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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!
 

SIGNATURE LOOKS

Though I listen to quite a few visual kei bands, I rarely give a hoot about their appearances. This is mostly because even though VK bands' looks are supposed to be so "unique," many groups really do look very similar. However, there are a few musicians I applaud for creating a signature look in the sea of generic-ness. Even if they don't often change their appearance too much, they have created something very easily identifiable as their own.

Post your favorite signature looks! It doesn't matter if they're from from strictly "visual kei" bands or from bands with a general visual aspect. Don't feel too limited to the bigger bands. Indie band members can have easily identifiable looks as well. I'll start with a few of my favorites.
_________________________________
Hizaki (Hizaki Grace Project/ Versailles)
Definitely popularized a new VK "archetype." I think Hizaki is probably this generation's Mana, in terms of the number of people who are convinced that he's actually a girl. Plus, you know he's made it when Hizaki-copycats pop up every now and then (ACTWEED, YOHIO, and Dear L'novel are a few that I can think of right now)


Takemasa (Kiryu)
The first image here of Takemasa might be my favorite VK look ever. He tends to be a bit "samey" in most of his looks (bright teal hair, cloth over his face, ridiculously decadent kimono and hairpiece), but he's definitely found a unique style. "If it ain't broke, don't fix it" applies here.




Hirata Panda (THE BOHEMIANS)
Not from a visual kei band, but Hirata Panda has a highly signature look. From the dark eye makeup (get it, "Panda"?), to the hats, and most importantly, some form of bright red jacket, you can definitely spot him from a mile away. Plus, he's taking cues from the U.K. indie groups, so he's got some of that arrogant swagger to top it off.


Shiina Mio (Canzel/ UNiTE.)
Shiina Mio is actually a pretty goofy looking guy without makeup (like many of these guys I'm sure), but he's definitely managed to create a signature look with the glasses, hair, and more recently the "scarfs" he wears over his chin, haha.



Takayuki (THE PIASS)
THE PIASS is somehow still around since the 90's, but Takayuki is the only remaining original member (he must be pretty old by now!) Either photoshop is treating him well or he still looks fairly young, because he still looks pretty good! A definite signature look I'd say, with all the red EVERYWHERE, the calculatedly haphazard outfits and the perfectly messy hair.


Shion (Rubik)
Shion has managed to create a weird signature look, whether through his fake horns, weird contact lenses, his "fangs," etc. He looks a bit silly sometimes, but I give him points for his ambition, haha.


Kei (Eliphas Levi)
Kei had one of my favorites looks of the kote-kei times. Let's face it, even back then, many bands had very similar looks (though a very different kind of "similar" than today), but Kei always stuck out, with his red hair and rose-bonnet thing (that is considered a bonnet, right?)

I am ABSOLUTELY hearing that as well
Then again, I'm pretty positive he says "Thank you and fuck you" in "Harem" on GIFT!

無玄-MUKURO- Ba.ジン(jin) will depart after their live at Shinsaibashi soma at 2015/12/17, and other members expect that the band will continue activities after then

Firstly, thank you very much to everyone who took a moment to vote in this poll and/or leave comments! It's greatly appreciated! We have been looking over all of your suggestions and will take them all into consideration!
Secondly, I would like to address a few things as co-leader of the Official Review Team:
 

   

Honestly, none of us are 'professionals'. Personally, I feel like tossing this word around is a bit misleading. I speak for all of the ORZ members when I say that this is simply a hobby of ours. None of us get paid for doing this. Our levels of writing are all over the place, but we work hard at this, we support each other, and we just try to have fun with it.
I would also have to disagree with the notion that the non-staff reviews are any "less than". All reviews are inherently biased and trust me, the staff 'fangirl' just as hard over music as anyone else. I don't see anything wrong with being enthusiastic about a release or an artist. The only difference between the staff reviews and the normal reviews is that we're as an organized, team effort. A team effort that almost any MH member could take part in if they were willing to put in the work. But at the end of the day, both staff and non-staff reviews are equally important and appreciated! Our goal is not to be divisive.
Lastly, while we would like to cover a broader spectrum of music, we don't force any of our members to write about music that they don't want to. Where would be the fun in that? The kind of reviews that get written depends on the taste of the individual member. We are planning a recruitment campaign sometime in the foreseeable future, so depending on the results, we will see what kind of reviews we can provide.

