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Rendez-Vous is the SURPRISE HIT of the album for me, honestly
 
HATER is definitely the weakest track, I like its parts but I don't think it really comes together
 
everything else is pretty darn good!!  8.5/10, maybe??  it's a lot more EXCITING to listen to than their last album~

INTRO: 
 
The latest single by Shounenki, the band that mixes a rock sound with different musical styles, and a strong vocalist abundant in ideas for stylizing his phrases, as well as creating catchy melodies.
 
PHASE ONE (Initial SPOT to 5 listens):
 
At first exposure, the chorus instantly stood out, and I knew I was in for yet another Shounenki hook to get stuck into my head. As with their last 3 releases, I got that urge to hit replay. My main focus was on the main track, and the B-sides did not really grab my attention.
 
PHASE TWO (5-10 listens):
 
At this point I felt as if the song had a sort of honeymoon phase that had worn off. This single incorporates more pop elements ( I always thought the vocalist would make a good Top 40 writer, he can definitely create melodies that leave instant impressions, and stick with you), and I started to feel like there wasn`t enough behind the catchy vocals to really have staying power. Sometimes, with simply catchy songs, you go through a phase where you listen just for the catch, and after a while, the effect kind of dulls, and you move on to the next song, right?
 
The B-Sides still didn`t get my attention as much.
 
PHASE THREE (10-20 listens):
 
It was definitely a good thing that I took time away from spinning the latest Baroque and UVERworld to give this single more time.
 
My previous feelings dissolved, and I started to see more in all of the tracks.
From the interesting intros that provide their own unique feeling before flowing into the main atmosphere of the track, to the lyrics, and all of the other elements of the songs besides the vocalists melodies, everything started growing on me.
 
Shounenki is a band that can mix things up, without seeming like a variety act, they have a specific trademark already, and are able to stick to it, while always doing something different. Out of their last releases, this was the the work that took the longest to really grow on me, but now it is the single which I really enjoy the most in terms of getting play out of all of the tracks. With the other releases, since each track had their own feel, I would really stick to one over the others, but this release definitely flows beautifully, and I can put all 3 tracks in a queue, just letting them repeat over and over again.
 
From the pop-styled verses, to the rap input, to the lightly employed harsh vocals, and so forth, I really enjoy all of it, and am glad I gave the single time to really work on me.
 
If I had to make any criticism, it MIGHT be that the vocalist is a bit ahead of the rest of the band, including the guitarist, in terms of song creation, as even when they do use different styles, it is dictated by the vocals, and the guitar can kind of keep playing power chords styling`s (though the band is good). Some people may want the whole band to be able to switch styles like SID or UNiTE can. Though, some may appreciate that the tracks keep more of a rock anchoring, which prevents them from possibly feeling more like a variety act, and gives them a solid, reliable sound.
 
Track Count: 3 1/2 (3 Versions; all with title track, Limited containing an instrumental and DVD, Type A and B each having a unique B-Side. 926 yen each.)
Listens: 20+
Production Quality:
Overall Rating:  (Consider it a 4 star minimum for me)
 
Worth the Purchase?
 
If you enjoyed their latest works, it is definitely worth checking out. The SPOT just gives you a taste, and there is a lot more to experience in the complete tracks.

Mucc has been really delivering the last few years and this album is no exception.
 
1- Suiren
Tatsuro and the gang surely knows how to start off album. Epic song, f*ck, its so good. If the chorus only was only a bit more melodic it would be perfect, but it is EPIC 9/10
  2- D・f・D (Dreamer from Darkness)
Best song on the album IMO, the chorus is so unbelievably catchy, incredible song and a new favorite mucc song 10/10
  3- B.L.U.E -Tell me KAFKA-
Has some really nice parts but the chorus, the main melody, doesn't feel 100%. Same as Suiren if it just was a little better here it would be more memorable 7/10
  4- HATEЯ
The song that impressed on me the least this time. It is a high quality production but feels like a filler 6/10
  5- Rainbow
Maybe it is only me but I love these mellow songs from Mucc. Great song all way and the main melody is so... melodic, great effort! 8.5/10
  6- Rendez-Vous
Sorry felt like a filler to me 5/10
  7- TONIGHT
.... and of course they decided to end it with epicness, super catchy song that will be awesome live. AWESOME 9/10

Once again Mucc blows me away and this release proves they are one of the best Japanese quality bands out there today.

