fitear1590

| Remembering DIV's finest release—so close to a ONE ZERO /10

Last week, DIV blindsided fans by delivering a crushing blow. After four years, they are calling it quits due to the classic ‘musical differences’ excuse, though in this instance the argument is actually plausible. Their recent releases have been delving ever deeper into a self-coined EDR (‘electronic dance rock’) sound—one that bassist Chobi and drummer Satoshi obviously weren’t too keen on. In their remembrance, I am revisiting my old review of ZERO ONE, their first full album and my favorite CD of theirs back in the day. Released back in October 2013, just a year and a half into DIV’s career, ZERO ONE is mighty impressive for a debut album.  In fact, it’s just an excellent rock album, period!  And this is coming from someone who started off with a very lukewarm impression of the band. Let me tell you, I did not care for their debut mini-album, 無題のドキュメント (mudai no document).  The following four singles thankfully showed progress—albeit inconsistent—but they were enough to string me along and keep me excited enough for whatever they had in store next. Thankfully, I stuck around for ZERO ONE, because it has proven to be the glorious culmination of all the band’s potential.
 
 
Early on in their career, I remember thinking DIV had some composition issues; single “夏の行方 (natsue no yukue)” and its B-side “蛍火 (hotarubi)” had almost identical choruses. That’s unacceptable, especially on a three song single! This has been addressed over time and I can say that the band is in top form on this release.  There’s plenty of variety with well-composed, bright pop-rock tunes like “ZERO ONE” as well as heavier and more melancholic, alternative tracks like “VANISH.”  Unlike many other VK bands that actually make it to the full album stage, DIV didn’t feel the need to pad their tracklist with the obligatory ‘experimental’ mainstays we all know like out-of-place ‘jazzy’ track or ‘heavy-repetitive-track-with-growling/screaming-throughout.’  I honestly congratulate that songwriting restraint so hard to come by in this scene.
 
On top of better compositions, DIV have shown some massive progress in their electronic arrangements, which were pretty uninspired and lacking in their earliest releases (especially when compared to Danger Crue labelmates and synth-afficionados, UNiTE.).  Whereas 無題のドキュメント featured an unnecessary SE track with aimless chiptune bleeps, there’s a lovely ‘galactic’ synth sound that permeates most of this album. Sometimes, it lends an epic quality to the music, while at other times, it creates a fun, light atmosphere like in the infectious “Chocolate Prayer.”  The EDM-instrumental track “interlude” leads gorgeously into “ASTERIOS” and the subsequent chaotic screeching and dubsteppy ‘wub wub’ sounds are well-executed, mainly because they are used very sparingly.  That and the autotune (another thing I generally find obnoxious) in “Teddy” are tastefully done.
 
One of the things that really sets DIV apart from most of the VK world is Chisa’s voice.  He’s not your typical, nasally, whiny, over-exaggerated VK singer.  He has a very ‘normal’ (yet capable) voice and somehow that works for the band and keeps them grounded.  He’s able to serenade us with dramatic ballads like “I swear,” to get us moving to catchy tunes like “Chocolate Prayer,” and to evoke hella emotion in heavy tracks like album-opener “VANISH.”  If there’s one thing that could still use work, it’s his growling.  He sounds like he’s straining himself a little bit, sometimes like he’s ‘barfing’ out his words.  But once again, he doesn’t overuse harsh vocals, so this is hardly a problem.
 
If I have one complaint about this album, it’s the choice of old singles to include.  “夏の行方” is a solid enough choice (though as unrealistic as it is, I would’ve absolutely preferred the aforementioned B-side), but I find “SEASONS” and “ANSWER” to be two of the bands weakest singles.  “SEASONS” has so much that I should love (the twinkly, soft piano throughout), but the ‘hooo-oooh’ background voice annoys me and I find the bouncy guitar riff that leads us into the verse to be so insipid—it’s all too clinical, compared to the slightly messier original version of the song by Chisa’s ex-band NEXX. “TASTE OF LIFE,” a fun little pop-rock ditty would have been a better fit, since there were some other poppy songs on the album and they worked just fine. Not to mention, that would have made 1000% more sense than actually including that single (released before ZERO ONE) on their second album, and, btw, not rerecorded... but I digress.  “ANSWER,” their debut song, is a track I find decent at best.  It could’ve benefited from an arrangement overhaul, considering the band’s newfound mastery of the synths, but alas… This rerecording doesn’t sound very different.  In fact, none of them really do. The only major difference I could detect was the background arrangement of "SEASONS" sounded (unfortunately) more subdued in certain parts. But if the album’s biggest weakness is its old songs, that’s probably a good sign of the pure progress the band is making!

