Search the Community

Artist: Vermillion-D Alice Syndrome Album: 鴉/IX Score: Surprisingly lackluster, despite all the effort put into it. Setsuna is one ambitious guy for sure. He started in his basement playing unremarkable trance music themed after Dante's Inferno until he was enraptured by the allure of the guitar, and has been inching towards metal since 2008. Every release from the now defunct 黒夜葬 got darker, heavier, and more melodic as Setsuna improved his metal sensibilities and dropped his trance ones. He achieved his greatest wish in finding a vocalist, and in one motion cut some ties with the doujin scene by forming VDAS. Despite the fact that they cover no themes from any franchise, there were still pictures of anime girls on the covers of their last three releases and they faithfully showed up at all the events to sell their merchandise. In a way, 鴉/IX represents a total split from the scene it was birthed from. All doujin imagery has been eliminated from this album in an effort to appear as a serious metal band. Unfortunately for them, there are too many problems with 鴉/IX to consider their transition complete. Without the guiding light of ZUN, the duo have forgotten what made their music so interesting in the first place. Let's start from the beginning: there is too much going on within each song. On one hand, this is the best production and mastering job that VDAS has ever had. On the other hand, there are enough riffs for three albums shoved into one. It's great when artists hold nothing back and can engross the listener entirely in their style, but 鴉/IX is suffocating. The result is a disaster. Each song feels like an album on it's own; with the exception of closer "And Then There Was None", every song goes on for over eight minutes. There are some cool moments in each, but it's inevitably ruined by another, more questionable inclusion. In comparison to previous works by these two, both together and separately, they expressed more with less musical brushstrokes. This sounds like they tried too hard to be progressive and failed. It's difficult to highlight a standout track because they all have the same problems. It's been a while since I wanted to shut off an album because I felt like I heard everything by track four. This is how a band can fail by doing too much. Setsuna has always been guilty of throwing in everything but the kitchen sink, but this is the first time where it hurts more than it helps. By incorporating more deathcore, more symphonic and gothic elements, more solos, and more operatic vocals, Setsuna and RIB have challenged themselves to be something greater. But neither know how to balance their aggressive moments with their more tranquil moments, and 鴉/IX quickly loses all sense of dynamics. Most tracks start from an ominous, foreboding intro and explode into a flurry of deathcore and pop choruses. Since each track has so much content, the first three tracks provide so much listening material that the last four tracks don't have enough individuality to distinguish themselves. VDAS could have condensed 鴉/IX into a more listenable experience by shaving a few minutes off of each track. The largest offender here is the penultimate track "零ノ柩", which also happens to be the longest track clocking in at an almost insufferable thirteen minutes. Roughly half of it is spent listening to RIB's whiny, nasally falsetto, which does nothing to make the time pass faster. It's a shame too, because when he isn't straining himself RIB's style bears more than a passing resemblance to the visual kei scene. This could be a draw to many metal fans here who don't mind less than stellar vocals. If you're anything like me and prefer impeccable vocal performances, this is simply going to annoy you on multiple levels. The more one pushes against musical boundaries, the more those boundaries push back. Vermillion-D Alice Syndrome was eager to push themselves, but they were not able to keep their creative influences balanced properly. As a result, their sophomore effort is a complete mess. It shows some promise, but overall I feel their concept was executed better on previous releases. I would recommend this to only the hardcore metal lovers that don't mind nasal cleans betwixt their growling. Everyone else can safely skip this album.

