Jigsaw9

BEFORE MY LIFE FAILS will release their new single "SOLARIS" on 2014/11/05.
 
Tracklist:
 
1. Direct Solaris 2. Transaction  3. Division Point  

Final track order:
 
01.Bondage
02.最後ノ晩餐-黒イ百合ノ花ト××× version-
03.相剋ノ[baiser]-黒イ百合ノ花ト××× version-
04.退廃的狂葬-黒イ百合ノ花ト××× version-
05.wish-acoustic version-
06.Diary-unplugged version-

Mannequin electro-pop duo FEMM will release their first full-length album titled "Femm-isation" on 2014/10/01, worldwide through iTunes. It will contain all their songs released so far, totaling up to 13 tracks.
 
Tracklist:
 
01. We Flood The Night 02. Astroboy feat. Honey-B & W-Trouble 03. Kill The DJ 04. Party All Night 05. The Real Thing 06. Dead Wrong 07. Unbreakable 08. Girls Night Out 09. Kiss The Rain 10. Fxxk Boyz Get Money 11. White Noise 12. Whiplash 13. Wannabe   Newest PV that premiered a few days ago:   https://www.youtube.com/watch?v=CsIHw8Bsyw4

Ray Harryhausen: Special Effects Titan - Thanks for mentioning this, Bear! I'm a sucker for old-timey/classic special effects and this documentary was a treat to watch. It also made me recall how I might've seen two Harryhausen flicks when I was little but never really connected the name to the product (they were Clash of the Titans and One Million Years B.C.). The ending was heartwarming.
 
Gone Girl - Got to see this new David Fincher movie at a special advance/press screening and I gotta say it was fantastic! Maybe a bit overly long but a very effective mystery/thriller with more twists and turns than a pro rally driver could handle. Ben Affleck and especially Rosamund Pike were excellent in their respective roles. So much darkness, corruption and manipulation, it was delicious. Recommended!
 
The Game - Since I was in high spirits after seeing Gone Girl, I decided to go back and watch some Fincher films I hadn't before. This one was a nice dark little rollercoaster with Michael Douglas. The tone of the ending surprised me a bit tho, in that it was so unlike how they would end a movie like this if it was made in recent years. A solid film, all in all. Won't become my favorite but it was good.

Yoko Kanno / The Seatbelts - Tank! (brings back memories)

I... I can't put it into words... Just watch. xD
 

Artist: girugamesh EP: Gravitation Score: After a few years of borderline radio-friendly stagnation, Girugamesh have hit back with quite possibly their best release yet.
After a few years of borderline radio-friendly stagnation, Girugamesh have hit back with quite possibly their best release yet. Last year's Monster symbolised a beacon of hope for both fans and the band. The aggression was back, the heaviness was back, Girugamesh was back. Although steeped in pop-sensibilities at times, the album took a 180 from pop to electronic metalcore, leaving the burning wrecks of Now and Go far behind.

It's been a year since their last full-length Monster, and Gravitation not only keeps this reclaimed heaviness in place but polishes it to perfection. Kicking off with their hardest song to date, 'Go Ahead' lures you in with gentle tones before ripping your head off. Satoshi's transition from gentle crooning to terrifying growls, for example, are nothing short of frisson worthy. Having the rawest vocals, the hardest breakdown, and the most memorable chorus, this song characterises the EP and spearheads their new sound. As a song that can only be described with superlatives, 'Go Ahead' highlights how Gravitation has led the band to a new level of heaviness. This permeates throughout the EP. While 'Reflection' displays a hard metalcore influence, for instance, 'Vortex' goes beyond that, opting for a thrashy deathcore vibe; a massive departure from Go in many respects.

I thought it would let up at some point but the whole EP is like this; every time a lull in the intensity is expected, it continues its bombardment of chunky riffs and pleasantly incessant drumming. This is exemplified best in 'Reflection' where Satoshi tries to do some severe damage to his throat...in the best possible way. They could have included a slower, gentler track to give the listener a breather, but instead they opted for five heavy songs varying in loudness and intensity. The infectious electronic elements and catchy vocals which have characterised their more recent efforts are used to full effect here, modernising their previous sound and making each track as memorable as the last. All of these elements culminate in 'Vortex' which, replete with screams, riff-heavy guitar work and double-bass pedaling, is the best way to end Gravitation: in the same loud and exciting way in which it started, exuding a confidence not found on their older material. This is the Girugamesh we wanted after Music and the band sure as hell knows it.
 
