fitear1590

yay, best vk month in a while with keel, gazette, more (where are they here? :/), strangersaid, lynch and kuroyuri to kage ripping shit up ) ^^

August seemed to be the month of letdowns to me but anyways, my favs out of this list:
 

I would add Oculus to that list. For me, it's a 9/10. Really well-done old-school horror scares (not relying on modern gore); kinda up there with James Wan's Insidious and Conjuring. Some of the best kid acting I've seen in a while.
 
Yesss, I feel like so few people enjoy Scream 4, but I thought it was SO much better than 2 or 3. Such a cool "reboot"/homage to the brilliant first film.

Preview for "Dollyに紅":

Preview for "Dollyに紅":

their live-limited one-coin single "Dollyに紅(Dolly ni beni)" will be released at their presents live "as prelude…" at Shinjuku RUIDO K4 at 2015/09/07 (500yen)

Artist: ウワノソラ'67 (uwanosora’67) Album: Portrait in Rock ‘n’ Roll 1. シェリーに首ったけ (Shelly ni kubittake) 2. 年上ボーイフレンド (Toshiue boyfriend) 3. 傑作映画の後で (Kessaku eiga no ato de) 4. 雨降る部屋で (Ame furu heya de) 5. 葉っぱのように (Happo no you ni) 6. Hey × 3 ・ Blue × 3 7. station No.2 8. 夢見るアクター (Yume miru actor) 9. 涙のフォークボール (Namida no forkball) 10. レモンビーチへようこそ (Lemon Beach e youkoso)
Rating: | A blast from the past: retro-pop perfection!
 
ウワノソラ'67 (uwanosora’67) appears to be a side-project of the ’70s inspired pop band ウワノソラ (uwanosora), featuring vocalist Megumi and the personification of “heavy lifting,” Hirohide, who handles everything from composition, lyrics, arrangement and production to playing instruments like acoustic/electric guitar, bass and even marimba. Their first album Portrait in Rock ‘n’ Roll might have been released in June 2015, but stylistically, it fits right in with the music from half a century ago. As their name implies, they mostly take their influence from the ‘60s, citing the sound of “girl group” legends like The Ronettes, the harmony-soaked tunes of The Beach Boys, and so much more.

In true pop tradition, the album hits the ground running with their biggest hit, “シェリーに首ったけ (Shelly ni kubittake)”. Backed by a whole slew of support musicians playing everything from saxophones to harp, the group’s lush arrangements shine through, recalling Phil Spector’s “wall of sound.” The song is jaunty and fun in a very classic way, but the composition has a few surprises, such as the oddly percussive and bass heavy section in the middle of the chorus and a short slide guitar solo. Vocalist Megumi delivers a very sweet performance, singing in a slightly higher (more “Japanese”?) register than the American girl group singers who influence her. If the song isn’t enough, be sure to check out the PV below for wonderfully campy synchronized choreography—it’s like Japan’s version of the Hairspray musical.

“年上ボーイフレンド (Toshiue boyfriend)” is more piano and orchestra-based than the opening track. In fact, I was first reminded of Welsh indie pop group The School, who also have similar '60s influences to ウワノソラ'67. This track adopts a slightly more melancholic, wistful mood, featuring gorgeous string arrangements and heartfelt vocals. It’s evident that Hirohide has a knack for classic pop songwriting. Every song is a joy, from the cheerful tracks like “傑作映画の後で (Kessaku eiga no ato de)” to the album’s gorgeous rainy day ballad, “雨降る部屋で (Ame furu heya de)”. What really makes the album pop, however, are the immense arrangements. Whether it’s the horns that punctuate the verses of tracks like “涙のフォークボール (Namida no forkball)”, the majestic fluttery harp in “夢見るアクター (Yume miru actor)”, Hirohide’s own marimba action in ”葉っぱのように (Happo no you ni)”, or the numerous rich sax solos sprinkled throughout, the lovely arrangements are what take the album to the next level, transporting the listener to another era. While the album’s creativity dips ever so slightly in tracks 5 and 6, the second half of the album finishes off almost as memorably as it started.

Vocally, Megumi also deserves some praise. She knows how to balance the innocence, charm, and heart most befitting of these colorful arrangements. While not technically a very soulful vocalist, she makes up for it (like many of the best singers of the '60s) with an enchanting naiveté that is equally as powerful. In ”雨降る部屋で” in particular, it amazes me how moving her delivery of the simple chorus gets with each repeat—I get goosebumps every time. While some listeners might find that she occasionally spends too much time in falsetto (such as in the choruses of ”夢見るアクター”), overall, she makes the most of her role in the group. Throughout the album, there are also a few instances of playful “shooby dooby” background vocals, such as in “station No.2”, further grounding the music in the '60s. The album’s already beautiful final track, “レモンビーチへようこそ (Lemon Beach e youkoso)”, ends with a glorious, choral outro.

It’s clear that ウワノソラ'67 have been doing their homework, paying homage to the musical styles of the past in such an authentic way. If there is one potential drawback to the album, it’s that the group doesn’t infuse their music with contemporary edge. British artists like Amy Winehouse and The Pipettes had similar musical “foremothers” to ウワノソラ'67, but their lyrical content was “updated” with a lot of contemporary sass and attitude; as far as I can tell, that is not the case here. But maybe that’s the point. Portrait in Rock ‘n’ Roll truly is like listening to the sounds of the ‘60s in fresh, modern recording quality, but instead of an LP in hand, you have a CD (or just mp3s)! Currently, I prefer this side project to the “normal” ウワノソラ output and I’m praying that this album isn’t just a one-off endeavor!

What did you think of the album?


Support the band! UWANOSORA SHOP
Dessinee Shop (international shipping!)
Parks Records (international shipping!)

Great thread
I start following him since he play guitar in kein early days, I LOVE the song he composed in kein and gullet.
I agree with hotaru, he and aie are great composers. 

Artist: ウワノソラ'67 (uwanosora’67) Album: Portrait in Rock ‘n’ Roll 1. シェリーに首ったけ (Shelly ni kubittake) 2. 年上ボーイフレンド (Toshiue boyfriend) 3. 傑作映画の後で (Kessaku eiga no ato de) 4. 雨降る部屋で (Ame furu heya de) 5. 葉っぱのように (Happo no you ni) 6. Hey × 3 ・ Blue × 3 7. station No.2 8. 夢見るアクター (Yume miru actor) 9. 涙のフォークボール (Namida no forkball) 10. レモンビーチへようこそ (Lemon Beach e youkoso)
Rating: | A blast from the past: retro-pop perfection!
 
ウワノソラ'67 (uwanosora’67) appears to be a side-project of the ’70s inspired pop band ウワノソラ (uwanosora), featuring vocalist Megumi and the personification of “heavy lifting,” Hirohide, who handles everything from composition, lyrics, arrangement and production to playing instruments like acoustic/electric guitar, bass and even marimba. Their first album Portrait in Rock ‘n’ Roll might have been released in June 2015, but stylistically, it fits right in with the music from half a century ago. As their name implies, they mostly take their influence from the ‘60s, citing the sound of “girl group” legends like The Ronettes, the harmony-soaked tunes of The Beach Boys, and so much more.

