fitear1590

-Runner-Up International Releases- XI. Ópalo Negro by PAPA TOPO Sample 1 / Sample 2 / Sample 3 Summary: A fun debut album of camp, horror, and disco pop. Characters: Irreverent Mallorcan band who never take themselves too awful seriously. Analysis: Four years ago, Papa Topo was a duet who made cheeky indie pop. After losing one vocalist, leader Adrià regrouped and returned with a full band. This year, the quartet released their first full album and it was worth the wait. Ópalo Negro convincingly weaves together the band's love of kitsch and B-movie horror with ballads and orchestral pop. At 14 tracks, the album traverses many styles and even briefly slips between languages (the Mallorquin dialect of "Davall ses flors des taronger" is a particular treat). XII. Waste by Ulzzang Pistol Sample 1 / Sample 2 / Sample 3 Summary: An outsider's mellow, but compelling take on K-pop. Characters: A gas mask-clad Filipino Koreaboo with a harem of vocal collaborators. Analysis: Everything about Ulzzang Pistol's music is dripping with 21st century digital aesthetics. Even without the album art, if one were to visualize his music, you might imagine cyberspace shrouded in pastel haze. His programming is always lush, but my favorite thing about his sound is his buoyant, sublime work on the keys, as in "화장 재료/Paint." The featured vocalists are well-chosen, sometimes adding to the cutesy atmosphere, while others like Yukari ("Long Distance") add a more mature influence. Overall, this is an improvement over his first album, Girlfriend. XIII. Under the Influence by Steady Holiday Sample 1 / Sample 2 / Sample 3 Summary: Meticulously-crafted, hypnotic baroque pop. Characters: The inner workings of somber solo chanteuse Dre Babinski. Analysis: This one was a pretty late discovery in the year, but what a goldmine! Steady Holiday's music is like a fine art exhibit, with everything adorned with exquisite detail, but god forbid anyone touch anything! But if this is how Babinski works alone, I'm all for her continuing to revel as a solo artist. Her music and soft lullaby vocals are tantalizing and, at times, such as on "Your Version of Me," damn near sinister. XIV. House of Souls by Tele Novella Sample 1 / Sample 2 / Sample 3 Summary: Retro. Wild West. Psychedelic. Halloween. Characters: A hodgepodge of indie veterans from one of my consistently favorite scenes: Austin, Texas Analysis: This stunning debut album seamlessly blends the band's diverse influences. Listening to House of Souls conjures up images of tumbleweed blowing through a deserted town at sunset. Or should I say, a 'ghost' town, because the band is all about the spooky synths of a Halloween soundtrack. Echoes of the members' previous bands are apparent in the psychedelic tinge. The glue that holds it all together is Natalie Ribbons's husky voice and alluring lyrics. -International Release of the Year- XV. All My Demons Greeting Me as a Friend [Deluxe Version] by AURORA Sample 1 / Sample 2 / Sample 3 Summary: Ethereal, introspective, epic; a debut pop record for the ages. Characters: A young, eccentric Norwegian introvert who comes alive when she takes the mic. Analysis: At just 19 during the release of the album (and surely younger during the recording/writing of the album), AURORA is a creative force to be reckoned with. Most of her tracks feature slick production with sumptuous synth arrangements. Sia may be a much stronger technical vocalist, but AURORA's focus on dark, personal lyrics and less conventional take on pop music lead me to see a bit of a connection between the two artists. They're both quirky in certain ways, but AURORA has more of a dreamlike quality to her. The deluxe version of the album will bewitch you for over an hour and is preferred to the standard version, which omits the superior acoustic version of "Murder Song (5, 4, 3, 2, 1)" or the hauntingly chilling "Wisdom Cries". Moreover, the bleak fantasy aesthetic in her videos/imagery is all part of the experience. What finally sealed the deal for me was seeing her perform live, so if you enjoy her on record, I hope you'll also get the chance to see her in concert! -Japanese Artist of the Year- XVI. クウチュウ戦 (koochewsen) Sample 1 / Sample 2 / Sample 3 Summary: With two kick-ass mini-albums and endless PV entertainment, Koochewsen are the clear winners of 2016 for me. Characters: A ragtag, virtuoso quartet who can prog or pop with the best of them. Analysis: Throughout this year, Koochewsen has sky-rocketed to become a new favorite of mine. It appears that they're slowly weaning us off their extra progressive sound, but trust me, they're not boarding the shuttle to Genericville by any means. Overall, Koochewsen had a stellar year, with two successful mini-albums (and five PVs!). Sukoshi Fushigi opens with "光線 (kousen)," exhibiting a kind of off-kilter wackiness, before moving into an extremely groovy verse. Vocalist Riyo also has an intriguing style, at once raspy and breathy, proving to be a surprisingly strong singer. But changing gears, they sound just as apt doing a more relaxed tune like "雨模様です (amamoyou desu)." On 超能力セレナーデ (chounouryoku serenade), the opening track "ぼくのことすき (boku no koto suki)" is a noisy helping of power pop. Plus, I always appreciate a band that can fuse talent and a good sense of humor--a combination that Koochewsen are currently killing. Their PVs are a blast--just check out "インドのタクシー (indo no taxi)" if you need proof. One of my favorite tracks, however, is "お願いUFO (onegai UFO)" which shows that the band still get their prog juices flowing now and again. Slow, creeping verses build into mighty choruses that split the sky wide open just long enough for a UFO to zip down to our stratosphere and abduct us. And lawd, is it glorious. As a cooldown, the track graces us with a killer organ breakdown and a face-melting guitar solo. Let's hope 2017 brings even more tunes from these surprisingly accessible, psychedelic weirdos. -Bonus- "欲望の歌 (yokubou no uta)" by ゴールデンボンバー (Golden Bomber) Summary: For once, they don't bomb; parody VK band produces PV gold! Characters: MALICE MIZER/LAREINE/X-JAPAN/Dir en grey cosplayers. Analysis: Oh. My. God. I think we collectively shit ourselves when known troll band Golden Bomber released this PV masterpiece. Whether it's chubby-faced Gacktmijo with braces or playing with the 'PV white girl' trope by having fake-Klaha chase her through the forest while striking vanity poses, the video is just a blast for long-time VK fans. I never found the appeal of this group, but I am absolutely down for this kind of hilarity.

