fitear1590

I like the 10-Feet and 9mm covers too. Also that NICO one. <3
 
And if you're looking for some more there are Kuroyume, DEAD END, and Nirvana tribute albums floating around that I'd recommend.

Yikes, I am not feeling that out-of-tune cover from 赤い公園. Damn them for tainting a classic.

10-FEET and 9mm Parabellum Bullet seemed to do a good enough job of covering my other faves though.

Regardless, this is a cool concept and I'd love to see more of these kinds of compilations!

http://i24.photobucket.com/albums/c49/fitear1590/CD%20cover%20scans%20and%20band%20pics/aicle%20neko%20no%20kiza%20mairi%20group%202_zpsk00neimw.jpg" width="791" />
愛狂います。 (Aicle.): 5 Levels of Crazy

Vo. えみる (Emiru) Guitar: ルビ (Rubi) Guitar: けいた (Keita) Bass: さらん (Saran) Drums: 玲音 (Leon)  
If you were part of the VK fandom during the past 7 years or so, you may have come across 愛狂います。 (Aicle.). Depending on who you talk to, they’re known for being “that colorful oshare group” or “that band with helium vocals”. Peruse the YouTube comments of any of their PVs and the word “kawaii” is sure to pop up, regardless of how bizarre and growl-filled the song is. I’ve always said that 愛狂います。 is not “underrated,” but they are generally “rated” for the wrong thing. While the aforementioned elements might play a role to some degree in the band’s sound, I’m here to show you that 愛狂います。 should be remembered for so much more than their one-dimensional legacy! With a more comprehensive, analytical look at the band, I hope to stop feeling like I'm Mugatu on crazy pills and just maybe, 愛狂います。's true style will shine through for more listeners.

Forming in late 2006 and debuting in early 2007, they emerged in the scene around the same time as bands like Versailles, キャンゼル (canzel), ゾロ (ZORO), and ClearVeil. However, unlike those bands, 愛狂います。 was practically a group of newcomers from no notable ex-bands. They dabbled in live-distributed songs, compilation tracks, and a series of singles for their first two years, including the summer 2008 consecutive single series of シドロモドロ(shidoro modoro), ネクロノミコン (nekuro nomikon), and トウメイニンゲン (toumei ningen). This followed with the release of their first album 心臓。 (shinzou.) in March 2009. Uniquely enough in the VK scene, this was a disc of entirely new songs— a complete anomaly in the scene! Two months after the release of the album, rhythm guitarist Keita retired from the band on amicable terms. Not letting Keita’s departure slow them down, they released 3 more singles between August 2009 and January 2010. Consecutive singles エキゾチック。 (exotic.), ドラマチック。 (dramatic.), and a split CD with R指定(R-Shitei) followed in late 2010 and in early 2011, they released their second album アルク (ark), this time featuring previously released singles and only 4 brand new tracks— see, that’s more like what we’re used to. Finishing out the year with one-coin single 東京スカイツリー (Tokyo sky tree) and the stylistic 180 that was maxi-single 皇帝ペンギン (koutei penguin), 愛狂います。 finally called it quits in early 2012. Upon disbanding, they released a anthology compilation (愛狂います。2006-2012), collecting all of their songs from before their second album and their final single.
So how could one describe the special music that 愛狂います。 created? To help analyze their music, I came up with an unofficial scale that lends itself surprisingly well to categorizing their discography. Under the description for each level, I have provided my favorite exemplary songs, in chronological order of their release.
Level 1: Fairly straightforward pop-rock. These songs would occur sporadically in the band’s earlier discography, but by 2010 with the release of consecutive singles エキゾチック。 and ドラマチック。, the style started to become alarmingly prominent; the nail in the coffin was when the band’s final single 皇帝ペンギン hovered exclusively around this level.
Favorites: 心臓。 (shinzou.), ゴメンなさい (gomen nasai) [see mp3], ひらり。(hirari)


Level 2: Think of this as an upgrade of level 1. While these songs are still fairly tame overall, there might be an alternative, math-rock, or other unique tinge in the music that amplifies the compositional prowess. Wacky lyrical content might also bump up on-the-fence songs to this level, such as “メルトダウン (meltdown)”. There aren’t too many tracks at this in-between level.
Favorites:, メルトダウン, 相対性【秘密】理論～タイムマシン２～ (Soutaisei [Himitsu] Riron ~Time Machine 2~), オーバードライヴ (overdrive), あおいろ1号 (aoiro 1 gou), 春夏秋冬 (shunkashuutou) [see mp3]


Level 3: The first level of what I’d call 愛狂います。’s “sweet spot.” If people think about the band, I would hope that songs from this tier (or higher) are the ones that immediately come to mind. Most of the songs here are approximately half-pop and half-crazy—that was the band’s signature style after all! Many of the band’s singles fall under this category.
Favorites: 僕は魔王 (boku wa maou), 猫の刻参り (neko no kiza mairi), トウメイニンゲン (toumei ningen) [or see mp3], 骸骨のうた (gaikotsu no uta), オカルト・キラー (occult killer), サイコ×レタア (psycho x letter) [see PV above]


Level 4: This forms the second half of the “sweet spot.” These songs tend to do without the poppy choruses of level 3 and/or they ramp up the craziness in the rest of the song. As such, this level is mostly relegated to b-sides and other miscellaneous tracks, although their very first single (the first song in this list) was just wild enough to edge into level 4!
Favorites: 球形無限連鎖～ミズタマ～ (kyuukei mugen rensa ~mizutama~), くるくる。と胎児は廻る (kuru kuru. to taiji mawaru) [see PV below], デスロリ調ポップス (death lolli-chou-pops) [see mp3], 裏姫 (urahime), 【d2b2】, 暗殺 -ANSATSU-, チョコサンドビスケットクリーム (choco sand biscuit cream)

Level 5: This is reserved for 愛狂います。’s sole craziest venture: 豚の王様「ニトログリセリン」(buta no ousama “NITROGLYCERIN”). With squeals, frenetic guitar work, grunts, and literal oinking, this song is in a tier of its own!

 
Disclaimer: the “levels” do not necessarily refer to quality, so much as the “crazy” factor. While I tend to prefer songs at levels 3 and 4, there are still a handful of level 1 and 2 songs that I’ll listen to any day over certain level 3 and 4 tracks.
Now that we have an idea of my hopefully not-so-arbitrary tier system, let’s talk about the actual music! With due respect to all the members, it’s clear that vocalist/composer Emiru and guitarist Rubi form the brunt of the band’s unique sound. Back in the day, a lot of people would stan bassist Saran, but he’s not so notable to me, other than looking like a VK version of April Ludgate. I will say the drummer occasionally caught my attention, because of his affinity for punchy toms. Anyway, let’s start with Emiru. If there’s one sticking point about this band for a lot of people, it’s likely Emiru’s “special” vocals. Admittedly, he started off quite rough. If you listen to early singles like 記念日。 (kinenbi.) or 球形無限連鎖～ミズタマ～, you can definitely hear him straining to reach higher notes, but hey, that’s always been part of the charm of VK, right? He legitimately sounds like Cartman in "シドロモドロ (shidoro modoro)". Fortunately, his general vocal quality improves over time and becomes much smoother (this is most obvious by comparing the original and rerecordings of songs like "ゴメンなさい" and "チョコサンドビスケットクリーム"). It would be easy to write Emiru off as a “bad” singer, but that would mean ignoring how commendably he “compensates” in all the other things he does with his voice. What really contributes to Emiru’s success as a vocalist is his variety. In any given song (especially levels 3 and higher), you might hear any combo of the following: growling, oldschool Madeth Gray’ll-esque “fast talking”, shrieking, maniacal cackling, whispering, and more. Some absolute highlights include Emiru chanting off the number sequence of π (pi) in the punky "球形無限連鎖～ミズタマ～", the demonically adorable alter-ego he takes on in "まみむめモンスター君 (mamimume monster-kun)", or the sheer fuckery that is level 5 track "豚の王様「ニトログリセリン」" [see mp3 above]. What also takes the band over the top are the strange lyrics. Emiru has a knack for writing in a way that is paradoxically blunt, yet impenetrable in meaning, with a healthy sprinkling of kookiness. One of my favorite songs (vocally, musically, as well as lyrically) is “くるくる。と胎児は廻る (Round and Round. The Fetus Turns)”, which can be viewed below; thanks to moonwalkingpenguin for the translation!