In true pop tradition, the album hits the ground running with their biggest hit, “シェリーに首ったけ (Shelly ni kubittake)”. Backed by a whole slew of support musicians playing everything from saxophones to harp, the group’s lush arrangements shine through, recalling Phil Spector’s “wall of sound.” The song is jaunty and fun in a very classic way, but the composition has a few surprises, such as the oddly percussive and bass heavy section in the middle of the chorus and a short slide guitar solo. Vocalist Megumi delivers a very sweet performance, singing in a slightly higher (more “Japanese”?) register than the American girl group singers who influence her. If the song isn’t enough, be sure to check out the PV below for wonderfully campy synchronized choreography—it’s like Japan’s version of the Hairspray musical.

“年上ボーイフレンド (Toshiue boyfriend)” is more piano and orchestra-based than the opening track. In fact, I was first reminded of Welsh indie pop group The School, who also have similar '60s influences to ウワノソラ'67. This track adopts a slightly more melancholic, wistful mood, featuring gorgeous string arrangements and heartfelt vocals. It’s evident that Hirohide has a knack for classic pop songwriting. Every song is a joy, from the cheerful tracks like “傑作映画の後で (Kessaku eiga no ato de)” to the album’s gorgeous rainy day ballad, “雨降る部屋で (Ame furu heya de)”. What really makes the album pop, however, are the immense arrangements. Whether it’s the horns that punctuate the verses of tracks like “涙のフォークボール (Namida no forkball)”, the majestic fluttery harp in “夢見るアクター (Yume miru actor)”, Hirohide’s own marimba action in ”葉っぱのように (Happo no you ni)”, or the numerous rich sax solos sprinkled throughout, the lovely arrangements are what take the album to the next level, transporting the listener to another era. While the album’s creativity dips ever so slightly in tracks 5 and 6, the second half of the album finishes off almost as memorably as it started.

Vocally, Megumi also deserves some praise. She knows how to balance the innocence, charm, and heart most befitting of these colorful arrangements. While not technically a very soulful vocalist, she makes up for it (like many of the best singers of the '60s) with an enchanting naiveté that is equally as powerful. In ”雨降る部屋で” in particular, it amazes me how moving her delivery of the simple chorus gets with each repeat—I get goosebumps every time. While some listeners might find that she occasionally spends too much time in falsetto (such as in the choruses of ”夢見るアクター”), overall, she makes the most of her role in the group. Throughout the album, there are also a few instances of playful “shooby dooby” background vocals, such as in “station No.2”, further grounding the music in the '60s. The album’s already beautiful final track, “レモンビーチへようこそ (Lemon Beach e youkoso)”, ends with a glorious, choral outro.

It’s clear that ウワノソラ'67 have been doing their homework, paying homage to the musical styles of the past in such an authentic way. If there is one potential drawback to the album, it’s that the group doesn’t infuse their music with contemporary edge. British artists like Amy Winehouse and The Pipettes had similar musical “foremothers” to ウワノソラ'67, but their lyrical content was “updated” with a lot of contemporary sass and attitude; as far as I can tell, that is not the case here. But maybe that’s the point. Portrait in Rock ‘n’ Roll truly is like listening to the sounds of the ‘60s in fresh, modern recording quality, but instead of an LP in hand, you have a CD (or just mp3s)! Currently, I prefer this side project to the “normal” ウワノソラ output and I’m praying that this album isn’t just a one-off endeavor!

What did you think of the album?


Support the band! UWANOSORA SHOP
Dessinee Shop (international shipping!)
Parks Records (international shipping!)

Heyo, I remember you! I feel like I enjoyed your music taste back then and clearly, you've still got it

Since you mentioned Lamp (I love you), here are some associated acts you might enjoy if you don't know them:
Tadashi Shinkawa - On Lamp's Botanical House label. A similar "softness" to Lamp's music, but is distinguished with the use of subtle 80s synths.
Minami Kitasono - I can't remember which, but did the arrangement and guest vocals for one of Lamp's tracks on their Yume album. Imagine him as the much quirkier version of Lamp's funkier compositions.
Uwanosora'67 - Super influenced by 60s pop. The band revealed that Lamp member Nagai praised this track in a recent interview.

What a cute thread There's nothing to discuss, he's a genius! ┐(´ー｀)┌
My favorite Yukino's band ever is actually kein, but i follow all of his new projects as well and have most of these CDs.
I really love his music sense. Even covers that he chooses for his acoustic events and etc are always a big discovery for me, so later i often search the original songs and play them on repeat for few weeks. 
Among his active projects i like StrangerSaid. and acoustic one the most.
But he is TOTALLY perfect.
 
p.s. Yes, Yukino and aie are the best composers for me too, and i follow them blindly whenever in Japan.

天野攸紀 (amano yuki) Worship Thread

 

Amano Yuki is one of visual/nagoya kei's best kept secrets. In the past decade, he's played bass (for a short time) in legendary bands like deadman, the god and death stars, and the studs. Currently, he's juggling a number of bands/projects, being most well-known for playing bass in HOLLOWGRAM. However, the projects he leads are much more exciting. In his projects (detailed below), he plays guitar, sings, and writes all the music. Unfortunately, Yuki has not done himself a lot of favors in terms of promoting his work. There seem to be no current official photos of him, besides what he's done with HOLLOWGRAM--not a great technique in VISUAL kei (although, he does seem to operate on the periphery of the scene). Plus, all of his CDs to my knowledge are always released as live-limited—luckily, the majority of his stuff is released from the “vault” eventually and goes for sale on his personal webshop or elsewhere, such as zoisite shop.  

dim my division (2011)
Back in 2011 when he was still known as “yukino,” he released a single under the band dim my division in a mellow, alternative (Nagoya kei?) style.  The two songs (plus the sample of “window” tacked on to the end of track 2) would later be totally reworked in the DIMMDIVISION. mini-album, RECALL.

Members:
Vocals & Guitar: yukino (Gullet, Deadman, the studs, StrangerSaid.)
Bass: kazu (Kagerou, the god and death stars, Stereo.C.K.)
Guitar: KUMA
Drums: hibiki (the studs, otogadead)

Release:
モノクロにクル  
2011
1. モノクロにクル (monochronicle)
2. dims in wonder
 

DIMMDIVISION. (2011-present?)
On New Year’s Eve of 2011, the band changed their name to DIMMDIVISION. Members yukino and hibiki “updated” their names as well. They released their first mini-album, this time with a very strong shoegaze influence and noisy production, bearing hardly any resemblance to dim my division’s music. The following releases have continued the shoegaze-influence and the RECALL mini-album features some of the most creative retooling and remixing I’ve ever encountered, rendering the old Nagoya kei style music of dim my division into something completely fresh. While DIMMDIVISION. hasn’t had a release in a while, they still perform live, so I assume they’re still active.