By cramming everything their fans love about them into one neat package, Girugamesh has created their best effort yet. Contrary to more recent releases, the intensity and loudness of their old sound is back and better than ever. While taking a new form reflective of some current "-core" genres, classic Girugamesh permeates to the point where they might win their older fanbase back.

Upon listening to Gravitation it's clear that Girugamesh are back and louder, heavier and better than ever!

Drummer Makoto Takei is leaving the band. *sigh of relief but also awwww*
 
setlist is here~ (nice that they included Guuzenran and Kiri kiri maimu, I guess in honor of Makoto?)
 
01. エロトピア (Erotopia) 02. 淫靡まるでカオスな (Inbi maru de Chaos na) 03. -踏- (-Tou-) 04. 偶然嵐 (Guuzenran) 05. トゥナイ トゥナイ ヤヤヤ (Tonight Toniyayaya... or whatever, u get it xD) 06. 舌先三分サイズ (Shitasaki sappun Size) 07. 近代的コスメ唱歌 (Kindaite Cosme shouka) 08. 娑婆乱打 (Shabaranda) 09. トレーションデモンス (Trationdemons) 10. 誘蛾燈 (Yuugatou) 11. 原色エレガント (Genshoku Elegant) 12. オーバーナイト ハイキング (Overnight Hiking) 13. 君が咲く山 (Kimi ga saku yama) 14. きりきりまいむ (Kiri kiri maimu) 15. マグロ (Maguro) 16. せんちめんたる (Sentimental) 17. マネキン (Mannequin) 18. 混沌の猿 (Konton no saru) 19. グッド、バイ。(Goodbye)   EN 01. 最後の宿題 (Saigo no shukudai) 02. さよなら、スターダスト (Sayonara, Stardust) 03. クソバカゴミゲロ (Kuso baka gomi gero) 04. サイレン (Siren)   edit: They also announced their next fanclub-only gig which will be at Shinjuku LOFT on 2014/10/03 and titled "トコママン with #7.01" (Tokomaman with #7.01). I wonder if this is a kind of "last-last gig" of Makoto, or already with a new drummer?

Iconoclasm + Limbo yas

Ray Harryhausen: Special Effects Titan - If you're just slightly interested in what goes on behind what you see on the screen when watching a film full of special effectis, either it is stop-motion animation or CGI, then this should be of interest to you, as it goes through the film-life of Ray Harryhausen, the greatest animator of all time. You geat an interview with the man himself as he talks about his films and work, and also with folks like Peter Jackson, Steven Spielberg, Tim Burton, James Cameron, John Landis  John Landis, Terry Gilliam, Joe Dante, Guillermo del Toro, Vincenzo Natali, Ray Bradbury and more, as they talk bout Ray Harryhausen's influence, not just on themself, but on the world of cinema itself. One of the most influential guys to work with film! This is a must-see IMO.
 
Snitch - Mediocre, though decent enough actionthriller with The Rock. Nothing out of the ordinary, but OK entertainment on a thursday evening.

girugamesh - gravitation
 
 
WRITE-UP:
 
 
The first mini-album from what can be seen as the `new` girugamesh that comes off as `solid` no matter which way I look at it, from the quality of the tracks, to the production, congruent sound, and tonality.
 
After what quickly became my favorite Girugamesh release, the album MONSTER, they took a slightly different approach with their LIVE BEST, and have now returned to put out a mini-album that would be redundant as an album, but feels perfect in it`s five track form.
 
What girugamesh seems to have done is perfect a sound. The tracks all play out with complete conviction, absolutely dialed transitions and compositions, and what must be the best production quality and mastering of their career to date. The perfect, seamless approach to their sound is what struck me the most in my initial listens, and defines this release to me. To get a taste for the sound, listen to the gravitation track, this would be the most new-user-friendly track. If you can stand to go a little harder than that, then you should hear out the rest of the album.  Unlike Monster which played with different elements in a looser way, this release sticks very closely to a familiar center, although it does employ new elements influenced contemporary sounds as well, though none of these define the songs; the main dish is always the giru-sound, it`s never someone else`s sound with giru sprinkled on top, which fans of their current key elements should be able to appreciate.
 