But the vocals are just half of the fun when it comes to 愛狂います。—let’s not forget about Rubi, the guitarist obsessed with apple imagery! As I mentioned, Rubi was essentially a rookie upon joining the band; his only previous known endeavor was with the short-lived 愛狂います。-predecessor known as モノもの (monomono), which also featured Emiru and bassist Saran. That’s why it’s all the more exciting that Rubi rose to such enigmatic, virtuosic playing! While Emiru is credited with composition, I find it difficult to believe that Rubi was simply his guitar-brandishing puppet—there is some real magic in his riffs and it’s not just guitar solos. In fact, his most impressive guitar work is just what he’s doing in the background. Let’s have a look at some specific examples. Listen from the second verse of “デスロリ調ポップス”. Then, check out the second verse and bridge of “ハンマー≦ヘッド (hammer≦head)”. Finally, in the first 1:20 of the above PV, Rubi provides a nice selection of his guitar offerings in “サイコ×レタア“. In all three songs, we hear Rubi’s non-stop efforts, whether it’s creepy-crawly riffs or progressive noodling not too far off from something indie-favorites 八十八ヶ所巡礼 (88kasyo junrei) might do. But beyond his extremely technical showcases, there is also plenty to enjoy in the “lower-level” tracks, like the pop-punk/math-rock influenced “あおいろ1号” or the buoyant fret-tapping of ”春夏秋冬” [see level 2 mp3]. Another aspect that helped to emphasize the band’s paradoxical sound was their bubbly arrangements, always democratically attributed to ”愛狂います。” as a whole. Sounding almost anachronistic compared to current VK’s overly electronic arrangements, the band often opted for simple synth beats or chimes, which produced a disarming effect, making it all the more surprising when the band jumped from a bouncy chorus into a growling, proggy chug fest. The icing on the arrangement cake was the band’s fun use of sound effects, such as the cartoony munching of cookies in “チョコサンドビスケットクリーム“, the vivid tentacle (?) noise at the beginning of “文化≠包丁 (bunka≠houchou)”, or the ambiguous animal roar that uncannily resembles the click-clack of a roller coaster in “オカルト・キラー”.

Towards the end of 愛狂います。’s career, long-time fans unsurprisingly started to turn on the band. With singles like ”スターマイン (star mine)” and ”皇帝ペンギン”, the band started to settle down in level 1. Prior to that, the only PV track at this level was ”心臓。”, from their first album and while it was a saccharine pop-rock number, the rest of the album satisfied the kind of craziness fans craved through the aforementioned level 5 track or the many spooky, Halloween-inspired tunes. And therein lies the problem for the last leg of the band’s career. There was no longer a balance of the levels. The band’s most successful releases were those in which they displayed variety. For instance, the maxi-single 怪体新書。 (kaitai shinsho.), my personal favorite release, had two songs at level 3 (“眼球ワルツ(gankyuu waltz)” and “猫の刻参り”) and one at level 4 (“デスロリ調ポップス“). Singles サイコ×レタア and ケセラ:セラ (que sera:sera) both had title tracks at level 3, coupled with a level 2 and level 4 b-side. It’s unclear whether 愛狂います。 really was this methodical in constructing their release tracklists, but it undoubtedly worked in their favor. Although the final releases left fans with a sour aftertaste, we shouldn't let them spoil the entire 愛狂います。 experience. While vocalist Emiru (now “Suzuki Satoshi”) has since moved on to Yeti, an outlet where his softer, indie rock composition style is really thriving (let’s just say I like Yeti’s output more than late level 1 愛狂います。), it’s an absolute shame that Rubi hasn’t resurfaced in another band yet. To this day, he remains one of my favorite VK guitarists and it pains me greatly that his return to music seems so unlikely at this point. Still, there’s plenty of great music to remember him (and the whole band) by! And forget about caveats. 愛狂います。 was not crazy for a pop/"oshare" band; they were just crazy, period.
If you’re new to 愛狂います。, be sure to check out all of the links/PVs! Hopefully, you can use this as a guide! For any seasoned fans out there, let me know what you think of the 5 level system. Does it make sense? Do you agree with the categorization? What are your favorite songs at each level? Do you agree that 愛狂います。 tends to be remembered superficially (i.e. only referencing their appearance)? Whatever you have to share about 愛狂います。, let’s discuss it!
 

I still remember them from their first V.A. single. I think it was Chocolate Biscuit Cream. Back in 2007-ish, I guess? I thought they were terrible. I didn't even like Necronomicon. But Hammerhead and PsychoxLetter won me over. They were a cool band. Kinda miss this diversity and craziness nowadays. Them not being around anymore is a bit regrettable, but hey - I think Yeti are cool, too! Just not as crazy and over the top - but they're cool.

Lol, breakdancing and sparring with French Santa?!

Oh, Chanty, you and your PVs!

Their newest single as "HOSHI NO HOUSE" was so underwhelming, especially after such a long hiatus.

Sad to see Icchi go, again, but... I kind of don't believe him. Looking forward to your next band, d00d.

Can ya'll just make a 'VK sucks' section on the forum so all these damn threads can go there?

Everyone's pretty much on the KEEL bandwagon, but I hope HOLLOWGRAM shows some improvement and manages to compete. They've had plenty of time to come up with some more exciting work.

Also, Yuki, please write the music!

YUKINO TAKE THE WHEEEELLLL TAKE IT FROM KAZUYA'S HANDDDDDSSS

Everyone's pretty much on the KEEL bandwagon, but I hope HOLLOWGRAM shows some improvement and manages to compete. They've had plenty of time to come up with some more exciting work.

Also, Yuki, please write the music!

Everyone's pretty much on the KEEL bandwagon, but I hope HOLLOWGRAM shows some improvement and manages to compete. They've had plenty of time to come up with some more exciting work.

Also, Yuki, please write the music!

I make a big ritual of opening new CDs (I have to set aside a good 10 or 15 minutes, haha), but I can think of 2 CDs that are unopened. One, I downloaded before the CD arrived and realized I disliked it, so I am keeping it unopened, just in case I can sell it one of these days. The other is another CD I downloaded, but I have already seen booklet scans, so I just haven't felt too compelled to open it.

THE NOVEMBERS? With fitz and me on the team, you already know bruh. And yeah, I was super pleased with the piqnic, it might even be one of my favorites from this year. I'm glad that @Zeus wrote about it, because I surely would have if he hadn't! Major thanks to @Jigsaw9 for recommending that one!
And yeah, you did cross my mind with the title of that NETWORKS song, haha.
 
 

I wouldn't say that you're alone in your sentiments, as both of Enon's acts have been featured several times in BNT this year, by different contributors. For me personally, Enon seems to be hit or miss, and while I think he's had an overwhelming amount of hits this year, the latest single just didn't grab me as much as the others before it. Still looking forward to his work, though since I agree, he has only gotten better!
 
 

No, thank you for contributing! THE NOVEMBERS were on the light-ish side this year, but I'd certainly recommend you give the piqnic a go too. And no worries, you can always contribute something new this month!
 

Really glad you enjoyed this! I don't think it's a release I could listen to that often, but certainly good background/study music!
 

ahaha, feel free to vote for as many as you'd like! Thanks for the feedback, I'm glad we were able to recommend some nice tunes for ya.
and yeah, it was tough for me to find a standout on 'Elegance' because it works so well as a whole!
@@fitear1590 - That Chanty track is really nice. Those faux-emo screams REALLY remind me of something you'd hear in 9mm parabellum bullet or cinema staff. Such crossover appeal indeed!
Also really glad you wrote about DIV, that was a good one. Would I be wrong to say that it kinda reminds me of girugamesh at times? I meant that in a good way, of course!
@ @doombox - hearing your picks just really make me miss the good ol plug.dj days, before the drama and the site itself kinda ruined things. 'endercore' lives on, though! Crystal Lake is nice, despite not being my usual taste.
@ @beni - really happy to see you wrote about VELTPUNCH. The track you chose is especially good. It's great that they're still around and still rocking!

http://i24.photobucket.com/albums/c49/fitear1590/CD%20cover%20scans%20and%20band%20pics/aicle%20neko%20no%20kiza%20mairi%20group%202_zpsk00neimw.jpg" width="791" />
愛狂います。 (Aicle.): 5 Levels of Crazy

Vo. えみる (Emiru) Guitar: ルビ (Rubi) Guitar: けいた (Keita) Bass: さらん (Saran) Drums: 玲音 (Leon)  
If you were part of the VK fandom during the past 7 years or so, you may have come across 愛狂います。 (Aicle.). Depending on who you talk to, they’re known for being “that colorful oshare group” or “that band with helium vocals”. Peruse the YouTube comments of any of their PVs and the word “kawaii” is sure to pop up, regardless of how bizarre and growl-filled the song is. I’ve always said that 愛狂います。 is not “underrated,” but they are generally “rated” for the wrong thing. While the aforementioned elements might play a role to some degree in the band’s sound, I’m here to show you that 愛狂います。 should be remembered for so much more than their one-dimensional legacy! With a more comprehensive, analytical look at the band, I hope to stop feeling like I'm Mugatu on crazy pills and just maybe, 愛狂います。's true style will shine through for more listeners.

