indigo

On April 1st, 2016 the news of Tetsuya's departure from the influential hardcore, screamo, and post-rock band envy brought great despair to many fans. He was the heart of the band that evoked intense feelings through his raw and emotive vocals. Fans lost hope in envy's future once Tetsuya left. Still, envy continued on without him and after being quiet for two years they finally announced a live performance with a new line-up for April 1st, 2018. Strangely enough, the live performance took place exactly two years after Tetsuya's departure. And even more strange is that both occurrences took place on April 1st which, as we all know, is the day of jokes and pranks. Back in 2016 we all hoped that Tetsuya's departure was an April Fools joke, but after not hearing anything we all accepted that it was the truth. So naturally, when envy announced a new line-up this year for April 1st as well, none of us speculated that it was a joke either. However, when the day arrived everything became clear.
 
The live show was titled 'Last Wish', after the name of envy's single released back in 2000, and took place at Daikanyama UNIT. I must thank @qotka for navigating to the live venue, which sits just south of Shibuya. Inside the live venue there is a floor level for lockers and merchandise, and once you go down another level you will find the live hall. The size of the hall was quite average with a capacity of 600 people. Given that most people were only here for envy not many people showed up at the beginning, but it gradually grew more packed after each band until we were shoulder to shoulder.
 
heaven in her arms was the first band to play, which I could already tell based on the white butterfly logo placed on the back of the stage. I had forgotten what the band looked like, but when the vocalist walked on stage with a black cap on I could clearly see the envy worship. I'm not well-versed in their discography so I couldn't recognize most of the songs they played but I do know that they played a few songs from their recent album 白暈 (White Halo). I'm certain they played "終焉の眩しさ" because I remember the opening with solemn crystal bells and pianos that later led to a burst of guitar riffs and drums. The live hall felt so still in that moment with the dark blue lighting, and feeling that transition from a stillness to a violent beat was a cool way to start the performance. The vocalist put a lot of emotion into his screams, but the spoken word sections were a little quiet and hard to hear from the blasting instruments. It was not as clear as it was on CD. Also, maybe it's because everything usually sounds louder during lives but I had trouble picking out the metal sound of heaven in her arms and I had the impression that they sounded a lot like envy, as I did when I first listened to them. In any case, they were amazing live and I would like to see them again. 
 
The next band that played was HELLBENT, which I thought was some band from the US when I quickly googled the name. Turns out that they're actually a really underground Japanese psychobilly band. I can't give a good review of them because I lost my spot during the intermission while taking a short bathroom break and did not have a good view of the stage when I came back. Their performance was quite intense though and the vocalist would pick up the mic stand every so often and swing it around on stage, at least from what I could see. They had a video playing in the background with mostly visuals of old vhs-looking forests, for some odd reason. For such a chaotic performance, I thought the visuals were not very fitting and it was just kind of strange.
 
I got my spot back closer to the stage once downy came on. It's unfortunate that I did not get to see them with Yutaka Aoki, who sadly recently passed away. It seems like they got a support guitarist for the remaining live shows that were scheduled this year, though I'm not sure who it is. I'm still fairly new to downy so I can't speak much for how much of an effect this has on their performance, but they were quite stellar nevertheless. Their performance felt much longer than the previous two bands as they played about 8 songs. Most of the songs they played were fast and maybe only one song was really slow. Robin Aoki sings just as good as he does on CD and the bass is super thick live! I didn't realize how killer the basslines were until I heard "曦ヲ見ヨ!" live. Such incredible skill and technique. During their whole performance they had abstract visuals playing in the background. A fiery red was used for intense and fast songs while tranquil blues or black and white were used for slower songs/sections. If you've seen any of their music videos, the live encapsulates the very same kind of mood, except that you're now physically standing in that dimension and taking in their dingy world. Outstanding performance.
 
At last, the curtain rose for envy. While standing in the darkness, I thought about their new line-up and kept on wondering what they would sound like without Tetsuya. Then, when the lights lit up and envy started playing, Tetsuya was standing right there on stage giving out his screams. The crowd instantly went wild and pushed everyone to the front. People were cheering all around and punching their fists to the air, you could feel the ecstasy and excitement everywhere. Out of all the non-VK lives I've seen this was the most energy I've seen from a crowd, but this is mostly speaking for the J-indie scene only as I'm sure some bigger Jrock bands have wild crowds as well, or maybe not I don't know. The pushing stopped after 2 minutes or so, but there were still a number of people cheering with their fists. When they performed "Footsteps in the Distance" Tetsuya cleverly declared his return during the spoken word section with the last few words being 'ただ一つ救えがあるなら僕はここに戻るよ' (If there is one way to be saved, I'll return here). At first I thought it was a message Tetsuya specifically had for the fans, but listening to the song again it's actually part of the song, therefore the cleverness in his return. Hearing him say that and knowing that he was really back was the highlight of the experience, and now as I listen to "Footsteps in the Distance" I will recall this memory every time. envy just isn't envy without Tetsuya after all. I couldn't get a view of all the members (including the new members) since the people who got pushed to the front blocked some of my view, but I did not feel that envy's sound changed much. Perhaps they'll bring in new ideas for the band in the future. I'd seen envy two times before, but I was absolutely stunned by the energy and emotion of this performance, even after I left the live venue.

Early Stiff Little Fingers is one of my favorites
 
 
 
...and Void is a classic of course. Classic!
 
 

RIP.

 
But he will live forever through music. Now, time to listen to downy in his honor...
 
 

THE NOVEMBERS will release a new EP titled "TODAY" on May 16th. It will contain 4 new tracks and cover songs of bands/artists they admire.
 
Further details will be announced.

I'm the type of person who's always searching for new music. My music taste is all over the place but 95% of the time I spend scavenging for music I have a clear idea of what kinda sounds I'm looking for. 
 
Back when I was younger it took some time to get into bands that I consider some of my favorites as of now. Even then I was aware of this fact and  I often kept revisiting bands/artists, sometimes intentionally, sometimes not and eventually it paid off. Not it every single case, of course, but many times. (One example of this: a band I used to dislike, or maybe not dislike but felt lukewarm about is The Novembers. It should be noted it was before their zeitgeist album. But now I pretty much love all their material, even the older stuff and I can admit I'm a stan.)
 
I think that with age I have developed a pretty good sense / ear for finding music that I enjoy. It doesn't take as much time for me to get into artists as it used to. One reason for that is probably my ever-growing musical spectrum / knowledge of music. So these days I don't revisit as often as I used to, if I don't get it on the first listen, I probably won't come back to it later.
 
Something I recently noticed though is that I have some bands/artists that I only listen to in youtube, like guilty pleasures but without the guilty part. Artists that I never got into so much that I had to get their album instantly, the kind of artists that I just keep coming back to every now and then and listen to their music on youtube and that is enough for me... until at some point I start thinking about buying their album. Haha.
 
Usually these are the points I pay attention to in new music:
- The sound is what gets me interested,
- The execution makes me stay,
- The emotion/feel decides if I love it.