Overall, you are getting a masterclass in the core of modern girugamesh, executed beautifully, with five tracks of straightforward head-bangers that plays out seamlessly, and is very friendly to the repeat-button.
 
 
Track Count: 5
Listens: 15-20
Production Quality:  Absolutely blown away from the sound of this one, a heavier album, but without as much as a rough edge as MONSTER`s production. The sound-stage and depth of the lows as well as their placement is quite something.
 
 
Overall Rating:
 
 
Worth the Purchase?
 
At a price lower than what some bands charge for singles, and almost half of the cost of many of the other mini-albums in my collection, I would say if you like the title track, then yes, it definitely is more than worth the price.

Goddammit, that distortion/guitar tone on the first Bloodbath album is slaying me so hard... especially here:
 


 
Yay for 6-stringed buzzsaws / electric razors~

Good boy!
 
Also, talking about Bloodbath - here's another recommendation:
 

Bloodbath - Toxic Death
 
No, this ain't a release by the Swedish death metallers, this is a thashing death metal release by a Serbian band from 1990. Boodbath plays raw, agressive death/thrash that sounds like a mixture of bands such as Merciless, Possessed, Necrovore and Morbid Saint. It's not original, not even for its time, but it's got plenty of character and it's a exhibition in brutality and agression. Do yourself a favour and check out this masterpiece!
 

Frypan could never

Some pre-Madeth gray'll and Loz'a≠Veria goodness courtesy of rarezhut.
 

 
The green tape is even brand-new so that I can't get to it without tearing that green cover/sticker... which I'm not about to do.

What I think is ironic about me and this band is that when the general consensus is that their release is good, I don't care for it and vice versa. I think this overall single is not only better than Raven, but I also think it's their best start-to-finish single in their career. Even Sabato, my previously favorite single, didn't compare because of that Ackercock atrocity. But in this single they've made 3 songs that I can really get behind and listen to over and over and like every time. Which is saying a lot. I want to love Mejibray, but they have more bad/boring songs than good.
This single though is stand out to me and I would give it a 5 star rating, but of course that's just me.

Wow Zess, that was a mouthful. Cool review tho, even if evidently I'm on the other side of the field so to speak.
 
My thoughts on these 3 tracks (gonna go track-by-track cuz lel whatevs):
 
Theatrical Blue Black - Starts out with a light but powerful feel, and it's good to hear MiA finally utilize riffs on recordings he could actually replicate later in a live setting with just one guitar. The verses flow nicely into that bridge thingie, tho the screaming/squealing part is totally unnecessary, it feels like it's just there to "be there". Thankfully, the chorus is pretty sweet and sticks in your head immediately. Overall, a pretty cool track for an A-side with lots of energy, makes me hyped for the album (along with RAVEN).
 
BI"name"JIKA - I totally live for that cheesy synthy atmosphere in the beginning of the song, and then the weird clapping beat during the verse. xD It's something I haven't really heard from these guys yet, but still fits in well within their carved-out style. The chorus is surprisingly mellow (the beginning of the track somehow made it feel like a light-hearted feelgood party number)... then that last minute totally makes me lose my interest. Average song with some interesting bits sprinkled in.
 
HATE - Somehow I thought this was gonna be a fast punky SADS-like bomb (yeah, because of the title xD) but rly it's your regular MEJI'song with a bit more aggressive guitar parts and backing shouts thrown in (which I approve of!). This song kinda just flashes by you, there isn't much for it to stick in your memory. This is one of those tracks that might sound cool but ultimately it's just kinda hollow and by-the-numbers.
 
| an okay single, the usual (tho a bit better B-sides this time around, compared to their last one)

Wow Zess, that was a mouthful. Cool review tho, even if evidently I'm on the other side of the field so to speak.
 
My thoughts on these 3 tracks (gonna go track-by-track cuz lel whatevs):
 
Theatrical Blue Black - Starts out with a light but powerful feel, and it's good to hear MiA finally utilize riffs on recordings he could actually replicate later in a live setting with just one guitar. The verses flow nicely into that bridge thingie, tho the screaming/squealing part is totally unnecessary, it feels like it's just there to "be there". Thankfully, the chorus is pretty sweet and sticks in your head immediately. Overall, a pretty cool track for an A-side with lots of energy, makes me hyped for the album (along with RAVEN).
 