Members:
Vocals & Guitar: Amano Yuki (f.k.a. yukino)
Bass: kazu (Kagerou, the god and death stars, Stereo.C.K.)
Guitar: KUMA
Drums: Manabu Saitoh (f.k.a. hibiki)

Ex-Member:
Guitar: takumi (ex-Moran’s velo); departed after the release of first mini-album

Releases:
A Day in the PanoramaMagic.
2012/01/10


1. NightFlight
2. Deva_Loka
3. Embryo
4. HaS
5. Envy
6. .ReyarP

ザヒビキ(the hibiki)
2012/05/04
1. .ReyarP
2. Envy
Note: According to @Trombe, this single features a remix by Manabu Saitoh, with one song with vocaloid vox and the other sung by Saitoh himself.

揺れる/梟
2013.01.12
1. 揺れる (yureru)
2. 梟(fukurou)
Note: A second press was released (date unknown) with different packaging in a clear DVD case. The songs feature no perceived remastering.


RECALL
2013.11.18

1. Monochronicle (new ver.)
2. Dims In Wonder (new ver.)
3. Window
4. HaS (RECALL ver.)
5. Envy (RECALL ver.) 

天野攸紀 (2012-present)
Yuki’s solo project, which officially goes by his full name, is largely acoustic. The songs are generally much simpler than his DIMMDIVISION./StrangerSaid. work.

Releases:
saw.
2012.06.26
1. saw.

Daybreak / colors.
2013.01.12
1. Daybreak
2. colors.
Note: This is a collaboration single credited to 天野攸紀& 高井淳(Takai Jun). According to @Trombe, one song is composed by Yuki and sung by Jun, and the other is composed by Jun and sung by Yuki.

memento
2014/03/30
1. memento

真昼の月
2015/05/28
1. 真昼の月(mahiru no tsuki)
Note: A bonus track is connected to the title track. On iTunes, the song appears as “真昼の月 ～ PLAY”.


StrangerSaid. (2013-present)
StrangerSaid. is unique in Yuki’s projects, because it features violin and upright bass. I would describe the core sound as closer to dim my division than DIMMDIVISION., but with the inclusion of the orchestral elements of course. One of HOLLOWGRAM’s songs, “Butterfly in her dreams,” sounds like  StrangerSaid. (with a bit of Moran influence?) and Yuki indeed composed it.

Members:
Vocals & Guitar: Amano Yuki
Violin: hidaka hayato (sources)
Upright Bass: YUCHI (kannivalism, sukekiyo)
Drums: ootaka jun (rowthe, the god and death stars)

Releases:
stranger said_
2013/04/07
1. 無形の輪(mukei no wa)
2. Laughing In The Pain.
3. 白日(hakujitsu)
Note: A second press with remastered tracks was released on 2014/08/15 under the title [ss_2nd mortal.]

a sleep.
2014/01/12
1. a sleep.

THE PAST.
2015/01/10
1. THE PAST./KUMA_mix
2. saw.[ss_ver.]/takumi_mix
3. THE PAST./takumi_mix

Special thanks to VKDB and @Trombe’s informative news threads which helped me to gather so much information!
_____________

Now, let’s discuss his music and shed some much needed light on this dark horse figure in art kei!
Do you have a favorite project or do you try to follow everything? Favorite releases/songs? Should he focus more on his three current projects or on HOLLOWGRAM? Do you think Yuki deserves more popularity/recognition?

Heyo, I remember you! I feel like I enjoyed your music taste back then and clearly, you've still got it

Since you mentioned Lamp (I love you), here are some associated acts you might enjoy if you don't know them:
Tadashi Shinkawa - On Lamp's Botanical House label. A similar "softness" to Lamp's music, but is distinguished with the use of subtle 80s synths.
Minami Kitasono - I can't remember which, but did the arrangement and guest vocals for one of Lamp's tracks on their Yume album. Imagine him as the much quirkier version of Lamp's funkier compositions.
Uwanosora'67 - Super influenced by 60s pop. The band revealed that Lamp member Nagai praised this track in a recent interview.

YES. TO. THIS. THREAD.
he's been in basically all of my fav visual bands, from deadman all the way to DIMMDIVISION. musically, him and aie are my favorite current bandomen since they can basically do no wrong in any of their 45645900+ bands (srsly, a new session or musical project every other month LOL)

天野攸紀 (amano yuki) Worship Thread

 

Amano Yuki is one of visual/nagoya kei's best kept secrets. In the past decade, he's played bass (for a short time) in legendary bands like deadman, the god and death stars, and the studs. Currently, he's juggling a number of bands/projects, being most well-known for playing bass in HOLLOWGRAM. However, the projects he leads are much more exciting. In his projects (detailed below), he plays guitar, sings, and writes all the music. Unfortunately, Yuki has not done himself a lot of favors in terms of promoting his work. There seem to be no current official photos of him, besides what he's done with HOLLOWGRAM--not a great technique in VISUAL kei (although, he does seem to operate on the periphery of the scene). Plus, all of his CDs to my knowledge are always released as live-limited—luckily, the majority of his stuff is released from the “vault” eventually and goes for sale on his personal webshop or elsewhere, such as zoisite shop.  

dim my division (2011)
Back in 2011 when he was still known as “yukino,” he released a single under the band dim my division in a mellow, alternative (Nagoya kei?) style.  The two songs (plus the sample of “window” tacked on to the end of track 2) would later be totally reworked in the DIMMDIVISION. mini-album, RECALL.

Members:
Vocals & Guitar: yukino (Gullet, Deadman, the studs, StrangerSaid.)
Bass: kazu (Kagerou, the god and death stars, Stereo.C.K.)
Guitar: KUMA
Drums: hibiki (the studs, otogadead)

Release:
モノクロにクル  
2011
1. モノクロにクル (monochronicle)
2. dims in wonder
 

DIMMDIVISION. (2011-present?)
On New Year’s Eve of 2011, the band changed their name to DIMMDIVISION. Members yukino and hibiki “updated” their names as well. They released their first mini-album, this time with a very strong shoegaze influence and noisy production, bearing hardly any resemblance to dim my division’s music. The following releases have continued the shoegaze-influence and the RECALL mini-album features some of the most creative retooling and remixing I’ve ever encountered, rendering the old Nagoya kei style music of dim my division into something completely fresh. While DIMMDIVISION. hasn’t had a release in a while, they still perform live, so I assume they’re still active.