Artist: VAMPS Album: BLOODSUCKERS Score: VAMPS make a good effort, but could use a little more bite. I'm a huge fan of KAZ's work with Oblivion Dust though I've never been big on L'Arc-en-Ciel or HYDE's solo ventures. Over the years I've come to realize that may have had more to do with my preference for aggressive music than the band's quality of songwriting. So, BLOODSUCKERS is only the second album I've ever heard all the way through with HYDE as the main vocalist, and I was pleasantly surprised by how much I enjoyed this album. It was naive of me not to have prepared myself for high levels of cheesiness, since the song titles on this album range from spooky undead to pirate themes, but there were a lot of shockingly good moments on this album too. The first half of this album comes off a little weak. "ZERO" is a nice blend of KAZ and HYDE's styles but begins to grate on me after about 2 minutes in, where it felt like they ran out of ideas so they just dragged the song out as if it were a live situation. Only that answer works solely in a live setting. Otherwise, it's just a waste of time that should have been shortened to an intro. "LIPS" also becomes a little boring as well, even though I do appreciate a good 80s glam rock throwback, the song feels flat and lacks the raw vocal edge necessary to pull it off. HYDE stays in this middle space that never goes full grit or full soaring powerhouse. "AHEAD," "GHOST," and "VAMPIRE'S LOVE" all end up in similar bland categories. KAZ puts on a good show with "EVIL," and it's the one saving grace for the album's slow start. The song separates itself with a more industrial feel and a prominent drum beat. HYDE also sounds a little darker in his approach and doesn't try to overpower the music with belting too much just for the sake of it. BLOODSUCKERS does finally kick into gear by the mid-way point, however. The first promising HYDE composition, "DAMNED" is a punch to the gut and has great dynamics; with a haunting verse that slowly swells to the point that the listener is itching for the chorus's outcry. The guitars really wail on the track and it kicks up to headbang-worthy levels of pounding drums. It's followed by "GET AWAY" and "REPLAY," which were strong singles for the album, but also a step into the pop-influenced side of VAMPS. While not bad songs, they feel lost in the track placement. The first half of the album could have certainly used these songs to beef it up instead of the slower numbers VAMPS opted for. The title interlude was a monster of a piece that I would have loved as a full song, "are you all bloodsuckers?!" the track asks, and the answer to that is a resounding, "yes!" If you ask with that beastly guitar riff backing you up. "THE JOLLY ROGER" doesn't skimp on crunchy guitar riffs either, though it's a slight letdown to have such a positive sounding song after such a dark teaser. But once you accept the song for it's change in theme, it's actually a great piece of work and you will find yourself singing along with the "whoo hoo" of the backing vocals all too easily. The album sends us off with the closing track, "INSIDE MYSELF." It's just as well composed as any of the singles and the album releases its grip on you with a song that really expresses what the band's sound is about. The guitar work is just as catchy as any of the vocal melodies and the production is well polished as you'd expect from industry veterans like this. While some of the songs rest too much on clichéd writing tropes, it's hard to find anything unlistenable on BLOODSUCKERS. HYDE and KAZ have been writing music long enough to put out quality work that shows more of their strengths than weaknesses. But there is still a lot left to this project that they could explore and I'm looking forward to it in their future releases. I recommend rock fans to give this album a spin, VAMPS cover a lot of ground on BLOODSUCKERS so there's high likelihood they'll surprise you too.