Forming in late 2006 and debuting in early 2007, they emerged in the scene around the same time as bands like Versailles, キャンゼル (canzel), ゾロ (ZORO), and ClearVeil. However, unlike those bands, 愛狂います。 was practically a group of newcomers from no notable ex-bands. They dabbled in live-distributed songs, compilation tracks, and a series of singles for their first two years, including the summer 2008 consecutive single series of シドロモドロ(shidoro modoro), ネクロノミコン (nekuro nomikon), and トウメイニンゲン (toumei ningen). This followed with the release of their first album 心臓。 (shinzou.) in March 2009. Uniquely enough in the VK scene, this was a disc of entirely new songs— a complete anomaly in the scene! Two months after the release of the album, rhythm guitarist Keita retired from the band on amicable terms. Not letting Keita’s departure slow them down, they released 3 more singles between August 2009 and January 2010. Consecutive singles エキゾチック。 (exotic.), ドラマチック。 (dramatic.), and a split CD with R指定(R-Shitei) followed in late 2010 and in early 2011, they released their second album アルク (ark), this time featuring previously released singles and only 4 brand new tracks— see, that’s more like what we’re used to. Finishing out the year with one-coin single 東京スカイツリー (Tokyo sky tree) and the stylistic 180 that was maxi-single 皇帝ペンギン (koutei penguin), 愛狂います。 finally called it quits in early 2012. Upon disbanding, they released a anthology compilation (愛狂います。2006-2012), collecting all of their songs from before their second album and their final single.
So how could one describe the special music that 愛狂います。 created? To help analyze their music, I came up with an unofficial scale that lends itself surprisingly well to categorizing their discography. Under the description for each level, I have provided my favorite exemplary songs, in chronological order of their release.
Level 1: Fairly straightforward pop-rock. These songs would occur sporadically in the band’s earlier discography, but by 2010 with the release of consecutive singles エキゾチック。 and ドラマチック。, the style started to become alarmingly prominent; the nail in the coffin was when the band’s final single 皇帝ペンギン hovered exclusively around this level.
Favorites: 心臓。 (shinzou.), ゴメンなさい (gomen nasai) [see mp3], ひらり。(hirari)


Level 2: Think of this as an upgrade of level 1. While these songs are still fairly tame overall, there might be an alternative, math-rock, or other unique tinge in the music that amplifies the compositional prowess. Wacky lyrical content might also bump up on-the-fence songs to this level, such as “メルトダウン (meltdown)”. There aren’t too many tracks at this in-between level.
Favorites:, メルトダウン, 相対性【秘密】理論～タイムマシン２～ (Soutaisei [Himitsu] Riron ~Time Machine 2~), オーバードライヴ (overdrive), あおいろ1号 (aoiro 1 gou), 春夏秋冬 (shunkashuutou) [see mp3]


Level 3: The first level of what I’d call 愛狂います。’s “sweet spot.” If people think about the band, I would hope that songs from this tier (or higher) are the ones that immediately come to mind. Most of the songs here are approximately half-pop and half-crazy—that was the band’s signature style after all! Many of the band’s singles fall under this category.
Favorites: 僕は魔王 (boku wa maou), 猫の刻参り (neko no kiza mairi), トウメイニンゲン (toumei ningen) [or see mp3], 骸骨のうた (gaikotsu no uta), オカルト・キラー (occult killer), サイコ×レタア (psycho x letter) [see PV above]


Level 4: This forms the second half of the “sweet spot.” These songs tend to do without the poppy choruses of level 3 and/or they ramp up the craziness in the rest of the song. As such, this level is mostly relegated to b-sides and other miscellaneous tracks, although their very first single (the first song in this list) was just wild enough to edge into level 4!
Favorites: 球形無限連鎖～ミズタマ～ (kyuukei mugen rensa ~mizutama~), くるくる。と胎児は廻る (kuru kuru. to taiji mawaru) [see PV below], デスロリ調ポップス (death lolli-chou-pops) [see mp3], 裏姫 (urahime), 【d2b2】, 暗殺 -ANSATSU-, チョコサンドビスケットクリーム (choco sand biscuit cream)

Level 5: This is reserved for 愛狂います。’s sole craziest venture: 豚の王様「ニトログリセリン」(buta no ousama “NITROGLYCERIN”). With squeals, frenetic guitar work, grunts, and literal oinking, this song is in a tier of its own!

 
Disclaimer: the “levels” do not necessarily refer to quality, so much as the “crazy” factor. While I tend to prefer songs at levels 3 and 4, there are still a handful of level 1 and 2 songs that I’ll listen to any day over certain level 3 and 4 tracks.
Now that we have an idea of my hopefully not-so-arbitrary tier system, let’s talk about the actual music! With due respect to all the members, it’s clear that vocalist/composer Emiru and guitarist Rubi form the brunt of the band’s unique sound. Back in the day, a lot of people would stan bassist Saran, but he’s not so notable to me, other than looking like a VK version of April Ludgate. I will say the drummer occasionally caught my attention, because of his affinity for punchy toms. Anyway, let’s start with Emiru. If there’s one sticking point about this band for a lot of people, it’s likely Emiru’s “special” vocals. Admittedly, he started off quite rough. If you listen to early singles like 記念日。 (kinenbi.) or 球形無限連鎖～ミズタマ～, you can definitely hear him straining to reach higher notes, but hey, that’s always been part of the charm of VK, right? He legitimately sounds like Cartman in "シドロモドロ (shidoro modoro)". Fortunately, his general vocal quality improves over time and becomes much smoother (this is most obvious by comparing the original and rerecordings of songs like "ゴメンなさい" and "チョコサンドビスケットクリーム"). It would be easy to write Emiru off as a “bad” singer, but that would mean ignoring how commendably he “compensates” in all the other things he does with his voice. What really contributes to Emiru’s success as a vocalist is his variety. In any given song (especially levels 3 and higher), you might hear any combo of the following: growling, oldschool Madeth Gray’ll-esque “fast talking”, shrieking, maniacal cackling, whispering, and more. Some absolute highlights include Emiru chanting off the number sequence of π (pi) in the punky "球形無限連鎖～ミズタマ～", the demonically adorable alter-ego he takes on in "まみむめモンスター君 (mamimume monster-kun)", or the sheer fuckery that is level 5 track "豚の王様「ニトログリセリン」" [see mp3 above]. What also takes the band over the top are the strange lyrics. Emiru has a knack for writing in a way that is paradoxically blunt, yet impenetrable in meaning, with a healthy sprinkling of kookiness. One of my favorite songs (vocally, musically, as well as lyrically) is “くるくる。と胎児は廻る (Round and Round. The Fetus Turns)”, which can be viewed below; thanks to moonwalkingpenguin for the translation!

But the vocals are just half of the fun when it comes to 愛狂います。—let’s not forget about Rubi, the guitarist obsessed with apple imagery! As I mentioned, Rubi was essentially a rookie upon joining the band; his only previous known endeavor was with the short-lived 愛狂います。-predecessor known as モノもの (monomono), which also featured Emiru and bassist Saran. That’s why it’s all the more exciting that Rubi rose to such enigmatic, virtuosic playing! While Emiru is credited with composition, I find it difficult to believe that Rubi was simply his guitar-brandishing puppet—there is some real magic in his riffs and it’s not just guitar solos. In fact, his most impressive guitar work is just what he’s doing in the background. Let’s have a look at some specific examples. Listen from the second verse of “デスロリ調ポップス”. Then, check out the second verse and bridge of “ハンマー≦ヘッド (hammer≦head)”. Finally, in the first 1:20 of the above PV, Rubi provides a nice selection of his guitar offerings in “サイコ×レタア“. In all three songs, we hear Rubi’s non-stop efforts, whether it’s creepy-crawly riffs or progressive noodling not too far off from something indie-favorites 八十八ヶ所巡礼 (88kasyo junrei) might do. But beyond his extremely technical showcases, there is also plenty to enjoy in the “lower-level” tracks, like the pop-punk/math-rock influenced “あおいろ1号” or the buoyant fret-tapping of ”春夏秋冬” [see level 2 mp3]. Another aspect that helped to emphasize the band’s paradoxical sound was their bubbly arrangements, always democratically attributed to ”愛狂います。” as a whole. Sounding almost anachronistic compared to current VK’s overly electronic arrangements, the band often opted for simple synth beats or chimes, which produced a disarming effect, making it all the more surprising when the band jumped from a bouncy chorus into a growling, proggy chug fest. The icing on the arrangement cake was the band’s fun use of sound effects, such as the cartoony munching of cookies in “チョコサンドビスケットクリーム“, the vivid tentacle (?) noise at the beginning of “文化≠包丁 (bunka≠houchou)”, or the ambiguous animal roar that uncannily resembles the click-clack of a roller coaster in “オカルト・キラー”.