Members:
Vocals & Guitar: Amano Yuki (f.k.a. yukino)
Bass: kazu (Kagerou, the god and death stars, Stereo.C.K.)
Guitar: KUMA
Drums: Manabu Saitoh (f.k.a. hibiki)

Ex-Member:
Guitar: takumi (ex-Moran’s velo); departed after the release of first mini-album

Releases:
A Day in the PanoramaMagic.
2012/01/10


1. NightFlight
2. Deva_Loka
3. Embryo
4. HaS
5. Envy
6. .ReyarP

ザヒビキ(the hibiki)
2012/05/04
1. .ReyarP
2. Envy
Note: According to @Trombe, this single features a remix by Manabu Saitoh, with one song with vocaloid vox and the other sung by Saitoh himself.

揺れる/梟
2013.01.12
1. 揺れる (yureru)
2. 梟(fukurou)
Note: A second press was released (date unknown) with different packaging in a clear DVD case. The songs feature no perceived remastering.


RECALL
2013.11.18

1. Monochronicle (new ver.)
2. Dims In Wonder (new ver.)
3. Window
4. HaS (RECALL ver.)
5. Envy (RECALL ver.) 

天野攸紀 (2012-present)
Yuki’s solo project, which officially goes by his full name, is largely acoustic. The songs are generally much simpler than his DIMMDIVISION./StrangerSaid. work.

Releases:
saw.
2012.06.26
1. saw.

Daybreak / colors.
2013.01.12
1. Daybreak
2. colors.
Note: This is a collaboration single credited to 天野攸紀& 高井淳(Takai Jun). According to @Trombe, one song is composed by Yuki and sung by Jun, and the other is composed by Jun and sung by Yuki.

memento
2014/03/30
1. memento

真昼の月
2015/05/28
1. 真昼の月(mahiru no tsuki)
Note: A bonus track is connected to the title track. On iTunes, the song appears as “真昼の月 ～ PLAY”.


StrangerSaid. (2013-present)
StrangerSaid. is unique in Yuki’s projects, because it features violin and upright bass. I would describe the core sound as closer to dim my division than DIMMDIVISION., but with the inclusion of the orchestral elements of course. One of HOLLOWGRAM’s songs, “Butterfly in her dreams,” sounds like  StrangerSaid. (with a bit of Moran influence?) and Yuki indeed composed it.

Members:
Vocals & Guitar: Amano Yuki
Violin: hidaka hayato (sources)
Upright Bass: YUCHI (kannivalism, sukekiyo)
Drums: ootaka jun (rowthe, the god and death stars)

Releases:
stranger said_
2013/04/07
1. 無形の輪(mukei no wa)
2. Laughing In The Pain.
3. 白日(hakujitsu)
Note: A second press with remastered tracks was released on 2014/08/15 under the title [ss_2nd mortal.]

a sleep.
2014/01/12
1. a sleep.

THE PAST.
2015/01/10
1. THE PAST./KUMA_mix
2. saw.[ss_ver.]/takumi_mix
3. THE PAST./takumi_mix

Special thanks to VKDB and @Trombe’s informative news threads which helped me to gather so much information!
_____________

Now, let’s discuss his music and shed some much needed light on this dark horse figure in art kei!
Do you have a favorite project or do you try to follow everything? Favorite releases/songs? Should he focus more on his three current projects or on HOLLOWGRAM? Do you think Yuki deserves more popularity/recognition?

天野攸紀 (amano yuki) Worship Thread

 

Amano Yuki is one of visual/nagoya kei's best kept secrets. In the past decade, he's played bass (for a short time) in legendary bands like deadman, the god and death stars, and the studs. Currently, he's juggling a number of bands/projects, being most well-known for playing bass in HOLLOWGRAM. However, the projects he leads are much more exciting. In his projects (detailed below), he plays guitar, sings, and writes all the music. Unfortunately, Yuki has not done himself a lot of favors in terms of promoting his work. There seem to be no current official photos of him, besides what he's done with HOLLOWGRAM--not a great technique in VISUAL kei (although, he does seem to operate on the periphery of the scene). Plus, all of his CDs to my knowledge are always released as live-limited—luckily, the majority of his stuff is released from the “vault” eventually and goes for sale on his personal webshop or elsewhere, such as zoisite shop.  

dim my division (2011)
Back in 2011 when he was still known as “yukino,” he released a single under the band dim my division in a mellow, alternative (Nagoya kei?) style.  The two songs (plus the sample of “window” tacked on to the end of track 2) would later be totally reworked in the DIMMDIVISION. mini-album, RECALL.

Members:
Vocals & Guitar: yukino (Gullet, Deadman, the studs, StrangerSaid.)
Bass: kazu (Kagerou, the god and death stars, Stereo.C.K.)
Guitar: KUMA
Drums: hibiki (the studs, otogadead)

Release:
モノクロにクル  
2011
1. モノクロにクル (monochronicle)
2. dims in wonder
 

DIMMDIVISION. (2011-present?)
On New Year’s Eve of 2011, the band changed their name to DIMMDIVISION. Members yukino and hibiki “updated” their names as well. They released their first mini-album, this time with a very strong shoegaze influence and noisy production, bearing hardly any resemblance to dim my division’s music. The following releases have continued the shoegaze-influence and the RECALL mini-album features some of the most creative retooling and remixing I’ve ever encountered, rendering the old Nagoya kei style music of dim my division into something completely fresh. While DIMMDIVISION. hasn’t had a release in a while, they still perform live, so I assume they’re still active.

Members:
Vocals & Guitar: Amano Yuki (f.k.a. yukino)
Bass: kazu (Kagerou, the god and death stars, Stereo.C.K.)
Guitar: KUMA
Drums: Manabu Saitoh (f.k.a. hibiki)

Ex-Member:
Guitar: takumi (ex-Moran’s velo); departed after the release of first mini-album

Releases:
A Day in the PanoramaMagic.
2012/01/10


1. NightFlight
2. Deva_Loka
3. Embryo
4. HaS
5. Envy
6. .ReyarP

ザヒビキ(the hibiki)
2012/05/04
1. .ReyarP
2. Envy
Note: According to @Trombe, this single features a remix by Manabu Saitoh, with one song with vocaloid vox and the other sung by Saitoh himself.

揺れる/梟
2013.01.12
1. 揺れる (yureru)
2. 梟(fukurou)
Note: A second press was released (date unknown) with different packaging in a clear DVD case. The songs feature no perceived remastering.


RECALL
2013.11.18

1. Monochronicle (new ver.)
2. Dims In Wonder (new ver.)
3. Window
4. HaS (RECALL ver.)
5. Envy (RECALL ver.) 

天野攸紀 (2012-present)
Yuki’s solo project, which officially goes by his full name, is largely acoustic. The songs are generally much simpler than his DIMMDIVISION./StrangerSaid. work.

Releases:
saw.
2012.06.26
1. saw.

Daybreak / colors.
2013.01.12
1. Daybreak
2. colors.
Note: This is a collaboration single credited to 天野攸紀& 高井淳(Takai Jun). According to @Trombe, one song is composed by Yuki and sung by Jun, and the other is composed by Jun and sung by Yuki.

memento
2014/03/30
1. memento

真昼の月
2015/05/28
1. 真昼の月(mahiru no tsuki)
Note: A bonus track is connected to the title track. On iTunes, the song appears as “真昼の月 ～ PLAY”.


