Jigsaw9

I don't even have to strain myself. Only one word: Aldious. *drops mic, victoriously goes out*
 
'kay, come at me bros~ http://www.last.fm/user/JigsawJohnny

beside DIMMDIVISION. songs, 天野攸紀(amano yuki) has played the following songs at StrangerSaid. one-man live "LovelesS" at Shibuya Wasted Time at 2014/08/15
 
Part I - 天野攸紀(amano yuki) acoustic:
剥離(hakuri) (GULLET)
思い出の意味(omoide no imi) (kein)
嘘(uso) (kein)
 
Part II - StrangerSaid.:
a withered flower (GULLET)

To give some ~expert confirmation~ on a few things:
 
- myth_ceo is KISAKI. He sold UCP limited items, his own personal items, and even sold samples which he got from other bands (eg. in his blog he mentions SID giving him a sample of their new single, and then the next day myth_ceo was selling it). I'm also 100% sure that this was KISAKI himself and not a staff member.
 
- KISAKI closed myth_ceo and now has another account on Y!J, something like iyouxi or something (not on PC and can't remember the name). I know it's him for the same reasons listed above (funnily, some people actually complained on that account about him selling samples).
 
- He also has an mbok account which is something like deho_san (again, can't remember), though he doesn't use it often.
 
- His time in STELLA MARIA is 100% confirmed. In addition to tapes, we have flyers and videos confirming.
 
- His time in garden is 100% confirmed. In addition to the real tape being sold on Y!J a ton of times, there is video of garden somewhere.
 
- I'm actually 90% sure the "Once..." tape is real as well, although probably not released as "KISAKI PROJECT" as his official website calls it. The reason I'm sure it's real is that it features the STELLA MARIA vocalist, and it was mentioned on UNDER CODE's website back in 2003 at least.
 
So really what is in question (well, was in question) are the bands Levia, LAYBIAL, and SHEY=DE. As I mentioned before, I bought some tapes from KISAKI, but basically they are fake. However, I want to give some more complete info on them, if you'll just wait for another post. (And sorry for not posting before, but I was still unsure about certain things. Champ's post about the SHEY=DE tracks is what made the difference for me.)
 
I will go ahead and say this, though: although we now know that these demotapes are fake, there is still more to this plot...! Please wait for my next post.

inartistic sure knows how to keep the suspense :v

Inb4 420 Braze Et Uppu  Massafakka.

For a sec there I thought the 3rd track's title was gonna be WELCOME TO THE HOOD.

For a sec there I thought the 3rd track's title was gonna be WELCOME TO THE HOOD.

where's STRAIGHT OUTTA OSAKA?

There's only one gif worthy of my reaction to that tracklist:
 
 
 
 
 
 
 
 

For a sec there I thought the 3rd track's title was gonna be WELCOME TO THE HOOD.

Painfully obvious DEATHGAZE wrote and recorded a painfully obvious DEATHGAZE album yet again. Almost literally the only standout tracks are those of previous singles: DEAD BLAZE has such top-notch energy and aggression that I'm even able to forgive Typical Desugaze Chorus #3445, while THE UNDERWORLD is quite beautiful and elegant in its gothy-ness and provides a bit of well-deserved fresh air among the stale surroundings. Opening song ENIGMA manages to ignite a spark too (that distorted-to-hell-and-back bass is a nice touch btw!) but ultimately falls prey to its own idiotic repetitiveness. Otherwise a fitting starter. Other worthwhile moments include SADISTIC SMILE and FEAR, neither of whom I can remember anything except for digging them upon listening. The rest either couldn't even elicit a reaction from me or sounded atrocious (lookin' at you, READY GO a.k.a. obligatory ending-on-a-happy-and-genki-note song). All in all, it's good for what it is but I doubt I'll recall any melody or riff, say, tomorrow. xD
 