-Surprising Releases- I. 「むくあ」("mukua") by PIGLOW in GLOOMY Sample Summary: They've got the looks, the music, and the name. What more can you ask for from a new VK band? Characters: Randos, unless you listened their ex-band (Axia) Analysis: I love to download a release at random and be pleasantly surprised. That was absolutely the case with PIGLOW in GLOOMY. I'm particularly drawn to their dynamic compositions, which are writhing, atmospheric, and appropriately heavy. Plus, the vocalist gives me light 己龍 (Kiryu) vibes! I might have a new fave on my hands! II. Chapters by Yuna Sample 1 / Sample 2 Summary: The chill version of Yuna you didn't know you needed. Characters: Malaysian singer-songwriter, plus some features by Usher and Jhené Aiko. Analysis: Yuna is a bit of a curious one. I adore her Malaysian discography, which is filled with vibrant folk pop tracks. For some reason, this energy literally has not translated to her international (English-language) discography. But with her latest album, she has undergone a metamorphosis. As a fan of laid-back 'chill' music, I was flabbergasted to hear her put out a song like "Crush." Overall, I still prefer Malaysian-language Yuna, but this is definitely a nice change of pace for her international sound. III. YAMINABE by そこに鳴る (sokoninaru) Sample 1 / Sample 2 Summary: Miles ahead of their first EP ~OTT titles notwithstanding~. Characters: Former ling tosite sigure worshippers stepping into their own. Analysis: Last year, I reviewed sokoninaru's debut EP I'm NOT a pirolian. On YAMINABE, the band has streamlined many of perceived 'gimmicks' of pirolian's PV track "pirorhythm stabilizer 〜only your world〜," but vocalist/guitarist Suzuki does squeeze in a rad solo, as he's known to do. Overall, the mini is closer in style to “夏の落とし物 (natsu no otoshimono)," which was my favorite from their first EP, so no complaints here. As far as I'm concerned, they work best when they're just a little less frantic. The mini generally follows in this vein and seems a lot less 'try-hard' than their first EP. Without much else to impress me, this was honestly one of the stronger J-indie releases of the year and certainly one that came out of nowhere. More, please! And dat album artwork. -Unforgettable Music Videos- IV. "Everybody Wants To Love You" by Japanese Breakfast Summary: 'Wait, why is it Japanese Breakfast if she's wearing a hanbok?' Shut up and let her guitar solo! Character: Michelle Zauner, a Korean-American musician juggling penchants for the likes of riot grrrl, Grimes, and Wong Kar Wai Analysis: How badass is this video? Zauner's project is heavily based in subversion, so forget everything you've heard about the demure Asian stereotype. She's gonna shotgun a beer, even while looking glamorous af. "Everybody Wants to Love You" is Japanese Breakfast at her most playful, so check out her full album, Psychopomp, for dream pop and grittier tracks. V. "Dove" by Pillar Point Summary: See fabulous dancer Kia Labeija strut her stuff through the streets of Bogotá. Character: Synth-pop solo man Scott Reitherman. Analysis: I remember the first time I watched this music video, just being spellbound by Labeija's vitality and dancing prowess. I want to believe that some people truly glide through the market like a catwalk, just like she does. Pillar Point chose the perfect 'face' for the indisputable standout track of their album. IV. "Happy" by Mitski Summary: A tragic affair, decked out in Mad Men-era aesthetics, ends with a violent twist. Character: An angsty, yet unpredictable Japanese-American indie rocker. Analysis: The video's YouTube description simply says 