StrangerSaid. (2013-present)
StrangerSaid. is unique in Yuki’s projects, because it features violin and upright bass. I would describe the core sound as closer to dim my division than DIMMDIVISION., but with the inclusion of the orchestral elements of course. One of HOLLOWGRAM’s songs, “Butterfly in her dreams,” sounds like  StrangerSaid. (with a bit of Moran influence?) and Yuki indeed composed it.

Members:
Vocals & Guitar: Amano Yuki
Violin: hidaka hayato (sources)
Upright Bass: YUCHI (kannivalism, sukekiyo)
Drums: ootaka jun (rowthe, the god and death stars)

Releases:
stranger said_
2013/04/07
1. 無形の輪(mukei no wa)
2. Laughing In The Pain.
3. 白日(hakujitsu)
Note: A second press with remastered tracks was released on 2014/08/15 under the title [ss_2nd mortal.]

a sleep.
2014/01/12
1. a sleep.

THE PAST.
2015/01/10
1. THE PAST./KUMA_mix
2. saw.[ss_ver.]/takumi_mix
3. THE PAST./takumi_mix

Special thanks to VKDB and @Trombe’s informative news threads which helped me to gather so much information!
_____________

Now, let’s discuss his music and shed some much needed light on this dark horse figure in art kei!
Do you have a favorite project or do you try to follow everything? Favorite releases/songs? Should he focus more on his three current projects or on HOLLOWGRAM? Do you think Yuki deserves more popularity/recognition?

Seller Feedback: A+

Agreed with . Excellent price, very communicative, quick service, well packaged, free flyers... What more can you ask for in a seller?

Would definitely buy from @nuigurumi again

Seller Feedback: 10/10 ★★★★★★★★★★
Recieved item today in perfect condition. Was really well wraped and also nuigurumi was kind enough to throw in some flyers. Great Price and Amazing service. Would buy from nuigurumi again

Artist: ウワノソラ'67 (uwanosora’67) Album: Portrait in Rock ‘n’ Roll 1. シェリーに首ったけ (Shelly ni kubittake) 2. 年上ボーイフレンド (Toshiue boyfriend) 3. 傑作映画の後で (Kessaku eiga no ato de) 4. 雨降る部屋で (Ame furu heya de) 5. 葉っぱのように (Happo no you ni) 6. Hey × 3 ・ Blue × 3 7. station No.2 8. 夢見るアクター (Yume miru actor) 9. 涙のフォークボール (Namida no forkball) 10. レモンビーチへようこそ (Lemon Beach e youkoso)
Rating: | A blast from the past: retro-pop perfection!
 
ウワノソラ'67 (uwanosora’67) appears to be a side-project of the ’70s inspired pop band ウワノソラ (uwanosora), featuring vocalist Megumi and the personification of “heavy lifting,” Hirohide, who handles everything from composition, lyrics, arrangement and production to playing instruments like acoustic/electric guitar, bass and even marimba. Their first album Portrait in Rock ‘n’ Roll might have been released in June 2015, but stylistically, it fits right in with the music from half a century ago. As their name implies, they mostly take their influence from the ‘60s, citing the sound of “girl group” legends like The Ronettes, the harmony-soaked tunes of The Beach Boys, and so much more.

In true pop tradition, the album hits the ground running with their biggest hit, “シェリーに首ったけ (Shelly ni kubittake)”. Backed by a whole slew of support musicians playing everything from saxophones to harp, the group’s lush arrangements shine through, recalling Phil Spector’s “wall of sound.” The song is jaunty and fun in a very classic way, but the composition has a few surprises, such as the oddly percussive and bass heavy section in the middle of the chorus and a short slide guitar solo. Vocalist Megumi delivers a very sweet performance, singing in a slightly higher (more “Japanese”?) register than the American girl group singers who influence her. If the song isn’t enough, be sure to check out the PV below for wonderfully campy synchronized choreography—it’s like Japan’s version of the Hairspray musical.

“年上ボーイフレンド (Toshiue boyfriend)” is more piano and orchestra-based than the opening track. In fact, I was first reminded of Welsh indie pop group The School, who also have similar '60s influences to ウワノソラ'67. This track adopts a slightly more melancholic, wistful mood, featuring gorgeous string arrangements and heartfelt vocals. It’s evident that Hirohide has a knack for classic pop songwriting. Every song is a joy, from the cheerful tracks like “傑作映画の後で (Kessaku eiga no ato de)” to the album’s gorgeous rainy day ballad, “雨降る部屋で (Ame furu heya de)”. What really makes the album pop, however, are the immense arrangements. Whether it’s the horns that punctuate the verses of tracks like “涙のフォークボール (Namida no forkball)”, the majestic fluttery harp in “夢見るアクター (Yume miru actor)”, Hirohide’s own marimba action in ”葉っぱのように (Happo no you ni)”, or the numerous rich sax solos sprinkled throughout, the lovely arrangements are what take the album to the next level, transporting the listener to another era. While the album’s creativity dips ever so slightly in tracks 5 and 6, the second half of the album finishes off almost as memorably as it started.

Vocally, Megumi also deserves some praise. She knows how to balance the innocence, charm, and heart most befitting of these colorful arrangements. While not technically a very soulful vocalist, she makes up for it (like many of the best singers of the '60s) with an enchanting naiveté that is equally as powerful. In ”雨降る部屋で” in particular, it amazes me how moving her delivery of the simple chorus gets with each repeat—I get goosebumps every time. While some listeners might find that she occasionally spends too much time in falsetto (such as in the choruses of ”夢見るアクター”), overall, she makes the most of her role in the group. Throughout the album, there are also a few instances of playful “shooby dooby” background vocals, such as in “station No.2”, further grounding the music in the '60s. The album’s already beautiful final track, “レモンビーチへようこそ (Lemon Beach e youkoso)”, ends with a glorious, choral outro.

It’s clear that ウワノソラ'67 have been doing their homework, paying homage to the musical styles of the past in such an authentic way. If there is one potential drawback to the album, it’s that the group doesn’t infuse their music with contemporary edge. British artists like Amy Winehouse and The Pipettes had similar musical “foremothers” to ウワノソラ'67, but their lyrical content was “updated” with a lot of contemporary sass and attitude; as far as I can tell, that is not the case here. But maybe that’s the point. Portrait in Rock ‘n’ Roll truly is like listening to the sounds of the ‘60s in fresh, modern recording quality, but instead of an LP in hand, you have a CD (or just mp3s)! Currently, I prefer this side project to the “normal” ウワノソラ output and I’m praying that this album isn’t just a one-off endeavor!

What did you think of the album?


Support the band! UWANOSORA SHOP
Dessinee Shop (international shipping!)
Parks Records (international shipping!)