BI"name"JIKA - I totally live for that cheesy synthy atmosphere in the beginning of the song, and then the weird clapping beat during the verse. xD It's something I haven't really heard from these guys yet, but still fits in well within their carved-out style. The chorus is surprisingly mellow (the beginning of the track somehow made it feel like a light-hearted feelgood party number)... then that last minute totally makes me lose my interest. Average song with some interesting bits sprinkled in.
 
HATE - Somehow I thought this was gonna be a fast punky SADS-like bomb (yeah, because of the title xD) but rly it's your regular MEJI'song with a bit more aggressive guitar parts and backing shouts thrown in (which I approve of!). This song kinda just flashes by you, there isn't much for it to stick in your memory. This is one of those tracks that might sound cool but ultimately it's just kinda hollow and by-the-numbers.
 
| an okay single, the usual (tho a bit better B-sides this time around, compared to their last one)

Artist: MEJIBRAY Single: シアトリカル・ブルーブラック Score: Seriously?
I don't often listen to MEJIBRAY, but when I do it's a single because I can't take an entire album of this.

Listening to MEJIBRAY is like playing darts with a very skilled but drunk friend whose precision is impeccable but whose aim is off. Said friend would hit the bullseye more often than not if they took the time to aim before throwing. But in the spirit of keeping the game going as fast as possible, he tosses many darts at the board and hope that enough stick to get him the points he needs to win. The groupies watching who hype his skills overlook this fact. His fans are divided into two groups: one group that sees the potential and the other group which is concerned with the final result. One group hypes his abilities too much and the other underestimates them too much, and that leaves our friend MEJIBRAY in the no-man's land of slightly above average.

This friend knows that he has the talent to play much better - the company of expert-dart throwers he practices with is top-shelf - but he also knows that there is little incentive to play well, so he is satisfied with subpar performance because even if he doesn't win, he still "did well". It works out anyway, right?

No.

THEATRICAL BLUE BLACK is that type of performance that starts shaky and fizzles out before the end. Akin to watching a trainwreck in slo-mo, I can pinpoint the moment when the hype train goes off the side of a cliff. Inconsistency has always been MEJIBRAY's Achille's heel - except it's more like Achille's torso - and the only thing I can say in confidence about them is that they're consistently inconsistent. Even with the gigantic target on their chest that I can't resist taking shots at, MEJIBRAY is here to stay. So while they're still relevant and the Little Hype Train That Could struggles to stay on the track while moving at top speed, let's take a look at why it's good to know when to stop.

If you're interested as to when things get bad, the answer is before it begins. THEATRICAL BLUE BLACK is MEJIBRAY's current offering of a single. I've heard good things from many people about this single but I don't see it. I was expecting to be floored but instead I was bored. "Been here, done that" sums everything up. Yet another song with metalcore verses and a pop hook that by some arcane wizardry fits together better than it usually does, MEJIBRAY has covered no new ground. In my eyes, this is a regression of sorts! They've done better than this before.

Let's start with the tone of the guitars. They may be tuned low, but MiA left all the aggression and heaviness at home. These riffs sound djent-like brittle, neutered at the balls and leave no impact. They seem to be low because they have to maintain their cred as a metal band, but when the chorus is the more convincing musical effort the band isn't maintaining very well. The bass makes up makes up for the lack of low-end punch but it's not enough and often gets overpowered by the guitar. The biggest surprise is Tsuzuku, who has removed a lot of the vocal ticks that made him insufferable to listen to. It's evident in his vocal delivery early into the song - the way his singing morphs into an agitated outburst is the product of many hours of practice. His harsh vocals have not improved at the same rate. He is not at the level where he should attempt them, but no obvious pitch-shifting and the ability to maintain his pig squeals is a plus.

But what can I really say that's not me scraping for positive comments? Not much. Singles need X-Factors to draw me in. THEATRICAL BLUE BLACK doesn't have that. Yet another nameless, faceless single that I won't remember by next week, it could have been done by any other band with the same result. I fail to get a sense of what skills or inspirations MEJIBRAY possesses that separates them from their peers. If this is what they call a single, I'm not convinced the hype is warranted.