| the usual average-to-okay display, what you see is what you get

Painfully obvious DEATHGAZE wrote and recorded a painfully obvious DEATHGAZE album yet again. Almost literally the only standout tracks are those of previous singles: DEAD BLAZE has such top-notch energy and aggression that I'm even able to forgive Typical Desugaze Chorus #3445, while THE UNDERWORLD is quite beautiful and elegant in its gothy-ness and provides a bit of well-deserved fresh air among the stale surroundings. Opening song ENIGMA manages to ignite a spark too (that distorted-to-hell-and-back bass is a nice touch btw!) but ultimately falls prey to its own idiotic repetitiveness. Otherwise a fitting starter. Other worthwhile moments include SADISTIC SMILE and FEAR, neither of whom I can remember anything except for digging them upon listening. The rest either couldn't even elicit a reaction from me or sounded atrocious (lookin' at you, READY GO a.k.a. obligatory ending-on-a-happy-and-genki-note song). All in all, it's good for what it is but I doubt I'll recall any melody or riff, say, tomorrow. xD
 
| the usual average-to-okay display, what you see is what you get

Painfully obvious DEATHGAZE wrote and recorded a painfully obvious DEATHGAZE album yet again. Almost literally the only standout tracks are those of previous singles: DEAD BLAZE has such top-notch energy and aggression that I'm even able to forgive Typical Desugaze Chorus #3445, while THE UNDERWORLD is quite beautiful and elegant in its gothy-ness and provides a bit of well-deserved fresh air among the stale surroundings. Opening song ENIGMA manages to ignite a spark too (that distorted-to-hell-and-back bass is a nice touch btw!) but ultimately falls prey to its own idiotic repetitiveness. Otherwise a fitting starter. Other worthwhile moments include SADISTIC SMILE and FEAR, neither of whom I can remember anything except for digging them upon listening. The rest either couldn't even elicit a reaction from me or sounded atrocious (lookin' at you, READY GO a.k.a. obligatory ending-on-a-happy-and-genki-note song). All in all, it's good for what it is but I doubt I'll recall any melody or riff, say, tomorrow. xD
 
| the usual average-to-okay display, what you see is what you get

TAKEI MIZER swag https://twitter.com/seek_bonshisya/status/499181361513504769

They sure are creative. Anyway, looking forward.

TAKEI MIZER swag https://twitter.com/seek_bonshisya/status/499181361513504769

But he was already pretty clear about it. It's not a cover, it's the same recordings he said.
 
 
Normally I would suspect that some random seller on Yahoo wanted to make some money and just faked the tape. But Kisaki's official site confirms the cover and tracklist and it's pretty weird in itself that the tracklist is 2/3 of the Nude-of-J tape. Which is another thing, the Nude-of-J tape has 3 tracks, so it's not just that the tape somehow ended up in the wrong case, someone must have gone through the trouble to copy over those 2 songs specifically.
 
 
Aaaaand there's more. I recently got the mp3s for another purported early Kisaki band, SHEY≠DE, via trade. It was later brought to my attention that they were probably fake. Fake files can happen in trades, although my source was usually a very realible one. One of the tapes I got is also on Kisaki's homepage, this one:
 
http://kisaki-official.syncl.jp/?p=shop&id=530032&af=
 
So, I showed my files to another japanese guy I know who's very knowledgable about old vk stuff, he said the tape I got was actually by a band called INSANITY.
 
And here's where it gets interesting.
 
Upon googling a bit I found this old auction where somebody was selling that old INSANITY tape: http://aucview.aucfan.com/yahoo/w80588066/
 
The tracklist is slightly different, but look at the cover! It's the same as on Kisakis page, except that one is red!
 
 
For comparison:
 

瑠璃の雫 by SHEY≠DE
 
1. insanity
2. XXXXX
3. 夢遊病者
 
 

Unnamed tape by INSANITY
 
1. 恋模様
2. Desert Labyrinth
3. 瑠璃の雫
 
The first song on the SHEY≠DE tape has been altered with the name of the actual band (!), and the second one has been replaced with xxxxx (!!). The third song of the INSANITY tape was used as title for the SHEY≠DE tape (!!!). Now that's creative! But hey, at least he came up with a COMPLETLY NEW fake name for the 3rd song this time. And he re-colored the cover in Photoshop. That's gotta be worth something, right?
 
