ghost

I really liked those songs! Every time they changed I got slightly angry because I wanted to hear the rest of the song! haha. Nice work!

I'm jelly

THE"420"THEATRICAL ROSES is the first thing by Mejibray that I have listened to that wasn't their cover of Dir en grey's "Cage." I figured that if their cover of Cage was so good, this album would be pretty good too. I was sincerely hoping I'd love the hell out of 420. Sad to say I was disappointed instead. The amount of Dir en fanboyism in pretty much every track was a letdown for me as I was hoping for something that would set Mejibray as its own entity in my mind instead of "that band that covered Cage." I got the feeling of a band that was still trying to find their footing but couldn't quite get the traction they were looking for. 
 
My experience with 420 was a game of "do not push the next button, you need to listen to all of it." Each song seemed to bleed into the next, only letting me know the track was even switching with a small bit of silence between them. It went on forever and it definitely wasn't in a good way. Saying I had to force myself to give it a re-listen is a bit of an understatement. When I would think it was time to start the album over I'd look at iTunes and there would still be 10 tracks left. I don't feel like this band has enough in them yet for a 17-track album to not be completely exhausting for the listener. Based solely on 420, I don't feel like Mejibray is a good match-up with ballads, at least in terms of vocals. They were the worst part and only managed to make the album feel even longer.
 
I can tell this band has so much potential to be something awesome, it's right there at their fingertips. They just failed to fully reach out and grasp it with this album. I will say that this is going to be a band I will keep my eyes on in the future with hope that one day they'll surprise me.  "hatred × tangle red × hunger red" was the one track I did enjoy and would recommend to others. Rating this one is really hard for me as I didn't outright hate it but I wasn't in love either. It wasn't horrific but it's not an album I'd tell people they needed to listen to.
 

MEJIBRAY formed and rose from the ashes of VanessA in 2011. Since then they've had a rough go at it with a rather hit or miss discography. Their latest effort, THE "420" THEATRICAL ROSES, shows more of their struggle to find an identity. But that's not to say that it's without merit. 
 
The production on the album is a definite step up from their previous releases. One of the most notable improvements being Meto's meter sounds abundantly more solid and less "chopped"- a recording technique where drum hits are moved or replaced to have more clarity and precise meter. In the 2 years since Emotional【KARMA】's release the compositions have come a long way. The members no longer sound like they are fighting for attention over each other and have opted to share the spotlight to write songs that have a much more defined direction. The problem is the songs on the album don't necessarily complement each other. THE "420" THEATRICAL ROSES comes off as just another collection of songs and not a conceptualized collected work. One theme that does seem to span the album is wearing inspiration and influence on their sleeves. The album reads as a huge love letter to 90s and early 00s era visual kei. Which is something I can appreciate.
 
One of the stronger songs on the album, "Mr.レインは死んだふり(Mr.rain wa shindafuri)" leaves behind Mia's penchant for hair metal nostalgia and the guitar takes a more atmospheric and modern approach. The vocals mirror the polarity and sound as if Tsuzuku's voice might crack from emotion at any second.  "RAVEN Al Ver." would have been my pick for album opener. Everything works together in an insane, unexpected way with machine gun drums and vocals that erupt in inhuman shrieks and screams. Bass is rich in tone and breaks through to carry as much of the song as the guitars. Koichi may have took his sweet time showing up to the party, as the bass is considerably buried in much of the album, but he picked one of the best times to do it. Then there are the blatant Dir en grey tribute songs "埋葬虫(Maisoumushi)" and "hatred × tangle red × hunger red" which ironically enough are on par with the best songs on the album that showcase technical ability and emotional connection from the members.
 
