Ito

We going old school here?
Here's one from 2005!

We going old school here?
Here's one from 2005!

Really nice review, Cat! I enjoyed the historical context that you gave to this one as well.
This release was my first time hearing Choucou and I was pretty impressed and is sitting in my top releases of 2014.

Really nice review, Cat! I enjoyed the historical context that you gave to this one as well.
This release was my first time hearing Choucou and I was pretty impressed and is sitting in my top releases of 2014.

Artist: chouchou merged syrups. Mini: clepsydra Score: chouchou merged syrups. is back in the game and playing for keeps.
Having reigned the latter half of the 2000s as Japan's "go-to" female-fronted indie-rock band, MASS OF THE FERMENTING DREGS left a huge void in the scene when they disbanded back in 2012. Many acts have sprung up in an attempt to claim that abandoned spotlight, but few have managed to distinguish themselves. Bands like Tricot and MAMADRIVE, while competent, still suffer from forgettable songwriting, while other groups are still trying to find their sound (Cö shu Nie, THE★komesuduo), focusing their talents solely on pop efforts (negoto, akai-ko-en), or simply not consistent enough in output (itsue) or quality (uchuu conbini). One band that fell into the trap of inconsistency is chouchou merged syrups., but on their latest mini album "clepsydra", they've managed to patch up the holes in their sound and present themselves as a force to be reckoned with.

Formed in November of 2010 in Kyoto, the quartet quickly garnered interest by signing with the indie-powerhouse label Zankyo Records (cinema staff, People In The Box, mudy on the 昨晩, té, early 9mm Parabellum Bullet) and released their first track "針中察するに" on the label's 3rd compilation subtitled "-brightest hope-". This song alone was enough to grab the attention of indie-heads, as it introduced a refreshing take on the emo-rooted, indie-rock styles played to perfection by bands like 9mm parabellum bullet and Cinema Staff. The intrigue surrounding chouchou swelled into hype as it was announced that their first mini album "since" would be produced by none other than Cinema Staff's bassist, Souhei Mishima. Unfortunately, that hype quickly fizzled out with the mini album being an utter disappointment. "Since" sounded dull and soulless, as if the band were handed blueprints to unreleased cinema staff songs and forced to play them at gunpoint. Even vocalist Chiaki Kawato gave a timid, almost fearful-sounding performance - one that was further marred by her constant straining to hit notes that she either couldn't or shouldn't have attempted to; this is a common, but contemptuous trait amongst Japanese indie-rock vocalists. Because "since" didn't live up to it's expectations, prospective interest in the band diminished and the release of "clepsydra" nearly went unnoticed. Thankfully, chouchou took note of their defects and improved upon them in every aspect.

Contrasting "since" from the get-go, "clepsydra" opens with a 40-second instrumental titled "月光" - a guitar riff that's melancholic, menacing, and shrouded in atmosphere. This piece sets the tone for the first half of the mini album as chouchou delves into a darker, more emotionally-driven sound than they've done previously. The first 2 songs "斜陽" and "白昼夢は色彩の無い" not only showcase this new direction, but they also boast a vast improvement in the band's songwriting. There's plenty of intense, emo-inspired instrumentation to rock out to, but this time it's more precise and colorful. Chiaki's vocal melodies are more congruent with her skill level and there's more power behind her delivery. The gloomy pseudo-ballad "踊る、そして" slows things down to a post-rockish crawl, but fails to reach a substantial climax. This is perhaps my biggest grievance with "clepsydra" - they missed an opportunity to catapult this track into the stratosphere, and instead, ends up sounding like a 4 minute interlude. Subsequent tracks "Havfrue" and "風のように" move the album in a brighter direction and expand on those undeveloped post-rock tendencies by employing a fine balance of twinkly guitar interplay and emotive choral passages. "橙鳴る" brings the album to a brilliant finish. It's intense but delicate, melancholy yet uplifting - the perfect symbiosis of sounds represented in the first and latter halves of the album.

As a whole, "clepsydra" makes it clear that "since" was just a hiccup and the initial hype surrounding the band was warranted after all. With performances lined up at MINAMI WHEEL 2014 and Zankyo Matsuri's 10th Anniversary events, in addition to a brand new track featured on the latest Zankyo Record compilation, the future is looking bright. chouchou merged syrups. may very well solidify themselves as the next female-fronted "it" band of the Japanese indie-scene!

