on this single, but "Jellyfish" stood out mainly because of 834. I'd like to get everyone's attention on how good that guy is. The song already starts packing a punch: 834's drums all over your face, dueling with Mii's melodic guitar lines, while Azu does his thing. Everything is just fine, but it all goes wild in the chorus, with 834's drums again in the spotlight, urging you to stand up and dance. It's IMPOSSIBLE to stand still. They really let him go full crazy mode... It's interesting how he subverts the regular progressive rock beat infusing a high octane funky-afrobeat, making it so energetic and vibrant (lol, sorry I got a little carried away here, but he is THAT good!). Another nice touch is the transition on the three-minute mark from the classic vk slow bridge into fast chorus transition. Smooth AF. This is EDR with a capital R, guys. These guys can be HUGE in no time.
 
Thanks for hanging out with us for another month of songs and we hope you enjoyed them as much as we did! Please comment below if you had any special songs this month you didn't see listed above that deserve some attention! We'd love to hear about them, or any of the songs we've listed above. Please let us know what you thought.  If you'd like to become a guest contributor for Recommended Tracks next month please contact @doombox!
 
Until next time~

Welcome back to our monthly collection of songs we thought rocked this month! And boy, oh boy, is this month packed full of quality tunes! So please keep your arms and legs securely next to you until this ride comes to a full stop. We apologize some videos may not be available to view in all regions. And we'd like to thank our guest contributors @Ada Suilen and @chemicalpictures for joining us once again! 
 
 
Recommended Tracks: September 2016
 
 
@beni's Picks
 
"たぶんわたしがゆうれいだったら (Tabun watashi ga yuureidattara)" by Her Ghost Friend

I admit that I was a bit late to this party, but throughout the entire month, I mashed the repeat button YouTube to this tune. One of the best ways to describe Her Ghost Friend is probably comparing her to Izumi Makura and Bonjour Suzuki, mixed with Etsuko Yakushimaru's anime tunes, but even cuter! Hold your horses though, it's not rap at all!  The act is comprised of duo singer Shinobu Ono and DJ Obake. The synths over a relaxing, almost ambient but playful beat makes this such a joy to listen to. With a childish yet ethereal voice, Her Ghost Friend have certainly caught my fancy.
 
"Kiss" by lovefilm

Even though their first ever album was quite a flop to me, I at least took this with me for keeps. lovefilm was quite a new name to many, and probably even more to come. I only managed to discover them from following the label UKPROJECT, and I'm sure glad it was "Kiss" I stumbled upon. The band have the female and male duo vocals going on, which is always a treat to the ears -- especially when both are so similar. It's especially sweet when they harmonize, and while the tune is definitely simple, it's worth your attention at least once for the feel good vibes.
 
"Cruisin' Cruisin'" by bonobos

Many thanks to @CAT5 for showing this to me firstly. For someone like myself who doesn't know the first thing about groove, this is a great starter. Everything about "Cruisin' Cruisin'" is just... well, cruisin'! The smoothness of everything, from the seemingly effortless cool vocals to the - just as amazing - chill instrumentals makes this so serene. For a linear, five minute track, you'd be surprised with how quick it seems to end. You can't help but be sucked into the whole feel of the tune. As I've said before, there's only a handful of such musicians I know and enjoy, such as cero being the closest act to them, so being exposed to even more brilliance is a pleasure! And I know it goes the same for everyone else too. Don't miss this!
 
"supercell" by Cö shu Nie

I had known this name for quite a while thanks to @CAT5, who had brought them up to me once again since their music change with this. And now I can't stop digging them! The now rocking pop duo do not let up their energy with this super number. The chaotic yet gorgeous tune is certainly energetic, and with the strong and lush female vocals of Mirai Nakamura, it really stands out and makes an impression. It's a move from their indie/math sound, and a change I've seen no one disagree with. I can safely say they have a least one more fan after this genre switch! I'm sure they'll quickly start to garner attention.
 
"She won't forget" by Someday's Gone

Telling the story of remembering fond yet bitter memories in the corner of a coffee shop, "She won't forget" is an instantly catchy number, relatable, genuine and real. The balance of sweetness with the vocalization "dood, dood, do do do" from pleasant, youthful male voice with the clearly bitter lyrics makes for an emotional and impactful listen. I can't blame anyone to be turned off at the rather amateurish Engrish delivery, but if you can overlook that and enjoy his voice, then you've sure got a nice little gem here. Also, any music video recorded in a coffee shop is the definition of cute, so how about adding "She won't forget" to your memory?

"CRAZY" by I don't like Mondays.

Everything about these guys is so infectious with each and every piece they put out! I have no idea how they do it. How they manage to make a great mixture of Japanese and English, while making it sound as good as it does is beyond me. The effortless Western feel and sound these guys can put out is so very impressive, and deserving of much more attention. From the incredibly... questionable music video style, to just how god damn gorgeous everyone looks, you'll be 'CRAZY' if you don't end up feeling like grooving to this! Be sure to check them out sooner or later while they're on fire with all their recent output!
 
 
@fitear1590's Picks
 
"Ice Candy" by カフカ (KAFUKA)

Last year, pop rockers KAFUKA put out Tokyo 9 Stories, a commendable album. Less than twelve months later, they're already back with another one, AINKSKI (あいなきせかい / ai naki sekai). While I haven't heard the full release yet, "Ice Candy" puts the album off to great start. It's a jaunty romp, punctuated with some surprisingly fuzzy guitar riffs. Frankly, I didn't know the boys had it in 'em to go in an even moderately shoegaze direction. Color me intrigued. The PV matches the aesthetic with some icy Super 8-style film footage. Let's hope the rest of the album has some nice surprises too!
 
"美しい火 (Beautiful Fire)" by THE NOVEMBERS

It's no secret that I'm a huge fan of NOVEMBERS ~dream ver.~, so when they gave us a second taste of their new album (Hallelujah) via Soundcloud, it was love at first listen. "Beautiful Fire" is gorgeous and the polar opposite of the shoegrunge grittiness of July's "黒い虹 (Black Rainbow)," which was also stellar. This track has more conviction than the dreamy, yet wispy work on last year's Elegance and it also marks a glorious return to those warm horn arrangements, a nod to 2012's stunning GIFT EP. They add a nostalgic touch here, as well as on album-closer "いこうよ (ikou yo)." There's plenty to chew on with Hallelujah, so be sure to check it out if you haven't already!
 