Final verdict 9/10

What are your thoughts on Mucc's latest effort?

Almost 3pm, my friends and I arrived Hidden Agenda hesitating whether we found the right place or not since the livehouse is in a hard-to-notice industrial building. We noticed the door to the venue was opened with no one at all inside it because I guess they didn't expect fans to arrive this early. We went inside and noticed many band name logo stickers around the place so we confirmed we found the right place. Few minutes later, staffs came in, noticed us and told us to wait outside so we did.

A while later, the elevator door opened again and more staffs went out. The band went along with them into the venue. My friends saw Shuu and Nii but I only noticed Ryo. All of them didn't wear make-up but I'm sure most fans aren't unfamiliar with their without make-up look. Ryo didn't look too different from the off-shoot videos on youtube.

We waited by the stairs near the door of the venue since there weren't much space by the elevator doors, other fans who arrived later queued up at the stairs also.

We waited for almost an hour but there weren't any other fans waiting yet. Shuu gave us a surprise by coming out of the venue door with his bass, nodded and said hello to us. I went like “Omg, it's Shuu!” to my friends and, stupidly, all of my friends and I only responded his greeting and totally forgot to ask for an autograph or picture! He walked around and then went back behind the venue doors.

After a an hour and half or so, we started to hear the band rehearsing. They played Evolution , Kowarete Iku Sekai and a few songs I failed to stay to listen because some of my friends and I needed to go out to the streets and find a toilet. When we went out, the sound of their rehearsal could be heard loudly all over the street but it didn't matter since there weren't many people at the street.

At 7:30, the staff opened the venue door and let us buy goods. I ended up buying a black t-shirt only. We went up to the front of the stage. My friends stood in front of the vocal position and I stood in front of the bassist position because it had the best view to Ryo. We all wore the t-shirts.

After an hour, the band came to the stage on time and everyone yelled. Shuu stood closely in front of us because there weren't any blockages in between the stage and the audience. He touched our fingers when we reached up. They played a short intro then started off with Break Down. The crowd and I jumped, raised up fists, and headbanged, following by Drain and Voltage. Then it was MC time, Satoshi thanked us for coming. I couldn't remember much of what he said at that time.

They played Incomplete, Not Found, Crazy-Flag, sunrise, Dirty Story, Resolution, Suiren, gravitation, driving time, Border, Another way, evolution, and Alone. Everyone didn't stop raising fists, jumping and headbanging to the music. My body and neck still hurts but it was worth the fun.

Satoshi ordered us to form a circle pit in two songs, I looked back and saw they did. He told us to wave our towels in the air during one song. Ryo wiggle-danced at times and always smiled, it was adorable. Satoshi went up to the platform in front the stage and all of my friends who stood behind the platform grabbed and touched him. I didn't get to do that at that time but I managed the touch his arm during one song when he was close, it was all sweaty. Shuu shooed Nii away for some reason and it seemed funny.

Then we yelled for encore after Alone, they came back to stage after a while. They played three songs for the encore and they were Zecchou BANG!!, Owari to Mirai and Kowarete Iku Sekai. I didn't expect them to play Kowarete Iku Sekai. It was one of my favorite songs from them so I am happy I got to hear it live.

After the last encore song, they threw towels, water bottles, and picks to the audience. I wasn't lucky enough to get any.

After the live, I gave my Stitch pocket fan gift for Ryo to a staff to hand it to him. My recent impression on the band was that Shuu was really nice. It was an awesome show for us and I hope for the band too! Girugamesh is so full of energy and their interaction with the audience is priceless.
 
 
Setlist sticked on the floor of stage:

 

Artist: Aureole Album: Spinal Reflex 1. I 7. Edit 2. Core 8. Inner Plane 3. Closetsong 9. Brighten 4. The House Of Wafers 10. In Light 5. Pearl 11. Ghostly Me 6. Hercules 12. Last Step
Rating: | A thrilling ride with a few bumps in the road

 
Aureole albums are always an adventure to listen to because you never quite know what you're in store for. The band consists of six members with an ambitious setup. Besides the usual 2 guitars, bass and drums, they also have a keyboardist/flutist and a vibraphone/glockenspiel player. So while they have a variable pallet of sounds to work with, it's the songwriting of vocalist Daichi Mori that keeps things interesting.