Downy's guitarist, Yutaka Aoki, died at the age of 48 on Monday, March 19, at 14:50, with acute bone marrow sarcoma leukemia. At the funeral, only relatives will ceremony by the wishes of the bereaved family. I am afraid that you will be able to decline the attendance of the general public.
 
http://downy-web.com/news/news20180320.html

Awesome! I've been waiting for someone to make a thread like this so I can dump all my mixes somewhere.
 
Now these first ones are not for everybody's tastes but maybe someone can dig them. Here's my japanese hip-hop super mix (3 mixtapes). I didn't just pick some nice songs and put them one after another but instead I actually put quite a lot of thought into these. All these mixes have some sort of theme/story. Some artists might be featured on multiple different mixes, sorry about that. But I tried to include as many different artists as I can.
 
 
Enjoy!
 

As you all know, every other month a trade-off is hosted here on the forum! However, many people enjoy creating more than one playlist or simply create some for fun in their spare time. Not sure where the share yours? Post them here (youtube playlist, spotify playlist, download link, etc.)so other users can enjoy them too. Feel free to post your thoughts on them.
 
A few things before you post:
 
Give your playlist a title Give a short description ( I made this playlist based on... The theme is...)  
I'll make an index on this first post once we have enough replies.
 

Obsessed with this song. What a jam!
 
 

As long as Nobukata doesn't retire I'm okay.
 
...and that lineup is not bad at all tbh.

Shoutout to @indigo(I think!) for turning me on to Asthenia in the plug session yesterday.... they fit nicely beside HiHA in that kinda atmospheric metal space.

I'm glad to see Epik High included! I haven't had time to listen to the entire new album yet but the songs I have heard were solid. Bleed was my favorite. I got to listen to the album ASAP.
 
And big props for the layout / design of your list. Easy on the eyes and stylish.

Be warned all who enter here!
If you came looking for an objective list based on some popularity rating or sales criteria, you came to the wrong place! This list is completely subjective and a little fangirly, but I still hope you find a couple of things that are worth your time, anyway.   Also, sorry in advance if some of the previews are region blocked for your area. 
 
 

MUCC ・ 脈拍 ・ VISUAL KEI
My entire 2017 really goes to MUCC, hands down. They took their 20th anniversary celebration and did it so big, I don’t think we’ll see any other band go to this lengths in quite some time. They re-released, re-recorded, and re-mastered most of their fan favorites between 新痛絶(Shin Tsuuzetsu), 新葬ラ謳(Shin Homura Uta), a second edition of their Best of and Coupling Best discs, a second PV collection, a tribute album, a self-cover album, and then there was this little gem of new material: 脈拍(Myakuhaku). No wonder as soon as it was over they unapologetically announced they’d be going on hiatus for 3 months. They deserve a break, to say the very least. But I digress! Myakuhaku may have been a bit lost in all the excitement for MUCC revisiting their roots, but it’s definitely something new and old fans alike can enjoy. 

The opening title track is clear and direct in its message, MUCC haven’t forgotten where they came from. They turned back time and stripped down to the quintessential visual kei heavy and melodic combination that gave the band the height of it’s popularity a little over 10 years ago. They then took that staple and folded into the mix of anime songs, ballads, and more recent metalcore-infused forays with this album. One of my favorite tracks is “EMP” since it's a total nu metal throwback. It has my 90s-lovin' name written all over it. There’s a lot of other fun musical nuggets packed in this album, “BILLY×2 ～Entwines ROCK STARS～” is a gritty little old fashioned rocker that gets you up and moving, and “孵化(Fuka)” is a surprise mid-tempo number that swells up into this crazy breakdown then veers hard left into a weird (but good) twangy guitar solo. You can tell MUCC pushed themselves to create something great for us and in my humble opinion they more than succeeded. I couldn't get enough of this album this year and, Mucker or not, I hope everyone checks it out. | Preview: Spotify
 
 

MONSTA X ・ THE CLAN PART 2.5: THE FINAL CHAPTER 'BEAUTIFUL' ・ K-POP
I think there were a few of my fellow MH members around in late 2016 who might remember when I fell down the MONSTA X rabbit hole and proceeded to become utterly obsessed. For most that probably don’t know, my love of K-Pop predates my registering for this forum, in fact one of my first avatars was of Chansung from the group 2PM with the u/n “digitalbounce” (also from a K-Pop song). But, it’s been a few years since I was this into a group. MONSTA X aren’t the most popular group around, though I think as far as third generation boy groups are concerned they usually make the top ten lists. Even then, I still consider them criminally underrated. 
 
The third installment of their The Clan trilogy is their strongest release to date, as far as I’m concerned. And even stronger if you count in the repackage version Shine Forever that includes two more songs (the last .5 in the final chapter). The majority of Beautiful leans heavily on R&B (“넘사벽 Incomparable”, “니가 필요해 Need U”, “Miss You”, “5:14 (Last Page)”) which creates just enough contrast with, but also compliments, the hip hop songs (“Oi”, “Calm Down”) that take advantage of the group having rappers that actually know how to rap. Last.fm doesn’t even have a true count of my plays (my phone's music app didn’t scrobble until recently when I made the switch to spotify), but it’ll still show you I played this album basically every day since it came out. Rest assured, I regret nothing. | Preview: Spotify
 
 

-真天地開闢集団-ジグザグ ・ 『メンヘラ』はじめました ・ VISUAL KEI
Zigzag makes me wish I was slightly more motivated to look up and translate lyrics, because I know I'm missing out on a lot when it comes to them. I can only imagine I’d like them even more, which is saying something because I have enjoyed everything I’ve heard from them over the last two years. I also have a huge soft spot for bands that don’t take themselves too seriously. Zigzag's tunes are pretty rockin’ to begin with, but when the band decides to get serious about showing off their musical prowess it's definitely no laughing matter. Their take on soft, melodic songs is simply beautiful, especially fitting with the traditional elements and instruments that are the backbone of their religious/idolatry concepts. Talent and humor? What’s not to love?
 
I chose 『メンヘラ』はじめました(menhara hajimemashita) over their other release 糞麺氏ね(kusomen shine) this year only because it seemed slightly more musically cohesive, but I love them both and enjoyed them both immensely. | Preview: - 臨兵闘者 ～皆陣列在前～ ・ 『死にたい』御年頃 ・ 短絡的『絶望』
 
 

PVRIS ・ ALL WE KNOW OF HEAVEN, ALL WE NEED OF HELL ・ ALTERNATIVE
I wasn’t a big fan at first, it took a while for Pvris to stick with me. They came to me heavily recommended over the last couple of years, I checked a couple of videos, caught a couple songs live at summer festivals, but I just never seemed to be in the mood for what they were offering. I honestly didn’t get the hype. They seemed like another try-hard edgelord band ✞øø ℂvℓ✞ ƒøЯ ✞ℍîƧ ᏔøЯℓ∂. But this year it was different, I’m not sure if they matured more, or maybe it was just my tastes changing as well. But our paths crossed, and it's become a record I find myself spinning more and more often, even as we reached the year's end. I'm sure it will be coming with me into 2018.
 