The INSANITY tape was sold for 1000 Yen btw. The seller could have asked for a lot more for a SHEY≠DE tape, so there's no reason whatsoever for him to fake a SHEY≠DE tape into an INSANITY tape.
 
 
At first I thought I was spoofed by a tricky trader. But there seems to be more to it. So after the dubious LAYBIAL and Levia tapes.... make it three.

The title track of single "Real?" is an uplifting tune with "futuristic beats" and whatnot ("sure to become a new live anthem", etc) produced by Jam & Lewis. The coupling track "Set It On Fire" is produced by Jeff Blue who previously worked with Linkin Park for example, so we can expect a "masculine" song with energy and stuff. Bonus tracks with London live footage are to be included as well.
 
Cover art:
 

 
(via Google Translator, so some finer details about the style of music might not be that accurate xD)

For a long time I was avoiding BFN cuz their first PV/song was kinda dumb and boring but then I randomly checked out something they did later and decided to give them a shot... and they're not bad at all! Ice has a very capable and nice voice (he especially shines in the new single's A-side imo) and they manage to make their songs interesting most of the time by all the electronic thingies. Hence, I tend to prefer their material with an abundance of said electro-effects but their more "plain" songs ain't bad either.
 
I'm not a fan but their stuff can be nice to listen to, on occasion from time to time.

Kalk Samen Kuri no Hana

 
Welcome back to my back-to-the-past reviewing! This time I am going to give a spin to one of my biggest favorites from Ringo Shiina (and in music in general), "Kalk Samen Kuri no Hana" - or more familiarly along us, Ringo fanboys/girls, "KZK". The album itself was always used as a definitive introduction (for many, many years!) to anyone interested in giving lovely ms. Shiina a try - no matter what kind of music or culture you were into. Since new people here aren't really clueful about so-called "goals of reviewing" in MH, I can tell something: reviews aren't just "puny writing" - the rest is up to you to figure out.
 
Rambling aside (again), ~lazy PRZ is getting lazy~ - so let's explore track-by-track-wise (I bolded my favorites, JIC):
 
1. Shuukyou
 
People might get scared of the intro due to sudden strings climax, but everything after soothes and gets the listener along with an interesting, culture-clashing mix of avant-garde-ish instruments 
(something in the vein of John Zorn I think?) and orchestra. And of course I have to note Ringo's beautiful, almost requiem-y singing - gotta adore her moody vox during mellotron parts. You've gotta give it to
Shiina if you want to make a good starting number for your concept album - or the hell, for your "definitive album". PS. those who bothered to try out mixtapes might have noticed Zess using this as an introductory song in his "first" mixtape - hope this entices you...
 
2. Doppelganger
 
Imagine a decent orchestra-backed, french ballad-like number warping into d'n'b-like psychedelia in various parts - that's probably my best description for "Doppelganger" which belongs to one of the simplest pieces (yet still, quite weird to those not used to works outside mainstream music comfort). A decent piece - not much to say from my part.
 
3. Meisai
 
Oriental noir meets gipsy-like number with various samples (the whole album is filled with interesting/odd samples/noises though - let's call this trait as "KZK-ing" for now), and ofc - Ringo's lovely, seductive singing supporting the absinthe & opium-scented mood. Got to admit that this feels like a fast-paced Klezmer piece to me, which is always welcomed when it comes to "far-out genres in Japanese music".I have a thing for songs with strong emphasis on themes and such, so yeah - definitely a fav!
 