"ポイズンベリー (poison berry)" by トキノキト (tokinokito)

 
Tokinokito seem to be slipping under people's radars, but if you're a neo-VK fan, what's not to like? They come bearing surprisingly slick visuals for a super indies band and with "poison berry," they introduce a quirky take on the graveyard circus sound so dear to their heavier contemporaries GRIMOIRE. The track opens with spooky chimes and accordion, just in time for Halloween! Then, whimsical synths and noodling guitar riffs lead us into the meat of the song. The verses are an unconventional mesh of time signatures that take some getting used to, but it's kind of brilliant. Tokinokito continue to grab my attention, so I think I'll be in it with them for the long haul. Hope you'll join me!
 
 
@Original Saku's Picks
 
"鬼 (Oni)" by クリープハイプ (CreepHyp)

This month kicks off with one of my most anticipated albums - Sekaikan from CreepHyp - and it does not disappoint. "Oni" is like a crazy train ride with a dose of peculiar sounds and grooves, it includes all the quirky aspects from this band that I love. From the wacky backing vocals to the unorthodox instrumental sounds to the eccentric vocal style of Ozaki. It's all there in a little package waiting to be unwrapped, I love it. One of my favorite albums of the year from one of my favorite bands, check it out. I will however forewarn any new listeners that Ozaki's vocals can be an acquired taste. Sometimes he sings in such a high pitch that it can be hard on the ears, but his eccentricity is very lovable once you've warmed up to it.
 
"twoface" by Aimer

I'm by no means a stranger to Aimer. I've been listening to her output for years in anime openings/endings and soundtracks, but lately I've noticed a slight shift in motivation or direction. That brings us to her new album daydream, and in particular the song "twoface", with music produced by Uchisawa Takahito from androp. This track has a lot of power behind it, which I don't often hear from Aimer songs, and it has caught my attention because of that. She performs wonderfully here and is in top form. That, combined with the interesting instrumentals and direction, makes this one of my favorite songs from her. I can't exactly put my finger on what has changed, but I feel that we have only just begun to see what she can do.
 
"Groovy Cony" by Casablanca

This is a  sleeper pick from last month that I wasn't able to get to since it came out so close to the deadline. Casablanca a newly formed band comprised of Yoko (noodles), Sawao Yamanaka (the pillows), and Shinya Kusube (Radio Caroline) - a veritable super group if you will. With such talent coming together, there was no doubt in my mind that their first album Another Story would be quality tunes, but nothing prepared me for the instant gratification that I received upon listening to this record. "Groovy Cony" is just one of the amazing tracks from this debut release that has a particular sound that I can only describe as nostalgia in a bottle. With Sawao's guitar work, backing vocals, and composition, and Kusube's loud and proud drumming, we have a instrumental style that harkens back to the sounds of old. You then add in Yoko as the lead vocalist and we have a distinct sound that feels nostalgic and fresh at the same time.
 
 
@togz' Picks
 
"Redemption" by Her Name in Blood 

I became a little concerned for the direction of this album with the release of the "Bakemono" music video. However, the majority of the tracks on this release really caught me by surprise. "Redemption" was the composition that grasped my interest the most. The guitar work in the beginning serves as a great hook for the entire track regardless of the repetition. Although the guitar riffs aren't very complex and we get a lot of palm-muted chugga-chugs, I found myself subconsciously bobbing my head along. The strongest aspect of this song is the catchy chorus. Ikepy's vocals really show growth with the range, depth, and stamina of his cleans. I can only hope to enjoy this song live some day. This is a must listen!
 
"海の静寂 (Umi no Seijaku)" by downy

I'm fairly new to the world of downy, but I have this song along with a few others to thank for getting me hooked. I'm not sure if this song is a great representation of all of their past work, but I can vouch that it's a great easy-listening track. I admire the flow of this song because of it's slow jazzy mood with silky-slick vocal phrases.  It's a rather sluggish song, but it's not muddy and it's tasteful. It works as great thinking music, inspirational music, or just something to sit back and relax to. 
 
"愛はなけなし (What Little Love)" by THE NOVEMBERS

THE NOVEMBERS never seem to disappoint, but this song in specific really resonates with me from their new album Hallelujah. The intro is a beautiful and emotionally dark combination of beautiful acoustics and muted guitar strums. Kobayashi's voice enters in a lullaby-esque melody, which fits his voice flawlessly given that his tone can range from a whispering chant to raw shouting. The middle section of the song is an interesting direction change and really jumps back to their dream-pop sound, but remains able to melt back into the solemn vibe of the song overall. While I would highly recommend the whole album, this track is where I'd start.
 
"ぴゅーぱ。( Pyupa/Pupa)" by PIGLOW in GLOOMY

I feel like visual kei has become a realm filled with cookie-cutter bands and finding gems is a chore. I listened to PIGLOW in GLOOMY on a whim, and while I wasn't amazed, I wasn't disappointed either. This track is off of their first mini-album むくあ(mukua) which was released August 31st. I like this track because it has hints of what visual kei sounded like when it was at it's peak for me, which was the obscurely mellow intros that lead into heavy guitar riffs and gave off a psychedelic sort of vibe.  The composition itself isn't too complex, but it shows potential to head in a very interesting direction. The vocal style also reminds me a bit of Karma from AvelCain, so if you're in to that I'd say they're worth a listen!
 
 
@emmny's Picks
 
"頭蓋、紛い (zugai, magai)" by gibkiy gibkiy gibkiy

Grandpa-kei' icons ggg return with a new single for September, hilarious titled I LOVE YOU. Considering how dark their sound is, a simple 'I love you' is an ironic declaration more so than a love letter. While the title track of the single has a stutter-y groove and an old-school merry go round vibe, "Zugai, Magai" chooses instead to brood and melt in its own darkness, giving a nod to later-era merry go. Kazuma's yelling has been a love-hate affair on their past material, as i enjoy his clean vocals more than his dragged-out-vibrato-whimper-yell, but it sounds perfect haunted on this track. I don't think anyone would have predicted ggg's success (or existence) 10 years ago, but this oddly random project has flourished into one hell of a beast. They exist on a creative plane far from their contemporaries, yet with an incredibly familiar sound that grows in magnitude with each release, it's incredibly thrilling to watch.
 
"EVIDENCE" by lynch.

Gang vocals? Yes. Delayed and reverberated clean guitar intro? Hell yeah. Compression for the gods? You know it. Thumping metalcore break down? Duh. Fist pumping chorus? Absolutely. lynch. basically rehashing what they've been doing for the past 3 years but still managing to blow our ears in with some surprises here and there? Thank god!
 