Even though the title might suggest otherwise, this album is a lot less gimmick-y than expected. It's direct and raw in it's delivery, and densely atmospheric without getting overly cliché. It ends up being a strong rock record that's still dark, but full of heart too. | Preview: Spotify
 
 
 

EARTHISTS. ・ DREAMSCAPE ・ PROGRESSIVE METALCORE
Dreamscape was an early favorite this year and managed to stay afloat while most of my other usual metalcore bands didn’t quite do it for me. It’s probably more me than them though, with all the shit going on around here lately it’s best I don’t get too amped up. But Earthists have this nice cohesion of their melodic and djent-y elements that make them easy to listen to.  They do little things like adding piano into the mix or samples of wind blowing in the background that keep their take on the genre fresh and inspired and round out their sound. “Flux” and “Winterfell” are two favorites that I keep coming back to just for that damn cool piano riffing -- and it's not a cheap-ass synth piano either, it's a deep traditional, classical-sounding one full of punch and reverb (it’s likely a digital one but it sounds expensive and that’s what counts!). I’m just a little bitter it doesn’t look like they play it live, though it understandably doesn’t look as cool and progressive to be rocking out over as say, a guitar or whatever. | Preview: Spotify
 
 
 

HYUKOH ・ 23 ・ INDIE ROCK
Oh, Hyukoh. Another band who had a fabulous year. Hyukoh is the formal project of leader and chief song-writer Oh Hyuk (doyouseewhathedidthere), who decided a few years ago he was tired of going at it solo and opted to get himself a band. You really can’t hold this guy down, he collaborated on a massive number of albums this year, and I can’t blame everyone for wanting to work with him when his husky voice is this magical. It suits so many genres, I don’t get tired of listening to him either.
 
23 was a bit of a grower for me, hearing the singles alone didn’t spark much of my interest. It took listening to the full album for me to fully understand what they ‘do’. It’s not as in your face or flashy as some of the indie rock I’m used to, but Hyukoh’s style still keeps a common thread as it weaves through funky, retro vibes or the more experimental journeys like "Reserved Seat", not losing their emotional edge. “Tomboy” and “Paul” practically move me to tears with the melancholy that cuts through Oh Hyuk’s voice. I like Hyukoh so much, they’ve even gotten me to enjoy the folk-inspired side of their music I usually make an effort to avoid from other bands. | Preview: Spotify
 
 

DAY6 ・ SUNRISE ・ POP ROCK
As South Korea’s music industry grows, it has picked up a lot of tips and tricks from the ginormous music exporting machine next door, Japan. We’ve seen 12 month consecutive releases attempted a few times now in the vk scene, so when it was announced a K-pop band would be trying it, I was extremely curious how it was gonna pan out. Fortunately, it did rather well and DAY6 released singles containing two quality tracks month after month (on the 6th because “Every DAY6” was genius marketing) which ended up collected in two full albums; SUNRISE came out in June and MOONRISE in December. Both albums are fantastic, but we’ll just go with SUNRISE for now because I can’t afford them multiple slots. But if you enjoy this album, SERIOUSLY, go listen to MOONRISE. 
 
DAY6 are a rock group from one of the 'big 3' idol companies JYP Entertainment (whose stubborn asses refuse to allow their artists’ music on Spotify and piss me off to no end), so their music isn’t necessarily ground breaking, but they do write it all themselves, play their instruments live, and basically function like your typical rock band. Though their songs are generally non-offensive relationship material (meet the girl, confess love to the girl, get dumped by the girl, wait for next girl to walk by…) they do know how to pour all of their emotion into it, and their layered vocals and compositions often remind me of The Beatles and/or other multi-vocalist 60s pop rock. | Preview: I Wait (아 왜) ・ I Smile (반드시 웃는다) ・ You Were Beautiful (예뻤어)
 
 

ザアザア ・ 不幸な迷路 ・ VISUAL KEI
My love for XAA-XAA isn’t really a secret. They’ve become a flagship band for me, though I’m worried about their future since drummer Roji’s departure. Drums are such a key part of their sound due to him, it makes this album even more special in my collection. Considering I've been following the members since they were Belmosaic, seeing him leave is just a huge blow. He's gonna be missed. As far as XAA-XAA releases go, this isn't the album I tend to return to the most, but listening to it again for this list reminded me of the quality compared to other albums I was considering. It still ends up being one of my favorite vk releases this year. 
 
Aptly titled, 不幸な迷路 translates to “unfortunate maze” and likewise this album is dark and twisted, even downright psychotic at times. Though, one thing I love about this band is no matter how crazy or erratic they get, catchy and melodic choruses remain paramount. The mayhem is balanced out with gorgeous ballads and fun jazzy numbers. XAA-XAA's diversity and strong sense of melody is something you can count on with each release so far. I only hope it remains that way. | Preview: 不幸の始まり ・ ぐちゃぐちゃ ・ 恋人ごっこ
 
 

SAWANOHIROYUKI[NZK] ・ 2V-ALK ・ J-POP
If you were waiting for something truly epic to come out of 2017, look no further. Sawano has outdone himself and created something that should be able to please the rockers, the pop kids, the anison lovers, and anyone who just enjoys badass music with some badass vocals soaring over it. It doesn’t hurt that I’m a pretty big fan of the vocalists he utilizes throughout this project. My only complaint is there was less Mizuki (ex.イツエ(Itsue)) than the previous [nZk] album o1, but newcomer Tielle carries the torch well and sings her ass off. So I can’t say I’m too upset. Judging by the amount of anime themes on this record, you probably heard her sing half the OP/EDs you watched this year too.
 
Sawano is sneaky and has 2V-ALK lull you into a bit of a false sense of security at first, “Amazing Trees” is a strong album starter but not a stretch from o1. It’s when “gravityWall” kicks in that you learn you're in for a rollercoaster ride.  This album is more female-fronted than previous releases as well, but it works for me. Even as someone who is a lot pickier when it comes to higher range singers nothing got too nasally or tin-y for my tastes, even with all the over-the-top belting going on. Overall, 2V-ALK is big, beautiful, slickly produced, and something you can become totally immersed in listening to. I don’t have words to express how much I love this album. Just play it, and play it really loud! | Preview: Spotify
 
 

EPIK HIGH ・ WE'VE DONE SOMETHING WONDERFUL ・ HIP HOP
Anyone who’s spent maybe a few minutes looking into Korean hip hop should be familiar with Epik High. They’ve been killing the game there for the last 15 years and continue to be one of the most relevant hip hop units out of Korea. They deserve to be globally relevant at this point, but I’m just gonna have to stay bitter about that for now. Not only have Epik High put out album after album of quality material, they go out of their way to work with the next generation of urban music artists and help cultivate the scene.  
 