His approach to music is deeply entrenched in Radiohead and Sigur Rós aesthetics, but his vision is more expansive and he's always had a penchant for experimentation. These musical proclivities have continually been stretched since the band's debut in 2009 and now with their 4th album Spinal Reflex, they've progressed even further down the rabbit hole of Mori's sonic imagination.

So where exactly have Mori and the gang decided to take us this time? Well, the opening track "I" literally begins with a bang - complete with crashing cymbols, distorted guitar shredding, and a warbly, alien-like synth, insinuating that we've reached lands unknown. Within a matter of seconds, the raucous intro to "I" becomes an upbeat, bass-driven rock track with frantic vibe/flute riffs and a rather cacophonous chorus. While this may serve as an effective intro for new listeners who get the alien metaphor, it's doubly effective for long-time fans because it also marks a literal departure in the band's sound. "I" is more direct and to-the-point than Aureole has ever been, whereas in the past, Mori's songwriting has overwhelmingly favored the slow-burn of post-rock soundscapes.

"Core" follows suit in a similar instrumental fashion, but somehow this track manages to realize Aureole's newly embraced sound in a much more convincing manner. It's not as frenzied as the opening track, but it's still upbeat and there's something more graceful about how Mori's falsetto glides over the cacophony of instruments. It's no wonder this track was released as a promotional video - it's the perfect song to represent the band's new direction. On the other hand, "Closetsong" maintains the same straightfoward rock approach, but sounds more restrained and lacks the melodic appeal of the first two tracks. It's a pleasant, but ultimately unremarkable song. Much like how "I" lead into "Core", "Closetsong" also feels like a setup for the next track.

If you were just getting familiar with Aureole's newfound territory, well this is where Mori takes a sharp turn and steers the record into more uncharted grounds. "The House of Wafers" was previously released for free as a B-side to "Ghostly Me", and takes on a new form in the context of the album - marking the first stop on the record's experimental detour. This track expands upon the piano introduced in "Closetsong" and opens with a riff very reminiscent of a haisuinonasa song (who their vibraphonist plays support for incidentally). The verses have an awkward, trippy funk to them that crescendo into an uproar, much like the choruses found in the first leg of the album. "Pearl" and "Hercules" take the funk influences ever further; the former starts as an airy post-rock track before transforming into a hand-clapping groove and the latter is a full-on dance track with Mori's croon sounding fittingly Bee Gees-esque. Though as fun of an artistic divergence as these tracks were, Mori never stays in one place for too long.

The following two tracks take the album in yet another, somewhat darker direction. "Edit" harkens back to the experimental tendencies found in "The House of Wafers" by employing an equally cerebral groove, but this time there is no melodic chorus to pull the song together amidst the aural chaos. It's perhaps the most challenging song on the album, and has a distinct, downy-ish feel to it. "Inner Plane" is a bit more palatable, but it's also more trippy. The song plays out like a soundtrack to a mysterious dream that slowly evolves into a perplexing nightmare - going from an off-kilter groove to an explosion of menacing distortion and psychotic piano riffs. These two tracks are definitely located somewhere deep within the rabbit hole, and as far as Aureole has traveled in the span of the first eight tracks, it's only inevitable for fatigue to set in at some point.

"Brighten" would have made an excellent final destination, but instead it feels more like a rest stop on a route headed towards locations that aren't worth visiting. The song is cozy and dreamy with post-rockish accents that bring early Aureole to mind. It puts a fitting cap on the madness that proceeded it and would have been a great way to end the album. Unfortunately the journey continues with "In Light", the most standard and mundane rock song on the record, "Ghostly Me", which, while decent, sounds like a prototype of the sound found on "Core" and "I", and finally "Last Step" which is more of a forced outro than a closing track. These final three tracks would have been better relegated to bonus disk material, but instead their addition seems to skew the narrative of the album in an unmeaningful manner.

That's a rather minor grievance, though. The most glaring flaw of the album is perhaps its lack of musical peaks - those moments that stop you in your tracks and practically beg you to put them on repeat. Conversely, the album doesn't have many low-points either, which is an interesting feat to accomplish for such a dynamic record. It may not be the most memorable trip your ears will take, but Spinal Reflex is a journey that'll intrigue you at every step of the way.