THE "420" THEATRICAL ROSES is not without some missteps, however. The album suffers from being overly indulgent and could have trimmed the fat to be a much better 11 or 12 track record instead of condemning its listeners to the likes of "Hungry Psychopath", "Contagion", "瞬間のアイディアル(Shunkan no ideal)", "BOWWOW", and "SUICIDAL WORD GAME". These songs struggle with Tsuzuku's vocal melodies sounding thin and overpowered by the instrumentation of the songs. They also have trouble walking the line between boring filler or obnoxious try-hard territory.  I do give Mia a bit of credit for his guitar solos being the saving grace for far too many of the aforementioned. 
 
But the most memorable songs for me were the 6 plus minute epics "Echo" and especially the song "鳥は泳ぎ方を知らず溺れ亡骸(Tori wa oyogikata wo shirazu obore nakigara)". Thumping bass and drums pulse along to string and wind instruments creating a multi-layered orchestral atmosphere in the latter track. Guitar is retrained initially but steps in as the song explodes into full band for the chorus and Tsuzuku's voice manages to hold on for dear life to stay front and center. It was the only track that had me so enveloped I couldn't stop to compare it to anything else for the first time in the entirety of the album.  "SERVANT" is also unique with an interesting, almost death metal inspired approach to it but never quite makes it all the way there. Even still, I don't mind. The middle space they find is pleasant. Maybe if they wanted to break from the tribute band comparisons they could explore more of this sound. 
 
Even with its short-comings, I do think THE "420" THEATRICAL ROSES is MEJIBRAY's strongest album to date and they've come a very long way. And they'll continue to go a long way so long as they don't let their egos do too much of the song writing for them. Die hard MEJIBRAY fans should enjoy this album, but it may not be suited to the general visual kei fan's taste.
 
Rating:

MEJIBRAY had originally caught my attention because of their eccentric and attractive Visual Kei image. I feel their second album captures their style almost to a t. Being one of many indie Visual Kei bands on the scene with such massive adoration from a healthy fanbase, the anticipated album doesn’t fail in delivering the juicy goodness of MEJIBRAY’s sound we all know and love. Compared to their first album, it flows a lot better, with a preferred track placement this time. Chocked full of brilliant singles and new songs, the album is a thrilling ride right from the get-go.
 
The opener, “IDEA,” has a futuristic and eerie feel to it, thanks to an electro current going high and low in pitch. It’s a quick and fitting welcome to THE “420” THEATRICAL ROSES, and this is again delivered by the suitable, instrumental closing track “COPERNICUS.” We get right into the flow of the album with their newest released single “シアトリカル・ブルーブラック AI Ver.” which further offers a new sound to the album, making this release even more refreshing as these ‘AI Ver.’s are altered ever so slightly. “シアトリカル・ブルーブラック” was already a personal favourite of mine when it was released. The song, much like any Visual Kei single, follows an expected pattern. This can obviously be an issue for long time Visual Kei fans, but MEJIBRAY hits the nail on the head with this particular track. The chunky guitar and crazy drumming is super energetic and addicting. Tsuzuku’s vocals offer us what we’ve always received from him; a mix of clear singing, screeches, growls and screams. And let’s not forget how well MiA really works that guitar of his in his solo parts!
 
“DiefiL” is up next and is a very enjoyable track even after such a excellent single backing it up beforehand. Like track three, “Hungry Psychopath” doesn’t slow down the energy, actually sounding more melodious than previous songs. Its repeated guitar chunking after the chorus is highlighted wonderfully before leading into the chorus which is ever so harmonious due to the swift change in tune. Tsuzuku’s higher pitched vocalisation is something to treasure in this track.
The album seems to keep stepping up after every track for now, next with “Mr.レインは死んだふり.” The song falls and then rises to intense heights as Tsuzuku’s vocals alone accompanied by piano which continues to play along with the band into the chorus. Another ‘AI Ver.’ follows, this time of ‘RAVEN.’ Nothing can beat MEJIBRAY’s singles in my book and ‘RAVEN’ certainly doesn’t miss the mark. Dramatic and smooth, the chorus is even more pleasing to the ear compared to the highly enjoyable “DiefiL.” The steady and gripping pace of this single definitely shouldn’t be overlooked.
 