Towards the end of 愛狂います。’s career, long-time fans unsurprisingly started to turn on the band. With singles like ”スターマイン (star mine)” and ”皇帝ペンギン”, the band started to settle down in level 1. Prior to that, the only PV track at this level was ”心臓。”, from their first album and while it was a saccharine pop-rock number, the rest of the album satisfied the kind of craziness fans craved through the aforementioned level 5 track or the many spooky, Halloween-inspired tunes. And therein lies the problem for the last leg of the band’s career. There was no longer a balance of the levels. The band’s most successful releases were those in which they displayed variety. For instance, the maxi-single 怪体新書。 (kaitai shinsho.), my personal favorite release, had two songs at level 3 (“眼球ワルツ(gankyuu waltz)” and “猫の刻参り”) and one at level 4 (“デスロリ調ポップス“). Singles サイコ×レタア and ケセラ:セラ (que sera:sera) both had title tracks at level 3, coupled with a level 2 and level 4 b-side. It’s unclear whether 愛狂います。 really was this methodical in constructing their release tracklists, but it undoubtedly worked in their favor. Although the final releases left fans with a sour aftertaste, we shouldn't let them spoil the entire 愛狂います。 experience. While vocalist Emiru (now “Suzuki Satoshi”) has since moved on to Yeti, an outlet where his softer, indie rock composition style is really thriving (let’s just say I like Yeti’s output more than late level 1 愛狂います。), it’s an absolute shame that Rubi hasn’t resurfaced in another band yet. To this day, he remains one of my favorite VK guitarists and it pains me greatly that his return to music seems so unlikely at this point. Still, there’s plenty of great music to remember him (and the whole band) by! And forget about caveats. 愛狂います。 was not crazy for a pop/"oshare" band; they were just crazy, period.
If you’re new to 愛狂います。, be sure to check out all of the links/PVs! Hopefully, you can use this as a guide! For any seasoned fans out there, let me know what you think of the 5 level system. Does it make sense? Do you agree with the categorization? What are your favorite songs at each level? Do you agree that 愛狂います。 tends to be remembered superficially (i.e. only referencing their appearance)? Whatever you have to share about 愛狂います。, let’s discuss it!
 

I make a big ritual of opening new CDs (I have to set aside a good 10 or 15 minutes, haha), but I can think of 2 CDs that are unopened. One, I downloaded before the CD arrived and realized I disliked it, so I am keeping it unopened, just in case I can sell it one of these days. The other is another CD I downloaded, but I have already seen booklet scans, so I just haven't felt too compelled to open it.

A mamimume monster-sized reply, incoming.

First of all, thank you so much for all the replies and positive feedback! I enjoyed reading through all of your comments and I'm glad to see so many recent Aicle. converts and potential new fans!
 
Yasss, level 5! That song seems even more bonkers coming after the sugary sweet level 1 track "心臓。"
 
This makes me really happy Glad I could help!
 
So, I'm not too familiar with old Ayabie; could you recommend a song for me to check out as an Aicle. fan?
 
Nice choice! According to the poll, "que sera:sera" is one of their most popular tracks (I kind of figured that would happen), edged out only by "psycho x letter"!
 
Yes, level 4 is brilliant! I wish they had even more tracks like "death lolli-chou-pops" and "kuru kuru. to taiji mawaru". I love how he is just counting sheep in "【d2b2】".
 
The lyrics turned out to add even more to why I like Aicle! Thanks to "moonwalkingpenguin" and "Uke Yutaka", we have translations to the majority of the band's songs, so be sure to check their channels out!
 
Np, I love that song! It's a shame it was never properly released on a single or album.
 
Just out of curiosity, do you remember which songs made you feel this way? Maybe the "心臓。 (shinzou.)" PV from level 1?

Sure thing! They're not as crazy as Aicle. (of course), but I recommend the following as a starting point! varying degrees of crazy
 

 

 

 

 

I love shidoro modoro
my favorite song

A mamimume monster-sized reply, incoming.

First of all, thank you so much for all the replies and positive feedback! I enjoyed reading through all of your comments and I'm glad to see so many recent Aicle. converts and potential new fans!
 
Yasss, level 5! That song seems even more bonkers coming after the sugary sweet level 1 track "心臓。"
 
This makes me really happy Glad I could help!
 
So, I'm not too familiar with old Ayabie; could you recommend a song for me to check out as an Aicle. fan?
 
Nice choice! According to the poll, "que sera:sera" is one of their most popular tracks (I kind of figured that would happen), edged out only by "psycho x letter"!
 
Yes, level 4 is brilliant! I wish they had even more tracks like "death lolli-chou-pops" and "kuru kuru. to taiji mawaru". I love how he is just counting sheep in "【d2b2】".
 
The lyrics turned out to add even more to why I like Aicle! Thanks to "moonwalkingpenguin" and "Uke Yutaka", we have translations to the majority of the band's songs, so be sure to check their channels out!
 
Np, I love that song! It's a shame it was never properly released on a single or album.
 
Just out of curiosity, do you remember which songs made you feel this way? Maybe the "心臓。 (shinzou.)" PV from level 1?

I have to admit that I always thought they were bad judging by their looks and some of the music I heard in the past, but really I was kinda close-minded towards them. I have a vague memory of how they sound like and I do get why tons of people liked them back in the day - I just always thought they were keen on sounding messy in a bad way, not in that "crazy VK" way. I am too interested in checking them out and appreciate the effort put into writing this.
 
To fitear1590 and the review team: nicely done.

I've loved Aicle for years, but it's cool to see them described like that. My favourite level is 4 and I somehow had never heard this track "Kuru Kuru...", thanks for showing me that lol. My love for these "bad" vocalists is something I can't explain and that I think I will never overcome (Sui from Megaromania, Mashiro from PaRADEiS, the ones from Kiryu, ru:natic, Vallquar, etc) 
Almost forgot to mention: I'm thankful for their colourful looks. This live with the lolita fans going crazy is one most awesome things my eyes have ever seen 

http://i24.photobucket.com/albums/c49/fitear1590/CD%20cover%20scans%20and%20band%20pics/aicle%20neko%20no%20kiza%20mairi%20group%202_zpsk00neimw.jpg" width="791" />
愛狂います。 (Aicle.): 5 Levels of Crazy

Vo. えみる (Emiru) Guitar: ルビ (Rubi) Guitar: けいた (Keita) Bass: さらん (Saran) Drums: 玲音 (Leon)  
If you were part of the VK fandom during the past 7 years or so, you may have come across 愛狂います。 (Aicle.). Depending on who you talk to, they’re known for being “that colorful oshare group” or “that band with helium vocals”. Peruse the YouTube comments of any of their PVs and the word “kawaii” is sure to pop up, regardless of how bizarre and growl-filled the song is. I’ve always said that 愛狂います。 is not “underrated,” but they are generally “rated” for the wrong thing. While the aforementioned elements might play a role to some degree in the band’s sound, I’m here to show you that 愛狂います。 should be remembered for so much more than their one-dimensional legacy! With a more comprehensive, analytical look at the band, I hope to stop feeling like I'm Mugatu on crazy pills and just maybe, 愛狂います。's true style will shine through for more listeners.

Forming in late 2006 and debuting in early 2007, they emerged in the scene around the same time as bands like Versailles, キャンゼル (canzel), ゾロ (ZORO), and ClearVeil. However, unlike those bands, 愛狂います。 was practically a group of newcomers from no notable ex-bands. They dabbled in live-distributed songs, compilation tracks, and a series of singles for their first two years, including the summer 2008 consecutive single series of シドロモドロ(shidoro modoro), ネクロノミコン (nekuro nomikon), and トウメイニンゲン (toumei ningen). This followed with the release of their first album 心臓。 (shinzou.) in March 2009. Uniquely enough in the VK scene, this was a disc of entirely new songs— a complete anomaly in the scene! Two months after the release of the album, rhythm guitarist Keita retired from the band on amicable terms. Not letting Keita’s departure slow them down, they released 3 more singles between August 2009 and January 2010. Consecutive singles エキゾチック。 (exotic.), ドラマチック。 (dramatic.), and a split CD with R指定(R-Shitei) followed in late 2010 and in early 2011, they released their second album アルク (ark), this time featuring previously released singles and only 4 brand new tracks— see, that’s more like what we’re used to. Finishing out the year with one-coin single 東京スカイツリー (Tokyo sky tree) and the stylistic 180 that was maxi-single 皇帝ペンギン (koutei penguin), 愛狂います。 finally called it quits in early 2012. Upon disbanding, they released a anthology compilation (愛狂います。2006-2012), collecting all of their songs from before their second album and their final single.
So how could one describe the special music that 愛狂います。 created? To help analyze their music, I came up with an unofficial scale that lends itself surprisingly well to categorizing their discography. Under the description for each level, I have provided my favorite exemplary songs, in chronological order of their release.
Level 1: Fairly straightforward pop-rock. These songs would occur sporadically in the band’s earlier discography, but by 2010 with the release of consecutive singles エキゾチック。 and ドラマチック。, the style started to become alarmingly prominent; the nail in the coffin was when the band’s final single 皇帝ペンギン hovered exclusively around this level.
Favorites: 心臓。 (shinzou.), ゴメンなさい (gomen nasai) [see mp3], ひらり。(hirari)