Since the success of ZERO ONE, DIV have released even more singles, as well as a second full-album (SECRET: see @doombox's review) and second mini-album (EDR TOKYO: see @CAT5's review). So has this album stood the test of time? There has undoubtedly been some brilliant work released after ZERO ONE, with tracks like the darkly beautiful “BUTTERFLY DREAMER,” the electro-gasmic “東京、熱帯夜につ (tokyo nettaiya ni tsuki),” and my absolute favorite: the unmatched heavenly dreamscape of “漂流彼女 (hyouryuu kanojo).” Moreover, all of these songs have visually stunning PVs, showing further refinement in the band's aesthetic—seriously, go watch them right now. And yet, if I had to choose, I still consider ZERO ONE to be DIV’s flagship release. Why? Because it’s just that, a cohesive release. Comparatively, DIV’s second album was merely a collection of old singles and mostly forgettable new tracks. I've never subscribed to the glorification of the album as the one and only format for ‘real’ music fans, but if I were forced to do a ranking of VK albums, I’m sure ZERO ONE would be up there. No other VK band has been as deft at incorporating electronic arrangements into rock music as DIV and ZERO ONE is the release where they finally realized this sound. They've left an indelible impact on the scene and will truly be missed.

PS: If you haven't checked out DIV yet, their discography has recently been made available for streaming on Spotify and other services!
 

Support the band!
Spotify | CDJapan | Amazon.jp

I may be a pretty recent fan of Koochewsen, but THIS!!!1!

| Remembering DIV's finest release—so close to a ONE ZERO /10

Last week, DIV blindsided fans by delivering a crushing blow. After four years, they are calling it quits due to the classic ‘musical differences’ excuse, though in this instance the argument is actually plausible. Their recent releases have been delving ever deeper into a self-coined EDR (‘electronic dance rock’) sound—one that bassist Chobi and drummer Satoshi obviously weren’t too keen on. In their remembrance, I am revisiting my old review of ZERO ONE, their first full album and my favorite CD of theirs back in the day. Released back in October 2013, just a year and a half into DIV’s career, ZERO ONE is mighty impressive for a debut album.  In fact, it’s just an excellent rock album, period!  And this is coming from someone who started off with a very lukewarm impression of the band. Let me tell you, I did not care for their debut mini-album, 無題のドキュメント (mudai no document).  The following four singles thankfully showed progress—albeit inconsistent—but they were enough to string me along and keep me excited enough for whatever they had in store next. Thankfully, I stuck around for ZERO ONE, because it has proven to be the glorious culmination of all the band’s potential.
 
 
Early on in their career, I remember thinking DIV had some composition issues; single “夏の行方 (natsue no yukue)” and its B-side “蛍火 (hotarubi)” had almost identical choruses. That’s unacceptable, especially on a three song single! This has been addressed over time and I can say that the band is in top form on this release.  There’s plenty of variety with well-composed, bright pop-rock tunes like “ZERO ONE” as well as heavier and more melancholic, alternative tracks like “VANISH.”  Unlike many other VK bands that actually make it to the full album stage, DIV didn’t feel the need to pad their tracklist with the obligatory ‘experimental’ mainstays we all know like out-of-place ‘jazzy’ track or ‘heavy-repetitive-track-with-growling/screaming-throughout.’  I honestly congratulate that songwriting restraint so hard to come by in this scene.
 
On top of better compositions, DIV have shown some massive progress in their electronic arrangements, which were pretty uninspired and lacking in their earliest releases (especially when compared to Danger Crue labelmates and synth-afficionados, UNiTE.).  Whereas 無題のドキュメント featured an unnecessary SE track with aimless chiptune bleeps, there’s a lovely ‘galactic’ synth sound that permeates most of this album. Sometimes, it lends an epic quality to the music, while at other times, it creates a fun, light atmosphere like in the infectious “Chocolate Prayer.”  The EDM-instrumental track “interlude” leads gorgeously into “ASTERIOS” and the subsequent chaotic screeching and dubsteppy ‘wub wub’ sounds are well-executed, mainly because they are used very sparingly.  That and the autotune (another thing I generally find obnoxious) in “Teddy” are tastefully done.
 
One of the things that really sets DIV apart from most of the VK world is Chisa’s voice.  He’s not your typical, nasally, whiny, over-exaggerated VK singer.  He has a very ‘normal’ (yet capable) voice and somehow that works for the band and keeps them grounded.  He’s able to serenade us with dramatic ballads like “I swear,” to get us moving to catchy tunes like “Chocolate Prayer,” and to evoke hella emotion in heavy tracks like album-opener “VANISH.”  If there’s one thing that could still use work, it’s his growling.  He sounds like he’s straining himself a little bit, sometimes like he’s ‘barfing’ out his words.  But once again, he doesn’t overuse harsh vocals, so this is hardly a problem.
 