'Trigger Warning: Gore' and yet, the ending shocks people every time. Structurally, it could easily be an award-winning horror short, but the costumes of yesteryear and the subtext of the critic of reigning Western beauty standards make it all the more fascinating. Mitski is already topping all kinds of prominent EOTY lists, so we'll probably be seeing a lot more of her! Check out her album, Puberty 2, if you haven't already. -Outstanding Tracks- VII. "Room 314 feat. Mark Redito" by Neon Bunny 야광토끼 YouTube Link Summary: Like a kaleidoscope dream, perfectly cycling between upbeat and down-tempo. Characters: Korean solo artist, backed by the charismatic production of the man formerly known as Spazzkid. Analysis: With programmed chimes, strums, and 'Woo,' "Room 314" is a classic Mark Redito arrangement. Neon Bunny's delicate vocals are the perfect match and as a bilingual performer, she moves in and out of Korean and English. While neither artist's music is amped up enough to be mainstream dance music, I can still see "Room 314" lighting up the dance floor! Even if you aren't a fan of mainstream K-pop, don't rule out Neon Bunny. For more tunes, check out her awesome Stay Gold album. VIII. "She'll Never Forgive To Be Insulted." by a crowd of rebellion YouTube Link Summary: Real talk, heavy kei fans, is there any reason you're not on the acor train yet? Characters: The extremes of dueling vocals. Analysis: Their 2016 album Xanthium wasn't my favorite, but lord, the song "She'll Never Forgive to Be Insulted." brings back the crazy from some of their prior releases in full force. The track is a blazing mess, in the best way. As I've written previously, there's something uncannily VK about acor's creative take on post-hardcore composition. In this track, they mix NOCTURNAL BLOODLUST levels of harsh vocal brutality with Kiryu-esque traditional Japanese kookiness. And somehow, it works! It's always neat to see bands with crossover potential and I think acor has what it takes to reach out to a certain sect of VK fans. IX. "さようなら僕だけの人 (sayounara boku dake no hito)" by ベル (Belle) YouTube Link Summary: 0 parts brutal-kei, 0 parts treble synth kei; Belle does their own thing in contemporary VK! Characters: Yumehito (ex-AYABIE/彩冷える-ayabie-, そろばん [soroban]) and some slept-on peeps. Analysis: Since their debut in late 2014, they mostly flew under my radar, first sparking my interest last fall with their "ビードロ (vidro)" video, which harkened back to some late 90s/early 2000s white kei guitar tones! While that song was good, this PV track from their first full album is perfucktion. The band reminds me of カルペディエム (Carpe diem) with their beautiful sense of melody and tastefully exaggerated vocals. And again, Yumehito's airy guitar tones are just lovely. There's something quintessentially VK about this band, and yet, they don't subscribe to the trends of really any other band at the moment. Carry on, guys! X. "煌々と輝く (koukou to kagayaku)" by 神はサイコロを振らない (kami wa saikoro wo furanai) YouTube Link Summary: If Kamisai play their cards (or roll their dice) right, they can make it big! Characters: Honestly, who are these talented J-indie boyz? Analysis: Back in March's Recommended Tracks, saishuu introduced us to a very special band in the indie scene, kami wa saikoro wo furanai. Their polished math-rock riffs and warm, soulful vocals (pretty uncharacteristic for a scene dominated by high-pitched, shrill, and/or nasal singers) set them apart from the average newcomers. The entire mini-album sadly didn't reach the levels of this track, but man, the potential is undoubtedly here! I hope they make some strides in 2017!