Level 2: Think of this as an upgrade of level 1. While these songs are still fairly tame overall, there might be an alternative, math-rock, or other unique tinge in the music that amplifies the compositional prowess. Wacky lyrical content might also bump up on-the-fence songs to this level, such as “メルトダウン (meltdown)”. There aren’t too many tracks at this in-between level.
Favorites:, メルトダウン, 相対性【秘密】理論～タイムマシン２～ (Soutaisei [Himitsu] Riron ~Time Machine 2~), オーバードライヴ (overdrive), あおいろ1号 (aoiro 1 gou), 春夏秋冬 (shunkashuutou) [see mp3]


Level 3: The first level of what I’d call 愛狂います。’s “sweet spot.” If people think about the band, I would hope that songs from this tier (or higher) are the ones that immediately come to mind. Most of the songs here are approximately half-pop and half-crazy—that was the band’s signature style after all! Many of the band’s singles fall under this category.
Favorites: 僕は魔王 (boku wa maou), 猫の刻参り (neko no kiza mairi), トウメイニンゲン (toumei ningen) [or see mp3], 骸骨のうた (gaikotsu no uta), オカルト・キラー (occult killer), サイコ×レタア (psycho x letter) [see PV above]


Level 4: This forms the second half of the “sweet spot.” These songs tend to do without the poppy choruses of level 3 and/or they ramp up the craziness in the rest of the song. As such, this level is mostly relegated to b-sides and other miscellaneous tracks, although their very first single (the first song in this list) was just wild enough to edge into level 4!
Favorites: 球形無限連鎖～ミズタマ～ (kyuukei mugen rensa ~mizutama~), くるくる。と胎児は廻る (kuru kuru. to taiji mawaru) [see PV below], デスロリ調ポップス (death lolli-chou-pops) [see mp3], 裏姫 (urahime), 【d2b2】, 暗殺 -ANSATSU-, チョコサンドビスケットクリーム (choco sand biscuit cream)

Level 5: This is reserved for 愛狂います。’s sole craziest venture: 豚の王様「ニトログリセリン」(buta no ousama “NITROGLYCERIN”). With squeals, frenetic guitar work, grunts, and literal oinking, this song is in a tier of its own!

 
Disclaimer: the “levels” do not necessarily refer to quality, so much as the “crazy” factor. While I tend to prefer songs at levels 3 and 4, there are still a handful of level 1 and 2 songs that I’ll listen to any day over certain level 3 and 4 tracks.
Now that we have an idea of my hopefully not-so-arbitrary tier system, let’s talk about the actual music! With due respect to all the members, it’s clear that vocalist/composer Emiru and guitarist Rubi form the brunt of the band’s unique sound. Back in the day, a lot of people would stan bassist Saran, but he’s not so notable to me, other than looking like a VK version of April Ludgate. I will say the drummer occasionally caught my attention, because of his affinity for punchy toms. Anyway, let’s start with Emiru. If there’s one sticking point about this band for a lot of people, it’s likely Emiru’s “special” vocals. Admittedly, he started off quite rough. If you listen to early singles like 記念日。 (kinenbi.) or 球形無限連鎖～ミズタマ～, you can definitely hear him straining to reach higher notes, but hey, that’s always been part of the charm of VK, right? He legitimately sounds like Cartman in "シドロモドロ (shidoro modoro)". Fortunately, his general vocal quality improves over time and becomes much smoother (this is most obvious by comparing the original and rerecordings of songs like "ゴメンなさい" and "チョコサンドビスケットクリーム"). It would be easy to write Emiru off as a “bad” singer, but that would mean ignoring how commendably he “compensates” in all the other things he does with his voice. What really contributes to Emiru’s success as a vocalist is his variety. In any given song (especially levels 3 and higher), you might hear any combo of the following: growling, oldschool Madeth Gray’ll-esque “fast talking”, shrieking, maniacal cackling, whispering, and more. Some absolute highlights include Emiru chanting off the number sequence of π (pi) in the punky "球形無限連鎖～ミズタマ～", the demonically adorable alter-ego he takes on in "まみむめモンスター君 (mamimume monster-kun)", or the sheer fuckery that is level 5 track "豚の王様「ニトログリセリン」" [see mp3 above]. What also takes the band over the top are the strange lyrics. Emiru has a knack for writing in a way that is paradoxically blunt, yet impenetrable in meaning, with a healthy sprinkling of kookiness. One of my favorite songs (vocally, musically, as well as lyrically) is “くるくる。と胎児は廻る (Round and Round. The Fetus Turns)”, which can be viewed below; thanks to moonwalkingpenguin for the translation!

But the vocals are just half of the fun when it comes to 愛狂います。—let’s not forget about Rubi, the guitarist obsessed with apple imagery! As I mentioned, Rubi was essentially a rookie upon joining the band; his only previous known endeavor was with the short-lived 愛狂います。-predecessor known as モノもの (monomono), which also featured Emiru and bassist Saran. That’s why it’s all the more exciting that Rubi rose to such enigmatic, virtuosic playing! While Emiru is credited with composition, I find it difficult to believe that Rubi was simply his guitar-brandishing puppet—there is some real magic in his riffs and it’s not just guitar solos. In fact, his most impressive guitar work is just what he’s doing in the background. Let’s have a look at some specific examples. Listen from the second verse of “デスロリ調ポップス”. Then, check out the second verse and bridge of “ハンマー≦ヘッド (hammer≦head)”. Finally, in the first 1:20 of the above PV, Rubi provides a nice selection of his guitar offerings in “サイコ×レタア“. In all three songs, we hear Rubi’s non-stop efforts, whether it’s creepy-crawly riffs or progressive noodling not too far off from something indie-favorites 八十八ヶ所巡礼 (88kasyo junrei) might do. But beyond his extremely technical showcases, there is also plenty to enjoy in the “lower-level” tracks, like the pop-punk/math-rock influenced “あおいろ1号” or the buoyant fret-tapping of ”春夏秋冬” [see level 2 mp3]. Another aspect that helped to emphasize the band’s paradoxical sound was their bubbly arrangements, always democratically attributed to ”愛狂います。” as a whole. Sounding almost anachronistic compared to current VK’s overly electronic arrangements, the band often opted for simple synth beats or chimes, which produced a disarming effect, making it all the more surprising when the band jumped from a bouncy chorus into a growling, proggy chug fest. The icing on the arrangement cake was the band’s fun use of sound effects, such as the cartoony munching of cookies in “チョコサンドビスケットクリーム“, the vivid tentacle (?) noise at the beginning of “文化≠包丁 (bunka≠houchou)”, or the ambiguous animal roar that uncannily resembles the click-clack of a roller coaster in “オカルト・キラー”.

Towards the end of 愛狂います。’s career, long-time fans unsurprisingly started to turn on the band. With singles like ”スターマイン (star mine)” and ”皇帝ペンギン”, the band started to settle down in level 1. Prior to that, the only PV track at this level was ”心臓。”, from their first album and while it was a saccharine pop-rock number, the rest of the album satisfied the kind of craziness fans craved through the aforementioned level 5 track or the many spooky, Halloween-inspired tunes. And therein lies the problem for the last leg of the band’s career. There was no longer a balance of the levels. The band’s most successful releases were those in which they displayed variety. For instance, the maxi-single 怪体新書。 (kaitai shinsho.), my personal favorite release, had two songs at level 3 (“眼球ワルツ(gankyuu waltz)” and “猫の刻参り”) and one at level 4 (“デスロリ調ポップス“). Singles サイコ×レタア and ケセラ:セラ (que sera:sera) both had title tracks at level 3, coupled with a level 2 and level 4 b-side. It’s unclear whether 愛狂います。 really was this methodical in constructing their release tracklists, but it undoubtedly worked in their favor. Although the final releases left fans with a sour aftertaste, we shouldn't let them spoil the entire 愛狂います。 experience. While vocalist Emiru (now “Suzuki Satoshi”) has since moved on to Yeti, an outlet where his softer, indie rock composition style is really thriving (let’s just say I like Yeti’s output more than late level 1 愛狂います。), it’s an absolute shame that Rubi hasn’t resurfaced in another band yet. To this day, he remains one of my favorite VK guitarists and it pains me greatly that his return to music seems so unlikely at this point. Still, there’s plenty of great music to remember him (and the whole band) by! And forget about caveats. 愛狂います。 was not crazy for a pop/"oshare" band; they were just crazy, period.
If you’re new to 愛狂います。, be sure to check out all of the links/PVs! Hopefully, you can use this as a guide! For any seasoned fans out there, let me know what you think of the 5 level system. Does it make sense? Do you agree with the categorization? What are your favorite songs at each level? Do you agree that 愛狂います。 tends to be remembered superficially (i.e. only referencing their appearance)? Whatever you have to share about 愛狂います。, let’s discuss it!
 