If I have one complaint about this album, it’s the choice of old singles to include.  “夏の行方” is a solid enough choice (though as unrealistic as it is, I would’ve absolutely preferred the aforementioned B-side), but I find “SEASONS” and “ANSWER” to be two of the bands weakest singles.  “SEASONS” has so much that I should love (the twinkly, soft piano throughout), but the ‘hooo-oooh’ background voice annoys me and I find the bouncy guitar riff that leads us into the verse to be so insipid—it’s all too clinical, compared to the slightly messier original version of the song by Chisa’s ex-band NEXX. “TASTE OF LIFE,” a fun little pop-rock ditty would have been a better fit, since there were some other poppy songs on the album and they worked just fine. Not to mention, that would have made 1000% more sense than actually including that single (released before ZERO ONE) on their second album, and, btw, not rerecorded... but I digress.  “ANSWER,” their debut song, is a track I find decent at best.  It could’ve benefited from an arrangement overhaul, considering the band’s newfound mastery of the synths, but alas… This rerecording doesn’t sound very different.  In fact, none of them really do. The only major difference I could detect was the background arrangement of "SEASONS" sounded (unfortunately) more subdued in certain parts. But if the album’s biggest weakness is its old songs, that’s probably a good sign of the pure progress the band is making!

Since the success of ZERO ONE, DIV have released even more singles, as well as a second full-album (SECRET: see @doombox's review) and second mini-album (EDR TOKYO: see @CAT5's review). So has this album stood the test of time? There has undoubtedly been some brilliant work released after ZERO ONE, with tracks like the darkly beautiful “BUTTERFLY DREAMER,” the electro-gasmic “東京、熱帯夜につ (tokyo nettaiya ni tsuki),” and my absolute favorite: the unmatched heavenly dreamscape of “漂流彼女 (hyouryuu kanojo).” Moreover, all of these songs have visually stunning PVs, showing further refinement in the band's aesthetic—seriously, go watch them right now. And yet, if I had to choose, I still consider ZERO ONE to be DIV’s flagship release. Why? Because it’s just that, a cohesive release. Comparatively, DIV’s second album was merely a collection of old singles and mostly forgettable new tracks. I've never subscribed to the glorification of the album as the one and only format for ‘real’ music fans, but if I were forced to do a ranking of VK albums, I’m sure ZERO ONE would be up there. No other VK band has been as deft at incorporating electronic arrangements into rock music as DIV and ZERO ONE is the release where they finally realized this sound. They've left an indelible impact on the scene and will truly be missed.

PS: If you haven't checked out DIV yet, their discography has recently been made available for streaming on Spotify and other services!
 

Support the band!
Spotify | CDJapan | Amazon.jp

| Remembering DIV's finest release—so close to a ONE ZERO /10

Last week, DIV blindsided fans by delivering a crushing blow. After four years, they are calling it quits due to the classic ‘musical differences’ excuse, though in this instance the argument is actually plausible. Their recent releases have been delving ever deeper into a self-coined EDR (‘electronic dance rock’) sound—one that bassist Chobi and drummer Satoshi obviously weren’t too keen on. In their remembrance, I am revisiting my old review of ZERO ONE, their first full album and my favorite CD of theirs back in the day. Released back in October 2013, just a year and a half into DIV’s career, ZERO ONE is mighty impressive for a debut album.  In fact, it’s just an excellent rock album, period!  And this is coming from someone who started off with a very lukewarm impression of the band. Let me tell you, I did not care for their debut mini-album, 無題のドキュメント (mudai no document).  The following four singles thankfully showed progress—albeit inconsistent—but they were enough to string me along and keep me excited enough for whatever they had in store next. Thankfully, I stuck around for ZERO ONE, because it has proven to be the glorious culmination of all the band’s potential.
 
 
Early on in their career, I remember thinking DIV had some composition issues; single “夏の行方 (natsue no yukue)” and its B-side “蛍火 (hotarubi)” had almost identical choruses. That’s unacceptable, especially on a three song single! This has been addressed over time and I can say that the band is in top form on this release.  There’s plenty of variety with well-composed, bright pop-rock tunes like “ZERO ONE” as well as heavier and more melancholic, alternative tracks like “VANISH.”  Unlike many other VK bands that actually make it to the full album stage, DIV didn’t feel the need to pad their tracklist with the obligatory ‘experimental’ mainstays we all know like out-of-place ‘jazzy’ track or ‘heavy-repetitive-track-with-growling/screaming-throughout.’  I honestly congratulate that songwriting restraint so hard to come by in this scene.
 