Epik High keep a pretty classic, old school style but they know how to get dark, gritty, and emotional when the song calls for it. “HERE COME THE REGRETS” featuring vocal powerhouse Lee Hi is one of my favorites-- a definite stand out for the album. But so is “노땡큐 / NO THANXXX” because everyone needs to hear Tablo yelling “I AM GROOT! MOTHERFUCKER!” to add some extra badassery to their day.  And Hyukoh lovers can also catch ya boy Oh Hyuk lending his smokey vocals to "빈차 / HOME IS FAR AWAY". I told you he was everywhere. | Preview: Spotify
 
 
It was a weird year. I had a few more J-Pop albums I really liked: REOL's エンドレスEP (so sad they're disbanding, they were a killer match up), Junho of 2PM's 2017 S/S, and Miyavi's Samurai Sessions Vol.2, but 10 was a good place to stop and I wanted to give albums I actually played the most a priority regardless of country of origin. What did you guys like last year? What releases are you looking forward to in 2018?

I must admit that 2007 was a really great year music-wise now that I think about it. Inspiration is DEAD and The bottom of chaos were life-changing albums for me.
 
I browsed my own music library and I have to shout-out some other fantastic Japanese rock albums released in 2007.  Even though they are no1curr bands for the most part.    I wouldn't say they are groundbreaking albums or anything but still, they are close to my heart. So I guess they are remarkable for me personally.
 
- The Birthday's Teardrop, one of my absolute favorite rock albums ever.
- ミドリ (Midori)'s Second
- ムニムニ (Munimuni)'s underrated 曲がる世界 mini-album.
- 浅井健一 (Asai Kenichi) released not one but TWO great albums, CHELSEA and Rod Snake Shock Service.
- And I have to mention Tha Blue Herb's Life Story, my favorite album by them, even though it's not rock.

I must admit that 2007 was a really great year music-wise now that I think about it. Inspiration is DEAD and The bottom of chaos were life-changing albums for me.
 
I browsed my own music library and I have to shout-out some other fantastic Japanese rock albums released in 2007.  Even though they are no1curr bands for the most part.    I wouldn't say they are groundbreaking albums or anything but still, they are close to my heart. So I guess they are remarkable for me personally.
 
- The Birthday's Teardrop, one of my absolute favorite rock albums ever.
- ミドリ (Midori)'s Second
- ムニムニ (Munimuni)'s underrated 曲がる世界 mini-album.
- 浅井健一 (Asai Kenichi) released not one but TWO great albums, CHELSEA and Rod Snake Shock Service.
- And I have to mention Tha Blue Herb's Life Story, my favorite album by them, even though it's not rock.

In celebration of Monochrome-Heaven's 10th Anniversary, we've decided to hop in our musical time machine and take a look at some of the important, classic, and downright pivotal J-rock albums of 2007! Below you'll find albums that left a significant impression on us as fledgeling J-rock fans and albums that impacted the fandom at large. So let's put on our nostalgia-goggles and take a look, shall we!!?? 
 
9mm Parabellum Bullet 
Termination

Alongside the likes of ling tosite sigure, these guys were one of the most hyped bands amongst the J-indie fandom at the time - and with great reason. On this album, 9mm crafted the perfect blend of explosive indie rock with elements of punk, hardcore, and metal - creating a sound so dynamic and fresh that even their naysayers couldn't deny it! TERMINATION was only their first full-length album, but it's responsible for inspiring an entire generation of successive bands with an influence that's still palpable to this day. Sadly, 9mm descended into utter mediocrity after this release, but this remains one of the few albums that I'd consider flawless, and it's widely regarded as a classic by fans.
-@CAT5
 
girugamesh
girugämesh

Few albums I have listened to in their entirety as much as girugamesh’s 2007 eponymous release. The 45-minute epic strips the soul bare - from the dynamic opener “Patchwork” to the heart wrenching “Kowarete Iku Sekai”, girugämesh brought out an unmatched explosion of creativeness from a group of friends that, despite barely breaking into their 20s, had given their all into music. It is a quality seldom heard in VK today as they channelled all of their aggression, elation, desperation, pain and longing, relishing the listener in girugamesh’s world of raw emotion where each song held meaning and every individual tune stuck to memory.
 
This is certainly one of the albums that not only epitomized 2007, but defined girugamesh for me. For many of us, bands like girugamesh catered to our angst-ridden adolescence, as we threw away our childish inclinations while gravitating toward the darker side of VK. And it was partially thanks to this album that gave me the faith to continue following them throughout their tumultuous latter years and see their career to their end, finally gaining closure with their swansong “period” that took them back to their formative roots.
-@helcchi
 
bis
Believe in Style

If girugamesh represented the transition into the dark side of visual kei to the generation that were growing up in the 00s, bis held tight to that childhood naïveté as they remained frozen in time, echoing sounds of a bygone era of oshare kei.
An ode to eternal youth, Believe in Style is an endearing Summer album that embodied all the stupid things we did when we were young and all the fun we had - free of consequences and responsibilities, as well as the bitterness we held towards growing up.
 
“Start”, “DAYS” and “SEASONS” were the quintessential high school anthems that perhaps started many people's venture into j-rock, brimming with youthful energy, catchy tunes and an attitude ready to conquer the world. It certainly seemed that success would come easy with the bright-eyed popular young band shooting their way to the top of the indies charts, yet bis’ world was painted through rose-colored glasses. And like many young bands trying to gain their footing in an adult world, the fun was short-lived and they disbanded way too early. Believe in Style would be their first and only full-length album, however not before leaving us with heartwarming memories.
-@helcchi
 
D'espairsRay 
MIRROR

Perhaps the only album I personally covered that sounds just as good today as it did ten years ago, MIRROR is one of the defining visual kei albums of the '00s. Every time I think of the mysterious cover, the riff to "Trickster" starts playing in my mind and Hizumi's crooning is like a harpoon that gets stuck in your head and can't be removed. It's funny to imagine how divisive this album was when it came out because it sounded nothing like [Coll:set], but in retrospect I might consider it the most approachable D'espairsRay album that still maintains the darkness I love them for. There's also bittersweet sentimentality talking, as this is the release which marks the point of no return for many fans.
-@Zeus
 
Eksperimentoj
Eksperimentoj

Having garnered a good amount of clout from the highly regarded band Dhal (a side-project formed by Aoki Robin of downy), vocalist Eugene Wakamikoto's first album with his own band Eksperimentoj was certainly a release of great interest back in 2007. In a lot of ways, Eksperimentoj sounded something like a spiritual successor to downy (who were on hiatus at the time and would remain as such for another 6 years). Eugene wrote and sung the album entirely in English, yet he sounded almost identical to Aoki Robin, and musically, the band played a gloomy, atmospheric style of post-rock that was aesthetically in line with downy as well. Though in spite of the similarities, Eksperimentoj still occupied a space of their own. Unfortunately, this was the only album they ever released, yet it's singular to this very day.
-@CAT5
 