http://i24.photobucket.com/albums/c49/fitear1590/CD%20cover%20scans%20and%20band%20pics/aicle%20neko%20no%20kiza%20mairi%20group%202_zpsk00neimw.jpg" width="791" />
愛狂います。 (Aicle.): 5 Levels of Crazy

Vo. えみる (Emiru) Guitar: ルビ (Rubi) Guitar: けいた (Keita) Bass: さらん (Saran) Drums: 玲音 (Leon)  
If you were part of the VK fandom during the past 7 years or so, you may have come across 愛狂います。 (Aicle.). Depending on who you talk to, they’re known for being “that colorful oshare group” or “that band with helium vocals”. Peruse the YouTube comments of any of their PVs and the word “kawaii” is sure to pop up, regardless of how bizarre and growl-filled the song is. I’ve always said that 愛狂います。 is not “underrated,” but they are generally “rated” for the wrong thing. While the aforementioned elements might play a role to some degree in the band’s sound, I’m here to show you that 愛狂います。 should be remembered for so much more than their one-dimensional legacy! With a more comprehensive, analytical look at the band, I hope to stop feeling like I'm Mugatu on crazy pills and just maybe, 愛狂います。's true style will shine through for more listeners.

Forming in late 2006 and debuting in early 2007, they emerged in the scene around the same time as bands like Versailles, キャンゼル (canzel), ゾロ (ZORO), and ClearVeil. However, unlike those bands, 愛狂います。 was practically a group of newcomers from no notable ex-bands. They dabbled in live-distributed songs, compilation tracks, and a series of singles for their first two years, including the summer 2008 consecutive single series of シドロモドロ(shidoro modoro), ネクロノミコン (nekuro nomikon), and トウメイニンゲン (toumei ningen). This followed with the release of their first album 心臓。 (shinzou.) in March 2009. Uniquely enough in the VK scene, this was a disc of entirely new songs— a complete anomaly in the scene! Two months after the release of the album, rhythm guitarist Keita retired from the band on amicable terms. Not letting Keita’s departure slow them down, they released 3 more singles between August 2009 and January 2010. Consecutive singles エキゾチック。 (exotic.), ドラマチック。 (dramatic.), and a split CD with R指定(R-Shitei) followed in late 2010 and in early 2011, they released their second album アルク (ark), this time featuring previously released singles and only 4 brand new tracks— see, that’s more like what we’re used to. Finishing out the year with one-coin single 東京スカイツリー (Tokyo sky tree) and the stylistic 180 that was maxi-single 皇帝ペンギン (koutei penguin), 愛狂います。 finally called it quits in early 2012. Upon disbanding, they released a anthology compilation (愛狂います。2006-2012), collecting all of their songs from before their second album and their final single.
So how could one describe the special music that 愛狂います。 created? To help analyze their music, I came up with an unofficial scale that lends itself surprisingly well to categorizing their discography. Under the description for each level, I have provided my favorite exemplary songs, in chronological order of their release.
Level 1: Fairly straightforward pop-rock. These songs would occur sporadically in the band’s earlier discography, but by 2010 with the release of consecutive singles エキゾチック。 and ドラマチック。, the style started to become alarmingly prominent; the nail in the coffin was when the band’s final single 皇帝ペンギン hovered exclusively around this level.
Favorites: 心臓。 (shinzou.), ゴメンなさい (gomen nasai) [see mp3], ひらり。(hirari)


Level 2: Think of this as an upgrade of level 1. While these songs are still fairly tame overall, there might be an alternative, math-rock, or other unique tinge in the music that amplifies the compositional prowess. Wacky lyrical content might also bump up on-the-fence songs to this level, such as “メルトダウン (meltdown)”. There aren’t too many tracks at this in-between level.
Favorites:, メルトダウン, 相対性【秘密】理論～タイムマシン２～ (Soutaisei [Himitsu] Riron ~Time Machine 2~), オーバードライヴ (overdrive), あおいろ1号 (aoiro 1 gou), 春夏秋冬 (shunkashuutou) [see mp3]


Level 3: The first level of what I’d call 愛狂います。’s “sweet spot.” If people think about the band, I would hope that songs from this tier (or higher) are the ones that immediately come to mind. Most of the songs here are approximately half-pop and half-crazy—that was the band’s signature style after all! Many of the band’s singles fall under this category.
Favorites: 僕は魔王 (boku wa maou), 猫の刻参り (neko no kiza mairi), トウメイニンゲン (toumei ningen) [or see mp3], 骸骨のうた (gaikotsu no uta), オカルト・キラー (occult killer), サイコ×レタア (psycho x letter) [see PV above]


Level 4: This forms the second half of the “sweet spot.” These songs tend to do without the poppy choruses of level 3 and/or they ramp up the craziness in the rest of the song. As such, this level is mostly relegated to b-sides and other miscellaneous tracks, although their very first single (the first song in this list) was just wild enough to edge into level 4!
Favorites: 球形無限連鎖～ミズタマ～ (kyuukei mugen rensa ~mizutama~), くるくる。と胎児は廻る (kuru kuru. to taiji mawaru) [see PV below], デスロリ調ポップス (death lolli-chou-pops) [see mp3], 裏姫 (urahime), 【d2b2】, 暗殺 -ANSATSU-, チョコサンドビスケットクリーム (choco sand biscuit cream)

Level 5: This is reserved for 愛狂います。’s sole craziest venture: 豚の王様「ニトログリセリン」(buta no ousama “NITROGLYCERIN”). With squeals, frenetic guitar work, grunts, and literal oinking, this song is in a tier of its own!

 
Disclaimer: the “levels” do not necessarily refer to quality, so much as the “crazy” factor. While I tend to prefer songs at levels 3 and 4, there are still a handful of level 1 and 2 songs that I’ll listen to any day over certain level 3 and 4 tracks.
Now that we have an idea of my hopefully not-so-arbitrary tier system, let’s talk about the actual music! With due respect to all the members, it’s clear that vocalist/composer Emiru and guitarist Rubi form the brunt of the band’s unique sound. Back in the day, a lot of people would stan bassist Saran, but he’s not so notable to me, other than looking like a VK version of April Ludgate. I will say the drummer occasionally caught my attention, because of his affinity for punchy toms. Anyway, let’s start with Emiru. If there’s one sticking point about this band for a lot of people, it’s likely Emiru’s “special” vocals. Admittedly, he started off quite rough. If you listen to early singles like 記念日。 (kinenbi.) or 球形無限連鎖～ミズタマ～, you can definitely hear him straining to reach higher notes, but hey, that’s always been part of the charm of VK, right? He legitimately sounds like Cartman in "シドロモドロ (shidoro modoro)". Fortunately, his general vocal quality improves over time and becomes much smoother (this is most obvious by comparing the original and rerecordings of songs like "ゴメンなさい" and "チョコサンドビスケットクリーム"). It would be easy to write Emiru off as a “bad” singer, but that would mean ignoring how commendably he “compensates” in all the other things he does with his voice. What really contributes to Emiru’s success as a vocalist is his variety. In any given song (especially levels 3 and higher), you might hear any combo of the following: growling, oldschool Madeth Gray’ll-esque “fast talking”, shrieking, maniacal cackling, whispering, and more. Some absolute highlights include Emiru chanting off the number sequence of π (pi) in the punky "球形無限連鎖～ミズタマ～", the demonically adorable alter-ego he takes on in "まみむめモンスター君 (mamimume monster-kun)", or the sheer fuckery that is level 5 track "豚の王様「ニトログリセリン」" [see mp3 above]. What also takes the band over the top are the strange lyrics. Emiru has a knack for writing in a way that is paradoxically blunt, yet impenetrable in meaning, with a healthy sprinkling of kookiness. One of my favorite songs (vocally, musically, as well as lyrically) is “くるくる。と胎児は廻る (Round and Round. The Fetus Turns)”, which can be viewed below; thanks to moonwalkingpenguin for the translation!