Artist: ウワノソラ'67 (uwanosora’67) Album: Portrait in Rock ‘n’ Roll 1. シェリーに首ったけ (Shelly ni kubittake) 2. 年上ボーイフレンド (Toshiue boyfriend) 3. 傑作映画の後で (Kessaku eiga no ato de) 4. 雨降る部屋で (Ame furu heya de) 5. 葉っぱのように (Happo no you ni) 6. Hey × 3 ・ Blue × 3 7. station No.2 8. 夢見るアクター (Yume miru actor) 9. 涙のフォークボール (Namida no forkball) 10. レモンビーチへようこそ (Lemon Beach e youkoso)
Rating: | A blast from the past: retro-pop perfection!
 
ウワノソラ'67 (uwanosora’67) appears to be a side-project of the ’70s inspired pop band ウワノソラ (uwanosora), featuring vocalist Megumi and the personification of “heavy lifting,” Hirohide, who handles everything from composition, lyrics, arrangement and production to playing instruments like acoustic/electric guitar, bass and even marimba. Their first album Portrait in Rock ‘n’ Roll might have been released in June 2015, but stylistically, it fits right in with the music from half a century ago. As their name implies, they mostly take their influence from the ‘60s, citing the sound of “girl group” legends like The Ronettes, the harmony-soaked tunes of The Beach Boys, and so much more.

In true pop tradition, the album hits the ground running with their biggest hit, “シェリーに首ったけ (Shelly ni kubittake)”. Backed by a whole slew of support musicians playing everything from saxophones to harp, the group’s lush arrangements shine through, recalling Phil Spector’s “wall of sound.” The song is jaunty and fun in a very classic way, but the composition has a few surprises, such as the oddly percussive and bass heavy section in the middle of the chorus and a short slide guitar solo. Vocalist Megumi delivers a very sweet performance, singing in a slightly higher (more “Japanese”?) register than the American girl group singers who influence her. If the song isn’t enough, be sure to check out the PV below for wonderfully campy synchronized choreography—it’s like Japan’s version of the Hairspray musical.

“年上ボーイフレンド (Toshiue boyfriend)” is more piano and orchestra-based than the opening track. In fact, I was first reminded of Welsh indie pop group The School, who also have similar '60s influences to ウワノソラ'67. This track adopts a slightly more melancholic, wistful mood, featuring gorgeous string arrangements and heartfelt vocals. It’s evident that Hirohide has a knack for classic pop songwriting. Every song is a joy, from the cheerful tracks like “傑作映画の後で (Kessaku eiga no ato de)” to the album’s gorgeous rainy day ballad, “雨降る部屋で (Ame furu heya de)”. What really makes the album pop, however, are the immense arrangements. Whether it’s the horns that punctuate the verses of tracks like “涙のフォークボール (Namida no forkball)”, the majestic fluttery harp in “夢見るアクター (Yume miru actor)”, Hirohide’s own marimba action in ”葉っぱのように (Happo no you ni)”, or the numerous rich sax solos sprinkled throughout, the lovely arrangements are what take the album to the next level, transporting the listener to another era. While the album’s creativity dips ever so slightly in tracks 5 and 6, the second half of the album finishes off almost as memorably as it started.

Vocally, Megumi also deserves some praise. She knows how to balance the innocence, charm, and heart most befitting of these colorful arrangements. While not technically a very soulful vocalist, she makes up for it (like many of the best singers of the '60s) with an enchanting naiveté that is equally as powerful. In ”雨降る部屋で” in particular, it amazes me how moving her delivery of the simple chorus gets with each repeat—I get goosebumps every time. While some listeners might find that she occasionally spends too much time in falsetto (such as in the choruses of ”夢見るアクター”), overall, she makes the most of her role in the group. Throughout the album, there are also a few instances of playful “shooby dooby” background vocals, such as in “station No.2”, further grounding the music in the '60s. The album’s already beautiful final track, “レモンビーチへようこそ (Lemon Beach e youkoso)”, ends with a glorious, choral outro.

It’s clear that ウワノソラ'67 have been doing their homework, paying homage to the musical styles of the past in such an authentic way. If there is one potential drawback to the album, it’s that the group doesn’t infuse their music with contemporary edge. British artists like Amy Winehouse and The Pipettes had similar musical “foremothers” to ウワノソラ'67, but their lyrical content was “updated” with a lot of contemporary sass and attitude; as far as I can tell, that is not the case here. But maybe that’s the point. Portrait in Rock ‘n’ Roll truly is like listening to the sounds of the ‘60s in fresh, modern recording quality, but instead of an LP in hand, you have a CD (or just mp3s)! Currently, I prefer this side project to the “normal” ウワノソラ output and I’m praying that this album isn’t just a one-off endeavor!

What did you think of the album?


Support the band! UWANOSORA SHOP
Dessinee Shop (international shipping!)
Parks Records (international shipping!)

Artist: ウワノソラ'67 (uwanosora’67) Album: Portrait in Rock ‘n’ Roll 1. シェリーに首ったけ (Shelly ni kubittake) 2. 年上ボーイフレンド (Toshiue boyfriend) 3. 傑作映画の後で (Kessaku eiga no ato de) 4. 雨降る部屋で (Ame furu heya de) 5. 葉っぱのように (Happo no you ni) 6. Hey × 3 ・ Blue × 3 7. station No.2 8. 夢見るアクター (Yume miru actor) 9. 涙のフォークボール (Namida no forkball) 10. レモンビーチへようこそ (Lemon Beach e youkoso)
Rating: | A blast from the past: retro-pop perfection!
 
ウワノソラ'67 (uwanosora’67) appears to be a side-project of the ’70s inspired pop band ウワノソラ (uwanosora), featuring vocalist Megumi and the personification of “heavy lifting,” Hirohide, who handles everything from composition, lyrics, arrangement and production to playing instruments like acoustic/electric guitar, bass and even marimba. Their first album Portrait in Rock ‘n’ Roll might have been released in June 2015, but stylistically, it fits right in with the music from half a century ago. As their name implies, they mostly take their influence from the ‘60s, citing the sound of “girl group” legends like The Ronettes, the harmony-soaked tunes of The Beach Boys, and so much more.

In true pop tradition, the album hits the ground running with their biggest hit, “シェリーに首ったけ (Shelly ni kubittake)”. Backed by a whole slew of support musicians playing everything from saxophones to harp, the group’s lush arrangements shine through, recalling Phil Spector’s “wall of sound.” The song is jaunty and fun in a very classic way, but the composition has a few surprises, such as the oddly percussive and bass heavy section in the middle of the chorus and a short slide guitar solo. Vocalist Megumi delivers a very sweet performance, singing in a slightly higher (more “Japanese”?) register than the American girl group singers who influence her. If the song isn’t enough, be sure to check out the PV below for wonderfully campy synchronized choreography—it’s like Japan’s version of the Hairspray musical.