Following tracks “埋葬虫” and “Contagion” continue to deliver the punches without exhausting the album. I particularly enjoyed “Contagion,” which takes on a slower tempo against the first load of rough tracks but still keeps Tsuzuku’s signature vocalisations in. It’s actually quite pleasant. Following in the ‘pleasant’ description, ballad “Echo” comes next. It’s unfortunate this album promoted track is the one ballad in the album, but already a problem might be spotted by a few listeners. At over six minutes long, it’s a lengthy track in an already packed album. But even if it looks unappealing, you better give it a chance. My view on MEJIBRAY’s ballads is that it’s the best produced songs of theirs. Tsuzuku’s voice is fitting to such a song and the instrumentals definitely compliment and drive this along, making it an emotional and smoothly delivered performance.
 
Now, after nine tracks in, the album seems to exhaust considerably due to its big running time. This becomes increasingly obvious after this song as every other tune follows a similar formula to all the other previous, first half high energy songs, no longer sounding individual. As a massive fan, it’s disappointing to admit. Even though we've waited a while for a full-length album, it may be a bit too much. So, while every track packs a punch, the album itself may fail keeping listeners gripped from start to end, not managing to impress newcomers or even long time listeners. But this album is a definite step up from their first. I look forward to the band progressing further and finding their place and sound in the scene before being seen as unoriginal or uninspiring. With an eye catching album cover and beautiful detail to attire and music delivery, you've gotta give these guys some credit at least. Step up lads and prove to us all your worth!
 

Artist: MEJIBRAY Album: The "420" THEATRICAL ROSES Score: A step-up but still not quite there yet!
Finally, it's here. MEJIBRAY's 2nd full-length after 2.5 years, which might sound like a long time in 'J-rock years' but Tsuzuku & co are not ones to slack off. After releasing countless singles and a mini album, they've kept plowing on with varying degrees of success. That's one thing about MEJIBRAY: they have an air of uncertainty about them. The problem is, this atmosphere is generated not by their image but the inconsistency of their songwriting – something that should be expected if you churn out song after song like a reverse-Yoshiki on crack. Accordingly, I was looking forward to their 2nd album with a mixture of hope and anxiety. The fact that their 1st album (after my initial excitement died down) turned out to be mediocre and lackluster at best when counting the actual new tracks didn't bode well for the hilariously titled THE"420"THEATRICAL ROSES either.

I must say, however, that I'm truly impressed this time around! I really feel that they managed to construct a better vision of what an ideal MEJIBRAY album should sound and feel like. Gone are the stilted, almost demo-like compositions that so often plagued their previous full-length. Instead, these songs are clearly fleshed-out and arranged rather well. The band adds lots of small details that make the tracks much more interesting and enjoyable to listen to – a flourish of synth, piano or even an exotic instrument here and there. MiA once said in an interview how, at one time, he wanted to give up playing guitar and just be a producer/arranger for bands. This shows here wonderfully, and proves to be an effective 'secret weapon' in the MEJI' repertoire.

The expansion of sound also opens up new doors for experimentation, as evidenced by tracks like the light, poppy "瞬間のアイディアル" or the extremely powerful and dramatic closing monolith that is "鳥は泳ぎ方を知らず溺れ亡骸" (complete with haunting traditional flute melodies). Those who like their MEJIBRAY a bit more direct and fast as a cannonball will be glad to know that the 2nd half of the album packs some strong numbers, such as the infectiously driving "BOWWOW" or the ominously titled "SUICIDAL WORD GAME" that features the cheekiest punky riff of the band's career. It's interesting to hear how they managed to spice up these compositions despite their apparent simplicity, with unexpected acoustic rhythm guitar in the former and some wicked death growls in the latter one. Also, just before we get to the dramatic finale we're treated to the excellent "Cristate" that competes for the title of catchiest song on here. A nice way to lead the listener into the grand closing track.