Support the band! Spinal Reflex on US iTunes
Spinal Reflex @ CDJapan
Spinal Reflex @ HMV

..........I do this sometimes hahahahahaha That's how DWP came in to my life, randomly bought 6P.
 
People also fail to realize that 90%+ of VK bands are not trying to sell to you at all. You're not going to their lives and buying like 20 chekis until you get the right one, multiple copies of CDs for instore privileges, etc. Live limited releases are a make sure your fans come and buy your release directly from you(more money for the artist, they don't have to split with CD shop and distribution), especially if they haven't heard it and if they like downloaded it somewhere and they thought it sucked, then they're definitely not going to come to your live and purchase a copy.
Live limited releases are fair game as well on auctions, if you think about it this way, I just spent 3500yen on a ticket to go buy this 1500yen single, add in transportation, etc. You're looking at more than 6000yen, compared to the 3000yen they're asking for at auction.
If you love the band enough, you will always find a way to get a release. Even if it takes years.

That's by far one of the most common defenses for sharing. The reasoning goes along the lines of: 1) sharing is bad; 2) however sharing has some good consequences; 3) therefore, on balance, sharing is ok insofar as the good consequences outweigh the 'wrongness' of the act.
I can't agree with this argument because it falsely casts sharing as the precondition for people to find out about new bands and presumably become interested in buying CDs. Some users say that well yeah it's 2015, so filesharing is inevitable (which is true, although its inevitability has no bearing on whether it's the right thing to do). What these people also fail to point out is that precisely because it's 2015, the ease with which a band can advertize themselves and raise awareness of their music, and the extent to which this has already been done, is unprecedented. On the consumer end, it used to be the case that the only way to get to know a band is to rely on word of mouth, rent CDs from Tsutaya (or your friend), or low-quality illegal rips on the Internet. Fast-forward to 2015 where there's Youtube and Twitter and Facebook. Most bands today upload previews for their releases way before they go on sale, and some even upload the full title track and PV in 1080p. Like Owl mentioned there's even Trombe's news for all of us who don't know Japanese or are too lazy to scour Twitter. It's ridiculous to think people who still buy CDs make purchases by randomly taking a stab the dark and find new favorites by buying arbitrary releases from new indies bands they haven't heard. So the more pertinent question for me is: are these materials not sufficient for one to make informed judgments whether a CD is worth buying? If they are, then it's untrue that without filesharing the vk band will fail to gain appreciable reach to international audiences. The alleged "good consequences" credited to filesharing can now be achieved through numerous other means. If no, then said person probably won't buy the release even if someone shares a rip with him/her--in which case this entire position collapses into a poor excuse for not paying for a commodity one desires. It's surprising how some people cheerfully ignore the potential of these social media avenues for supplanting piracy as convenient (and hopefully morally more acceptable) ways to know about a band, but are always more than happy to adduce their emergence as rather dubious 'evidence' of how piracy is now ok "because it's 2015."
I also have issues with the third premise because the problem of magnitude is tricky. It draws all our attention to the miniscule gain in sales the band enjoys from the handful of people who, apparently, couldn't make up their minds whether to buy their CD after watching the band's youtube preview and had to listen to the FLAC to make their final decision--and sweeps under the rug all the losses in sales that band suffers as a consequence of this. Even if we grant that not everyone who downloads free music would have bought the music had it not been available for download, it isn't difficult at all to weigh the scales; for if it's indeed the case that piracy benefits the band in the purported way, we'll have to seriously wonder why bands bitch about illegal downloads every few days. As such it's probably less appropriate to think of the inadvertent losses incurred as some kind of 'collateral damage' that accompanies the larger good of getting international fans to buy music, than it is to conceive of the small gains in the latter group as being incidental to the harm piracy inflicts on overall band sales.
Anyway, before I'm accused of being hypocritical: obviously I'm one of those who download sometimes since I can't afford to buy every single CD I want to listen to (nor can I find all of them), and I've have been complicit in sharing a fair bit of my music. Honestly I don't think the situation now is ideal because there are a lot of things vk bands (and the industry in general) can do and should be considering to mitigate the problem. So there's still work to be done. All I'm just saying here is that I'm not convinced by the usual self-righteous rhetoric that attempts to justify unregulated filesharing, and hopefully fans can endeavor to do a little more to support their favorite bands.
Tl;dr: The pseudo-utilitarian argument of 'small harm is justified because of bigger good' fails because (1) the good can be brought about, or at least reasonably approximated, via other less damaging ways today; (2) it's highly suspect if the harm is in fact smaller than supposed good.