HIZAKI grace project
Dignity of crest

Released on New Year's Day of 2007, HIZAKI grace project's first album was significant for me as it ushered in the second wind of my VK fandom, which is still kickin' today. I was delighted to see an old face, Juka (ex-Moi dix Mois), combined with some great neoclassical guitarwork and subtle tinges of MALICE MIZER (dat harpsichord in "Philosopher") that brought me back to when I first learned of VK in 2002. Virtuoso guitarists HIZAKI and Teru went on to form Versailles and Jupiter, but I still come back to Dignity to crest fairly often, as it showcases some of their best riffing.
-@fitear1590

Ling tosite sigure
Inspiration is DEAD

Ling tosite sigure (who were still being referred to as 'rin toshite shigure' by western fans at the time), had to be the most exciting band in Japanese indie at the time. Here you had a demure indie rock trio playing music with the technical prowess and ferocity of a death metal band, and their creativity seemed to know no bounds. Even if you found the vocals grating or annoying, you couldn't deny the Ling's ingenuity. Hell, before I grew to appreciate them, I found myself simply captivated by all of TK's insane riffage alone. Coming from a band so talented, and so obviously inspired, Inspiration is DEAD seemed like a statement - a dig against all of the bands who were content to tread the status quo instead of breaking new ground. And that's exactly what Ling did with this album, as they continued to do for years to come. Inspiration is DEAD remains a fan-favorite to this day, and as the band's final indie release, it's one of the most raw and unkempt records they've put out - a far cry from the polished, formulaic, and generally diluted music they've been producing lately.
-@CAT5
 
LOSTAGE
DRAMA

Just a year after LOSTAGE dropped the classic PLAY WITH ISOLATION, they returned again with this spectacular release. DRAMA took all of the emo-tinged indie rock of the previous album, but accentuated it with hard rock elements which resulted in a fresh and powerful new sound for the band. In fact, you could argue that this is the album that set the tone for the rest of the their career, as the style they crafted here is one that they've continued to hone throughout every album since. Truly a highlight in LOSTAGE's discography and the year 2007 alike.
-@CAT5
 
MERRY
M.E.R.R.Y.

After ten years, M.E.R.R.Y. still remains as one of MERRY's most memorable albums due to the band's versatile sound, which consisted of distorted punk rock with jazzy elements, groovy melodies, and some tender ballads. The singles included are "Blind Romance", "Saihate no Parade (最果てのパレード)", and the tender "Komorebi ga Boku o Sagashi Teru (木洩れ日が僕を探してる・・・)", which all remain as fan-favorite tracks today. In fact, 2007 was around the time of MERRY's prime, as the band had already been signed with major label Victor Entertainment for 2 years, and they had already performed overseas for the first time a few months prior to the album's release. Personally, the album has some of my favorite MERRY tracks ever, including "Utagoe Kissa 『MODERN』 (歌声喫茶『モダン』)", the catchy and melodic "Hirahira Tonderu. (ひらひらとんでる。)" (whose PV was directed by FULL of GUNIW TOOLS), and dat sweet bass solo at the start of "Coq d'or mama (コックドール・ママ)".
-@suji
 
nayuta
solar ribbon・solar children

Never heard of this band? No worries - most people hadn't heard of this band ten years ago either! In fact, nayuta is so obscure that only some of the most hardcore J-indie enthusiasts that I know have come across them, as this album wasn't released widely and almost no information can be found on it today. Still, despite their stature, nayuta has to be one of the best kept secrets of the J-indie scene, and this album is one of the best that you've never heard. On Myspace (yes, Myspace was still a thing in 07), they used to describe themselves as 'Underground hardcore parade music', and while that's actually pretty apt in a weird way, it doesn't do them justice. There's a definitely a hardcore element to their music, which is further emphasized by the rough and noisy production quality, but the band makes creative use of melody while maintaining the beauty of it. Add in some sublime male/female vocals and you have a sound that's as chaotic as it is charming. solar ribbon・solar children may be a hidden gem, but it's well worth excavating to wrap your ears around.
-@CAT5
 
OGRE YOU ASSHOLE
AlphaBeta vs. Lambda

If bands like Ling tosite sigure and 9mm Parabellum Bullet were dominating the aggressive side of Japanese indie in 2007, then on the opposite end of the spectrum, OGRE YOU ASSHOLE were the kings of slacker rock. The band already an album and a mini-album under their belts at the time, but Alpha Beta vs. Lambda truly solidified them as an indie rock force to be reckoned with. Characterized by laid-back grooves, smooth vocals, colorful riffs, and tight instrumentation, OYA carved out a delightful sound on this album that many younger bands like mitsume and siamese cats have aimed at, yet have never quite been able to hit. Hell, even the band themselves have never been able to live up to the sound they established here - and they've released eight albums since!
-@CAT5
 
Plastic Tree
Nega to Poji

2007 marked the 10th anniversary since Plastic Tree's major debut, and to pay all their efforts for making it that far, they decided to release the groundbreaking and jaw dropping album that is Nega to Poji. It was a major turning point for Plastic Tree, throwing away the old and bringing out new ideas. Nega to Poji as a whole laid out such a unique charm that if you listened to one song out of the album context you'd instantly recognize the Nega to Poji sound; the dreaminess, the grungy guitars, and Ryutaro's less childish to mesmerizing vocals. Honestly, there really is no bad track on the album as they all give it a perfect balance, except for old, but newer versions of tracks like "Spica", "Makka na Ito", and "hate red, dip it", that might feel like extras to some. I do admit however, that the new "hate red, dip it (loudest sound version)" flows well with the rest of the album. You've got the dreamy "Nemureru Mori" as a tranquil start, the pumping "Fujunbutsu" and "Elegy" to amp up the noise and energy, the heavy "Sabbath", which is possibly their heaviest track other than "Ghost", some impressive drumming in the melancholic "Kuroi Kasa", and the beautiful and heartbreaking "Andro Metamorphose" that received huge debate for copying Mew's song "Comforting Sounds", yet is still loved by most, if not all pura fans. I remember playing this album on heavy rotation the day it released. It was one of the best things I heard at the time and is still an absolute favorite of mine, which I'm sure many fans can agree with as well. Hell, there's even a whole studio version of the album on DVD from the limited edition. 
-@plastic_rainbow
 