"カミソリ (Kamisori)" by ザアザア (Xaa-xaa)

Osaka it-band Xaa-Xaa are once again spamming us with music, this time in the form of a 3-month consecutive release around the theme of 'despair'. "Kamisori" is the first incarnation of this project, and Xaa-Xaa handle the questionably triggering concept with fury and also grace. "Kamisori" features a thrashy guitar riff at its centre with this oddly cute wonky tone that keeps it from coming across too 'metal'. Kazuki's vocals are at times breathy, other times strained, increasing the tension behind the words (special shout out to that howl at the end). The song flows incredibly well, outside of repeating the main riff a few times too many. The progression from the breakdown to the solo is particularly awesome. Next month is looking to be great too...see y'all here in October?
 
"撲殺サマンサ (Bokusatsu Samantha)" by DAMY

I'm gonna be real honest with y'all (as you can always expect): there's little merit to the new DAMY record outside of DEZERT's obvious influence. I knew it was an enjoyable record, but I didn't find any new tracks were interesting enough on their own for a feature. It works better as a whole... except for "Bokusatsu Samantha". This is straight up catchy metal-kei that stands amazingly on its own--so we'll forgive the fact that this technically came out in 2015. There's not much to rave on about this track, it's not that complex, or original, or all that interesting--but it's so fucking fun. You'll be screaming along to the gang refrain in no time, not knowing the band's detailing whacking a girl over the head to death. Intellectual music has it's place, but sometimes you just wanna whip your hair to some depravity--thank god DAMY make music for that.
 
 
@Zeus' Picks
 
"The Love From a Dead Orchestra" by Versailles

Versailles' return and announcement of new material is the greatest gift they could have given to their fans. There's been a dearth of good symphonic visual kei acts to fill Versailles' flowery rococo heels, but they didn't go out on the best note, so their Greatest Hits release feels less like a cash-in and more of an attempt to convince us there's enough magic to keep going. The tracks they chose were among the best of the best, but one in particular caught my eye almost instantly. I prayed and fantasized about what an updated rendition of "The Love From a Dead Orchestra" would sound like for years as it's always been a bold song held back by constrained production choices and a vocalist who had not yet adapted to his range. The re-recording exceeded my expectations. Some rough transitions were smoothed over with the inclusion of new instruments, everything was redone from scratch, and new lyrics were added to cover up sparse interludes. In terms of low-hanging optimizations to the melody the band plucked them all and then some. What's harder to communicate with words - and what Versailles did successfully - is play like a band. There's the perfect mix of old Versailles and new Versailles here to both restore my faith and keep my interest for what's to come.
 
 "孤独旋回 (kodoku senkai)" by downy

It's no secret that I'm all about downy's latest LP, 第六作品集『無題』 (Mudai), but it's hard to describe in words the emotions I feel when listening. If I had to choose one track that captures the entire feel of 『無題』, it would be "孤独旋回" (kodoku senkai). If 『無題』 were a story, "孤独旋回" would be the tense rising action before the climax. The rhythm is as tortuous as it is both uplifting and oddly distressing, beckoning the listener this way and then another with the variations in tempo and theme. I can feel the members of downy flexing their knowledge of musical theory on me with this one. Fans of post-rock and mathy melodies still new to downy just might fall in love. Moments of tranquility are upended into a whirlwind of emotion, painted with the melancholy tones of vocalist Robin Aoki. Such a description is fitting for a track named "Revolving Loneliness". One of the best tracks of September for sure!  
 
 
@CAT5's Picks
 
"2772" by ZA FEEDO

Initially appearing on a Yasei Collective feature back in 2014, ZA FEEDO have finally come forth with their debut album  2772, sporting what they describe as a 'Futurist Polyrhythmic Tropical Bad Ass FUJIYAMA Sound '. While they site acts like Aphex Twin, Little Dragon, Miles Davis, and bjork as influences, on their latest PV for the title track "2772", ZA FEEDO's off-kilter grooves and soulful vocals land them closer to the realm of Spangle call Lilli Line. The song has a great balance of experimental ingenuity and accessible, pop charisma. Let's hope the album is just as good!
 
"星雲ヒッチハイク (seiun hitch-hike)" by TAMTAM

TAMTAM originally made a name for themselves by creating a delectable fusion of Jpop and dub. They tried a few new things in 2014 - most of which seemed like a direct appeal to the Anime industry - but thankfully, they've returned to form on their new album NEWPOESY, even stating in their promo campaign, "Back to the Riddim"! The album is full of sweet, soulful jams that, while enjoyable, are best appreciated as a whole. "星雲ヒッチハイク" stands out completely on its own, though! It's an epic, expansive groove and the most pristinely gorgeous track of not only the album, but of TAMTAM's career thus far!
 
"白薔薇のララバイ (shirobara no lullaby)" by 手嶌葵 (Aoi Teshima)

When it comes to Jpop songstress Aoi Teshima, her music is just as classy, elegant, and beautiful as she is! She just released a new album titled 青い図書室 (Blue library) in celebration of her 10th anniversary and it's expectedly lovely. "白薔薇のララバイ" is particularly extravagant, with its somber, psychedelic-folk sound that harkens back to 70's kayōkyoku ballads, and even brings to mind the likes of Douji Morita. Absolutely stunning!
 
"Falling Alone" by Aimer

Hot on the heels of her recent single "insane dream" (produced by ONE OK ROCK's Taka), Aimer has finally dropped her new album daydream this month, which features three additional tracks penned by Taka as well. Of the three, "Falling Alone" serves us the kind of riveting pop-rock we've come to love from Aimer - even towering above "ninelie", which was produced by 'Mr. epic' himself, Hiroyuki Sawano. Taka and Aimer have proven to be a potent combination. The chorus of this song is EVERYTHING!
 
"Sunshine Freeway" by I love you Orchestra

I love you Orchestra is one of those bands that look brilliant on paper, but unfortunately, have yet to deliver anything truly substantial. With two drummers and three guitarists, one would expect some level of brilliance, but so far, their releases have consisted of songs too spastic to really get into, and songs too short to offer anything memorable. Thankfully, their sound finally seems to be coming together on their third and newest album Crack. "Sunshine Freeway" reflects this by perfectly balancing out the band's spastic tendencies with more accessible melodies and a coherent structure. The song feels more like an actual experience now, as opposed to just passing sounds. Japan's instrumental scene has been lacking lately, but these guys may just put a 'Crack' in the monotony!  
 
"see through sway in you" by 別野加奈 (Kana Wakareno)

Kana Wakareno is a young singer, pianist and cinematographer, who just recently released her third album forget me not, and it's absolutely exquisite! Her music is based on her own, imaginary/fictional landscapes, and through each track, you get a clear sense of her cinematic visions. The minimalistic melancholy of "see through sway in you" congers up a particularly visceral scene, with its mournful, yet gorgeous melodies and subtle background noises that sound to be the crackling of a fire - you get a sense that there's warmth nearby, but at the moment, there's something comforting about how numbing the cold is. Amazing.
 