First it's useless to rely on people honesty. One person is enough to upload a release.
 
But the moral part here that you shouldn't upload stuff if the band you respect ask not to.
 
Yeah it's 2015. Discovering bands has become easier. Every band has website and most of them provide previews of upcoming releases so you can decide if you wanna buy it.
Thanks to @Trombe we can learn a lot about newly formed bands and their release dates. Try, decide, buy.
And yeah music isn't free. It's weird to see how people claim something they want to be free should be free for real. Music is intellectual property and the result of efforts put into it. So no wonder bands are pissed when their releases are shared. I would've be pissed too if my ideas or results of works were shared to everyone besides my will.
Yeah it's hard to get your hands on every release and buy everything, but I think people should support bands they like.
 
Strange that noone spoke about Nocturnal Bloodlust yet.

I think that illegally download music/sharing can be wrong on some terms. If people want to share to keep friend or pal interested in the CD long enough to have them buy a physical copy then yes, that is good. If they share just for free music/distribution then that is wrong. If a single is venue limited then by all means, do release to the public if it is highly requested and not available to oversea fans. Disbanded bands should support too because every cent counts unless record label go under too in which case, it count as fair game to either illegally download or buy from place like CDJapan or other music Asia store. 
 
 
 
An example by the gazette, "Inside Beast"  was recently uploaded after album was released long time ago and fans has positive feedback but criticism for long wait. Big record company such as Sony are quick to take down music from random uploader which doesn't belong them because they like to make the money, which is right thing to do. Record companies and website such as iTunes and other purchase music websites do good by allowing previews/samples but sometimes that is not good enough for certain people who want a long preview of song. I know lot of music blogs that put out free music from active band in which case, what that do? Nothing for the artists, maybe gain few fans or 100 but who else illegally download their music too? That large gap for purchasing or keeping for greedy self. 
If owner of record company is dick to fans, why not still support bands on his label if u like them? Forget about mean owner and mainly look to favorite artist to support. Long hours and hard work go into making music, hours and hours of planning and thought to make few songs or days/months for album in which is not worth it to just jack music.
If CD is hard to find? Ok that is one decent reason of if is venue/live then Ok. But if you have money or just want to sample then buy or give preview but do not keep music which you no pay for. 
 
Sure shipping fee is big for us oversea people but it worth it to enjoy nice quality music. Musicians do not make much money but depend on how much music single/EP/album go for. 
More bands need to upload preview of music to keep fans interested so that they buy more. Thank we have lots of online retail for purchasing the CDs of Asia or Europe
If you want CD bad enough, you will save up for it and buy it no matter what the cost. I have found bands I like through YouTube and I buy full single later on when I save up or sometime listen to song constantly to make sure I still want CD. 

公佑(kousuke) session "Ham-My-Ft3" will perform at his birthday presents live "ハムハム超会議3～はむぱにっく！！～" at Ikebukuro EDGE at 2015/08/09
 
"Ham-My-Ft3" members:
Vo.公佑(kousuke) (LEZARD)
Gt.つかさ(tsukasa) (HOSHInoHOUSE)
Gt.kaname (ex-amber gris)
Ba.猟平(ryouhei) (CLØWD)
Dr.しゅう(shuu) (ex-AUBE)
 

 

That clip is all I needed to convince me to get the album xD

Sadie's vocalist Mao will co-star as a fashion shop owner in BL movie "飴とキス (Ame to Kiss)".
Mao's character is a gentle person who gives advice to the main character. Although this is Mao's first time being an actor, the director gave compliments to his acting.
 
Ame to Kiss's DVD will be released on 2015/07/25 for 3980yen.
 
https://www.facebook.com/amekissmovie
 

I don't see why it's so hard not to respect the band's wishes.
 
It's their music, not ours.
 
Some bands don't care, others clearly do.
 
Music should not be free, it's the product of their hard work, and should be treated as such, a product that in order to enjoy/obtain, pay the money you're supposed to.