RENTRER EN SOI
The bottom of chaos

It's not the album that springs to mind when I think of classics, but THE BOTTOM OF CHAOS is the album I think of when I think of Rentrer en Soi. The sound of a band successfully reinventing themselves to fit the hype sound of the time while still retaining their defining features and simultaneously progressing is as difficult to pull off as it is to describe, but for the most part THE BOTTOM OF CHAOS does this successfully. The album hasn't aged as well as I would have hoped - the production sounds thin, the growls are weak, and the best moments are segments of tracks spread over the whole affair rather than one or two solid songs - but when the entire package is this consistent it's still fun for a spin. Give this one a try if you want to know what fans a decade ago thought the tops in heavy music was.
-@Zeus
 
school food punishment
air feel, color swim

school food punishment debuted with their first mini-album school food is good food back in the spring of 2007, instantly turning heads as one of the new, promising indie bands on the block. Some people were even quick to compare them to Spangle call Lilli line - one of the most prominent female-fronted indie bands of the time. However, It wasn't until later that year with the release of this album that sfp really began to come into their own. The groovy, upbeat power-pop of the tracks like "you may crawl" and "art line" were basically the prototypes for what would become sfp's signature sound later on in their major label years. While the moody and dramatic "loop, share" was like a precursor to the band's 3rd mini-album Riff-rain, which came to be widely regarded as their best work when it dropped the next year. Still air feel, color swim is an important release that marks the development of a band that later grew to become iconic in their own right.
-@CAT5
 
Shiina Ringo
Heisei Fuzoku

Shiina Ringo is a legendary figure in Japanese music, hands down. With her gigantic and diverse discography, it can be quite overwhelming to start digging in. While I started with her most famous albums 勝訴ストリップ (Shouso Strip) and 加爾基 精液 栗ノ花 (Kalk Semen Chestnut Flower), I wasn't officially 'sold' on her until heisei fuuzoku. The album, which was arranged with the help of Neko Saito and served as a film OST, is a collection of self-covers and new tracks (like "Gamble"), all with a sumptuous orchestral/jazz/big band sound. The reinterpretation of "茎 (kuki)" as a sultry jazz number is particularly unreal. For anyone not quite ready for Shiina's pop-rock or more experimental side, heisei fuuzoku is another great entry point to her oeuvre.
-@fitear1590
 
the GazettE
STACKED RUBBISH

2007 might have been the last year I was flat-out head-over-heels in love with visual kei. Great albums and band debuts were happening left and right, its popularity was growing, bands were touring internationally, and people were still allowed to post fan-made content on YouTube (or am I the only one missing hilarious fanvids?). One of my most played albums that year, and probably my most played GazettE album ever, was STACKED RUBBISH. Not only did the singles leading up to the album kick ass, but just about every B-side from them was just as good in their own right, and it's no surprise some ended up making it to the final cut. The album enveloped the singles perfectly too, with just the right amount of variety between upbeat clap-alongs like "ガンジスに紅い薔薇(ganges ni akai bara)" and "SWALLOWTAIL ON THE DEATH VALLEY" and GazettE's classic, bitter aggression in tracks like "BURIAL APPLICANT", "MOB 136 BARS" and "CIRCLE OF SWINDLER". A light sprinkling of Ruki's new-found 'hip hop' influence also gave the album a dose of intrigue, as it opened with the questionably titled and unintentionally hilarious "ART DRAWN BY VOMIT" as well as the unforgettable did-he-really-just-say-fuckboy? engrish in "AGONY". Whether it's for a good laugh or a good headbang, STACKED RUBBISH's epic-ness needs to live on forever in VK infamy. Yes I did probably link the entire album, fight me.
-@doombox
 
Tokyo Jihen
Variety

Let's take a trip back to the past when Tokyo Jihen was saving jazz and Shiina Ringo was still relevant. Believe it or not, Tokyo Jihen's third full-length  娯楽(バラエティ), pronounced Goraku, turns ten this year! Feel old yet?  I would consider 娯楽 to be the black sheep of their discography, mostly due to everyone but Ringo composing music for this release. 娯楽 includes seven tracks from guitarist Ukigumo, five tracks from keyboard player Ichiyo Izawa and one composed by bassist Seiji Kameda. Drummer Toshiki Hata was also asked to contribute, but he declined. There's nothing wrong with it, but when it comes time to name drop Tokyo Jihen tracks, my mind often does not wander here.  娯楽 is best known for lead singles "O.S.C.A." and "キラーチューン" (Killer-tune), and  "金魚の箱" (Kingyo no Hako) which became the theme for the film 魍魎の匣 (Mouryou no Hako), but my personal favorite song is "黒猫道" (Kuroneko-do). It ended up selling 175,000 copies and was certified Gold by the RIAJ.
-@Zeus
 
trico
MUSICS

Sometimes brilliance goes overlooked because it's found in the most unexpected places, or in trico's case - a place that wasn't even on the radar for most. 2006 saw the release of the band's first album, but it was just humdrum enough to be negligible. They hadn't become a band that you'd hear readily flying off the lips of J-indie fans, so it made sense that Musics went by barely detected when it dropped the next year. I'm not sure what transpired in the time between these two releases, but trico had clearly become inspired in the interim. As opposed to downy, who were far left-field, and sleepy.ab, who were perhaps a bit too poppy, trico managed to hit the perfect stride of Radiohead-inspired rock, while also forging their own identity. With Musics, the band remained highly accessible while keeping things interesting. They took some interesting creative liberties, employing unusual sounds and subtly progressive arrangements, yet never became overly-experimental or self-indulgent. This was a short but fantastic mini-album, and it's a shame that this was trico's last proper release. I would have LOVED to hear what else they could have gone on to produce!
-@CAT5
 
 Versailles
Lyrical Sympathy

Many of these tracks have been revisited and re-recorded in many releases by Versailles, which should indicate just how influential this release is. The Revenant Choir  was the first release, but Lyrical Sympathy is what opened the door and introduced the band to the world. Classics such as "The Love from a Dead Orchestra" and "Sympathia" are among many fan favorites, and it's always refreshing to hear a power-metal band take a few trends and buck them. Actually, there are only one or two tracks here which haven't made a reappearance because they've even recycled the intro track! A decade ago when I first stumbled across Versailles, I never thought I'd have the opportunity to see them grow and come this far. Lyrical Sympathy holds up if you approach it from an ideas perspective, but as far as execution goes it's a diamond in the rough that I enjoy with the thickest rose-tinted glasses I can find.
-@Zeus
 
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Liked our list? Disagree with our list? Did we miss anything? Feel free to leave your comments below, let us know what you think, and let us know what albums you found remarkable that have turned 10 this year!  

That new Large House Satisfaction song was pretty good, nice surprise indeed! I had been a fan of theirs for a while but the "Crazy Crazy" song they released back in 2015 was so bad that I thought they had sold their soul to the bland anime opening pop rock devil to try to please the masses or something. It didn't have the trademark rough vocals and the composition was too easy on the ears and generic as hell. I'm not even sure if they released any more tracks like Crazy Crazy but that song sort of traumatized me so I never bothered to even check out the album it was featured on but the fault is mine. Anyway, seems like they're back to the old sound now and I'm glad about that.

Age: My The Novembers age is 5 years old since the first time I heard their music was in 2012. I don't remember the exact date so I don't know my birthday!
 