On top of better compositions, DIV have shown some massive progress in their electronic arrangements, which were pretty uninspired and lacking in their earliest releases (especially when compared to Danger Crue labelmates and synth-afficionados, UNiTE.).  Whereas 無題のドキュメント featured an unnecessary SE track with aimless chiptune bleeps, there’s a lovely ‘galactic’ synth sound that permeates most of this album. Sometimes, it lends an epic quality to the music, while at other times, it creates a fun, light atmosphere like in the infectious “Chocolate Prayer.”  The EDM-instrumental track “interlude” leads gorgeously into “ASTERIOS” and the subsequent chaotic screeching and dubsteppy ‘wub wub’ sounds are well-executed, mainly because they are used very sparingly.  That and the autotune (another thing I generally find obnoxious) in “Teddy” are tastefully done.
 
One of the things that really sets DIV apart from most of the VK world is Chisa’s voice.  He’s not your typical, nasally, whiny, over-exaggerated VK singer.  He has a very ‘normal’ (yet capable) voice and somehow that works for the band and keeps them grounded.  He’s able to serenade us with dramatic ballads like “I swear,” to get us moving to catchy tunes like “Chocolate Prayer,” and to evoke hella emotion in heavy tracks like album-opener “VANISH.”  If there’s one thing that could still use work, it’s his growling.  He sounds like he’s straining himself a little bit, sometimes like he’s ‘barfing’ out his words.  But once again, he doesn’t overuse harsh vocals, so this is hardly a problem.
 
If I have one complaint about this album, it’s the choice of old singles to include.  “夏の行方” is a solid enough choice (though as unrealistic as it is, I would’ve absolutely preferred the aforementioned B-side), but I find “SEASONS” and “ANSWER” to be two of the bands weakest singles.  “SEASONS” has so much that I should love (the twinkly, soft piano throughout), but the ‘hooo-oooh’ background voice annoys me and I find the bouncy guitar riff that leads us into the verse to be so insipid—it’s all too clinical, compared to the slightly messier original version of the song by Chisa’s ex-band NEXX. “TASTE OF LIFE,” a fun little pop-rock ditty would have been a better fit, since there were some other poppy songs on the album and they worked just fine. Not to mention, that would have made 1000% more sense than actually including that single (released before ZERO ONE) on their second album, and, btw, not rerecorded... but I digress.  “ANSWER,” their debut song, is a track I find decent at best.  It could’ve benefited from an arrangement overhaul, considering the band’s newfound mastery of the synths, but alas… This rerecording doesn’t sound very different.  In fact, none of them really do. The only major difference I could detect was the background arrangement of "SEASONS" sounded (unfortunately) more subdued in certain parts. But if the album’s biggest weakness is its old songs, that’s probably a good sign of the pure progress the band is making!

Since the success of ZERO ONE, DIV have released even more singles, as well as a second full-album (SECRET: see @doombox's review) and second mini-album (EDR TOKYO: see @CAT5's review). So has this album stood the test of time? There has undoubtedly been some brilliant work released after ZERO ONE, with tracks like the darkly beautiful “BUTTERFLY DREAMER,” the electro-gasmic “東京、熱帯夜につ (tokyo nettaiya ni tsuki),” and my absolute favorite: the unmatched heavenly dreamscape of “漂流彼女 (hyouryuu kanojo).” Moreover, all of these songs have visually stunning PVs, showing further refinement in the band's aesthetic—seriously, go watch them right now. And yet, if I had to choose, I still consider ZERO ONE to be DIV’s flagship release. Why? Because it’s just that, a cohesive release. Comparatively, DIV’s second album was merely a collection of old singles and mostly forgettable new tracks. I've never subscribed to the glorification of the album as the one and only format for ‘real’ music fans, but if I were forced to do a ranking of VK albums, I’m sure ZERO ONE would be up there. No other VK band has been as deft at incorporating electronic arrangements into rock music as DIV and ZERO ONE is the release where they finally realized this sound. They've left an indelible impact on the scene and will truly be missed.

PS: If you haven't checked out DIV yet, their discography has recently been made available for streaming on Spotify and other services!
 

Support the band!
Spotify | CDJapan | Amazon.jp

| Remembering DIV's finest release—so close to a ONE ZERO /10

Last week, DIV blindsided fans by delivering a crushing blow. After four years, they are calling it quits due to the classic ‘musical differences’ excuse, though in this instance the argument is actually plausible. Their recent releases have been delving ever deeper into a self-coined EDR (‘electronic dance rock’) sound—one that bassist Chobi and drummer Satoshi obviously weren’t too keen on. In their remembrance, I am revisiting my old review of ZERO ONE, their first full album and my favorite CD of theirs back in the day. Released back in October 2013, just a year and a half into DIV’s career, ZERO ONE is mighty impressive for a debut album.  In fact, it’s just an excellent rock album, period!  And this is coming from someone who started off with a very lukewarm impression of the band. Let me tell you, I did not care for their debut mini-album, 無題のドキュメント (mudai no document).  The following four singles thankfully showed progress—albeit inconsistent—but they were enough to string me along and keep me excited enough for whatever they had in store next. Thankfully, I stuck around for ZERO ONE, because it has proven to be the glorious culmination of all the band’s potential.
 