But the vocals are just half of the fun when it comes to 愛狂います。—let’s not forget about Rubi, the guitarist obsessed with apple imagery! As I mentioned, Rubi was essentially a rookie upon joining the band; his only previous known endeavor was with the short-lived 愛狂います。-predecessor known as モノもの (monomono), which also featured Emiru and bassist Saran. That’s why it’s all the more exciting that Rubi rose to such enigmatic, virtuosic playing! While Emiru is credited with composition, I find it difficult to believe that Rubi was simply his guitar-brandishing puppet—there is some real magic in his riffs and it’s not just guitar solos. In fact, his most impressive guitar work is just what he’s doing in the background. Let’s have a look at some specific examples. Listen from the second verse of “デスロリ調ポップス”. Then, check out the second verse and bridge of “ハンマー≦ヘッド (hammer≦head)”. Finally, in the first 1:20 of the above PV, Rubi provides a nice selection of his guitar offerings in “サイコ×レタア“. In all three songs, we hear Rubi’s non-stop efforts, whether it’s creepy-crawly riffs or progressive noodling not too far off from something indie-favorites 八十八ヶ所巡礼 (88kasyo junrei) might do. But beyond his extremely technical showcases, there is also plenty to enjoy in the “lower-level” tracks, like the pop-punk/math-rock influenced “あおいろ1号” or the buoyant fret-tapping of ”春夏秋冬” [see level 2 mp3]. Another aspect that helped to emphasize the band’s paradoxical sound was their bubbly arrangements, always democratically attributed to ”愛狂います。” as a whole. Sounding almost anachronistic compared to current VK’s overly electronic arrangements, the band often opted for simple synth beats or chimes, which produced a disarming effect, making it all the more surprising when the band jumped from a bouncy chorus into a growling, proggy chug fest. The icing on the arrangement cake was the band’s fun use of sound effects, such as the cartoony munching of cookies in “チョコサンドビスケットクリーム“, the vivid tentacle (?) noise at the beginning of “文化≠包丁 (bunka≠houchou)”, or the ambiguous animal roar that uncannily resembles the click-clack of a roller coaster in “オカルト・キラー”.

Towards the end of 愛狂います。’s career, long-time fans unsurprisingly started to turn on the band. With singles like ”スターマイン (star mine)” and ”皇帝ペンギン”, the band started to settle down in level 1. Prior to that, the only PV track at this level was ”心臓。”, from their first album and while it was a saccharine pop-rock number, the rest of the album satisfied the kind of craziness fans craved through the aforementioned level 5 track or the many spooky, Halloween-inspired tunes. And therein lies the problem for the last leg of the band’s career. There was no longer a balance of the levels. The band’s most successful releases were those in which they displayed variety. For instance, the maxi-single 怪体新書。 (kaitai shinsho.), my personal favorite release, had two songs at level 3 (“眼球ワルツ(gankyuu waltz)” and “猫の刻参り”) and one at level 4 (“デスロリ調ポップス“). Singles サイコ×レタア and ケセラ:セラ (que sera:sera) both had title tracks at level 3, coupled with a level 2 and level 4 b-side. It’s unclear whether 愛狂います。 really was this methodical in constructing their release tracklists, but it undoubtedly worked in their favor. Although the final releases left fans with a sour aftertaste, we shouldn't let them spoil the entire 愛狂います。 experience. While vocalist Emiru (now “Suzuki Satoshi”) has since moved on to Yeti, an outlet where his softer, indie rock composition style is really thriving (let’s just say I like Yeti’s output more than late level 1 愛狂います。), it’s an absolute shame that Rubi hasn’t resurfaced in another band yet. To this day, he remains one of my favorite VK guitarists and it pains me greatly that his return to music seems so unlikely at this point. Still, there’s plenty of great music to remember him (and the whole band) by! And forget about caveats. 愛狂います。 was not crazy for a pop/"oshare" band; they were just crazy, period.
If you’re new to 愛狂います。, be sure to check out all of the links/PVs! Hopefully, you can use this as a guide! For any seasoned fans out there, let me know what you think of the 5 level system. Does it make sense? Do you agree with the categorization? What are your favorite songs at each level? Do you agree that 愛狂います。 tends to be remembered superficially (i.e. only referencing their appearance)? Whatever you have to share about 愛狂います。, let’s discuss it!
 

Interesting write up! (I saw your response to my post at the horror soundtrack trade-off forum)  This is exactly why I love aicle.!! They were one of my favorites back then!  I started listening to them quite early in their years and I still find 球形無限連鎖～ミズタマ～ an amazing song!  Was not expecting to hear such intense growls when I first stumbled their pv, but it easily stuck! And after that I've been enjoying every single one of their releases, except when it started getting downhill after que sera:sera for me.  I definitely enjoy their level 3 and 4 stuff more, and of course level 5 too! xD  I have so many favorites from this band, perhaps I would say that サイコ×レタア, シドロモドロ, and オカルト・キラー are my favorites.  And Cとソプラノ and 星空、堕ちた for level 1-2.  But honestly, I like most of their stuff.  心臓。 is a totally perfect album too.  Unfortunately, I was never able to pay much attention to the lyrics since they were quite scarce back then, but dear god the lyrics for くるくる。と胎児は廻る, I love the song even more! Now that you have rekindled my obsession for them I will surely check the rest of their lyrics!
 
As you also mentioned, I would really like to see Rubi back in the scene too.  He was one amazing guitarist and I really loved his guitar solos~  As for Emiru, it took me a while to listen to Yeti because the style was just so different, but once I tried listening to one of their releases I grew to like them.  Different style for sure, but still good and enjoyable.  There will never ever be a band like aicle.  They were so unique and special.
 
Also, "helium vocals"?? lol Yeah, it's true, but I saw it more of like..a delicate kind of voice, kind of breakable or something.
 
Whoops, ended up writing quite a lot, haha. I just really love this band!

http://i24.photobucket.com/albums/c49/fitear1590/CD%20cover%20scans%20and%20band%20pics/aicle%20neko%20no%20kiza%20mairi%20group%202_zpsk00neimw.jpg" width="791" />
愛狂います。 (Aicle.): 5 Levels of Crazy

Vo. えみる (Emiru) Guitar: ルビ (Rubi) Guitar: けいた (Keita) Bass: さらん (Saran) Drums: 玲音 (Leon)  
If you were part of the VK fandom during the past 7 years or so, you may have come across 愛狂います。 (Aicle.). Depending on who you talk to, they’re known for being “that colorful oshare group” or “that band with helium vocals”. Peruse the YouTube comments of any of their PVs and the word “kawaii” is sure to pop up, regardless of how bizarre and growl-filled the song is. I’ve always said that 愛狂います。 is not “underrated,” but they are generally “rated” for the wrong thing. While the aforementioned elements might play a role to some degree in the band’s sound, I’m here to show you that 愛狂います。 should be remembered for so much more than their one-dimensional legacy! With a more comprehensive, analytical look at the band, I hope to stop feeling like I'm Mugatu on crazy pills and just maybe, 愛狂います。's true style will shine through for more listeners.

Forming in late 2006 and debuting in early 2007, they emerged in the scene around the same time as bands like Versailles, キャンゼル (canzel), ゾロ (ZORO), and ClearVeil. However, unlike those bands, 愛狂います。 was practically a group of newcomers from no notable ex-bands. They dabbled in live-distributed songs, compilation tracks, and a series of singles for their first two years, including the summer 2008 consecutive single series of シドロモドロ(shidoro modoro), ネクロノミコン (nekuro nomikon), and トウメイニンゲン (toumei ningen). This followed with the release of their first album 心臓。 (shinzou.) in March 2009. Uniquely enough in the VK scene, this was a disc of entirely new songs— a complete anomaly in the scene! Two months after the release of the album, rhythm guitarist Keita retired from the band on amicable terms. Not letting Keita’s departure slow them down, they released 3 more singles between August 2009 and January 2010. Consecutive singles エキゾチック。 (exotic.), ドラマチック。 (dramatic.), and a split CD with R指定(R-Shitei) followed in late 2010 and in early 2011, they released their second album アルク (ark), this time featuring previously released singles and only 4 brand new tracks— see, that’s more like what we’re used to. Finishing out the year with one-coin single 東京スカイツリー (Tokyo sky tree) and the stylistic 180 that was maxi-single 皇帝ペンギン (koutei penguin), 愛狂います。 finally called it quits in early 2012. Upon disbanding, they released a anthology compilation (愛狂います。2006-2012), collecting all of their songs from before their second album and their final single.
So how could one describe the special music that 愛狂います。 created? To help analyze their music, I came up with an unofficial scale that lends itself surprisingly well to categorizing their discography. Under the description for each level, I have provided my favorite exemplary songs, in chronological order of their release.
Level 1: Fairly straightforward pop-rock. These songs would occur sporadically in the band’s earlier discography, but by 2010 with the release of consecutive singles エキゾチック。 and ドラマチック。, the style started to become alarmingly prominent; the nail in the coffin was when the band’s final single 皇帝ペンギン hovered exclusively around this level.
Favorites: 心臓。 (shinzou.), ゴメンなさい (gomen nasai) [see mp3], ひらり。(hirari)