"六月ノ雨ニ討タレテ (rokugatsu no ame ni utarete)" by alt of the society

Real Japanese emo is a bit of a scarcity. The scene is relatively small, and there aren't an abundance of fans in or outside of Japan, so I was pretty delighted when I finally got my hands on alt of the society's new album 追憶の風景 (tsuioku no fuukei), which was released all the way back in March! Not only was my need for this style of music sated, but the album also provided a few gems as well - "六月ノ雨ニ討タレテ" being one of them. It's a track with a traditional kind of post-rock build, starting relatively calm and then climaxing into a swell of emotion. Easily one of the most compelling tracks of the album!
 
 
"滅菌、消毒、絆創膏。(mekkin, shoudoku, bansoukou.)" by Chanty

Chanty are undeniably a VK band, yet they've continuously proven that their appeal extends beyond the scene. They're just as at home being on the same bill as VK bands like Grieva and Kuroyuri to Kage as they are sharing the stage with "non-vk" acts like indie-rockers aquarifa. On their latest album 不完全な音楽 (fukanzen na ongaku), they continue to straddle that line between unabashed "vk-ism" and indie appeal - they're almost like a VK version of cinema staff in that regard. "滅菌、消毒、絆創膏。" takes that archetypal, circus-y VK rock sound and amps it up a bit with the spastic recklessness of a 9mm parabellum bullet or Arukara track. This song is a helluva lot of fun!
 
"灰よ (hai yo)" by 平沢進 (Susumu Hirasawa)

The musical wizard of everything wondrous, the one and only, the legend himself, Susumu Hirasawa has just released Ash Crow, a compilation of songs he's composed for the Berserk franchise over a span of 20 years. The compilation features songs from the Berserk movies, games, and even some of the new insert songs from the Berserk 2016 anime - most notably "Hai yo"! The song is suitably dark and epic, evoking the grim nature of the show while providing the perfect backdrop for the demonic warfare of the series. It's a song that's both uniquely Hirasawa, and uniquely Berserk. It's a shame that the Berserk 2016 anime wasn't worthy of such a great piece!
 
Guest Recommendations
 
@Ada Suilen's Picks
 
"1000 Years" by THE NOVEMBERS

After the dark and dreamy Elegance EP, The Novembers have come back with their sixth album Hallelujah. A product which doesn't disappoint for a single note. But if you isolate it carefully, you can see the single vibes that are inside it: nostalgic rock sound, with even a passionate soul full of adrenaline and astonishing themes, which I liked most. "1000 Years" represents perfectly the most rebellious and out-of-scheme style that this band could ever do (those grungy vocals!).
 
"Trigger" by MUCC

In my opinion, MUCC is one of the few bands which always opted to stupefy and to entertain in unusual ways (think about the genres they've showed off); in their latest single this happened once again. With an energetic A-side and a curious first track on the B-side, here we are in front of something which smells unexpected and incredible. "Trigger" appears as one of the 'black-sheep' of MUCC's discography, where a warm guitar intertwines with sublime vocals and the structure twists around itself each second for a whirling musical experience.
 
 
@chemicalpictures' Picks
 
"拒絶 (kyosetzu)" by SCAPEGOAT

SCAPEGOAT was always a hit-and-miss band for me. While I loved "告白＿時々、雨 (kokuhaku ___ tokidoki, ame)", I couldn't care less for the other five songs on the mini. What made me love it so much is that the guys have a concept of trying to tell a story through their songs. They got it right that time, and got it right on the spot again! The Nagoya-y vocal lines set the tone and create a heavy atmosphere full of visual kei tropes like whispers, moaning and slow paced singing. The lead guitar nicely defines the tempo, starting slow and exploding into a catchy, dark and powerful chorus that provides some nice headbanging moments. You can feel that they are trying to express that emotional burst through the chorus, and that's an interesting little quirk. Music-wise there is nothing really innovative to be seen here, but it's a nice banger on a slow vkei month.
 
"Jellyfish" by ZON

With their third single, ZON is showing how consistently good they are. All the songs are great on this single, but "Jellyfish" stood out mainly because of 834. I'd like to get everyone's attention on how good that guy is. The song already starts packing a punch: 834's drums all over your face, dueling with Mii's melodic guitar lines, while Azu does his thing. Everything is just fine, but it all goes wild in the chorus, with 834's drums again in the spotlight, urging you to stand up and dance. It's IMPOSSIBLE to stand still. They really let him go full crazy mode... It's interesting how he subverts the regular progressive rock beat infusing a high octane funky-afrobeat, making it so energetic and vibrant (lol, sorry I got a little carried away here, but he is THAT good!). Another nice touch is the transition on the three-minute mark from the classic vk slow bridge into fast chorus transition. Smooth AF. This is EDR with a capital R, guys. These guys can be HUGE in no time.
 
Thanks for hanging out with us for another month of songs and we hope you enjoyed them as much as we did! Please comment below if you had any special songs this month you didn't see listed above that deserve some attention! We'd love to hear about them, or any of the songs we've listed above. Please let us know what you thought.  If you'd like to become a guest contributor for Recommended Tracks next month please contact @doombox!
 
Until next time~

Omg, sorry for the late reply! Just wanted to get this in, before the new list comes out later today!!

@togz Not that I follow them, but did not know that COLDRAIN ever went in this direction. I can dig it!
@emmny Yesss, Mediena! They're my kind of band when it comes to 2000s tribute kei.
@Original Saku Uri Nakayama sounds less "quirky" than I remember her being, but in a good way. I'll have to look into her more.
@doomboxThat Purple Stone PV is hilarious. I'm always down for spooky dance choreography, haha.
@tetsu_sama69I can see myself getting into Starku--is it fair to say they just have one of those "solid" VK rock sounds like THE LOTUS? They just need to drop that synth at the start
@Ada Suilen Thanks for being a constant guest contributor  And of course, much love for showing HIZAKI some love!

YES I AM, THANK YOU.
 
I've never heard of her before but that list of collaborators is enough to pique my interest! I definitely want to hear more.  
Also goodness EVERYONE is on that Let It Die game's soundtrack. 

This list is gonna need its own thread soon lmao

TOKYO HEALTH CLUB
 
 

@plastic_rainbow, @togz, @doombox, @saishuu, @Pho
 
you guys might dig this? Maybe? ^^;
 
I think this sounds great so far, personally. That guest musician list looks awesome, and I'm happy to hear her finally sing in Japanese!!!