 
Early on in their career, I remember thinking DIV had some composition issues; single “夏の行方 (natsue no yukue)” and its B-side “蛍火 (hotarubi)” had almost identical choruses. That’s unacceptable, especially on a three song single! This has been addressed over time and I can say that the band is in top form on this release.  There’s plenty of variety with well-composed, bright pop-rock tunes like “ZERO ONE” as well as heavier and more melancholic, alternative tracks like “VANISH.”  Unlike many other VK bands that actually make it to the full album stage, DIV didn’t feel the need to pad their tracklist with the obligatory ‘experimental’ mainstays we all know like out-of-place ‘jazzy’ track or ‘heavy-repetitive-track-with-growling/screaming-throughout.’  I honestly congratulate that songwriting restraint so hard to come by in this scene.
 
On top of better compositions, DIV have shown some massive progress in their electronic arrangements, which were pretty uninspired and lacking in their earliest releases (especially when compared to Danger Crue labelmates and synth-afficionados, UNiTE.).  Whereas 無題のドキュメント featured an unnecessary SE track with aimless chiptune bleeps, there’s a lovely ‘galactic’ synth sound that permeates most of this album. Sometimes, it lends an epic quality to the music, while at other times, it creates a fun, light atmosphere like in the infectious “Chocolate Prayer.”  The EDM-instrumental track “interlude” leads gorgeously into “ASTERIOS” and the subsequent chaotic screeching and dubsteppy ‘wub wub’ sounds are well-executed, mainly because they are used very sparingly.  That and the autotune (another thing I generally find obnoxious) in “Teddy” are tastefully done.
 
One of the things that really sets DIV apart from most of the VK world is Chisa’s voice.  He’s not your typical, nasally, whiny, over-exaggerated VK singer.  He has a very ‘normal’ (yet capable) voice and somehow that works for the band and keeps them grounded.  He’s able to serenade us with dramatic ballads like “I swear,” to get us moving to catchy tunes like “Chocolate Prayer,” and to evoke hella emotion in heavy tracks like album-opener “VANISH.”  If there’s one thing that could still use work, it’s his growling.  He sounds like he’s straining himself a little bit, sometimes like he’s ‘barfing’ out his words.  But once again, he doesn’t overuse harsh vocals, so this is hardly a problem.
 
If I have one complaint about this album, it’s the choice of old singles to include.  “夏の行方” is a solid enough choice (though as unrealistic as it is, I would’ve absolutely preferred the aforementioned B-side), but I find “SEASONS” and “ANSWER” to be two of the bands weakest singles.  “SEASONS” has so much that I should love (the twinkly, soft piano throughout), but the ‘hooo-oooh’ background voice annoys me and I find the bouncy guitar riff that leads us into the verse to be so insipid—it’s all too clinical, compared to the slightly messier original version of the song by Chisa’s ex-band NEXX. “TASTE OF LIFE,” a fun little pop-rock ditty would have been a better fit, since there were some other poppy songs on the album and they worked just fine. Not to mention, that would have made 1000% more sense than actually including that single (released before ZERO ONE) on their second album, and, btw, not rerecorded... but I digress.  “ANSWER,” their debut song, is a track I find decent at best.  It could’ve benefited from an arrangement overhaul, considering the band’s newfound mastery of the synths, but alas… This rerecording doesn’t sound very different.  In fact, none of them really do. The only major difference I could detect was the background arrangement of "SEASONS" sounded (unfortunately) more subdued in certain parts. But if the album’s biggest weakness is its old songs, that’s probably a good sign of the pure progress the band is making!

Since the success of ZERO ONE, DIV have released even more singles, as well as a second full-album (SECRET: see @doombox's review) and second mini-album (EDR TOKYO: see @CAT5's review). So has this album stood the test of time? There has undoubtedly been some brilliant work released after ZERO ONE, with tracks like the darkly beautiful “BUTTERFLY DREAMER,” the electro-gasmic “東京、熱帯夜につ (tokyo nettaiya ni tsuki),” and my absolute favorite: the unmatched heavenly dreamscape of “漂流彼女 (hyouryuu kanojo).” Moreover, all of these songs have visually stunning PVs, showing further refinement in the band's aesthetic—seriously, go watch them right now. And yet, if I had to choose, I still consider ZERO ONE to be DIV’s flagship release. Why? Because it’s just that, a cohesive release. Comparatively, DIV’s second album was merely a collection of old singles and mostly forgettable new tracks. I've never subscribed to the glorification of the album as the one and only format for ‘real’ music fans, but if I were forced to do a ranking of VK albums, I’m sure ZERO ONE would be up there. No other VK band has been as deft at incorporating electronic arrangements into rock music as DIV and ZERO ONE is the release where they finally realized this sound. They've left an indelible impact on the scene and will truly be missed.