That said, the album is not all moonlight and roses (see what I did there?). While most of the tracks manage to capture the listener's attention, some of them are just too long-winded and fall into the trap of being a bit too makeshift. A good example for the yawn-inducing type is "Echo", the song they curiously chose as the music video to represent the album. Honestly, who wants to hear another 6.5 minute-long fluffy ballad when such songs often miss the mark even in the hands of the most skilled craftsmen? I believe that if the band had weeded out a track or two this would almost be a 5-star release but instead they went with including everything they could, so that there would be a better chance for everyone to find something to their own liking. Which doesn't sound like an inherently bad thing, but brings me to my final gripe: the album is just too damn long. It could've been tighter with 10 minutes or so chopped off.

All in all, I think MEJIBRAY were able to convey their vision and sound a lot better with this album, compared to Emotional【KARMA】. There is a great variety present here and most of the slight experimentation they implemented into their tunes comes across effectively. As someone who has been following the band from their very first releases, even I was surprised at some of the decisions they made with a couple of songs on THE"420"THEATRICAL ROSES. It's a commendable effort that is well worth listening to if you are a fan of the band – and especially a fan of their releases from the past year or so. I'd gladly recommend the album to those, too, who haven't had their taste of MEJI' before, since it showcases some impressive tracks despite the obvious flaws and shortcomings. However, if you haven't found enjoyment in MEJIBRAY's work so far (or you just liked their first few records) then you can gladly skip this one.

The artwork reminds me of this scene from Archer. (Mostly due to the dog.)
 

I was able to get a brand new copy of Lynch's "The Avoided Sun" First Press.
Do I open it?? -____-

My best medium is video and music so I thought I'd post some of my work here.
Here's my most recent work. Finished just this morning!
 
Falling into Winter


 
Fall has passed and Winter is now here to stay.
I wanted to capture the essence of these seasons using my home as the setting. 
Because, after all, isn't home the place we all gather to enjoy this time of year?
 
All video was shot and edited by me.
All music was written and recorded by me.
The food, however, was not made by me.

My best medium is video and music so I thought I'd post some of my work here.
Here's my most recent work. Finished just this morning!
 
Falling into Winter


 
Fall has passed and Winter is now here to stay.
I wanted to capture the essence of these seasons using my home as the setting. 
Because, after all, isn't home the place we all gather to enjoy this time of year?
 
All video was shot and edited by me.
All music was written and recorded by me.
The food, however, was not made by me.

Fixed. Because it made me laugh.
 
(To keep on topic, I might have to buy this album soonish...)

I also found this and it was too good to not share.

I am....
 

xD Well done on your research by the way. Determining which sexuality you fall into can be really confusing but as my other asexual friend has always said 'people shouldn't have to label themselves.' It doesn't matter, I just wanted to show the original poster that they're not alone here hah.
 
No worries on that by the way, I seem to just attract the lads who're desperate for any gal to love them. Too bad I can't love them in that way they're wanting haha. But thank you for that, but I get the last laugh again; he's now 'engaged' to this girl he's been on and off with since school.. at the tender age of 16 lol. I wish them good luck.
I mainly wanted to reply in responding to your last sentence to be honest because no one has found it funny or at least said it is. xD I was going for humour with the sig for xmas so I'm glad someone thought so! :'3

because this hasn't been used before xD

Nevermind, after a quick google search,
 
"Asexuality is distinct from abstention from sexual activity and from celibacy"
 
Also,
 
 
I will boot myself from this thread accordingly ^^
 
@Beni: Sorry to hear that Beni : ( Not gonna lie that's really low. That 'boy' was rude and insensitive.
Your signature gif is hilarious btw X)
@satetsu: lololol

Single life is great. More money for rarez!
Jk. If you have some great same gender friends it ain't so bad.
But it starts to get less great when they start dating :/

THIS his hair has definitely saved their career <3

https://www.youtube.com/watch?v=mCe78_zNgOM

Kyotakumrau reports that this is Tachiki Fumihito, who played Ikari Gendo in Evangelion.