fitear1590's Musical CliffNotes to This Dumpster Fire of a Year (2016) From disgraceful political developments to an endless stream of unexpected celebrity deaths (including Mariah Carey's career on New Year's Eve), a lot of people are deeming 2016 to be one of the worst years yet. Will we look back and see it as exaggeration? Who knows. In any case, other media like music and film can usually be beacons of hope, but unfortunately for me, 2016 has been one of the most ho-hum years in music since I've started doing these more in-depth end-of-the-year lists. I had to start streamlining the format of my list last year to account for the fact that I was working with a small amount of EOTY-worthy releases. However, 2015 was different, because I was dealing with a series of disappointments from some of my faves, which isn't so much the case this time around. Looks like I'm going back to the drawing board this year, so let's try a format highlighting 16 different artists/works (you know, for 2016? Get it???). While it's been the second disheartening musical year in a row for me, I want to be fair to the few releases that nonetheless shined! In order to ensure the most breadth and variety, I made sure that there were no repeat selections throughout the various sections. I hope you'll find this guide helpful and I look forward to seeing your feedback! Table of Contents -Surprising Releases- I. 「むくあ」("mukua") by PIGLOW in GLOOMY II. Chapters by Yuna III. YAMINABE by そこに鳴る (sokoninaru) -Unforgettable Music Videos- IV. "Everybody Wants To Love You" by Japanese Breakfast V. "Dove" by Pillar Point VI. "Happy" by Mitski -Outstanding Tracks- VII. "Room 314 feat. Mark Redito" by Neon Bunny 야광토끼 VIII. "She'll Never Forgive To Be Insulted." by a crowd of rebellion IX. "さようなら僕だけの人 (sayounara boku dake no hito)" by ベル (belle) X. "煌々と輝く (koukou to kagayaku)" by 神はサイコロを振らない (kami wa saikoro wo furanai) -Runner-Up International Releases- XI. Ópalo Negro by PAPA TOPO XII. Waste by Ulzzang Pistol XIII. Under the Influence by Steady Holiday XIV. House of Souls by Tele Novella -International Release of the Year- XV. All My Demons Greeting Me as a Friend by AURORA -Japanese Artist of the Year- XVI. クウチュウ戦 (koochewsen) -Bonus- "欲望の歌 (yokubou no uta)" by ゴールデンボンバー (Golden Bomber)