I'm even more convinced I'm right when I move onto the B-sides. BI"name"JIKA has an even more cryptic name and has it's own set of problems. First off, it sounds like two different tracks sandwiched together. The first part moves with a rhythm that sticks in your head like a harpoon but isn't catchy. An overreliance on electronic elements with barely any melody means MEJIBRAY is treading water until it switches gears halfway through. Once MEJIBRAY commits to the slow, building style of the chorus on the way out they start conjuring something that can keep my interest. But they don't sustain it for long and just when things get started the track begins to fade out. This irritates me, because the one time they stumble onto an idea not fully explored, it's treated as an afterthought.

HATE is MEJIBRAY's last attempt to get my attention, and they resorted to a two and a half minute number that isn't worth listening to. I have no positive comments about this song. Maybe this gets the crowds going when performing but it's a below-average track overall. I was bored faceless by this. Just needless screaming, a boring and simple set of riffs, and a lack of resolution coupled with no direction. They do this type of track now and again and every single time it just fails. I didn't even finish this song because once I knew where it was headed I knew I wouldn't like the destination.

Cut out all the fame and the hype G. Close any tabs that have a picture open of this band. Turn whatever you're listening to off. We're going to have a serious conversation.

I'll start with the fundamental question I want to pose: why?

Why are they at the forefront of the modern visual kei movement? This band is nothing special. Pardon my French, but this was bland as fuck. No immediate appeal, no lasting appeal, no noteworthy moments at all on this single. What was being hyped again, because I totally missed the train? Or rather, I should say the train missed the station. It never showed up!

Adamant on relying on the same bag of tricks that's been passed around the scene for the last few years, MEJIBRAY doesn't put their own spin on their influences. It's a direct copy-paste of the formula that never deviates from it's inspirations and this formula isn't a turn-key. If a successful product is the end goal, going through the motions isn't going to cut it. Bands can't just play metalcore riffs with pop choruses and come up with a hit single. Songs need soul! It's not only about composing the music, it's about feeling the music. Being the music, even! It's about putting your emotions, your heart, your everything into every track. Each track should communicate a message from artist to fan across language barriers the way only music can.

MEJIBRAY doesn't do this. MEJIBRAY is incapable of doing this. I've tried to get into them on multiple occasions and each time it leaves a worse taste in my mouth. I went back to their first single just to see if it's them or me and it's them. There were traces of promise on their first two singles that have been suppressed for a good while now. MEJIBRAY need to get back to their roots. DIE KUSSE was a step down from Karma & KILLING ME not only in terms of complexity, but delivery, energy, and passion. This is another step down from that. Where's the energy of the band? Everyone sounds so bored, like this has become a routine for them. The passion in the delivery of the choruses are so forced and unconvincing the songs never elevate. The thrill that only a great solo can instill in the listener; the type of solo to get your heart pumping and your feet tapping? It's not here.

At the beginning of the review, I said there were two groups: those that see potential and those that want results. I am in the latter group. Potential means jack shit if you can't deliver. Nobody will remember a band for their potential - only for what they delivered. As long as MEJIBRAY continues to not explore their potential and are content with substandard performances, they will never be deserving of all the hype or attention they get.

Artist: KAMIJO
Album: Heart
Score:
 
The best Versailles album since Jubilee.
 
I basically stopped caring for Versailles after the mediocre album that was Holy Grail. Their next few releases weren't too impressive either and thus I found it no surprise they called it quits about a year later. While the other four moved on, recruited Zin and started Jupiter, Kamijo announced that he would be starting a solo project. My only thought at this time was "this solo project is going to be a fucking disaster". How wrong I was. I truly, really missed the musical efforts of "Japanese man pretending to be 16th century vampire from France singing in English". Actually, I'm daring to be as bold as to say that this is VK's best release so far this year.
 
Now before I go into the actual album review let's make clear what this album has that Jupiter sincerely lacks. It's character and charisma. Despite how ridiculous everything is, from the costumes to the incredibly bad PV intros, Kamijo knows how over the top it is but the best part of this is that it still brilliantly works. This was Versailles' charm before they started taking themselves seriously and I'm glad Kamijo never lost this touch for drama, it's what makes him stand out.
 