What a way to come back!
 
I can't really remember the original version of W.O.D. but this installment is just truly badass with its all-out heaviness. Some great tempo changes here and there, and impressive string-work (especially those little bass noodlings). Slayed me hard.
 
It's nice to finally listen to Fatal Error Race as well, albeit it's in demo form. Even so, it still packs a punch, in typical heavy-but-melodic D.I.D. fashion. Can't wait to hear the finished track with a proper bangin' production.
 
A solid lil' goodie from these guys, hope they'll be able to be more active from now on. |

D.I.D
                                     until the Day I Die
 
 
As you all know the Judgement Day is approaching, the day when D.I.D. will truly return. We've awaited it for quite some time now, this single is only but the messenger warning us of the impending storm of godly sound that is Akane and his disciples.
 
 
W.O.D. II
____________
 
 
An interesting sequel to the ever so amazing and timeless D.I.D. original W.O.D., this second version retains all the same lyrics, but a different tune. I love its many tempo changes and the metalcore. Akane's growls are on point as usual aswell as his clean vocals, Tekede's drumming continues to slay especially the bass drum, as for Tohma he's gotten even better even though I never knew he could get more godly. As his skills were far amazing before, aswell as Aizawa. His Bass playing is solid and gritty i just love it! The guitar solo is fucking hectic, I can tell it took alot of work. (It even tops atheism's amazing solo.) I cant wait to see the music video for this track.
 
☆☆☆☆☆ out of ☆☆☆☆☆
 
 
FATAL ERROR RACE
______________________
 
The moment I've long awaited for.....has finally arrived at last it's here, the beauty that is difficult to bring to words. It is honestly love to the ears, for a song to be this well composed it's almost unreal. Akane's sweet voice returns, his alluring tone and demonic growls are present aswell as the flawless guitar work, the drumming is back with vengeance along with the bass. Oh god the chorus send's chills up my spine, those violins in the background just fill the tone ever so perfectly, this song is so symphonic, so tear inducing. D.I.D. is coming back, as they've come a long way and there is no turning back for them, only the progression forward. 
 
☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆out of ☆☆☆☆☆

I am not a big fan of what they have been doing lately. 
 
Their songs are a little shallow to me, and a lot of their music is a complete copy of BugLug.
 
This song is HicchakaxMecchaka with little changes and a different tempo, plus other BugLug styles.
 
They should be themselves more, I don`t see the point in being similar to a band that is currently far more skilled in musicianship, song-writing and on a much better label then them, if they don`t offer something different.
I think they could be a good band if they did their own thing more and grow as that. 
 
No offense intended to fans, just my thoughts.
 
Here is BugLug for comparison:
 

I am not a big fan of what they have been doing lately. 
 
Their songs are a little shallow to me, and a lot of their music is a complete copy of BugLug.
 
This song is HicchakaxMecchaka with little changes and a different tempo, plus other BugLug styles.
 
They should be themselves more, I don`t see the point in being similar to a band that is currently far more skilled in musicianship, song-writing and on a much better label then them, if they don`t offer something different.
I think they could be a good band if they did their own thing more and grow as that. 
 
No offense intended to fans, just my thoughts.
 
Here is BugLug for comparison:
 

My first little series shot in studio
 

 

 

 

 

Since I can't draw or paint, I force my friends to model for me at gunpoint. I mainly do portraiture since I like shooting people. 
I have a Nikon D7000 and a couple lenses
 
---
 

 

 

 

 

 
 
I will post more later~

Artist: BRADIO Album: POWER OF LIFE 1. Are You Ready to Blast Off? 2. Flyers 3. 真っ赤なカーチェイス (MAKKANA CAR CHASE) 4. Sunday feat.MICRO(from HOME MADE 家族) 5. Chocolate Flavor 6. Flash Light Baby 7. オトナHIT PARADE (OTONA HIT PARADE) 8. シークレットコード (Secret Code) 9. スパイシー・マドンナ (Spicy Madonna) 10. 腰振る夜は君のせい (koshifuru yoruha kimi no sei) 11. You Make Me Feel Brand New 12. Ride On Time feat.谷川正憲(from UNCHAIN)
Rating: | Disco is not dead!
 