The GazettE is a band that I feel everyone here has liked or at least listened to once with in their J-rock craze, and in many cases they are even the reason people found an interest in Japanese music to begin with. This is the case for me. Since they heavily influenced me during my younger years, I jumped on the chance to see them live in my own country. Originally I was set to see them for three dates that included Los Angeles, San Francisco, and Vancouver. Due to certain circumstances, I only made it to two dates which were more than enough to quench the gaze-thirst in my sixteen-year-old self. 
 
 
San Francisco
The first show I attended was in San Francisco at the Regency Ballroom. I traveled with one friend and met up with many I hadn't seen in a long time. Most of us had VIP tickets. Despite already having early entry, many fans with VIP lined up at the venue much earlier than general admission attendees. Around 3pm I made my way over to the line with a few friends. It was a good time since the line for VIP grew rapidly after that. The general admission line was wrapped down an alley and around the building at this point. The wait from that point on wasn't so bad and considering their reputation the fans seemed tolerable for the most part. Aside from a few glares, everyone was generally kind and glad to share the excitement. I even made a few friends who traveled all the way from Japan just to experience the GazettE in this new environment. Though they didn't seem to speak English very well, they were still ecstatic to show me different furitsuke* that they use in Japan and were even kind enough to hold a few of my things during the show.  After passing the time with social interactions, it was time to start heading inside.
 
The staff came down the VIP line to inform everyone how everything would work and what to expect. This is where things went downhill. VIP included early entry, first priority to the goods line, a VIP shirt, and a handshake with the band. With only an hour left before doors opened, staff had their hands full. They lined us up and filed us in to the venue in groups of ten with the plan of directing us back outside in the order we entered. That lasted about halfway down the line. I was at the half way mark for the VIP line and while I was lined up to buy merch, staff started to direct us to the actual standing area. I found it odd as not all VIP had been let in yet to purchase merch. Turns out the venue was running behind and had to sacrifice their organization to speed up the process. This left the people who had waited since 5am with the short end of the stick. Many disappointed VIP holders filed in behind two to three rows of people who had shown up one hour before doors opened. 
 
Another disappointing factor was that they didn't have a section dedicated to just VIP members. Word of mouth had passed on that previous shows had such accommodations, but the Regency Ballroom had one huge open standing floor. Because of this, and the poor organization in letting VIP enter first, many general admission holders were able to get closer to the stage with ease. Many snobby fans pushed forward and upset VIP holders, which resulted in direct threats to prevent anyone from getting in the way of them and the stage. Everyone shut up once the background music went silent. The stage was decently sized and while it didn't spread the members out too much there was definitely enough room for them to be interactive.  After waiting nearly an hour and watching staff set up last minute equipment things got cheesy real fast. Instead of the typical dimming of the lights and sudden intro music playing, an announcer spoke over the microphone, "Hello. Welcome to the show." The announcer said a few more things which may have been about no video or photography, but I don't quite recall. The short speech ended with, "And now... the GazettE!" That's when everything went dark.
 
Cheering and screaming filled the venue and everyone got real friendly with each other as the crowd was pushed forward. Just when I thought it couldn't get any louder, the members start to file out on to the stage. First it was Kai, Reita, Aoi & Uruha, and finally Ruki. Fans went crazy and people were already trying to inch their way in front of me. I was about two rows from the stage between Reita and Ruki, so despite being as short as I am (5'3")I did have a good view. Now I haven't been an active listener of the GazettE in recent years, so most of their music during this set was unfamiliar to me. I still found my groove with songs I didn't recognize, but the crowd didn't seem to move much aside from the girls in the very front row. Fans were excited to see and interact with their favorite members which caused a bit of a personality clash within the crowds as people pushed closer to the front. There were a lot of threats and an overall disrespect for the other fans around them. I'm not saying every person at this venue had such a mentality, but this behavior certainly dominated over kindness.
 
The band members showed a lot of energy during the entire show and were surprisingly interactive. I heard from many of the girls up front that they felt singled out by the members and that they really took the time to make their fans feel excited and special during the performance. The effort and money that went in to the visuals must have been fair for it being their first tour in the United States. The most beautiful of the visual performances was when Ruki suddenly pulled a lantern out of nowhere and dance and swayed around with the prop like it was his child that needed love and protection. Maybe that sounds odd to first time viewers or listeners of visual kei, but overall is really gave a darker vibe. But of course it wouldn't be a genuine show if Ruki didn't sway and roll his hips. Reita was quite enthusiastic and often times came up tot he edge of the stage to play. He playfully stuck his tongue out a lot at fans too. A real call-back was the break down of Filth in the Beauty where everyone does the windmill head-bang. I never thought I'd see that in person. 
 
Though encores shouldn't be expected, fans crazily stomping and screaming for one should be. I was a little disappointed with this crowd though. They came together and cheered as one voice a few times, but never once did they sound hungry or demanding enough for the the band to really come back on stage. Even so, they got the encore they asked for, though I feel like the crowd really didn't give it their all even during the encore.  "Tomorrow never dies" ended and the members began to throws their drumsticks, picks, water bottles, and even a towel. I managed to find Uruha's pick on the ground and gave it to another fan who looked like they'd appreciate it much more. Aoi was aiming to throw his picks to specific clusters of people but his poor throws just weren't making it. 
 
Immediately after the show was over, staff cleared out the floor and lined people up with VIP to meet the band. It would have been so easy for anyone to just slip into the line. Anyone could have met them at this show if they were casual enough about it and I believe I saw a few people take advantage of the situation. Aside from that, the handshake was extremely fast-paced. It was almost so quick that I didn't have time to even really read their faces. The entire band was extremely polite. They even shared a few laughs and exchanged words with a few fans. Ruki was my main focus and even if he didn't understand what I said, it was nice to just say it in his direction. He acknowledged it and held onto my hand and replied with a "Thank you."  Uruha had a very firm handshake.
 
The songs that resonated with me the most, and many of their long following fans, was "The Suicide Circus", "Filth in the Beauty", "Leech", and "Headache Man". But I really enjoyed "UGLY" and "Derangement" live. I didn't care for the venue at all. Other than the three girls I met in line and the people I already knew, the fans seemed like a mix all around. Sound quality and projection in the venue was a little iffy, but the band really gave a lot of energy and put on an enjoyable performance. 
 
 set list 
opening track: NIHIL
01. Dogma
02. Rage
03. Vortex
04. Fadeless 
05. Derangement 
06. Bizarre
07. Wasteland 
08. Ominous
09. The Suicide Circus
10. Ugly
11. Blemish
12. Undying
13. Filth in the Beauty
 
-encore-
14. Leech
15. Headache man
16. Tomorrow never dies
 
 
Los Angeles
The Los Angeles concert was held at the Wiltern. I'm very familiar and biased with this venue and I have a lot of great memories attached to it. I did not have VIP for this show and I was quite alright with getting a view from afar this time, so I arrived after collecting some of my long time friends to join me. Once we arrived, the line had yet to get anywhere near the Denny's entrance for general admission and the VIP line was longer by far. For those who haven't seen this venue, Denny's and the Wiltern sit on the same block and share the same parking garage so they're practically next door neighbors. Because of how close Denny's is to the entrance I found it odd that people decided to roam around a bit more before lining up. 
 