, thank you for your reply, but could you explain how we're "push[ing]" VK too much? Let's look at some statistics of our recent ORZ output (featured reviews and BNT lists).
In the last 20 featured reviews (#42-61), we've had 12 "non-VK" reviews (or 11, if Wagakki Band can count as visual). "Non-VK" reviews are slightly more prevalent. The percentage is even more skewed in favor of "non-VK" if you look at just our last 10 reviews (7:3).
Plus, ever since implementing the genre categorization in the BNT lists, we have anywhere from 2-4 entire sections that are strictly "non-VK" in any given month. The totals for these sections always outnumber the VK section. For instance, in our September BNT, there were 7 VK songs, compared to 14 total tracks in other genres/categories. In August, it was 8 VK songs to 26 "non-VK".
Because of this, I don't think our output suggests that MH/ORZ is a "one trick VK pony". If anything, we're trying to beef up our VK coverage to restore some balance.
We're definitely open to suggestions (that's why @CAT5 opened this poll!), but with these stats in mind now, do you still think we're pushing VK too much? Did you realize that the numbers were actually this way?

, thank you for your reply, but could you explain how we're "push[ing]" VK too much? Let's look at some statistics of our recent ORZ output (featured reviews and BNT lists).
In the last 20 featured reviews (#42-61), we've had 12 "non-VK" reviews (or 11, if Wagakki Band can count as visual). "Non-VK" reviews are slightly more prevalent. The percentage is even more skewed in favor of "non-VK" if you look at just our last 10 reviews (7:3).
Plus, ever since implementing the genre categorization in the BNT lists, we have anywhere from 2-4 entire sections that are strictly "non-VK" in any given month. The totals for these sections always outnumber the VK section. For instance, in our September BNT, there were 7 VK songs, compared to 14 total tracks in other genres/categories. In August, it was 8 VK songs to 26 "non-VK".
Because of this, I don't think our output suggests that MH/ORZ is a "one trick VK pony". If anything, we're trying to beef up our VK coverage to restore some balance.
We're definitely open to suggestions (that's why @CAT5 opened this poll!), but with these stats in mind now, do you still think we're pushing VK too much? Did you realize that the numbers were actually this way?

, thank you for your reply, but could you explain how we're "push[ing]" VK too much? Let's look at some statistics of our recent ORZ output (featured reviews and BNT lists).
In the last 20 featured reviews (#42-61), we've had 12 "non-VK" reviews (or 11, if Wagakki Band can count as visual). "Non-VK" reviews are slightly more prevalent. The percentage is even more skewed in favor of "non-VK" if you look at just our last 10 reviews (7:3).
Plus, ever since implementing the genre categorization in the BNT lists, we have anywhere from 2-4 entire sections that are strictly "non-VK" in any given month. The totals for these sections always outnumber the VK section. For instance, in our September BNT, there were 7 VK songs, compared to 14 total tracks in other genres/categories. In August, it was 8 VK songs to 26 "non-VK".
Because of this, I don't think our output suggests that MH/ORZ is a "one trick VK pony". If anything, we're trying to beef up our VK coverage to restore some balance.
We're definitely open to suggestions (that's why @CAT5 opened this poll!), but with these stats in mind now, do you still think we're pushing VK too much? Did you realize that the numbers were actually this way?

, thank you for your reply, but could you explain how we're "push[ing]" VK too much? Let's look at some statistics of our recent ORZ output (featured reviews and BNT lists).
In the last 20 featured reviews (#42-61), we've had 12 "non-VK" reviews (or 11, if Wagakki Band can count as visual). "Non-VK" reviews are slightly more prevalent. The percentage is even more skewed in favor of "non-VK" if you look at just our last 10 reviews (7:3).
Plus, ever since implementing the genre categorization in the BNT lists, we have anywhere from 2-4 entire sections that are strictly "non-VK" in any given month. The totals for these sections always outnumber the VK section. For instance, in our September BNT, there were 7 VK songs, compared to 14 total tracks in other genres/categories. In August, it was 8 VK songs to 26 "non-VK".
Because of this, I don't think our output suggests that MH/ORZ is a "one trick VK pony". If anything, we're trying to beef up our VK coverage to restore some balance.
We're definitely open to suggestions (that's why @CAT5 opened this poll!), but with these stats in mind now, do you still think we're pushing VK too much? Did you realize that the numbers were actually this way?