PS: If you haven't checked out DIV yet, their discography has recently been made available for streaming on Spotify and other services!
 

Support the band!
Spotify | CDJapan | Amazon.jp

The only one I've heard here is Necro... looks like I have a lot of catching up to do. It's very nice to find good reccomendations, thank you all for your effort  I apreciate it.

the club club keeps on growing XD
 
Ancient Youth Club
http://ancientyouthclub.tumblr.com/

Cool! I only knew of her Japanese version of "Poupée de cire, poupée de son," but this one is way better.

That awful Chairlift music video, also lovingly known as "I Belong in Your Arm(pit Hair)s," is in Japanese:

Scottish indie pop group Belle and Sebastian tried to perform this song in Japanese:
 

Friendly reminder that "くくる(kukuru)" is also available on Spotify. What does everyone think of it? 

"PiNKY_she_SWeAR" is out in a few more days. Here's the cover art.

@doombox Thanks for your awesome mini-reviews! I'm gonna follow suit. Somehow, the news of chariots' return gave me the slip, but this is better than what I remember them sounding like. Very cool to see some of the VII-SENSE musicians return and frankly, Riku seems to be a better fit than whatever Juka was doing in that band. Your OBLIVION DUST vid didn't work though!

@beni I can definitely see myself getting into TWEEDEES--they seem to have a nice shibuya kei tinge to their music. I'm still on the fence about GOMESS, but I appreciate the cutesy unorthodox take on rap. Also, the verses of that Aikawa Nanase song are giving me strong "片手に夢を持つ少女" (KAMIJO) vibes! Do you hear it too?

@togz Unfortunately your illion track is no longer available. Great pick with THE NOVEMBERS though!  Although I much prefer their softer side, this is an awesome atmospheric track, harkening back to some of the moments on Rhapsody in beauty. Shoegrunge! Oh and on FB, they just announced that the song is released worldwide now as "Black Rainbow"

@tetsu_sama69 Insanity Injection is such an accurate band name, haha. VK will never not need Kyouka's special brand of crazy! And thanks for helping spread the word about FerrisWheeL! They (like Crishuna) seem really special!

@emmnySo glad you covered Kiryu. I haven't spent enough time with the full album yet (though, it seems better than their last one), but this is seriously one of their best songs ever. The creepiano is so good!

@CAT5Agreeing with everyone else. That Aimer track is gorgeous! Her voice works super well with TK's dramatic composition. FUJIN CLUB is pretty neat too. I can definitely see what you mean with the WUJA BIN BIN comparison.

@Zeus I'm still resisting KEEL (I really despised "fanfale" off their last mini), but I hope they're winning me over. "LEM" is my kind of track! Need to check out that single.

@chemicalpicturesand @Ada Suilen Thanks for your guest reviews! We hope you and others will consider submitting in the future too, to help keep our Recommended Tracks lists as well-rounded and representative of the MH community as possible! Clearly, DOF is a band I need to give another chance. It's so cool how you both (and togz) covered three different tracks--looks like I need to grab that single. The FoLLoW track is quite nice as well. I only know them from their song "Planetarium," but I appreciate MASASHI's rich vocals. Even though the lead single "Music Garden" is so NOT my thing, I'm hoping I can enjoy something from their upcoming album.

Wow, super unexpected...  I can at least see why Satoshi is leaving now, because he became fairly useless when they started doing so  much programmed drumming and beats with their electro stuff.
 
I agree! I actually thought they were on the upswing again with this latest mini (I liked "Tokyo, nettaiya ni tsuki" so much better than "Ikenai KISS" or "SECRET NIGHT"), though, as @doombox described, I was hoping it was just a brief 'experiment.'

Here's a cool group pic, for an upcoming three-man live!

NEGOTO x Chatmonchy x ZIYOOU-VACHI

Come on Sia cover!

Here's a cool group pic, for an upcoming three-man live!

NEGOTO x Chatmonchy x ZIYOOU-VACHI

Here's a cool group pic, for an upcoming three-man live!

NEGOTO x Chatmonchy x ZIYOOU-VACHI

@doombox Thanks for your awesome mini-reviews! I'm gonna follow suit. Somehow, the news of chariots' return gave me the slip, but this is better than what I remember them sounding like. Very cool to see some of the VII-SENSE musicians return and frankly, Riku seems to be a better fit than whatever Juka was doing in that band. Your OBLIVION DUST vid didn't work though!