4. Odaiji ni
 
Calm, piano-driven ballad with Ringo's sensitive high-key singing - a good breather after a roller-coaster trio we had earlier. And all of this ofc supported by familiar, albeit vague "KZK-ing" - a la partial guitar soloing and radio speech etc. "Odaiji" works well in the context, but lacks much to be considered as a sole song or so - decent-ish, I think?
 
5. Yattsuke Shigoto
 
Once we get over TV announcement sounds, radio-ish recording of intro and vacuum cleaner (yes, vacuum cleaner!), we get to the almost upbeat, orchestral version of something what was quite very fast-paced and grungey (ZCS version). Props to the rhythmic accompaniment and Shiina keeping up the spirit of the original, somewhat. Let's not forget the harpsichord either - since hey, it's always welcome! *cough*Malice Mizer*cough*. But either way, 
If you want a more "accessible" and less "weird" number off KZK, give this one try - it's not really avant-garde-y, but sure it is unique in one way or another.
 
6. Kuki
 
Considered to be one of her classics - and probably even as one of her "definitive songs". Gloomy-ish, orchestral piece with memorizable, easy-to-hum-along melody - with its own climaxes and odd "culture clashes" instrument-wise (ever wanted to hear Koto and Klezmer fiddle in the same song? Here ya go), will be sure to get many people (no matter what kind of "musical orientation" you have) enjoying the song at its fullest. Kudos to greatness of classics!
 
7. Torikoshi Kurou
 
One of the prime "KZK-ing" examples - beatboxing, cornet, kalimba, whistling, shamisen, melodica, comic horror-like "ooh" chants etc. This song is quite fun to jam along to, despite its otherwise 
very simple structure - and very short length (approx 2 and a half minutes, wow). 
 
8. Okonomi De
 
Those familiar with Shiina's work acknowledge the fact that she has a thing for "title symmetry" in her various albums - and KZK ain't an exception when it comes to this. What would be an otherwise "stroll around and sing in the rain"-like song, this has a lot more potential than its older counterparts (think of possible songs off 50s-60s, which fit my description) - "KZK-ing" almost everywhere, very beautiful climax...Unlike
its symmetrical coupling, "Odaiji", "Okonomi" has much "it" to end up as a solid song outside KZK too!
 
9. Ishiki
 
Didgeridoo and some bass notes leading up to jazz/blues-like number without much "stereotypical" emphasis on former-mentioned genres (thanks, bamboo flute). You've gotta give the drum/bass shred break a good listen, though - one of the KZK "tidbits", YES! I have not much to say about Ringo herself - the vocal melody is perhaps not amusing me that much, nor getting me along? I don't know. Arrangement saved the song though.
 
10. Poltergeist
 
"Edith-Piaf-meets-haunted-waltz-dance-hall" - and yet still, my description still does no honor to gems of KZK. Title really fits the fleeting mood of this song, and Shiina helps to keep the mood thanks to her
almost obvious French chanson-y influences. Apply my compliments towards "Meisai" to this as well.
 
11. Souretsu
 
Grande finale of KZK, interestingly named "Souretsu" ("Funeral") carries on with certain traits we heard in Shuukyou (hurdy-gurdy, koto, sitar, emphasized orchestra backups), but freshness is still retained.
Eerieness grows by each second - and minute, and thus - we end up in what we could actually call as "avant-garde" in KZK. Imagine if Shuukyou was followed up with a nightmare-like finale with organs and
backup band causing audible havoc for almost a minute...yes, definitive example of a fantastic, earthshaking finale, YES!!!!!!!!/Pretsy going mad due to lack of sophisticated compliments/
 
 |  Pros: "intrepid experimentation" and "KZK-ing" , cons: "Odaiji" is not impressing much and "Torikoshi" is too short (that's all)
 
Post-rating conclusion: some songs are hard to chew on - no matter whether they dwell inside or outside KZK's context, yes - but once you give it a proper, more "fearless" listen...you will realize that genre limitations are not going to stop you from at least admiring the album. Trust me - even if I might sound biased all the time - you will totally miss out, if you just let this classic (various music mags back from the day share my thought too) go. What about me? I am adoring - and in fact, thanking this album for making me pay proper attention to what I really enjoy, or enjoyed in my favorite music for many years - intrepid experimentation and honest ways of expressing yourself. As a last reminder, don't let my not-so-serious nitpicking distract you
 
 
 
 
 
 
 

I dug this single.
 