, thank you for your reply, but could you explain how we're "push[ing]" VK too much? Let's look at some statistics of our recent ORZ output (featured reviews and BNT lists).
In the last 20 featured reviews (#42-61), we've had 12 "non-VK" reviews (or 11, if Wagakki Band can count as visual). "Non-VK" reviews are slightly more prevalent. The percentage is even more skewed in favor of "non-VK" if you look at just our last 10 reviews (7:3).
Plus, ever since implementing the genre categorization in the BNT lists, we have anywhere from 2-4 entire sections that are strictly "non-VK" in any given month. The totals for these sections always outnumber the VK section. For instance, in our September BNT, there were 7 VK songs, compared to 14 total tracks in other genres/categories. In August, it was 8 VK songs to 26 "non-VK".
Because of this, I don't think our output suggests that MH/ORZ is a "one trick VK pony". If anything, we're trying to beef up our VK coverage to restore some balance.
We're definitely open to suggestions (that's why @CAT5 opened this poll!), but with these stats in mind now, do you still think we're pushing VK too much? Did you realize that the numbers were actually this way?

this thread is my favorite time of the month honestly
 
i liked eito a whole lot. you could definitely pick up the LITE influences. past half the song you can notice it's a little rough around the edges indeed, kinda lacks a bit more of variety/substance. i still liked it lots though, i'll listen to their whole album when i have time.
 
tempalay i'm kinda figuring out still. i'm liking the whole rising of beach pop rock in so many acts lately but ehhh. something about the distorted vocals with the instrumentation together doesn't sit that well with me. maybe i'll like other tracks.
 
for a second i thought the THE KIDDIE comparison was a joke lmao it really reminds me of them. i was such a fan in like 2010/11... i really liked this KAFUKA track though. it's kinda nostalgic.
 
the karasu wa masshiro track feels... a little different? the vocals are a lot more toned down and harmonize a lot better with the instrumentation here. also the synth is sick. i'll probably be humming it for a while.
 
this thread always gives a lot of good recs! thanks a lot

「きれいな海へ」Music Video
 
Father Side :

Mother Side :

I voted for "more reviews" and "articles that aren't reviews".
 
And since I don't necessarily mean 'do more work' I'd encourage the review team to do more reviews of shorter releases. I get why you'd gravitate toward reviews of full-lengths but I'd also enjoy short ~200 word reviews of singles that act as a jumping off point for discussion.

The linguaphile-nerd in me is super impressed with Yuudai's accent in English. It's so clear!

@doombox - I can't call myself a Pentagon fan yet, but if they stick with this creepy carnival style (and stuff like on the Shounen Waltz), I might get into them.

@Lestat - I really enjoyed that Lin track. I've never paid much attention to the original Lin lineup, but I do have a soft spot for Sui's messy vocals and "epic" VK like this

@CAT5 - I am all about that Tempalay. After a few listens, I'm getting less beach-kei vibes (like mitsume), but more of a combo of psych-pop bands like Weird Dreams (especially the guitar work) and Flower-era Odotte Bakari no Kuni (even vocally, with the raspy, yet nasal delivery). In any case, I'm loving it! Need to check out the full EP!
EDIT:  I'm listening on soundcloud and he really does sound like vocalist Koji from the Flower-era and his Acid House solo project, which are the best

@beni - I'm glad I wasn't the only one to find the SawanoHiroyuki[nZk]:mizuki album to be a snoozer, but this song stuck out to me the most. Still, I'd much rather listen to mizuki in Itsue!

@doombox - I can't call myself a Pentagon fan yet, but if they stick with this creepy carnival style (and stuff like on the Shounen Waltz), I might get into them.

@Lestat - I really enjoyed that Lin track. I've never paid much attention to the original Lin lineup, but I do have a soft spot for Sui's messy vocals and "epic" VK like this

@CAT5 - I am all about that Tempalay. After a few listens, I'm getting less beach-kei vibes (like mitsume), but more of a combo of psych-pop bands like Weird Dreams (especially the guitar work) and Flower-era Odotte Bakari no Kuni (even vocally, with the raspy, yet nasal delivery). In any case, I'm loving it! Need to check out the full EP!
EDIT:  I'm listening on soundcloud and he really does sound like vocalist Koji from the Flower-era and his Acid House solo project, which are the best

@beni - I'm glad I wasn't the only one to find the SawanoHiroyuki[nZk]:mizuki album to be a snoozer, but this song stuck out to me the most. Still, I'd much rather listen to mizuki in Itsue!