I bet Toph could suffocate her in her uniform if she felt like it. She's not only the best earth bender that ever lived, she's the first metal bender too. Kuvira wants no parts of that.

"YOU GIVE METALBENDERS A BAD NAME".
 
Even Kuvira knows not to fuck with the original Beifong :'D

What if the album never leaks. What if Sunday, December 7th, 2014 never ends.

Artist: DEZERT Album: 「タイトルなし」 Score: Sometimes, you just want some DEZERT before dinner.  
 
DEZERT fall under the umbrella of “up-and-coming” visual-kei bands influenced by earlier acts— “homage-kei,” if you will—with “friend bands” Grieva and AvelCain. Grieva is on the far left of the spectrum, providing the most old-school-meets-modern-day sound; DEZERT is on the far right, as they are the heaviest of the three and mix later influences, such as Merry, Lynch., and D’espairsRay with nü-metal; AvelCain is in the middle, drawing on influences from turn of the century~mid 2000’s bands while remaining as a happy medium between the two styles of the other groups in question. All three have similarities, such as dark themed music and resounding feelings of angst, which provide a modern twist on the visual stylings of days past. In addition, these bands appear to tour with each other quite often and have even participated in some beautiful photo collaborations. Of this trinity, DEZERT is actually the least discussed aspect on MH, even though they are actually the oldest (and last to release a full LP). So, how does 「タイトルなし」 hold up to other visual-kei releases of this year?
Originally, titled “嘔吐ニ関スル勅語(outo ni kansuru chokugo)”, an abrupt name change to「タイトルなし」 ("Untitled"), generated a bit of anxiety amongst fans. As this band has released a handful of singles and 2 mini-albums before now, I was fairly concerned that an uninspired album title would pave the way for an album taking a page out of 朱’s (Suzaku) book—in case you’ve gotten, they had a whole album with only 4 new songs, 1 of which was a short intro. Thankfully, this album did not fall for the enticing, lowly hung, fruit and pulled a lynch. by releasing an album made of entirely new material out of nowhere. From the get-go, it dishes out hard-hitting tunes in their Sunday best nü-metal style, presented in a way that is 3~4 steps above the quality of their previous releases. As someone who didn’t care for their two previous works, 精神科医(拒食症)のスナッフフィルム集 (Seishinkai(Kyoshokushou)no SNUFF FILM Shuu) and 特製・脳味噌絶倫スープ〜生クリーム仕立て〜 (Tokusei・Noumiso Zetsurin SOUP～Nama CREAM Shitate～), and somehow always found something preventing me from really digging these guys, I went into this album rather aloof. With the start of “----,“ I immediately lost my jaded / faded disposition. Finally, this had done it for me.
One of my immediate thoughts while listening to this album was that fans of early Mucc will probably dig this. The first two songs, “----“ and “「嘔吐」“ (Outo) are both short, but heavy, numbers with a ton of emphasis on bass. It’s nice to hear a visual-kei song, let alone two songs, with this dynamic—usually there is a lot of guitar wankery and soloing for the sake of soloing. Here, SaZ steals the show, while キラ-Kira- supports this bass-driven melody with brooding guitar harmonies. In terms of vocals, those lovely aesthetical vocals from “「眩暈」” (Memai) are back, but quickly turn turbulent at the start of “「嘔吐」,” which I suppose is where 千秋-Chiaki- vomits his feelings, aptly happening in song who’s name translates to “vomiting.” What works really well here is that after guttural part, the melody of the song returns to the original theme, showing that these songs are of the same idea.
A good chunk of this album is in the band’s typical style—still in the realm of nü-metal, mixed with a bit of –core and angsty “ZETSuBOu!!!” delirium we’ve all come to know and love from the early 2000’s. If bands like Mucc, Kagerou, and Vidoll—groups that often used heavy verses and a poppy chorus, sometimes paired with mumbling or frantic breathing—spark some feelings of nostalgia, then you know exactly what I’m talking about. “「殺意」,” (Satsui) the promo track for this album, falls into aforementioned category, is typical DEZERT in a slightly more disjointed form. One strength here is that “「殺意」” has quotable lyrics. However, the flow of how he says "satsui" eight consecutive times is awkward: with a 4/4 time signature over a chorus in a different tempo and key, it sounds disjointed. Since the pv showed up, I was not into this song for whatever reason. Listening to it in the context of the album, I do like it a bit better, but it is far from the best track on here.