How you found them: My best guess is it was through last.fm's similar artists pages. I watched the MV for dnim and fell in love with the song but I didn't enjoy the rest of the EP on which that song was featured. Then I lost my interest for some time until they released zeitgeist. I thought it was an interesting album but I still couldn't really get into their music. Rhapsody in beauty changed everything. I enjoyed that album immensely from the get-go. After that I went back to their older material and something very rare happened... something that has happened to me only a few times. We're talking about their 2010-2013 material here. I put some song on: "this is so good!"  I put the next song on: "omg this is amazing too"  and same thing happened with almost every song. And now I can proudly say that I love all of their albums.
 
Favorite albums: It depends on the day but as of now
EPs: GIFT > Elegance > Fourth Wall > Paraphilia
Full-lengths: To (melt into) > zeitgeist > Rhapsody in beauty > Hallelujah > Misstopia > picnic
 
Favorite songs: Wire (Fahrenheit 154), 再生の朝, Reunion with Marr, ただ遠くへ, 彼岸で散る青
 
Extra: I remember I watched this one video interview of theirs, but I can't find it anymore!! In it they said that the most representative song of their music is (either the 1st or 2nd song on To (melt into) but I can't remember which one and it bugs me) I need to find that interview!
 
 

During their 20+ years of existence, Envy have released full albums, EPs and countless splits.
 
Albums:
Breathing And Dying In This Place (1996)
From Here To Eternity (1998)
All The Footprints You've Ever Left And The Fear Expecting Ahead (2001)
A Dead Sinking Story (2003)
Insomniac Doze (2006)
Recitation (2010)
Atheist's Cornea (2015)
 
EPs:
Angel's Curse Whispered In The Edge Of Despair (1999)
The Eyes Of Final Proof 7" EP (2000)
Burning Out The Memories 10" EP (2000)
The Eyes Of Single Eared Prophet EP (2000)
Abyssal (2007)
 
Splits:
Endeavor / Envy Split (1997)
Envy / Sixpence Split (1997)
Envy / This Machine Kills Split (2000)
Yaphet Kotto / This Machine Kills / Envy Split (2002)
Thursday / Envy Split (2008)
Envy / Jesu Split (2008)
 
What are your favorites and why?

Found a radio rip of the new single. I think it's kinda catchy song but... it still feels like a TK one man show, I need 345 and Nakano to shine more. The guitar solo part at 2:25 is neat, though.
 
 
 

Greetings, MH! Another month, another batch of recommended tracks from the amazing ORZ team! 
Check them out and let us know what you think!
 
(We apologize if some videos aren't available due to region restrictions!)
 
@plastic_rainbow's Picks
"天上天下" by ARCHEMI.
"Tenjou Tenge" by ARCHEMI.

Using religious themes like Hotokesama - which refers to Buddha - worship and spiritual enlightenment along with a heavy and aggressive sound, ARCHEMI. stands out from most VK bands. They recently gained a new drummer and now continue as a 4 member band once again. Although their new drummer Maya previously performed in a visually brighter band, Aloud, his fast-paced drumming works well with ARCHEMI.'s tumultuous force. Their newest single includes three equally good tracks - the fourth one being an SE - , of which "Tenjou Tenge" is the most refreshing. Instead of rehashing their overdone but brainwashing-in-a-good-way Hotokesama worship, the shouting of 'soiya soiya soiya', the beating of taiko drums, and flute in "Tenjou Tenge" evoke a traditional Japanese spirit. That being said, ARCHEMI. still have their furious bang down with the highly addictive heavy metal riffs and rushed drumming. Listening to ARCHEMI. is like following an underground cult, and the enthralling chants and head bursting screams spewed by Isami will drag you into a dark and calamitous spiritual adventure between heaven and earth. If you've never heard of ARCHEMI., you are totally missing out.
 
"鮮やかな矛盾" by NoGoD
"Azayakana Mujun" by NoGoD

Picking up in quality again, the year so far has been looking good for NoGoD after the blasting release of Missing several months ago. They continue their successful streak by dropping another outstanding track that is "Azayakana Mujun". It brings back the softer and more poignant sound reminiscent of their indie days. Or to be more specific, I'd say that it carries the very essence of their album Mugenkyou, which was when the band peaked. Danchou's vocals become most effective when he exerts his voice in a wistful way, which he has not done in a while until very recently. In "Azayakana Mujun", the intro begins instantly with Danchou's passionate vocals, but later includes calming spoken word as well. One thing that NoGoD always excel at is the ability to contrast the silent and loud moments in a compelling way. You can especially hear this when the powerful guitar solo follows right after Danchou's soft spoken words backed up by tranquil guitar melodies. If you thought NoGoD would never produce anything as good as what they did in their heyday, I recommend that you check out "Azayakana Mujun" and think again.
 
"昏睡" by SCAPEGOAT
"Konsui" by SCAPEGOAT

With their sound growing sharper each time, SCAPEGOAT has put out a killer tune yet again. Unlike their previous songs, however, the intensity and beauty of "Konsui" will surely make you listen to it nonstop. Shifting between a heavy and slow tempo, the track manifests the very feeble moment of being torn between life and death. It opens with heavy guitars and the muttering of Haru's sullen voice, giving it a sinister quality. Then, as if a helping hand reaches out to you, the trickling piano miraculously opens a door of light to illuminate a groovy ballad. The mellow guitars and soft bass lines plucked from a double bass barely border on art-kei, and Haru's compelling vocals breathe out a transient repose until all hell breaks loose again. Continuing as they are, I expect that SCAPEGOAT will keep on delivering stellar tracks such as "Konsui".
 
"青年ナイフ" by ニトロデイ
"Seinen Knife" by Nitro Day

I bring you another great YouTube find, and one that shows a lot of promise! Nitro Day is a very young indie rock band that began activities just last year. Despite being new to the scene they are already growing fast, and with good reason. "Seinen Knife" demonstrates all of the stunning talent from the young 4-piece band. Right from the beginning, the striking high-pitched guitar notes and smooth bass lines lead you to their robust and dynamic sound. The unique and emotive vocals, which might be too nasal for some, are the front wheel that drives the band's gripping momentum, while the more laid-back drummer keeps them in pace. They are one of those bands that can only make you think 'they’re cool' as you listen in awe. If I have to describe their sound though, they are like an alternative noise rock band with an emo and punk edge. Nitro Day are already receiving comparisons with huge J-indie acts like Number Girl and Bloodthirsty Butchers and could be the next band to lead the increasingly stagnant scene. I insist that you give them a listen now.
 
"Sorry, I Am Not" by SHE TALKS SILENCE

SHE TALKS SILENCE is a minimal noise and shoegaze DIY solo project led by Minami Yamaguchi that began way back around 2009. She's had a few supporting members in the past, but has been working completely solo again starting this year after her drummer left to pursue her own music path. In the early days of SHE TALKS SILENCE, Minami was very rough in her music writing, but has improved greatly over the years with better production as well. The newest song she wrote, "Sorry, I Am Not", comes from an album of the same title released this month, which also compiles her older songs from when the drummer was still around. In "Sorry, I Am Not", Minami sings in her whispery style, as she always does, accompanied by eerie guitar melodies, a constant bass drum, and clattering noises, making it one of her more haunting songs. Still, there remains a tangible sweetness from her gentle voice that floats like an angel's feather amidst the dark atmosphere. I admit that the choppy bass lines do need some polishing, but the simple melodies and mellowness of noise as expressed by SHE TALKS SILENCE may be for you if you've never heard of them.
 