“年上ボーイフレンド (Toshiue boyfriend)” is more piano and orchestra-based than the opening track. In fact, I was first reminded of Welsh indie pop group The School, who also have similar '60s influences to ウワノソラ'67. This track adopts a slightly more melancholic, wistful mood, featuring gorgeous string arrangements and heartfelt vocals. It’s evident that Hirohide has a knack for classic pop songwriting. Every song is a joy, from the cheerful tracks like “傑作映画の後で (Kessaku eiga no ato de)” to the album’s gorgeous rainy day ballad, “雨降る部屋で (Ame furu heya de)”. What really makes the album pop, however, are the immense arrangements. Whether it’s the horns that punctuate the verses of tracks like “涙のフォークボール (Namida no forkball)”, the majestic fluttery harp in “夢見るアクター (Yume miru actor)”, Hirohide’s own marimba action in ”葉っぱのように (Happo no you ni)”, or the numerous rich sax solos sprinkled throughout, the lovely arrangements are what take the album to the next level, transporting the listener to another era. While the album’s creativity dips ever so slightly in tracks 5 and 6, the second half of the album finishes off almost as memorably as it started.

Vocally, Megumi also deserves some praise. She knows how to balance the innocence, charm, and heart most befitting of these colorful arrangements. While not technically a very soulful vocalist, she makes up for it (like many of the best singers of the '60s) with an enchanting naiveté that is equally as powerful. In ”雨降る部屋で” in particular, it amazes me how moving her delivery of the simple chorus gets with each repeat—I get goosebumps every time. While some listeners might find that she occasionally spends too much time in falsetto (such as in the choruses of ”夢見るアクター”), overall, she makes the most of her role in the group. Throughout the album, there are also a few instances of playful “shooby dooby” background vocals, such as in “station No.2”, further grounding the music in the '60s. The album’s already beautiful final track, “レモンビーチへようこそ (Lemon Beach e youkoso)”, ends with a glorious, choral outro.

It’s clear that ウワノソラ'67 have been doing their homework, paying homage to the musical styles of the past in such an authentic way. If there is one potential drawback to the album, it’s that the group doesn’t infuse their music with contemporary edge. British artists like Amy Winehouse and The Pipettes had similar musical “foremothers” to ウワノソラ'67, but their lyrical content was “updated” with a lot of contemporary sass and attitude; as far as I can tell, that is not the case here. But maybe that’s the point. Portrait in Rock ‘n’ Roll truly is like listening to the sounds of the ‘60s in fresh, modern recording quality, but instead of an LP in hand, you have a CD (or just mp3s)! Currently, I prefer this side project to the “normal” ウワノソラ output and I’m praying that this album isn’t just a one-off endeavor!

What did you think of the album?


Support the band! UWANOSORA SHOP
Dessinee Shop (international shipping!)
Parks Records (international shipping!)

Artist: ウワノソラ'67 (uwanosora’67) Album: Portrait in Rock ‘n’ Roll 1. シェリーに首ったけ (Shelly ni kubittake) 2. 年上ボーイフレンド (Toshiue boyfriend) 3. 傑作映画の後で (Kessaku eiga no ato de) 4. 雨降る部屋で (Ame furu heya de) 5. 葉っぱのように (Happo no you ni) 6. Hey × 3 ・ Blue × 3 7. station No.2 8. 夢見るアクター (Yume miru actor) 9. 涙のフォークボール (Namida no forkball) 10. レモンビーチへようこそ (Lemon Beach e youkoso)
Rating: | A blast from the past: retro-pop perfection!
 
ウワノソラ'67 (uwanosora’67) appears to be a side-project of the ’70s inspired pop band ウワノソラ (uwanosora), featuring vocalist Megumi and the personification of “heavy lifting,” Hirohide, who handles everything from composition, lyrics, arrangement and production to playing instruments like acoustic/electric guitar, bass and even marimba. Their first album Portrait in Rock ‘n’ Roll might have been released in June 2015, but stylistically, it fits right in with the music from half a century ago. As their name implies, they mostly take their influence from the ‘60s, citing the sound of “girl group” legends like The Ronettes, the harmony-soaked tunes of The Beach Boys, and so much more.

In true pop tradition, the album hits the ground running with their biggest hit, “シェリーに首ったけ (Shelly ni kubittake)”. Backed by a whole slew of support musicians playing everything from saxophones to harp, the group’s lush arrangements shine through, recalling Phil Spector’s “wall of sound.” The song is jaunty and fun in a very classic way, but the composition has a few surprises, such as the oddly percussive and bass heavy section in the middle of the chorus and a short slide guitar solo. Vocalist Megumi delivers a very sweet performance, singing in a slightly higher (more “Japanese”?) register than the American girl group singers who influence her. If the song isn’t enough, be sure to check out the PV below for wonderfully campy synchronized choreography—it’s like Japan’s version of the Hairspray musical.

“年上ボーイフレンド (Toshiue boyfriend)” is more piano and orchestra-based than the opening track. In fact, I was first reminded of Welsh indie pop group The School, who also have similar '60s influences to ウワノソラ'67. This track adopts a slightly more melancholic, wistful mood, featuring gorgeous string arrangements and heartfelt vocals. It’s evident that Hirohide has a knack for classic pop songwriting. Every song is a joy, from the cheerful tracks like “傑作映画の後で (Kessaku eiga no ato de)” to the album’s gorgeous rainy day ballad, “雨降る部屋で (Ame furu heya de)”. What really makes the album pop, however, are the immense arrangements. Whether it’s the horns that punctuate the verses of tracks like “涙のフォークボール (Namida no forkball)”, the majestic fluttery harp in “夢見るアクター (Yume miru actor)”, Hirohide’s own marimba action in ”葉っぱのように (Happo no you ni)”, or the numerous rich sax solos sprinkled throughout, the lovely arrangements are what take the album to the next level, transporting the listener to another era. While the album’s creativity dips ever so slightly in tracks 5 and 6, the second half of the album finishes off almost as memorably as it started.

Vocally, Megumi also deserves some praise. She knows how to balance the innocence, charm, and heart most befitting of these colorful arrangements. While not technically a very soulful vocalist, she makes up for it (like many of the best singers of the '60s) with an enchanting naiveté that is equally as powerful. In ”雨降る部屋で” in particular, it amazes me how moving her delivery of the simple chorus gets with each repeat—I get goosebumps every time. While some listeners might find that she occasionally spends too much time in falsetto (such as in the choruses of ”夢見るアクター”), overall, she makes the most of her role in the group. Throughout the album, there are also a few instances of playful “shooby dooby” background vocals, such as in “station No.2”, further grounding the music in the '60s. The album’s already beautiful final track, “レモンビーチへようこそ (Lemon Beach e youkoso)”, ends with a glorious, choral outro.