Once I finally got in line around 3-4pm, band staff checked the line for people who were in HERESY*. I had planned ahead when there was a leaked rumor going around that the GazettE might come here so I signed up for it. Now if you were a HERESY member and could provide your confirmation e-mail or badge, they provided you with a colored bracelet. These bracelets varied in color depending on the date and allowed early entrance to general admission attendees. Since I only had VIP in San Francisco, I was delighted to discover that I could enter after VIP simply because I had the bracelet. I'm not sure if it's because I've been to this venue so many times, I know more people in this area, or if the staff and organization was all around better but Los Angeles was an amazing experience. The staff started handing out the VIP shirts about an hour and a half before doors were set to open, and let the group in to the goods line and then straight in to the venue. After VIP was let in, HERESY was next. I'd like to believe everyone was moved in to the venue in a very organized and timely fashion which meant happier fans.
 
The way the Wiltern is set up is completely different than The Regency Ballroom. Unlike San Francisco's show which had one huge open un-barricaded floor, the Wiltern was set up in three to four sections, with each one at a level higher the further back it went. This set up also allowed staff the ability to secure a spot specifically for VIP holders. While I was only general admission, I did appreciate the seriousness and value of the VIP pass at this venue. This of course meant that I couldn't go in to the front section despite there being plenty of room. I chose a spot right in the middle a few sections back and had the perfect view the entire time. 
 
When the lights went out and the show started the crowd roared. This crowd seemed way more united than the show in San Francisco, but that's because Los Angeles has a small community of its own when it comes to visual kei. Everyone knows everyone and that may have been a determining factor. This concert brought so many people out of hiding that I hadn't seen in years. the GazettE are no fools and I'm sure were very aware of the stronger demand for them in Southern California, and they chose so many good songs that shook our past selves right out of us. I know I wasn't alone in feeling like I had traveled back in time. the GazettE shook the venue, slamming down one good song after another. I was also glad I got to see the whole lantern performance again and there was something about the distance back this time that really allowed for me to see things in a completely different light. They ran around a lot at this show and teased each other a lot on stage. They looked like they were having a blast putting on their performance. 
 
The crowd really came together for the encore, and let me tell you it was worth all the shouting and screaming because the band came back on stage and blew our faces away. There was literally a moment of silence while people registered what song was playing and if it was real life. "Agony" started and, after a ten second delay, screams filled the room and hair flew. The intensity of the crowd was recognized by the band and they all ran around to visit each side of the stage. Aoi even rolled up his sleeves and stood at the edge of the stage to show off and Reita joined in beside him. "Agony" was enough to rock the boat, but "Cockroach" created a tsunami of chaos within the crowd. The pure shock alone of such a nostalgic song being played may have put a few people in to a coma. After Cockroach, they closed with Tomorrow never dies which was a great song to end with in a celebratory way. The crowd even sang along and it rang through the venue. 
 
The band exited the stage after the typical toss of stage goods and the lights came back on. I immediately headed outside and tried to find all of my friends so I missed the set up of the VIP meet and greet. From what I heard, it was a lot more strict and easier to direct considering the VIP holders were already in a designated section. 
 
 set list
opening track: NIHIL
01. Dogma
02. Rage
03. Derangement 
04. Venomous Spiders Web
05. Sludgy Cult
06. Bizarre
07. Dripping insanity
08. Ominous
09. The Suicide Circus
10. Vortex
11. Ugly
12. Undying
13. Filth in the Beauty
 
-encore-
 
14. Agony
15. Cockroach
16. Tomorrow never dies 
 
 
To sum this up, San Francisco was a nice place to visit, but the venue  was very unorganized. Had staff been more prepared, maybe the fans would have seemed nicer like they did in line. Los Angeles spoke to me on a different level, but that's prominently because everything was so familiar and it was like reliving the past. I wish the meet and greets were a little longer though. I understand they want to get as many as they can into VIP, but I spoke to a staff member at the Wiltern and VIP maxed out at 250 people. If they had made VIP a smaller group, maybe they could have allowed more time to get an autograph or a photo. But it's PSC we're talking about here, so scratch that whole concept. 
 
 
*furitsuke - Synchronized hand movements commonly used in Japan at (not limited to) visual kei concerts. 
*HERESY - the GazettE official Fan Club

ARCHEMI. new single "感謝 (Kansha)" will be released at 2016/11/9 (2 type)
 
Type A will include 2 tracks+DVD (including "感謝 (Kansha)" MV)  and Type B will include 3 tracks.
 
[track list]
1.感謝 (Kansha)
2.煩悩 (Bonnou)
3.瞑想 (Meisou)

It's okay everyone, I also have trouble sometimes remembering which version of Hybrid Truth they are playing...

LMFAO i was just about to say this new song slays...thank god i read the comments ww

Girl: OMG you're super passionate about music? Me too!!
Me: Really? Awesome! What sort of stuff do you tend to like?
Girl: Taylor Swift, Ed Sheeren, and Lana Del Rey!
Me: ...
 
That awkward moment where you don't know whether you should just be honest and list off the weird ass shit that you like that will probably make them run for the hills, or just be all "Oh yeah, Lana Del Rey? Awesome!"

Fronted by Rey Mysterio.

REIGN - 君に (Type A + B)
MUCC - CLASSIC (Regular + Limited Editions)
DaizyStripper - アマカラ (Type B + C)
仙台貨物 (sendai kamotsu) - 仕事をサボりTIGHT (Regular + Limited Editions)
Chanty - 不完全な音楽
アネモネ (anemone) - フラッシュバック・トリップ
Versailles - The Greatest Hits 2007-2016

Along with three posters of DaizyStripper, Chanty and Versailles. Just wish the Versailles poster wasn't so small lol

support Ba.70. (ex-Dollis-->VanessA) has joined FIXER at their live at Ebisu club aim at 2016/09/28.
 
their new single "MaercS" will be released at 2016/11/16.

 

Damn, that was awesome!