Artist: Jupiter Album: THE HISTORY OF GENESIS Score: The Birth of Venus. The Death of Creativity. Visual Kei is a world of its own; a patchwork scene that mixes and matches various established genres and reinterprets them under its own musical and aesthetic niches. The peculiarities found within the scene - which can range from vocal style, visuals, songwriting, marketing ploys, to general band ethics - are usually recognizable, but also fleeting at best. When you add in the fact that any given Visual Kei band can have an entirely different set of musical influences, this renders comparison to the "source" of those influences a fruitless task outside of music historicism. Visual Kei is best appreciated from within, with some kind of inside narrative. Something that explains how Visual Kei operates or the rationale behind a band's artistic choices. However, sometimes you'll come across a band that defies a narrative - for better or worse. Jupiter is one such band. On their sophomore effort "THE HISTORY OF GENESIS", it's painfully apparent that they fall in between the cracks of being a successful metal band with Visual Kei aesthetics and a Visual Kei band that has effectively appropriated metal into their repertoire. Instead, they sound like a lukewarm imitation of both - neither delivering from a metal standpoint, nor fully embracing the artistic nooks of Visual Kei. Some of the most "thrashing" moments of the album, like opener "The Birth of Venus", single track "LAST MOMENT" and "ARCADIA", are marred by hackneyed power-metal songwriting and technical, yet emotionless instrumentation that fails to engage. It's as if guitarists HIZAKI and TERU are literally riffing in one ear and out the other. Even the harder hitting songs like "Darkness" and "絶望ラビリンス" lack punch and wouldn't warrant headbanging, much less a simple head nod. But beyond the lackluster songwriting and sterile musicianship, THE HISTORY OF GENESIS suffers from a host of other issues, one of which is ZIN - Jupiter's vocalist. As a metal vocalist --power-metal in particular-- ZIN doesn't cut it. He lacks the soaring, dynamic range and the theatrical bravado necessary to be compelling. His harsher vocal attempts, as heard in tracks "SACRED ALTAR" and "Darkness", are weak and struggle to be heard amidst all of the drab riffage. Even by Visual Kei standards, ZIN's vocals are thoroughly uncharacteristic. There are no tortured quirks or endearing imperfections to add charm to his performance. So while ZIN isn't a remarkably good vocalist or an offensively bad one, he still occupies an awkward musical territory - one that simultaneously falls short of the expectations of metal and the appeal of Visual Kei. The final nail in this album's coffin was hammered in by its wearisome length and seemingly asinine arrangement. Of course, metal albums are usually protracted affairs, but with 14 tracks and a duration 10 minutes shy of your average feature-film, there just isn't enough quality material here to justify sitting through it. Omitting a few tracks or trimming some of the fat would have done some good. Running at nearly 8 minutes, title track "The History of Genesis" is a progressive behemoth that feels like more of a chore than an immersive epic. Even with the track being placed near the end (it's the last track on the limited edition), it just feels like a tired recap of the entire album, as opposed to an actual climax. Instrumental guitar ballad "Church Candle", as dull as it is, would have served more effectively as an intro or an outro. Instead it's slapped right in the middle of the album and adds no sense of progression or logical flow. "Shining" is another unfortunate curveball in which Jupiter delves into an oshare kei-esque pop-punk number. Normally, a band's attempt to diversify their sound would be laudable, but in the the context of the album it comes off as half-baked filler. Though for all of its weaknesses, THE HISTORY OF GENESIS isn't without some merit. One of the band's strongest showings was, ironically, the only song composed by ZIN - "Red Carnation". This track revels in everything Jupiter tried but failed to accomplish with the rest of the album. All of the symphonic and neo-classical elements are kicked into high gear, and ZIN even duets with a female vocalist, giving their music a much needed spark. "THE MOON", however, is the album's most standout track. It's a groovy, mid-tempo ballad where HIZAKI and TERU put the power chords and the chugging on hold to embrace smoother guitar tones. There's even an unexpected, but extremely welcome jazz breakdown. Unlike "Shining", this is an instance in which Jupiter tried something new without deviating from the tone of album or abandoning their core sound. It's obvious that Jupiter has all of the tools to impress; they're just misusing them 80% of the time. If HIZAKI loosened his compositional stranglehold and allowed more new ideas to flow in and if ZIN were a bit more convincing, then Jupiter could become a force to be reckoned with. But as THE HISTORY OF GENESIS has shown, Jupiter is stuck in an uninspired artistic limbo devoid of a narrative. Whether your musical inclinations lie with metal or Visual Kei, this album is sure to leave you entirely apathetic.