It’s clear that ウワノソラ'67 have been doing their homework, paying homage to the musical styles of the past in such an authentic way. If there is one potential drawback to the album, it’s that the group doesn’t infuse their music with contemporary edge. British artists like Amy Winehouse and The Pipettes had similar musical “foremothers” to ウワノソラ'67, but their lyrical content was “updated” with a lot of contemporary sass and attitude; as far as I can tell, that is not the case here. But maybe that’s the point. Portrait in Rock ‘n’ Roll truly is like listening to the sounds of the ‘60s in fresh, modern recording quality, but instead of an LP in hand, you have a CD (or just mp3s)! Currently, I prefer this side project to the “normal” ウワノソラ output and I’m praying that this album isn’t just a one-off endeavor!

What did you think of the album?


Support the band! UWANOSORA SHOP
Dessinee Shop (international shipping!)
Parks Records (international shipping!)

Artist: My Fairytale Single: 鳥籠トロイメライ (torikago träumerei) 1. 鳥籠トロイメライ 2. トリックアート・ゴシック・マンション (trickart gothic mansion) 3. 白昼夢とアンソロジー(hakuchuumu to anthology)
Rating: | Rejoice! Fresh new VK talent! Oh wait, they're going on hiatus...
 
My Fairytale is a newcomer to the VK scene, having formed in mid-2014. I first caught wind of them as I was crafting my 2014 EOTY list. To quote my colleague @Jigsaw9, their “IKEA kei” look lured me in and I decided to give their previews a listen on YouTube—let’s just say their Tokyo under note maxi-single was a last-minute entry to the “honorable mention” section of my list. Flash forward to summer 2015 and now, we have the band’s next single 鳥籠トロイメライ (torikago träumerei). This makes me happy not only because we get to hear more from them, but because they are the latest in the trend of VK bands using random German loan words—yasss, I mean, jasss! Even from the song titles, you can sense the sort of fanciful world My Fairytale is trying to conjure, so let’s travel down the rabbit hole!

Light as a feather, the title track begins with twinkling piano, compounded shortly after with an eruption of ethereal, twangy guitarwork and vibrant basslines. The bass is surprisingly prominent, considering the fact that their bassist left earlier this year due to the ever-original “musical differences.” Other highlights include a pleasant guitar solo and some bars featuring elegant waltz-y time signatures. Kudos to drummer Neo for this compositional beauty; he seems to do a lot of the heavy lifting in the band’s songwriting! Music aside, one of the best parts of the track (and the band, let’s be real) is vocalist Kate. I’ve probably overstated my preference on MH for clear, higher-pitched male vocals, but let it be known that Kate has quickly become a new favorite! In fact, with his voice and the soft, evocative music, I’d even argue that 'torikago träumerei" is an exemplary piece of modern “white kei.” The Zephyr fan inside me approves! Now, I just need a washed out, misty PV on a bright white backdrop and we’ll be all set.

The delicate mood is shaken up with track two. “トリックアート・ゴシック・マンション (trickart gothic mansion)” features a steady electronic element throughout, calling to mind Moran’s heavy beat-driven tracks like “今夜、月の無い海岸で (tonight, at the seaside without the moon)”. My Fairytale’s take is a bit more mischievous sounding though, channeling hints of that LIPHLICH-esque cabaret atmosphere and chugging along with a groovy momentum that emanates throughout the track. Though there’s nothing to dislike here, the track is a bit one-note, not treading too much unpredictable territory. However, “trickart gothic mansion” does serve as an effective transition into the last track, which continues the dark, cheeky feel and infuses it with a zippy “Latin” vibe. Lively acoustic guitar graces us from the very beginning of the single’s closer, “白昼夢とアンソロジー(hakuchuumu to anthology),” making for a “shuffly” quality. One of my favorite parts of this song is the dramatic bridge before each chorus, featuring creepy melodies and epic drumming. The acoustic guitar solo and the following interlude are simple, but gorgeous and bring back the band’s signature piano. And there you have it!

Naturally, I gravitate mainly towards the title track, but I'm also starting to come around to tracks two and three. What becomes crystal clear with this single is that the band can dabble in any number of genres and still deliver beautiful music. After Tokyo under note, I thought their dark piano-driven sound would be their signature style. However, after listening to previews of their debut live-limited single and hearing torikago träumerei, My Fairytale appear intent on making the stylistic rounds--the way they are performing so far, I say, more power to them! I would say that it has me excited for whatever they do next, but @Trombe just broke the news that both guitarists are also departing and the band will go on hiatus. While this is pretty devastating, there might be a glimmer of hope, because drummer Neo (ostensibly, the lead composer) is still with the group. Will he and Kate be able to revive My Fairytale with new members? All I can say is I hope so. It would be a shame for yet another VK band with so much potential to dissolve before they even have a chance to soar.

What did you think of the single?


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Nice topic, Cat!

I remember when you introduced Lianne La Havas a few years back. I checked her out and enjoyed her guitar stuff, but it didn't really stick with me. This new song, however... Hot damn. GORGEOUS! It's got such a great vibe to it. Musically, it kind of reminds me of something Kimbra might do, with that spacey funk feel. Lianne's vocals are a lot different though (much richer! Sorry, Kimbra bb!) You got me looking forward to her new album, bruh!

Speaking of Kimbra, I see you there Bilal. "Shrieking like an R&B Thom Yorke" is not that far off, hehe.

Actually, all three of these are really cool! Thanks for sharing!
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Here's a few that I've been into lately.
 
Moodoïd is a French psychedelic band, led by guitarist/vocalist Pablo Padovani. If anyone is familiar with Melody's Echo Chamber, Pablo apparently plays guitar for that project as well. Their album Le monde möö was on my 2014 AOTY list. They've only released that, their 2013 self-titled EP, and a new single this year, so if you haven't been following them, you can easily catch up. Their compositions are really interesting and their imagery/videos are very... creative? If you're ready to get weird, give Moodoïd a try!
 



Tele Novella is a new discovery for me, but their style probably isn't a surprise for those that know my music taste--I love me some 60s-inspired indie pop. This band, from the Austin indie scene, keeps it interesting with a sllightly mysterious/psychedelic tinge. To complete the package, charismatic guitarist/vocalist Natalie Ribbons, whose ex-band

I tried "Urban Flora" by Alina Baraz & Galimatias and it was really great - not really a bad track on it. Very chill and mood-setting. Certainly one of the coolest things I've heard this year!
I've also got Moodoid on my list of things to get to eventually, but they seem really promising!
Lianne's album has been out for a little bit now. I only listened once, but I remember it being decent...I need to give it another go, though to see how I feel about it.
Also, a Joanna Newsom album in on the way! "Divers":
01 Anecdotes
02 Sapokanikan
03 Leaving the City
04 Goose Eggs
05 Waltz of the 101st Lightborne
06 The Things I Say
07 Divers
08 Same Old Man
09 You Will Not Take My Heart Alive
10 A Pin-Light Bent
11 Time, As a Symptom

http://pitchfork.com/news/59135-joanna-newsom-announces-new-album-divers-shares-sapokanikan-video/