@beni I can definitely see myself getting into TWEEDEES--they seem to have a nice shibuya kei tinge to their music. I'm still on the fence about GOMESS, but I appreciate the cutesy unorthodox take on rap. Also, the verses of that Aikawa Nanase song are giving me strong "片手に夢を持つ少女" (KAMIJO) vibes! Do you hear it too?

@togz Unfortunately your illion track is no longer available. Great pick with THE NOVEMBERS though!  Although I much prefer their softer side, this is an awesome atmospheric track, harkening back to some of the moments on Rhapsody in beauty. Shoegrunge! Oh and on FB, they just announced that the song is released worldwide now as "Black Rainbow"

@tetsu_sama69 Insanity Injection is such an accurate band name, haha. VK will never not need Kyouka's special brand of crazy! And thanks for helping spread the word about FerrisWheeL! They (like Crishuna) seem really special!

@emmnySo glad you covered Kiryu. I haven't spent enough time with the full album yet (though, it seems better than their last one), but this is seriously one of their best songs ever. The creepiano is so good!

@CAT5Agreeing with everyone else. That Aimer track is gorgeous! Her voice works super well with TK's dramatic composition. FUJIN CLUB is pretty neat too. I can definitely see what you mean with the WUJA BIN BIN comparison.

@Zeus I'm still resisting KEEL (I really despised "fanfale" off their last mini), but I hope they're winning me over. "LEM" is my kind of track! Need to check out that single.

@chemicalpicturesand @Ada Suilen Thanks for your guest reviews! We hope you and others will consider submitting in the future too, to help keep our Recommended Tracks lists as well-rounded and representative of the MH community as possible! Clearly, DOF is a band I need to give another chance. It's so cool how you both (and togz) covered three different tracks--looks like I need to grab that single. The FoLLoW track is quite nice as well. I only know them from their song "Planetarium," but I appreciate MASASHI's rich vocals. Even though the lead single "Music Garden" is so NOT my thing, I'm hoping I can enjoy something from their upcoming album.

@doombox Thanks for your awesome mini-reviews! I'm gonna follow suit. Somehow, the news of chariots' return gave me the slip, but this is better than what I remember them sounding like. Very cool to see some of the VII-SENSE musicians return and frankly, Riku seems to be a better fit than whatever Juka was doing in that band. Your OBLIVION DUST vid didn't work though!

@beni I can definitely see myself getting into TWEEDEES--they seem to have a nice shibuya kei tinge to their music. I'm still on the fence about GOMESS, but I appreciate the cutesy unorthodox take on rap. Also, the verses of that Aikawa Nanase song are giving me strong "片手に夢を持つ少女" (KAMIJO) vibes! Do you hear it too?

@togz Unfortunately your illion track is no longer available. Great pick with THE NOVEMBERS though!  Although I much prefer their softer side, this is an awesome atmospheric track, harkening back to some of the moments on Rhapsody in beauty. Shoegrunge! Oh and on FB, they just announced that the song is released worldwide now as "Black Rainbow"

@tetsu_sama69 Insanity Injection is such an accurate band name, haha. VK will never not need Kyouka's special brand of crazy! And thanks for helping spread the word about FerrisWheeL! They (like Crishuna) seem really special!

@emmnySo glad you covered Kiryu. I haven't spent enough time with the full album yet (though, it seems better than their last one), but this is seriously one of their best songs ever. The creepiano is so good!

@CAT5Agreeing with everyone else. That Aimer track is gorgeous! Her voice works super well with TK's dramatic composition. FUJIN CLUB is pretty neat too. I can definitely see what you mean with the WUJA BIN BIN comparison.

@Zeus I'm still resisting KEEL (I really despised "fanfale" off their last mini), but I hope they're winning me over. "LEM" is my kind of track! Need to check out that single.

@chemicalpicturesand @Ada Suilen Thanks for your guest reviews! We hope you and others will consider submitting in the future too, to help keep our Recommended Tracks lists as well-rounded and representative of the MH community as possible! Clearly, DOF is a band I need to give another chance. It's so cool how you both (and togz) covered three different tracks--looks like I need to grab that single. The FoLLoW track is quite nice as well. I only know them from their song "Planetarium," but I appreciate MASASHI's rich vocals. Even though the lead single "Music Garden" is so NOT my thing, I'm hoping I can enjoy something from their upcoming album.

@doombox Thanks for your awesome mini-reviews! I'm gonna follow suit. Somehow, the news of chariots' return gave me the slip, but this is better than what I remember them sounding like. Very cool to see some of the VII-SENSE musicians return and frankly, Riku seems to be a better fit than whatever Juka was doing in that band. Your OBLIVION DUST vid didn't work though!