The opening track gave me some late caligari vibes, mixed with the influences they had on their song "雨上がりの憂鬱." I really wouldn't refer to this as a ballad, however, but it is a slower and more melancholic song than their discography typically holds.「君ノ存在理論」 has pretty strong structure as well--each passage flows well into the next with enough variety that it never gets boring, yet remains cohesive. Granted, this should be a fundamental aspect of song writing, but a lot of vkei bands have that as their Achilles's heel. What's always fascinated me about this band is that they like to use multiple personalities in their song writing, often having lyrics using different forms of "I" in Japanese to refer to a different person throughout the same song. What 「君ノ存在理論」 solidifies for me is that they are also able to extend that idea into the kinds of songs they write as well--not everything can be about demons eating fetuses or how tasty brains are, so this stroll in the rain is most definitely welcome.
 
「生ト死」 itself is a piano melody that repeats again and again with mumbling and a very pronounced drum pattern on top of it. It's hard to make out the words he's saying, but he's definitely mumbling "早く...死んでください (shinde kudasai)", or "hurry...please die," for one of the more audible phrases. Which of course leads up into the crazier song.
 
「僕ノ自殺理論」 is akin to "脳内妄想薔薇薔薇DOLL," but replace "BURST!" with "I. WanT. To. DiE". I really like the rapid chugging at the beginning of the song, as well as the really warped descending scales that happen in the lead guitar throughout the first verse. Like the first song,  「僕ノ自殺理論」 excels in having great structure. My only qualm is that I wish the break down around 1:40 was a little shorter as I don't particularly care for them. Here they also bring back the manic laughter and a bit of kyopera to accent the craziness that's already going on. In a sense, this is kind of a throw back to their first album for me--had they not made Oni to Kage a tribute album, I suppose this is what they would have sounded like.
 
All in all--strong single. What worked well is that both songs are solid and very distinct--their second album really suffered from a lack of diversity, so even though most of it was good, I had trouble picking out a track that really stood out (aside from "雨上がりの憂鬱," which literally came out of no where). I suppose I'm a bit spoiled because I'm disappointed that it so short. However, since they have a mini coming up in October, I cannot help but feel like had these song been included they wouldn't have stood out as much.
 
So, based on the official MH rating scale, I give this a

It's a pretty cool single, in the first track is a lot of feelings going on the chorus and Kyouki's voice, great work, should i say the best ''ballad'' from Grieva at the moment, and third track is mental lol, really rough, kinda remind me to Aliene Ma'riage sound, creepy laughs, mad screams and crazy drumming tempo, great work from Rui and Hisame this time, i'm really excited for the next release

So what did you guys think of Grieva's new single?
 
Personally, I'm lovin' it! (no surprise, lol) ...well, actually it's more like I didn't expect these two songs to be such high quality with that speed they're churning out releases lately but my fears were quickly swept away when the opening guitars of the first track rang out. This one is a pretty tame and fun melodic song with lots of energy and feeling throughout - from the catchy chorus to the appropriate guiar solo and subtle synths (and even some acoustic guitarplay) in the background. Very tastefully done, I'm impressed! The SE track is nothing special of course but it's a decent separating border between the two distinctly contrasting tracks. Here comes the darker stuff... it's pretty wild and has that awesome "spinning out of control" atmosphere that is so characteristic of Grieva's more manic numbers. It's a solid track with a simple but fitting chorus. All in all, Sei to shi is quite a kickass single that is also a bit too compact - but at least it seems to have some sort of concept running through it, making it a cohesive whole. Nice job!
 
| another cool release, if only it were a bit longer~