We going old school here?
Here's one from 2005!

We going old school here?
Here's one from 2005!

Just finished Zankyou....man that was disappointing. I had such high hopes for that show.
Now to finish Usagi Drop.

Welcome to the forum! If you have any questions, feel free to ask anyone with a red or blue name

A few things got shared before my shop started, but for personal reasons, I'm currently in the process of getting my shop registered as a legit business. Because of this, I have to do things more "by the book", which certainly doesn't include illegal things like uploading. Beyond that, some people don't want the stuff shared. If there's something really rare that's only available at the shop and someone spends... say... $40 buying it, I think it'd be pretty shitty for the shop owner to go "oh you spent all your hard-earned money on that? now I'll give it to everyone for free!". If the buyer wants to upload it, then that's great, but they own it now and it's completely up to them. As "nice" as it'd be for people who couldn't buy, I'd be lying if I said that doing such things wouldn't lose me a TON of business in the process.

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I am honestly surprised (in a good way) that WTD is currently in second. I was under the (apparently incorrect) opinion that it was not one of Diru more highly regarded albums.

I finally listened to the previews. In some ways I really like what they're doing; but in others I'm underwhelmed. Just like their previous album everything is dressed up as sounding "new" when they're sticking to the same conventions that they've done throughout their career and adding a bit of flair to it. This is good and bad for me (upon initial listen of the previews), and where I feel like this release will end up going. There's some really awesome guitar work in there that is largely absent from Dir en grey, 12012, GazettE, Sadie, etc. Even though riddled with breakdowns and chugging done 100x over, Nii isn't taking the easy way out with power chords and simple chord progressions for the chorus. There is actual work and skill put into the sort-of shredding that he does in between the chugging riffs. I've always enjoyed Nii's playing, even when I've been at odds with their music.
 
The part that bothers me though, is my complaint with Monster: it's the same thing just dressed up differently to give the appearance of legitimate musical change when there is none. The level of distortion or the switch to extended range guitars (Nii was playing a 7 string last time I checked) =/= musical progress. Musical progress relies on how the music is structured, written, and where the band goes with it. What is girugamesh doing here? Nothing different than what they've been doing their entire career. Everything is in common time and features a half-step resolution at the end of every measure to lead into the next. Not only that; but sprinkle in some quick diminished hammer-on's and pull off's to add to the metalcore vibe. It's lazy; but in a way that is not only formulaic, it's underwhelming. Is it too difficult to extend a musical idea? Why can't a progression last longer than the given measure? Why don't they go anywhere with the music?
 
Despite that very harsh criticism, I'm still excited as this is an even further step away from that mess known as "GO"
 
 
 
 
 
EDIT: Just noticed the album is already up for download. Looks like I'll be listening to that next.

This actually sounds pretty promising. I found Monster to be pretty forgettable, even if it was an improvement over a lot of their more recent stuff. But this sounds like the band actually collectively grew a new pair.

GAUZE, because I only listen to music made by trannies.

This is freaking tough because I keep changing my mind as to what my favourite is! I chose Uroboros in the end because it's pretty much perfect, but if I could choose two I'd probably go for Gauze as I love every song off it.
It's a shame EPs aren't included as I would go for six Ugly in a heartbeat! I think the post-Kisou/pre-Vulgar sound was just awesome.

Thank god im not the only one with countless humble bundle and steam sales stuff i never played lol.
 
seems kinda useless to always buy stuff D: b

One from the HTPC

THE NOVEMBERS 5th album "Rhapsody in beauty"
Release date: 2014.10.15
2,500 yen
 
01.救世なき巣
02.Sturm und Drang
03.Xeno
04.Blood Music.1985
05.tu m’（Parallel Ver,）
06.Rhapsody in beauty
07.236745981
08.dumb
09.Romancé
10.僕らはなんだったんだろう

Raise your hand if your body is ready!

Honestly, it is so bad that it makes it hard for me to take the show seriously XD (well, that and the plot is a bit of a mess lol).

The English speaking parts in Zankyou no Terror kill me.

TBH, I don't blame all of X...in fact I would narrow it down to one member...no idea who that could be though. XD

TBH, I don't blame all of X...in fact I would narrow it down to one member...no idea who that could be though. XD

Of course we did, he just ignored it haha

http://www.setlist.fm/setlist/dir-en-grey/2014/shinkiba-studio-coast-tokyo-japan-6bce9a42.html
 
OMG.