@beni I can definitely see myself getting into TWEEDEES--they seem to have a nice shibuya kei tinge to their music. I'm still on the fence about GOMESS, but I appreciate the cutesy unorthodox take on rap. Also, the verses of that Aikawa Nanase song are giving me strong "片手に夢を持つ少女" (KAMIJO) vibes! Do you hear it too?

@togz Unfortunately your illion track is no longer available. Great pick with THE NOVEMBERS though!  Although I much prefer their softer side, this is an awesome atmospheric track, harkening back to some of the moments on Rhapsody in beauty. Shoegrunge! Oh and on FB, they just announced that the song is released worldwide now as "Black Rainbow"

@tetsu_sama69 Insanity Injection is such an accurate band name, haha. VK will never not need Kyouka's special brand of crazy! And thanks for helping spread the word about FerrisWheeL! They (like Crishuna) seem really special!

@emmnySo glad you covered Kiryu. I haven't spent enough time with the full album yet (though, it seems better than their last one), but this is seriously one of their best songs ever. The creepiano is so good!

@CAT5Agreeing with everyone else. That Aimer track is gorgeous! Her voice works super well with TK's dramatic composition. FUJIN CLUB is pretty neat too. I can definitely see what you mean with the WUJA BIN BIN comparison.

@Zeus I'm still resisting KEEL (I really despised "fanfale" off their last mini), but I hope they're winning me over. "LEM" is my kind of track! Need to check out that single.

@chemicalpicturesand @Ada Suilen Thanks for your guest reviews! We hope you and others will consider submitting in the future too, to help keep our Recommended Tracks lists as well-rounded and representative of the MH community as possible! Clearly, DOF is a band I need to give another chance. It's so cool how you both (and togz) covered three different tracks--looks like I need to grab that single. The FoLLoW track is quite nice as well. I only know them from their song "Planetarium," but I appreciate MASASHI's rich vocals. Even though the lead single "Music Garden" is so NOT my thing, I'm hoping I can enjoy something from their upcoming album.

Yesss, Sened! I feel like not enough people appreciate their soft/dreamy stuff. That's the side I find myself gravitating more toward. But I also thoroughly enjoy their heavy, distorted stuff.
Favorite song should come as no surprise:

Okay now that I've gotten a chance to digest all these jams (man, what a month!) I can comment. XD
 
@beni I don't know where you find all these cool artists. I know I don't follow pop that closely but they don't even seem to be the kind of trendy pop artists, they're always a little quirky or underrated and interesting! Fitz is also always surprising me with picks like these. SUPER BEAVER are a real crowd pleaser though, so I'm happy to see them show up. I couldn't see the TWEEDEES song since it's blocked in my country but there seem to be a some live recordings on youtube I was able to check out. Very nice!
 
@togzNice range of picks this month. That illion site teaser was really interesting. I was able to hunt it down and play with it a little after reading your blurb. Talk about cool marketing! And that Novembers track is back in the direction I like! Their softer side is nice but just doesn't grip me like this does. I think I'm gonna get a lot of milage out of that one. And of course I love Develop One's Faculties and Crossfaith. Crossfaith's singles never seem to stick with me like their albums do, but man Kenta's cleans are sounding soooo gooooood. 
 
@emmny Dat girugamesh track. I couldn't even handle writing about it, I'm still so salty. So bless you for that one. I can't contain my feels. ToT
 
@tetsu_sama69 *high fives* for chariots. That single rocked hard. Also digging FerrisWheeL. I will take all the old school vk feelings I can get. <3
 
@fitear1590 Man you really covered the spectrum this month! Koochewsen reqs are always A+ in my book. They keep slaying! I'm also floored by kamisai and heisenburg. Really gorgeous tunes, I'm gonna have to go hunting through more youtube recommendations if they're giving you gems like these!
 
@CAT5Holy cow. I remember liking Aimer's previous stuff but this song was a whole 'nother level of good. 

 
@Zeus I was about to give up on KEEL, but you have shown me the err of my ways. That was awesome. 

Album digest trailer
 

We're always taking guest reviews! Hit us up next month!

ur getting a 3 page unite discography review next month...be careful what u wish for

Exciting news! I don't live in that area anymore, but I still remember seeing Versailles and Kaya at Anime USA back in 2008 and 2009. I'm sure people will really enjoy Rides In ReVellion!

I was thinking the same thing, haha. Möscow Çlub is another Japanese one.

There's also a handful of Western indie artists I can think of off the top of my head too (Bombay Bicycle Club, Two Door Cinema Club, The ABC Club, etc.)