@doombox - I can't call myself a Pentagon fan yet, but if they stick with this creepy carnival style (and stuff like on the Shounen Waltz), I might get into them.

@Lestat - I really enjoyed that Lin track. I've never paid much attention to the original Lin lineup, but I do have a soft spot for Sui's messy vocals and "epic" VK like this

@CAT5 - I am all about that Tempalay. After a few listens, I'm getting less beach-kei vibes (like mitsume), but more of a combo of psych-pop bands like Weird Dreams (especially the guitar work) and Flower-era Odotte Bakari no Kuni (even vocally, with the raspy, yet nasal delivery). In any case, I'm loving it! Need to check out the full EP!
EDIT:  I'm listening on soundcloud and he really does sound like vocalist Koji from the Flower-era and his Acid House solo project, which are the best

@beni - I'm glad I wasn't the only one to find the SawanoHiroyuki[nZk]:mizuki album to be a snoozer, but this song stuck out to me the most. Still, I'd much rather listen to mizuki in Itsue!

I tried the lynch single, but I enjoyed EVOKE better.
@beni - The plastic tree song sounds good, but I can't with Ryutaro's vocals. I don't get the appeal either. That Sawano song sounds ok, and I agree with how you felt about the rest of them overall. Yun*chi and Kana Noshino aren't for me.
@doombox - I think this has been the best DADAROMA song of this style, so far. I do prefer their other sounds, though. The Pentagon song isn't bad either, although i'm generally not fond of choruses with key changes for some reason. The Age Factory song is surprising and right up my alley, but something about the vocals rubs me the wrong way. The T.C.L and karasu songs are both legit too,
@fitear1590 - The kafka song is pleasant. though nothing really attention-grabbing for me.

Me too, I never get into Ryutaro's vocals that much. I have tried some of their albums and nothing @@fitear1590 I forgot to talk about KAFUKA xD I remember I told it being good, but now I only listen a bit, it's rare. But still a good release. Good to see it here.

more reviewers = more reviews? and variety I think.
 
I know the sites I frequent for reviews typically has 5-7 reviewers for one genre and can pump out 8-12 reviews weekly. You guys seem to have a daunting task to try to cover multiple genres, it is pretty good right now for the team you guys have.

Here's the Goodnight Mommy trailer for anyone interested.

A bit mismarketed imo, but a visually stunning movie nonetheless. 

Well, great, I'm glad I ended up posting about moscow club
I wasn't sure if anyone (except maybe ) would enjoy it. @Lestat, their new album (Outfit of the Day) is on Spotify, if you'd like to try it out.
 
Whut? And it's a 7.0? Bitchfork is generally much harsher on the music I like, haha.

Here's the Goodnight Mommy trailer for anyone interested.

A bit mismarketed imo, but a visually stunning movie nonetheless. 

aah that moscow club song is gorgeous. also the only album on there to have a pitchfork review.....
 
lol that lin song is even worse than i remember

I second Shounenki and Kalafina.
Normally I'd agree with Scapegoat but that song doesn't really engage me like the rest of their music.
 
Some of my additions:
 
ザアザア - もうすぐ雨が降るから 
死にたい isn't my favorite release from the band but I quite like this track compared to the others. 闇 is pretty good, too. 
 
マイナス人生オーケストラ - 見捨てられマン
えんそく - USJ
脱法ニュウラライザー is a really great release besides the main track of the same name but these two songs are my favorites. 
 
ギャロ - SUCCUBUS (remix)
Gallo distributed a CD with remixes of INCUBUS and SUCCUBUS to A ticket holders at their O-West oneman on 9/11, so it's not an official release but I'd like to include it since it came out this month. INCUBUS is very... reggae? With ocean sound effects? It's kinda weird and not for me. But SUCCUBUS sounds straight out of Final Fantasy VI. It's 1000x better than the original in my opinion.