Yesss, gurrl!

3 Türken und ein Baby (2015)

I agree that they are fairly same-y, but "new place" is one of my favorite songs from 2015! Still spin that one occasionally. What are your fave tracks?

I wonder why they're releasing it so late?

Broken (2012)

TGADS, aaaaaaye! The original addle apple is such an epic mini. I need to spend more time with after the addle apple though. Granted, I only listened like twice, but I guess I was taken aback by the fact that I couldn't really recognize any remnants of the original songs. It looks like I need to give it more listens with the understanding that these are basically brand-new songs, rather than simple updates/rerecordings! Cat, I was curious what you were referring to exactly with "previously". Did you mean TAMTAM's previous releases (For Bored Dancers and Strange Tomorrow)? And that this new album was a "return to form" of what TAM TAM (before the name change) did? I acknowledge that "CLIMAX" was kinda weak (that piano, ugh), but I realized that one of the things missing on the new album for me was the cool shoegazey guitar sound from tracks like "デイドリーアンドマリー" and "エンターキー". NEWPOESY is groovy, but it feels a bit too safe/clean without that guitar sound, imo.

Well, it contained actual rerecordings and two new songs, so it wasn't a throw-away compilation album like some "greatest hits" releases can be. That's why it made the cut this year.

Really happy that Belle made the list! "さようなら僕だけの人" was a surprise favorite for me this year. I agree with emmny that it's hard to situate the band's sound (which is exciting!), though something in the art-kei department seems apt. Like I said in my Recommended Tracks blurb earlier this year, their timeless melodies and extremely exaggerated vocals (in a good way) remind me a lot of the short-lived カルペディエム (Carpe diem). TAMTAM's album is also pretty good, though I agree with Cat and saishuu that it's hard to find a standout in the album. They (or rather, TAM TAM) set the bar way too high with "Polarize" and I don't know if they'll ever top that track!

THIS, to both of your points, haha. I still don't understand how both this band and Synk;yet (probably others too!) sounded better, production-wise, before joining Starwave.

"I want to be educated! Not just hairy!" The Peanut Butter Solution (1985)

The thread title says it all. Let's get started! "Fuck me gently with a chainsaw." Heathers (1988)

Yesss, togz! Thanks, bb! I wonder if their new label is partly to blame for the lack "UMPHHH!!!" from a production standpoint. Granted, I also thought Elegance was lacking some pizzazz and iirc, that was still self-released like Rhapsody in beauty and zeitgeist. Hmm... Playing around with the tracklist is an interesting idea... What would your ideal track order be for this album? Thanks so much! Also, I think your comment about not agreeing, but giving the same score sheds light on THE NOVEMBERS' unique appeal. For instance, many of us here are talking about "Rhapsody in beauty" (the song), but for me, my favorite ~dreamy~ NOVEMBERS tracks from that album are easily the album closers ("Romance" and "僕らはなんだったんだろう"). And holy shit, yes. Can we forgot DECAYS was a thing and make Nagoya Kei-bayashi happen instead?! I simply could not prolong the use of that dweeby promo pic from Elegance and I also wasn't happy with this album's pic I was just telling Cat earlier this week, I've recently gained a new appreciation for Misstopia. That was my bad with the poll, I should have made it so multiple choices were possible, so we didn't have to pick one favorite, haha. Should have included their mini-albums as options too! Gahh!