Kamijo was always my favourite Versailles member, mostly because all of my favourite Versailles songs were penned by him. Not to mention he wrote Versailles' best effort to date (God Palace -Method of Inheritance-). It's very clear Kamijo is a good songwriter, yet I was slightly worried how he would work out this solo without working together with say, Hizaki and Teru. Heart shows Kamijo does fine enough on his own.
 
Despite the fact that Kamijo chose to keep dabbling in power and symphonic metal, the songwriting on this album is far from stale. There are different influences in play here, both new ones and ones that can be recognized from his Lareine days. The synth use isn't always perfect, but it's done tastefully and moderately. Despite that it's clearly audible it isn't Versailles backing him up (though the lead guitar recordings were actually done by Hizaki!), their influence is still there. Death Parade is a song I can imagine that Teru could write.
 
The album switches up quite often, but never gets stale or boring. Despite it being a song not really fitting the rest of the album, Moulin Rouge is brilliantly placed after two more mellow songs and is the start of the album picking up pace again. Transitions are smooth despite all the different influences. There are a few filler tracks on the album that I had difficulty getting into, but in general almost each track offered something different, something that Versailles desperately lacked at the end. I wish some of the songs would've been more similar to stuff he did with SYMPHONY OF THE VAMPIRE, but it's quite possible that mini was so different because it consisted of stuff he had meant to write for Versailles.
 
For how shit he sounded at the end of Versailles, he really seems to have found a way to work his deep voice the best at this point. Tracks like Heart showcase a huge improval from Versailles' last releases, he hits the right notes at just the right time and it's just a huge pleasure to listen to.
 
At this moment I don't really know what else I could name. I mean of course I'm going to make you want to try this album when I say even Zeus enjoyed it. We have officially boarded the Kamijo hype train.
 
Never change Kamijo, never change. Stay classy.
 

 
Final score: and two big middle fingers towards jupiter, probably. good luck beating this hizaki, you're going to need it.

HATE!!!!!
静寂のナイフを
HATE!!!!!
沈黙のナイフを
 
隠れたつもり?
見えないつもり?
青い部屋の繋がる貶し
 
安易な言葉
群がる嘔吐
己の意味語ってみたら?
 
目を背け他に嘲笑の喝采
 
HATE!!!!!
迫害のナイフを
HATE!!!!!
己のナイフを
 
 
 
 

扉叩いた密かな糜爛
髪の毛揺らす笑みに安息
人差し指を立て迷い込むサガ
求む暮れの夢
剥がれた
 
濡れる口許
塞ぎ込む毒牙
ひらひら身体
開いた
 
消えた現在-いま-に耳を塞いで
奈落の花束
君の腹を舐め上げた
ワタシが愛おしい
 
囁き声と響く足音
二度目の夜とは幾度迷いこむ
穢れを知ったワタシは散らばり
人差し指も立てずに
 
消えた現在-いま-に耳を塞いで
奈落の花束
君の腹を舐め上げた
ワタシが愛おしい
 
満ちた口への愛憎の散歌
飢えた枯れ土
"私のは?"と詠いだす
恍惚が愛おしい
 
 

"シアトリカル・ブルーブラック"
表裏のアイデンティティ…刻は満ちた
 
たまには陳腐なストーリー食べてみてお腹を壊すのも悦じゃない?
誰かが言ってた"死ぬってとても贅沢よ?"
だから『死にたい』って生きてみる
 
華やかな名聞それが24色のクレヨンだとするならば
僕は至って陳腐な3色のボールペンでしかない
 
表面の鳥籠が疼き出して
目に見えない青黒いカーテン
終演からの開幕、自我、空描く
 
"シアトリカル・ブルーブラック"
猛毒のメディシン植え付けてあげる
"シアトリカル・ブルーブラック"
君にもある華美な飛び方を
写意繋ぎ合わせ心モア
 
絶、癒えぬ空
 
明日を夢見るなら昨日の傷を見て
今日歩く事だけを考えよう
終演からの開幕、自我、空描く
 
"シアトリカル・ブルーブラック"
"僕達"を"君"の酸素にして?
"シアトリカル・ブルーブラック"
塗り替えてあげる
ミドリ色の景色
 
人々は苦しんで歩いてゆくのだよ
 
"シアトリカル・ブラックシャイン"
君と塗り替える
見えない翼で
 
 

jupiter could never

the radiant prince of night burying asagi alive