Thank you so much to @Tokagefor suggesting this list idea! And extra kudos for joining in as a guest writer for it! We love hearing everyone's suggestions for future lists so please let us know what you'd like to see! Today we're tackling songs that sound misplaced or completely random on album or in a band's discography. So please join us as we wonder, WTF were they thinking?!
 
 
 
"BLACK STARS" by Sadie
Release: 陽炎 (Kagerou)
Never mind that the single 陽炎 (Kagerou) deserves this reward for even existing - releasing singles after the album never made much sense to me - but "BLACK STARS" gets the gold medal in causing second hand embarrassment. A testament to binaural bilingual slaughter I thought only existed in fabricated straw man arguments is the best way to describe such poetic genius like cracker mad song and shala lalalalala crazy stupid breaking my shadow. Add in uncharacteristically brash production, a terrible flow, and a dreadfully catchy chorus, and you have the modern day equivalent of Sister no Future's "Fancy Meeting You Here". This is the worst Sadie track ever released. This might be one of the worst 100 visual kei tracks of the last decade. Worse than Sadie's "Struggle against betrayal" or the similarly styled "GREEDY EMOTION". I would say don't listen to this song but I think everyone should so I can reference it in the future.
I'm also dying for a rough translation I need to know what this song is about it's been an obsession of mine low key for the last few years...
@Zeus
 
"冬のカスタネット (Fuyu no Castanet)" by MERRY
Release: Under World
I’m not completely sure whether I’m alone on this one or not, but when I think MERRY, I usually think either fast-paced punk or kayokyoku-inspired retro tunes, so when they suddenly dropped a Christmas song I was kinda surprised to say the least. Guess they finally decided they had to put the ‘Merry’ in ‘Merry Christmas’.. Whatever it was that drove the guys to make this track, I would’ve preferred if they hadn’t. Maybe I’m slightly biased because I just really, really don’t like Christmas music in general, but  the track just feels so incredibly vanilla and straightforward to me. Even "木洩れ日が僕を探してる… (Komorebi Ga Boku Wo Sagashiteru…)" another one of the band’s slower songs I’m not a huge fan of at least has that funky instrumental passage about halfway through to shake things up. This one  just plods on and on.. I thought it’d just be a one-off single for the holidays that would be promptly forgotten afterwards, but for some opaque reason the band decided to slap it onto the tail-end of their next album Under World. I guess it must’ve been some contract-related shenanigans, because it just doesn’t fit in at all. For starters, Under World’s pretty much the band’s most raw and punk-sounding album yet, so having this polished, limp-wristed pop ballad closing things off feels totally out of character. But most importantly.. the track comes right after "激声 (Gekisei)", MERRY’s 15 minute long epic. "Gekisei" would’ve been the perfect closing track, as it basically cycles through all the different styles in the band’s repertoire before building up to an emotional climax, but nope. Instead we were stuck with unnecessary Christmas songs in February. Ho, ho, ho everybody. Just skip this one.
@Tokage
 
"aquarium" by a crowd of rebellion
Release: Calendula
Soft, emotional ballads aren't exactly what a crowd of rebellion are known for, or rather weren't before the release of their first full album Calendula. The band's previous releases all spliced high flying, melodious choruses with djent-y post-hardcore and insane breakdowns to create a unique blend of controlled chaos that became known as their signature. Even their most melodic songs still broke down into some kind of distorted, metallic riffs coupled with screams at some point throughout. But "aquarium" showcased the band in an entirely new light. While the bridge does explode into an emotional crashing wave of raw, aggressive vocals, it is the most restrained the band has ever been to that point. Last year's Daphne attempted to repeat the effort with "Iris no hana", but still managed to keep things much more upbeat and less atmospheric than its predecessor. Maybe "aquarium" is a little less 'WTF' and a little more 'Who knew they had this in them?' Either way, it remains as the most eyebrow raising surprise in the band's catalog. 
@doombox
 
"Ritual (feat. Juka)" by HIZAKI grace project
Release: Dignity of Crest
HIZAKI grace project was an important band for me, as they ushered in the second wind of my VK fandom, which is still kickin' today. I was delighted to see an old face, Juka (ex-Moi dix Mois), combined with some great neoclassical guitarwork. I still consider Dignity of Crest a hell of an album to this day, but one track stands out as Juka's first misstep: "Ritual". I suppose it's all about how high your threshold is for uniquely cheesy VK vocal shenanigans, but I do draw a line here at 'pseudo-operatic notes you can't really hit' (see 2:31 and on). I almost prefer fu-ki's (ex-BLOOD) strained and whiny, but non-operatic original version of the song. Almost. Sadly, it went downhill for me from there and I stopped tolerating Juka's--I mean, Shaura's--crap in VII-SENSE altogether.
@fitear1590

"ボーナストラック (Bonus Track)" by DEViL KiTTY
Release:  鬼愛 (Kiai)
 I wrote up a big long post about Yuuga's career and how um...environmentally friendly he is from all that recycling, but that's just the tip of the iceberg of why I find him so interesting. On DEViL KiTTY's first mini-album, 鬼愛, there was an additional track added simply called "Bonus Track." How exciting! Everyone loves free bonuses, including vkei fans who buy 8 types of maxi-singles to make sure they can hear all of a band's output. Undoubtedly Yuuga knew this, because his music since DEViL KiTTY formed has more or less just been commentary on the scene itself with this track being no exception. So, what is this "Bonus Track"? It's literally just Yuuga speaking into the mic to say "Bonus....track..." and then laughs. 16 seconds of him laughing at you for thinking you dun get a free rare track for buying his album, but no, you, the listener, were actually the joke here.
@Peace Heavy mk II
 
"consent." by Plastic Tree
Release: ドナドナ (Donna Donna)
Despite having a gradual evolution in terms of sound and style, Plastic Tree never really changed their sound all that drastically over the years. Many of their earliest releases were quite blatant The Cure/Radiohead/The Smashing Pumpkins worship. Later releases saw the Britpop/alt rock sound gradually adapting more dreampop and shoegaze elements, while their most recent output seems to be more like the band trying to emulate the sound of a skipping record. Overall they never really strayed all that far from these particular sounds, at least until the ドナドナ-era. Not only did that album feature their first foray into instrumental post-rock, it also featured this particular track. Now, this song to me proves that these “What the hell were they thinking?”-moments don’t always necessarily have to be BAD. With this song Pura takes us in an almost electropop-ish direction that sounds more like something you’d expect from the likes of Proxyon or ADAPTER。. Yes, it does stand out like a sore thumb among all the other tracks on the album, but I feel like they actually do pull off the style quite well, and although I may be COMPLETELY off here, I also feel like the song probably at least partially inspired the addition of more electronic elements to later songs like "ピアノブラック(Piano Black)". To be perfectly honest, I would really like to see them do something like this again, if only due to the fact that almost all of their recent singles have basically sounded like the same track with swapped lyrics..  Oh, and don’t forget to check out the PV for this one, it’s gold.
@Tokage
 