| Not quite divine, but a PREACH-worthy effort! Tracklist: 1.Hallelujah 2.黒い虹 (Black Rainbow) 3.1000年 (1000 Years) 4.美しい火 (Beautiful Fire) 5.愛はなけなし (What Little Love) 6.風 (Wind) 7.時間さえも年老いて (Even Time Ages) 8.!!!!!!!!!!! 9.ただ遠くへ (Just Going Far) 10.あなたを愛したい (I Want To Love You) 11.いこうよ (IKOUYO) THE NOVEMBERS hold a special place in the hearts of many Monochronmiums. I would go as far as saying, the majority of us who have at least a toe dipped in the waters of the ‘J-Rock’ and Japanese indie scenes, are fans of the band in some capacity. What makes THE NOVEMBERS a unique case is their wide appeal. Without going into strict alter egos, their sound can be divided into two major halves: namely, the light, jangly, and shoegaze-y sound and their darker, more aggressive, alternative sound. Or, as I term them, ~dream ver.~ and ~scream ver.~. While 2015’s Elegance leaned heavily toward the dreamy sound, this album, Hallelujah, seeks to restore balance. The title track eases us into the album delivering (us from evil) with a euphoric sound, featuring simple, ‘tribal’ style drumming. It’s an epic theme, if a bit one-note. Immediately changing gears, the band hangs a hard U-turn with “Black Rainbow.” As the first single release of the album, we got to preview this angsty number back in July. Can anyone say, ‘shoegrunge’? The band maintains the forceful momentum on “1000 Years,” perhaps the best received heavy track on the album, according to comments here on MH. There’s something vaguely thrashy about the riffs on this one. Kobayashi’s harsh vocals are also noteworthy, invoking a paradoxically restrained rawness. With a pretty strong start to the album, tracks 3 through 6 form a flawless stretch for me, as someone who predominantly gravitates toward THE NOVEMBERS’ lighter sound. “Beautiful Fire" is gorgeous and the polar opposite to the grittiness of the previous two tracks. It has more conviction than the 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 (did you really think I could get through a NOVEMBERS review without namedropping it?), which adds a nostalgic touch. “What Little Love” is a track I slept on at first, but if I had to choose now, I’d probably nominate it as my album fave! I know @togz agrees with me! What’s fascinating about this track is its fusion of the band’s two sides. The dark, but tranquil verses are somewhat reminiscent of 2013's zeitgeist-era tracks like “Meursault.” The choruses, however, are where the band’s dreamier side shows through again. The piercing, ethereal synths are a NOVEMBERS signature, but during the chorus, they creep ever so gingerly towards dissonance, adding a striking tension to this song. Bringing up the rear of my album high is “Wind.” I’m not sure the band has ever produced a number quite like this, with bright riffs that would be at home in 90s/early 2000s ‘white kei.’ If you’re wondering what the hell I ever mean with ‘jangly’ guitar, look no further than “Wind.” Plus, Kobayashi hits an unusually high register in this track that is truly music to my earholes. “Even Time Ages” is where Hallelujah starts to falter. Don’t get me wrong, I actually quite enjoy this gloomier track, but it feels like what we’ve heard before on zeitgeist or mid-album on 2014's Rhapsody in beauty. "!!!!!!!!!!!" is arguably the weakest showing on the album, lacking the distortion to back up how aggressive it wants to be. “Just Going Far” seems to directly cite zeitgeist’s “Flower of life” with its contrasting heavy bass and airy synth approach, though I suppose this one has more of a somber mood. “I Want To Love You” is where the band gets back on track, granting us a droning, unabashedly shoegaze ballad, if such a thing exists. In fact, this track and the closer “IKOUYO” summon the distortion that their last album, Rhapsody in beauty, so selfishly hogged for the ~screamy~ tracks, proving that the ~dreamy~ side can get down and dirty just as well. Dazzling (and colorful) cover art aside, Hallelujah is unlikely to go down as many people’s favorite NOVEMBERS album. Despite unprecedented tracks like “Wind” and “I Want To Love You,” the album is just a little too derivative of work they’ve already released. Having said that, ‘more of the same’ is not necessarily a bad thing. Overall, Hallelujah is still a kickass record and is commendable for balancing the band’s two primary sounds more effectively than on recent releases. THE NOVEMBERS have been around for eleven years and it's not that they are starting to show their age. Rather, it’s simply getting tougher and tougher for them to outdo themselves. Even so, they remain as solid as ever. Perhaps, we just need to reconceptualize Hallelujah as something to hold us over until their inevitable release in 2017. I, for one, am already looking forward to discovering where the band will take us next. And maybe, just maybe, the band will give us a decent promo photo next year so I don't have to resort to a still from a PV! What did you think of Hallelujah? Support the band! Spotify | CDJapan | Amazon Japan

That poor rhythm guitarist gets the worst hair each time... Looking forward to this! They're a pretty promising new band.