@qotka's Pick
"雨” by 游彩
"Ame" by Yusai

While desperately searching, which is what I call mindlessly droning through YouTube these days, for some new decent angura-kei to heal my weaboo heart, I ran into a band called Zin on several occasions. Zin were a sweet yet hardly memorable mixture of that traditional-Japanese-sound infused rock and oshare-kei pop. This fragile bunch disbanded late last year only to reemerge as Yusai a few months later, sporting a more leathery look and slight stage-name changes.  "Ame" is Yusai's second single and it paves their way into a darker, somewhat more sophisticated form of existence. The intro almost sounds like a generic start to a nu-metal anthem, but it breaks down into a solid, mid-tempo ballad that elegantly mixes in a sequence of electric shamisen chords without making it sound forced or artificially glued onto the track. But what made me go back for a ridiculous number of listens this past month was Rui Amane's laid-back vocals. His voice is not exceptional but he knows how and when to use it, keeping it on the low side for most of the track and saving those miserable, characteristically v-kei wails only for when they're really called for to create maximum impact. Another thing to notice about "Ame" is the great bass work, especially after the first chorus. If you like your bass strong and distinct, I recommend listening to this one with headphones on. Only time will tell what will become of Yusai in the long run, but they're definitely off to an interesting (re)start.  
 
@emmny's Pick
"虚言癖" by DAMY
"Kyogenheki" by DAMY

I don't think it's any surprise that the more 'heavy' or 'abare' styled bands are more or less flopping lately, as the songwriting tends to be subpar compared to more melody-loving bands. It's a problem DAMY had suffered from in the past as well, with sloppy song structures and messy playing made up for only by the pure aggression and despair conveyed by the band. They have hinted at their abilities with "Obutsu" from their last album, but never quite hit that peak again. Every once in a while, a bop comes out of the indies scene so damn good that everyone--ghost writers, bandmen, fans of other bands--are left clutching their pearls, permanently shook. Much to everyone's surprise, mine included, "Kyogenheki" is that song. They've definitely got a new ghost writer stepped their game up all the way around and wrote a cohesive, heavy-yet-melodic banger that doesn't sound like a DEZERT song but definitely keeps that influence obvious.  The most notable change here is in the percussion and vocals department, with Ryo taking out the over-the-top zetsubou vocalizations and replacing it with Chiaki's signature sing-talk-whatever while still keeping his whine in there. Miharu, once a roadie for DEZERT is starting to show off his chops, with an incredibly rhythmic drum line and sharp little frills and fills that definitely recall his mentor's drumming style. I don't have enough good things to say about this, DAMY have definitely established themselves as serious contenders.
 
 
@helcchi's Pick
"⚪︎と×" by ザアザア
"Maru to Batsu" by Xaa-Xaa

Xaa-Xaa are exceptionally adept at writing ballads, with Kazuki's soulful voice compellingly conveying emotion and psychological conflict. Their newest release "Maru to Batsu", continues their creative streak. While "Maru to Batsu" might not be as haunting as 2015's "Yukidokei" nor as sorrowful as last year's "Shizuku", those upbeat tunes still hit you with sentimentality, for they are sure to evoke a wave of nostalgia. Working early 00s melodicism into a repeating chorus that's strongly reminiscent of "endless loop" by ROUAGE, and with a sound that's manifesting in Kagerou's influence, "Maru to Batsu" is an injection of all the feels. Let this song transport you back into the past.
 
 @tetsu_sama69's Pick
"burst" by Zill

I have an extreme weakness when it comes to anything Cra gets herself wrapped up in, even if it usually only ends up being something temporary. I am hoping that Zill is something that ends up having a much longer lifetime, as their first release Adam is already overflowing with potential. All three tracks on the single are very strong, but "burst" ended up getting my attention. It's got a catchy rhythm that gives you such a rush of energy it's hard to sit still while listening to it. The breakdowns give "burst" the chance for you to enjoy a fair bit of headbanging fun between the melodic full course meal that Zill delivers. If you find yourself thirsting for a visual band that relies purely on musical prowess instead of synths and metalcore, then Zill will definitely sate your tastes.
@The Reverend's Pick
"Dystopia -Vanishing Point-" by Boris

You know how songs get labeled 'epic' just cause they're kinda longer than normal? Even though Boris often deserve it, I am going to purposefully not levy that trite praise on the penultimate track from their new album Dear (even though it is twelve minutes long!)
 
The first half of "Dystopia" is really just a chance to set the stage for the climactic guitar solo that makes up the last five minutes of the song. Kind of like someone shushing you because the good part of a a movie they've already seen is coming up soon. And what a guitar solo it is! It sounds like a savant who has never actually touched a musical instrument got handed a guitar; the first couple minutes are full of awkward tone and fits and starts while this hypothetical 6-string genius gets comfortable with the instrument prior to unleashing some magic. But as soon as it comes together, boy is this song powerful! Alternatively, I'd compare it to those baby giraffes that stumble around immediately after being born, but before you know it are galloping confidently with their mothers.
 
Not quite the usual doom/noise dirge preferred by Boris when they write such long songs, "Dystopia" is certainly full of melancholy, but is also undeniably beautiful. Check this one out if you've been scared off by how *dense* the band usually is!
 
@CAT5's Pick
"声飛行" by Gutevolk
"koe hikou" by Gutevolk 

It's been seven years since singer, songwriter, and multi-instrumentalist Gutevolk (Hirono Nishiyama) released an album, but she's back in full effect with the leading track from her upcoming release titled, Gutevolk no koe hikou -Hello Tiny People!I Will Catch You-. "koe hikou" sports a prominent, pop-style beat, which instantly sets it apart from the subtle instrumental subtlety of Nishiyama's past works. Outside of that, however; this is vintage Gutevolk. Whispery, dreamlike vocals? Check. Whimsical, childlike melodies? Yep. Colorful, beautifully layered instrumentation? Of course! All the charm of Nishiyama's lighthearted indie-pop has remained perfectly intact over nearly a decade of radio-silence. The album sounds set to be a winner!
 
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Thanks for checking out our recommendations this month! If you have any thoughts on the list, or if you have any recommendations of your own, we look forward to seeing your comments below!
 

Thanks man. TK 's songwriting has become so lazy that's it's almost offensive 
 
I guess that's his "brand" now, though...Looks like this song is gonna be used for anime or something?
 
I feel like i've heard the song a million times before already, so I just feel incredibly indifferent to it, but knowing me, I'll probably still end up liking it down the road. =/ 

Found a radio rip of the new single. I think it's kinda catchy song but... it still feels like a TK one man show, I need 345 and Nakano to shine more. The guitar solo part at 2:25 is neat, though.