BRADIO is a relatively young indie rock band that blends large doses of throwback funk with addictive and catchy pop melodies. While they formed in 2010, the member shuffle kept them bound to releasing solely demo material until they took off like a rocket 2 years later with their first mini album. Fast-forward to 2015: BRADIO are headlining tours, releasing their first full length album, and gracing an anime series with their music as the opening theme for Death Parade. It's been a big year and it's barely half way over!

The album opens with a single question posed to its listeners, "Are You Ready to Blast Off?" That answer is a resounding "YES!" as this song breaks into a high octane dance party that will make it impossible to sit still. The mood is set with a fun chorus and dramatic "oooh-aaah" backing vocals that lift the track up until a funky bass solo takes the song, as promised, right into outer space. The equally cheesy yet infectious "Flash Light Baby" and "OTONA HIT PARADE" keep the overall feel of the album in this realm, as they sit back to back in the middle of the track list.


The lack of ballads on POWER OF LIFE is somewhat surprising. Only the song "You Make Me Feel Brand New" slows down enough to give anyone a chance to catch their breath. However, the song still maintains a level of energy that comes much closer to 'power ballad' territory. Not only does it serve as a change of pace with tempo but it also spotlights a fabulous female vocal harmony just shy of making this song a duet

Musically, BRADIO doesn't do anything that reinvents the wheel for their genre, but they keep their music consistently well composed across the board with a level of quality and attention to detail. The band may not create an image of taking themselves seriously (It's all about having fun!), but you can tell that stops in the studio where the production is remarkable. The range of instruments used must have kept a long list of session musicians in and out of their recording booth even though the band's main line up only consists of 4 official members. A sassy horn section really helps songs like "Flyers" and "Spicy Madonna" stand apart from the others with enough swag that even Kool and the Gang would be proud. If you don't know who that is, let me google that for you.

Breathing life back into disco may sound like quite a formidable task, but BRADIO have found the right mix to make it look easy. And they're bringing their friends along for the ride, both MICRO (from HOME MADE KAZOKU) and Masanori Tanigawa (UNCHAIN) have wonderful features on this album. They each lend their special flavors into two of the most uplifting tracks "Sunday" and "Ride On Time", magnifying the positive sentiment the album carries. BRADIO strive to raise their listener up in every way with POWER OF LIFE, if the title didn't already give that away. My only complaint is there aren't enough low or quiet moments to give this album as dynamic a sound as it could have. A bit of shadow to make the big songs shine even brighter would really push it to the next level. There are a huge chunk of mid-tempo numbers on the album that, while enjoyable, don't sink their teeth too deeply into the different emotions they grasp at and some of them can blend a little too seamlessly into each other. But since they all keep the party rockin' it's hard for me to be mad about it. It really is a simply fantastic soundtrack to boogie away your problems.


Support the band! POWER OF LIFE on US iTunes
POWER OF LIFE @ CDJapan
POWER OF LIFE @ HMV

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Moved this to the Art Showcase.

on a more traditional writing note here is the short story i wrote for kyo, featuring us.
 
The Cursed Doll's Path to Piece
 
Once upon a time in the the black forest with a large tree at the center. This tree it collected all of the darkness in the world, and gave birth to a human like doll. The doll wondered endlessly in the darkness coming across people and other things that wanted to harm it, luckily it had a self defense system and it slaughtered them all. People and the things began to fear it for rumors of it's dark power spread through out the forest, but the doll had this allure to it, so they kept coming, bathing it in blood. The doll finally reach the end of the forest, and continued walking till he happened upon a large castle, the gates spoke "who's there outside my house?" the doll attracted to the beautiful voice decided to reply "idk." the doll thought since i killed already i wonder what it would be like to kill this voice. looking through the gate the door to the castle opened. out came a beautiful women with dazzling eyes dressed in an all black dress, and when she smiled the dolls bloodlust suddenly went away. she walked with grace over to the doll with her dark but lovely dress brushing the floor. the doll said "do you want to hurt me too?" The women said "no, i herd the pain in your voice so i had to come. I'm queen Kyo Ruler Of the kingdom of SelfLove. I would like to heal you." I cant be healed the doll replied "I'm cursed" well luckily curses are my bitch the queen replied. "Now come inside Black" is that my name the doll ask. "well it suits you but you can choose yourself." the doll suddenly stop and keeled "I will serve you well my queen."
 
Thee End

I love it.