Level 2: Think of this as an upgrade of level 1. While these songs are still fairly tame overall, there might be an alternative, math-rock, or other unique tinge in the music that amplifies the compositional prowess. Wacky lyrical content might also bump up on-the-fence songs to this level, such as “メルトダウン (meltdown)”. There aren’t too many tracks at this in-between level.
Favorites:, メルトダウン, 相対性【秘密】理論～タイムマシン２～ (Soutaisei [Himitsu] Riron ~Time Machine 2~), オーバードライヴ (overdrive), あおいろ1号 (aoiro 1 gou), 春夏秋冬 (shunkashuutou) [see mp3]


Level 3: The first level of what I’d call 愛狂います。’s “sweet spot.” If people think about the band, I would hope that songs from this tier (or higher) are the ones that immediately come to mind. Most of the songs here are approximately half-pop and half-crazy—that was the band’s signature style after all! Many of the band’s singles fall under this category.
Favorites: 僕は魔王 (boku wa maou), 猫の刻参り (neko no kiza mairi), トウメイニンゲン (toumei ningen) [or see mp3], 骸骨のうた (gaikotsu no uta), オカルト・キラー (occult killer), サイコ×レタア (psycho x letter) [see PV above]


Level 4: This forms the second half of the “sweet spot.” These songs tend to do without the poppy choruses of level 3 and/or they ramp up the craziness in the rest of the song. As such, this level is mostly relegated to b-sides and other miscellaneous tracks, although their very first single (the first song in this list) was just wild enough to edge into level 4!
Favorites: 球形無限連鎖～ミズタマ～ (kyuukei mugen rensa ~mizutama~), くるくる。と胎児は廻る (kuru kuru. to taiji mawaru) [see PV below], デスロリ調ポップス (death lolli-chou-pops) [see mp3], 裏姫 (urahime), 【d2b2】, 暗殺 -ANSATSU-, チョコサンドビスケットクリーム (choco sand biscuit cream)

Level 5: This is reserved for 愛狂います。’s sole craziest venture: 豚の王様「ニトログリセリン」(buta no ousama “NITROGLYCERIN”). With squeals, frenetic guitar work, grunts, and literal oinking, this song is in a tier of its own!

 
Disclaimer: the “levels” do not necessarily refer to quality, so much as the “crazy” factor. While I tend to prefer songs at levels 3 and 4, there are still a handful of level 1 and 2 songs that I’ll listen to any day over certain level 3 and 4 tracks.
Now that we have an idea of my hopefully not-so-arbitrary tier system, let’s talk about the actual music! With due respect to all the members, it’s clear that vocalist/composer Emiru and guitarist Rubi form the brunt of the band’s unique sound. Back in the day, a lot of people would stan bassist Saran, but he’s not so notable to me, other than looking like a VK version of April Ludgate. I will say the drummer occasionally caught my attention, because of his affinity for punchy toms. Anyway, let’s start with Emiru. If there’s one sticking point about this band for a lot of people, it’s likely Emiru’s “special” vocals. Admittedly, he started off quite rough. If you listen to early singles like 記念日。 (kinenbi.) or 球形無限連鎖～ミズタマ～, you can definitely hear him straining to reach higher notes, but hey, that’s always been part of the charm of VK, right? He legitimately sounds like Cartman in "シドロモドロ (shidoro modoro)". Fortunately, his general vocal quality improves over time and becomes much smoother (this is most obvious by comparing the original and rerecordings of songs like "ゴメンなさい" and "チョコサンドビスケットクリーム"). It would be easy to write Emiru off as a “bad” singer, but that would mean ignoring how commendably he “compensates” in all the other things he does with his voice. What really contributes to Emiru’s success as a vocalist is his variety. In any given song (especially levels 3 and higher), you might hear any combo of the following: growling, oldschool Madeth Gray’ll-esque “fast talking”, shrieking, maniacal cackling, whispering, and more. Some absolute highlights include Emiru chanting off the number sequence of π (pi) in the punky "球形無限連鎖～ミズタマ～", the demonically adorable alter-ego he takes on in "まみむめモンスター君 (mamimume monster-kun)", or the sheer fuckery that is level 5 track "豚の王様「ニトログリセリン」" [see mp3 above]. What also takes the band over the top are the strange lyrics. Emiru has a knack for writing in a way that is paradoxically blunt, yet impenetrable in meaning, with a healthy sprinkling of kookiness. One of my favorite songs (vocally, musically, as well as lyrically) is “くるくる。と胎児は廻る (Round and Round. The Fetus Turns)”, which can be viewed below; thanks to moonwalkingpenguin for the translation!

But the vocals are just half of the fun when it comes to 愛狂います。—let’s not forget about Rubi, the guitarist obsessed with apple imagery! As I mentioned, Rubi was essentially a rookie upon joining the band; his only previous known endeavor was with the short-lived 愛狂います。-predecessor known as モノもの (monomono), which also featured Emiru and bassist Saran. That’s why it’s all the more exciting that Rubi rose to such enigmatic, virtuosic playing! While Emiru is credited with composition, I find it difficult to believe that Rubi was simply his guitar-brandishing puppet—there is some real magic in his riffs and it’s not just guitar solos. In fact, his most impressive guitar work is just what he’s doing in the background. Let’s have a look at some specific examples. Listen from the second verse of “デスロリ調ポップス”. Then, check out the second verse and bridge of “ハンマー≦ヘッド (hammer≦head)”. Finally, in the first 1:20 of the above PV, Rubi provides a nice selection of his guitar offerings in “サイコ×レタア“. In all three songs, we hear Rubi’s non-stop efforts, whether it’s creepy-crawly riffs or progressive noodling not too far off from something indie-favorites 八十八ヶ所巡礼 (88kasyo junrei) might do. But beyond his extremely technical showcases, there is also plenty to enjoy in the “lower-level” tracks, like the pop-punk/math-rock influenced “あおいろ1号” or the buoyant fret-tapping of ”春夏秋冬” [see level 2 mp3]. Another aspect that helped to emphasize the band’s paradoxical sound was their bubbly arrangements, always democratically attributed to ”愛狂います。” as a whole. Sounding almost anachronistic compared to current VK’s overly electronic arrangements, the band often opted for simple synth beats or chimes, which produced a disarming effect, making it all the more surprising when the band jumped from a bouncy chorus into a growling, proggy chug fest. The icing on the arrangement cake was the band’s fun use of sound effects, such as the cartoony munching of cookies in “チョコサンドビスケットクリーム“, the vivid tentacle (?) noise at the beginning of “文化≠包丁 (bunka≠houchou)”, or the ambiguous animal roar that uncannily resembles the click-clack of a roller coaster in “オカルト・キラー”.

Towards the end of 愛狂います。’s career, long-time fans unsurprisingly started to turn on the band. With singles like ”スターマイン (star mine)” and ”皇帝ペンギン”, the band started to settle down in level 1. Prior to that, the only PV track at this level was ”心臓。”, from their first album and while it was a saccharine pop-rock number, the rest of the album satisfied the kind of craziness fans craved through the aforementioned level 5 track or the many spooky, Halloween-inspired tunes. And therein lies the problem for the last leg of the band’s career. There was no longer a balance of the levels. The band’s most successful releases were those in which they displayed variety. For instance, the maxi-single 怪体新書。 (kaitai shinsho.), my personal favorite release, had two songs at level 3 (“眼球ワルツ(gankyuu waltz)” and “猫の刻参り”) and one at level 4 (“デスロリ調ポップス“). Singles サイコ×レタア and ケセラ:セラ (que sera:sera) both had title tracks at level 3, coupled with a level 2 and level 4 b-side. It’s unclear whether 愛狂います。 really was this methodical in constructing their release tracklists, but it undoubtedly worked in their favor. Although the final releases left fans with a sour aftertaste, we shouldn't let them spoil the entire 愛狂います。 experience. While vocalist Emiru (now “Suzuki Satoshi”) has since moved on to Yeti, an outlet where his softer, indie rock composition style is really thriving (let’s just say I like Yeti’s output more than late level 1 愛狂います。), it’s an absolute shame that Rubi hasn’t resurfaced in another band yet. To this day, he remains one of my favorite VK guitarists and it pains me greatly that his return to music seems so unlikely at this point. Still, there’s plenty of great music to remember him (and the whole band) by! And forget about caveats. 愛狂います。 was not crazy for a pop/"oshare" band; they were just crazy, period.
If you’re new to 愛狂います。, be sure to check out all of the links/PVs! Hopefully, you can use this as a guide! For any seasoned fans out there, let me know what you think of the 5 level system. Does it make sense? Do you agree with the categorization? What are your favorite songs at each level? Do you agree that 愛狂います。 tends to be remembered superficially (i.e. only referencing their appearance)? Whatever you have to share about 愛狂います。, let’s discuss it!