“Infection”, “「教育」,” (Kyouiku) “脳姦少年,” (Noukan Shounen) “doze.,” fall into this category as well, ordered from least preferred to most. “Infection” felt like a filler track to me; “「教育」” is more of the same heavy verses with poppy chorus –core song that I’ve heard before that is almost redeemed with some neat riffage; “脳姦少年” has some interesting Merry-like guitar work going on, albeit the chorus is really weak; and “doze.” sounded like something off of –OZ-‘s Versus, which was cool. I would also like to note that “doze.” has the frantic mumbling motif going on during one of the breakdowns. Nothing like a breakdown in your breakdown |D
DEZERT also threw in some lighter songs here as well, which is fairly new for them. I personally did not care for them myself, but, if those are your cup of tea, be sure to check out “さぁミルクを飲みましょう。” (Saa MILK wo Nomiamshou) (a more melancholy ballad about drinking milk), “「軽蔑」” (Keibetsu) (fairly straightforward indie / ojisan rock song), and “-26時の冷凍庫-” (26ji no Reitouko) (which is a decent piano outro). Without these tracks to break up the flow, this album would have undoubtedly been exhausting to listen to.
In addition to the first two songs, there were a few songs that I did really enjoy. The first is “胃潰瘍とルソーの錯覚” (Ikaiyou to ROUSSEAU no Sakkaku) : where did this Matina-styled riffage come from? From the get-go, this song has a mesmerizing draw. What’s interesting here is that this isn’t just an old-school revival song, it actually mixes a few different genres around in a way that I haven’t often come across before, especially in visual indie bands. Somehow “胃潰瘍とルソーの錯覚” sounds like a mix of Madeth Gray’ll and 鴉 (Karasu) and it works, gawddamit. I enjoyed the airy and wistful chorus, as well as how this song played on some new ideas that are not just dissident chugging. “「擬死」” (Gishi) is another powerful track. This song is one of their slower ~ mid-tempo’d numbers that brings back what DEZERT does best: creepy atmospheres that build into an angry mash-up of rage and smeared eye shadow. My favorite part is the guitar riff paired with a vocal melody that gently progresses upward in pitch as the tension in the song swells – phrasing like this is something visual-kei is in dire need of. Every so often, “「擬死」” gets quiet and then explodes into a break down with千秋-Chiaki- freaking the fuck out. Not to be shady, but Kaya could not.
Overall, this album is a decent debut for DEZERT, especially as a band who isn’t actually new and has quite a few releases prior to this. On the plus side, none of their earlier material is featured on here. On the down side, there isn’t enough of a change in style amongst the songs presented here that I never felt like “yeah, I’ve heard something like this before.” In comparison to the rest of their discography, the maturity they’ve shown here is enough to not feel like this was more of the same, but I would have been far more impressed had I not heard their earlier works before. With that being said, this is one of the best visual-kei albums I’ve heard this year. If you’re in the mood to feel your angst-kei oats, give this one a spin.

Artist: TK from 凛として時雨 Single: Fantastic Magic Score: Fantastic Magic? You bet it is!
TK from 凛として時雨(Rin Toshite Shigure), male vocalist of said band, presents his second solo album titled Fantastic Magic. 凛として時雨 and TK’s solo works are indie rock and alternative, but both units also utilize the genre of shoegaze, making them incredibly interesting. As TK breaks away for a solo effort from his band formed way back in 2002, he successfully creates a wild and dramatic ride sure to please all our musical needs.