It's pretty funny, because Tanaka's definition "City Pop is Japanese pop music with a pronounced Western indie influence that tends to have a dreamy, chill, carefree, neo-soul aesthetic" summarizes a big part of my music taste, to a tee! Too bad I don't actually like many of the bands he designated as City Pop! The article was kind of an interesting read and I suppose it's nice to have a label for these types of bands, but if all the bands listed equal "City Pop," then the term is pretty much meaningless. In my opinion, there's very few Japanese bands that truly sound "Western" to me, such as: The fin., Ykiki Beat, Homecomings, (all of which were listed and sing in English, HMMM!), and I would argue Hotel Mexico and early Czecho no Republic. There's probably more, but I'd have to think about it for a minute. The connection to our "club" band discussion was a cool coincidence, but overall, I fail to see how alleged City Pop bands like Awesome City Club (srsly, their arrangements are so j-poppy) or Yogee New Waves sound especially "Western" unless our definition just means any Japanese indie rock music that's not super frantic/quirky like Midori, ling tosite sigure, or 88kasyo junrei. To which I repeat: the term then becomes kind of useless. Of course not every Japanese rock band is going to sound like them. Simply playing indie pop does not equal "Western". I also think Tanaka downplays how much language and vocals (singing styles, but also melodies that Western artists don't really do) make a difference, even if the guitar riffs might sound like Modest Mouse or something. And what is the Western band that beachy bands like Mitsume and Siamese Cats are supposedly copying? Cause I need to know. All I can think of is Mac Demarco and that's not quite right. Also, the comment about "City Pop" music being "emasculating" was pretty silly.

Soan's Moran compositions were consistently my favorites, so I'm looking forward to this af.

Yay, glad you guys had a good time! Hopefully, the band enjoyed the experience and will do more overseas shows in the future!

UNiTE. opened a special website for their 6th anniversary: http://www.unite-jp.com/6th/ Nothing too exciting there yet, but I do like seeing a band like Chanty in the "Friends" section.

~~Friendly reminder to everyone on MH: If you want to be a guest contributor like Ada Suillen and chemicalpictures were this month, check out this thread or PM @doombox for more details. We want to see even more people sharing the music they love!~~ Time for some comments! @beni - I can see myself getting into Her Ghost Friend. There's a very uniquely J-POP vibe, but in a good way. Also, I recognize the pool in that band pic (The fin.'s PV). I actually love and miss the wacky version of Cö shu Nie. There was a moment in their discog where they seemed to go full pop (was not a fan), but this song seems to be showing a plausible synthesis of both styles. I'm hopefully back on board again @Original Saku - ...CreepHyp's (acquired taste) vocalist reminds me very strongly of someone. UGH, this is going to bother me until I figure it out. I like the kinda husky voice in Casablanca! @togz - downy seems really solid on this newest album, so I'll need to check that out. NICE song choice for the NOVEMBERS. You might see this song pop up in a future post of mine *wink wink*. I love the way the synth goes slightly off-kilter/dissonant in the chorus. Holy shit, PIGLOW was a surprise--they're pretty much nobodies, right? Randomly downloaded it because people were raving about them (and dat name, amirite?) and it's pretty awesome! I hear more Kiryu in the vocals tho! @emmny - I need to get on that ggg train. It's got that guitar swag that only aie can do, but I won't have to suffer through Ryo's vocals @Zeus - yesss, Versailles! I was so skeptical about a rerecording album as a 'return,' but I was pleasantly surprised. The only thing I'm not crazy about in this particular remake is the slight tweaking of the guitar notes around 3:00-3:01 (and the repeats later on). And like togz, further support that I need to downy it up. @CAT5 - welcome back, d00d! I still need to spend some more time with the new TAMTAM, but this song is pretty good. I'm not sure they'll ever top the perfucktion that was "Polarize" (song and some extent, mini-album). Aoi Teshima is GORGEOUS. And I'm so glad to see how many people on the team, despite varying tastes, are getting into Chanty! @Ada Suilen - mwahaha, more NOVEMBERS love. This is probably my favorite 'heavy' track from the album. @chemicalpictures - I was a Dhalis fan back in the day and you can still hear moments of it in ZON, even though they've amped up heaviness and production value. I need to look into them! off-topic, why is the only clear photo of THE NOVEMBERS so dweeby looking? lol