"僕は死にました (Boku wa Shinimashita)" by 白黒キネマ  (Monokuro Kinema)
Release: 白黒映畫  (Monokuro Eiga)
Monokuro Kinema was another one of those angura kei bands with a retro-aesthetic that I’ve got a huge weakness for. Sound-wise I feel like they’re somewhat in line with bands like ハッピーサッド (Happysad), ホタル (Hotaru), MERRY’s more kayokyoku-influenced tracks and on their later material there’s also some similarities to pre-是空 (Zekuu) era MUCC. On their first (and sadly also their only) full-length album their sound definitely had more in common with those first three bands, though. While the album definitely does have its fair share of at least somewhat uptempo rock songs, it doesn’t really go completely crazy and let loose all that much. Well, with the exception of this particular track. Here in the middle of an album filled with melancholic ballads and slightly less melancholic rock songs the listener’s suddenly slapped in the face with this headbanger that’s also finished before the listener even knows what hit him. It just comes out of nowhere, doesn’t fit very well within the context of the album, and, hell, it doesn’t even fit all that much within the context of their entire discography. I mean, it’s not really an awful track, it just has “token headbang song” written all over it. Oh, and it may just be me, but I feel like the band got 'inspired' by MUCC’s "大嫌い (Daikirai) a little bit TOO much here..  There’s definitely some similarities there.
@Tokage
 
"shiranai hito" by cinema staff
Release: Drums,Bass,2(to)Guitars
While I'm not a big enough cinema staff expert to discuss their entire discography as I fell into them around the time they came into popularity from Shingeki no Kyojin (aka Attack on Titan) using their song, I can say I was a big fan of their Drums,Bass,2(to)Guitars album. Most of the songs are indie pop 'bops' that balance smooth vocals and catchy guitarwork. A track like "shiranai hito" stopped me right in my tracks. What was this grungey rock tune that sounded straight out of the 90s doing on my cinema staff album? Now don't get me wrong, "shiranai hito" still incorporates a lot of what I know to be classic cinema staff sound, but the chorus comes in and rips everything to shreds and boy does it leave an impression! I was not ready. I was nowhere near ready. 
@doombox
 
"首輪 (kubiwa" by 愛狂います。 (Aicle)
Release: 心臓。(Shinzou)
Aicle pulled a pretty ballsy stunt when they released their first album 心臓。(Shinzou), going against the grain by not including any previously released material. We got some of the band's craziest work, but also some sprinklings of poppy tunes that really hold their own. Unfortunately, however, all that momentum sputters out on the insipid final track,"kubiwa". Sure, I guess the lyrics are kind of quirky (life as told from the perspective of a pet cat), but the song is just a letdown and certainly no way to close an otherwise great album.  'Saving the best for last' was a concept lost on the band here.
@fitear1590
 
"UB YOURSELF" by Je*Reviens
Release: Romantic Jewel
Je*Reviens are currently most known for being one of the early bands of Asagi (from D) before he was famous. At the time of their activity, two other members of this band were quite famous in the indies scene as they were ex-Deshabillz. Their lead guitarist, Shi-no, was responsible for Deshabillz signature gothic compositions and their drummer, KAZUKI, later left the band to form what would become the incredibly popular Due'le Quartz. Because of this background, Je*Reviens' music, especially their first album Ne'Phesh, sounded fairly similar to what one might expect from an ex-Deshabillz members band--frilly, over-dramatic, and airy gothic rock with the occasional examples of more straight forward rock numbers. Then you get to "UB YOURSELF." Out of no where, they made a ska song, and not like the random ska-ish breakdowns vkei has been doing for decades, either. Like, if you wanted to know what Asagi would have sounded like if he was featured on a Less Than Jake song, here's your chance. Chocked full of syncopated horns, melancholic swing bass, and random backup vocals interjecting between phrases in the chorus, this song is by far one of the most out of place additions to a band's discography that I can think of. Now, my reaction to this song isn't because of the chosen genre, but more so from how unexpected it is compared to everything any of the band's members have ever done. I cannot tell if I should applaud them for their willingness to take a risk and try something out of left field, or laugh. I usually just laugh.
@Peace Heavy mk II
 
"Destrudo" by sukekiyo
Release: IMMORTALIS
Honestly... I don’t think there’s very much left to say about this one that hasn’t already been said in the review thread for IMMORTALIS, ‘cause to be quite frank, it’s just not a very interesting track in the first place. IMMORTALIS already suffered from a severe case of bloatedness, and this song doesn’t really help. Also.. why’d it have to be track 2 anyway? It really pulls me right out of the atmosphere "elisabeth addict" creates, it doesn’t flow all that well into the third track, it just simply adds nothing. There’s not even any crazy ghost yodeling or cat sounds from Kyo to shake things up a bit. Just skip this one if you still somehow happen to feel like listening to IMMORTALIS in 2016, I don’t think anyone will judge you for it.
@Tokage
 
"Paper Planes" by ONE OK ROCK
Release: 35xxxv
It's not a secret that since expanding their gaze to the global market with 35xxxv ONE OK ROCK's music has been having heavier pop leanings, but maybe none quite to the level of "Paper Planes" featuring Kellin Quinn of Sleeping With Sirens. This is the type of song that divides a fanbase. While some can forgive catchy synths and a featured singer claiming the largest slice of the song for himself, others were left wondering who was this band and what had they done with the emotional rock dynamo with angelic vocals they'd come to know and love?! And in their defense, "Paper Planes" really does come off as more of a Sleeping With Sirens song featuring ONE OK ROCK. Though, it wasn't the biggest surprise after learning both bands used the same producer for their most recent work.
@doombox
 
 
 
Thank you for venturing through this wtfery with us, and please let us know what you thought below!
Do you know any other songs that just make you stop and think WTF???? when they come on? lol

See ya next time!

It seems a lot of bands learn the hard way when selling themselves to PSC. 
I mean... they're all basically pocket change compared to the GazettE. 
 

the LOTUS will depart from PS COMPANY after their contract expires on 2016/09/30. They are expected to continue activities with 4 members (after Rian's departure).
 
source: http://www.pscompany.co.jp/thelotus/notices160925/

LOL I felt like I havn't listened to them in a while too because reading the comments made me think it was a new song too LMFAO

Oh is it? lol. OOps~ Needless to say I don't have their songs memorized. OTL 

Judge for yourself....