The album starts with “Fantastic Magic.” Our ears are exposed to thrashing drums and quick piano keys playing along to strumming of guitars along with TK’s whimsical vocals calling out to us between the pauses. As soon as the song’s in full flow, it’s a manic musical racecourse, building up to the chorus where we hear TK’s sincerest shouts we’ve been waiting for. The single “unravel,” featured as the opening for anime Tokyo Ghoul is up next, the song many listeners look for. It gets any listener pumped up for what’s coming next. Thanks to the cluster of violins, drums and guitars playing together, and the emotional drive of TK’s helpless tone, “unravel” is a gripping song. Along with the tuneful build up to the end, we’re hit by TK’s desperate shrieks after the first chorus. Not only is it fitting for the anime tie-in, it’s a perfect fit to TK’s signature musical style with the mixture of high and low vocalisation, creating a quick, pulse-racing track.

Being a more beat oriented track, “kalei de scope” builds up tension and the emotional chaos is slowed down. The tiny taps of piano with small segments of drum beats, guitar strings, and electric beats all mix into a mesmerizing piece of music. The abrupt end makes you want more. “an artist” contrasts with previous tracks, sounding far more hopeful. TK doesn’t raise much of his voice in the song and it’s is definitely the calming point of the album. With piano backing the band, its melody is enchanting. In small sections, the music may completely halt so we can only hear TK’s echoing, breathy vocals. This creates a haunting tone, never stopping in dragging the listener in.

TK’s tone in “tokio” is just as emotionally breath-taking as his shrieks. He captures us, being entrapped and torn by his vocal work. An impressive acoustic track, it shows us just how emotional his unique voice is. A piano is used throughout this song which continues into the upcoming track. The stunning ballad “Shinkiro” features the equally child-like, innocent sounding singer Chara. The track is distinctive because of the added vocals and emotions. The fluid sounds of acoustic guitar, drums and bass doesn’t make the song overbearing or sleep inducing. The imperfection of both vocalists’ voices creates a modest and honest song which is chilling to the bone. There’s a sense of gentleness and warmth with the duo of sweet sounding voices.

The album version of “Dramatic Slow Motion” now begins to refill the tank after the few resting tracks, which is a thrilling ride, effectively building up throughout by the instrumental involvement to create a dramatic and racing tune that delivers an electrical current until the end. “Spiral Parade” is instantly a toe tapping number. Catchy and addicting. This track welcomes you to dance while rocking out. TK keeps his unique tune as the violin playing within the chorus adds another layer of chaos below the electronic beats and taps. The louder the music gets, the more instruments become involved, including random piano keys playing and steady beats from a drum.

TK takes on another soothing song, entitled “fragile.” The track is just as atmospheric as the ballads beforehand. What can now be noticed is how strained TK’s voice can be when he sings in a lower tone. This may put many listeners off the acoustic/ballad sounding tracks due to how piercing it can be. However, that’s where the source of magic can be most noticed. The irregularity of TK’s vocals creates the much needed melancholic feeling. “contrast” mashes various pieces of instruments very smoothly to create a tuneful closing. Starting off with only the piano, it quickly becomes very pleasing to listen to. We’re given everything TK’s offered us throughout the album in this final track alone. It’s atmospheric in the verses and bridges then energetic as soon as the chorus hits us. And when it does, it’s stunning. The instruments play harmonically together into a dramatic finish and TK’s vocals never slip up. It’s very worthy of being the album closer.

In conclusion, what we have here is a gem. Listeners who haven’t given a shot at the genre should definitely give TK a listen. His individuality and uniqueness is expressed wonderfully and definitely deserving of more attention. Because of how the tracks are ordered, various songs contrast effectively with one another. While my personal preference disagrees with the placement of “fragile,” the ‘problem’ many may be turned off by is TK’s vocals in the slower songs. However, the tranquility of each and every song deserves recognition. It’s ‘Fantastic Magic.’