Artist: Develop one's faculties Single: フラスコを振ると天秤揺れた Score: Could be better but could be much, much worse. When two members from cocklobin form a band together, I'm almost obligated to check it out. It's reasonable to expect at least cocklobin levels of quality in the music and the previews for フラスコを振ると天秤揺れた were intriguing. I'm not quite sure what direction I was expecting フラスコを振ると天秤揺れた to go in, or what to expect from Develop one's faculties, but this wasn't it. Now before the hype train leaves the station, there's good news and bad news. The good news is that this is something different. In a scene where bands can and will play almost any type of music, it's hard to find a good, honest rock band. Both tracks are good, although I prefer the second track "結果論". The way they blend electronic feedback with noise into their rock groove is something visual kei definitely could use more of. The single itself has overtones of LIPHLICH crossed with amber gris on a heavy day, but doesn't sound too much like either. Its indie sensibilities also lend the song a vibe uncharacteristic of the scene with husky vocals to remind the listener that this is a visual kei band. yuya doesn't have the strongest vocals, but he has control, can harmonize, and it goes well with the music. I can't say if DOF has the chops to become the flagship rock visual kei band in a few years, but they are worth keeping an eye on. The bad news is that フラスコを振ると天秤揺れた isn't a strong first impression. Two tracks are not a good enough yardstick to measure this band's potential. In this case, it would have been better if their first release was a mini album. Then they would have had more chances to refine their sound and win the listener over. What I heard on the single caught my passive interest. I don't find either song memorable in the long run and I wouldn't go out of my way to listen to it again. I would even go as far to say that I only remember this band for who their members have played with and not their own music. For a first single, that quality is undesirable. In all honesty, DOF might drop off my radar as 2015 progresses unless they aggressively promote themselves and drop the mini album this should have been by early fall. This isn't the brazen first release that was devils in bedside or Dark Design Catalog, but フラスコを振ると天秤揺れた was good enough. I was expecting more from DOF based on the two ex-cocklobin members, but I'm well aware I wouldn't have paid attention to them without the association in the first place. It's not often that I get to say that the worst thing about a new visual kei band is their name. DOF has plenty of room to progress and seem to have a knack for melodies and experimentation. The music just needs a good layer of polish.

Artist: Boris Single: NOISE Score: NOISE? Don't take that as a negative on this one. Experimental band Boris released their nineteenth album, fittingly entitled NOISE, earlier this year. Inspired by punk music at the start of their formation, they covered punk songs in early demos and were influenced by bands such as 'The Melvins,' but Boris have shown they excel in more than just this one genre. They certainly haven’t failed in showcasing their various musical approaches in NOISE. What’s brilliant about the album is that it includes many different styles and genres in one tiny package to showcase their progressive sound. While the album has only eight tracks, it's an appropriate fifty eight minutes long album, with the standout track being "Angel," the lengthy eighteen minutes song! Anyone can easily dive headfirst into this album even if it’s your first time listening to them. This is because of the experimental approach they took to widen their musical feats even more so to entice a much larger audience. There’s the expected rock elements, a healthy slice of hardcore and some sparkling shoegaze to name only a few most noticeable styles. The opening, “黒猫メロディ” (kuroneko melody), welcomes the listener in for an exciting ride. It’s a smooth and easy listening track, yet upbeat and energetic. The sporadic inclusion of aggressive guitars, playful drum hits and quick piano taps creates a wild tune. And when the chorus hits, we hear all these sounds mixed beautifully into a juicy head banging mess. This is just the opening track! All tracks utilise the rock genre Boris favours, while also including psychedelic melodies. Track two, “Vanilla” has a smooth sound to it. Like a grand opening, it’s got high energy right from the start, opening with different, heavy guitar playing from the left ear to the right, suddenly colliding together with powerful vocals. The next tracks “あの人たち” (Ano Hitotachi) and “雨” (Ame) makes effective usage of the shoegaze genre, both being my favourite tracks of the album. They’re atmospheric, dramatic and haunting, slowing down the pace of the album in preparation for the quicker and lengthier album pieces. “雨” is absolutely delightful in the way Waka’s weaker and breathier vocals are used instead of Atsuo or Takeshi’s stronger voices, making the tracks atmosphere even more intense. How Waka's gentler vocals contrast so well with the overall heavy sound of the piece makes this truly captivating. With a neatly contrasting title next, the cheesy sounding jazz influenced “太陽のバカ” (Taiyō no baka) is a fun break from the heavy tunes beforehand. It’ll encourage you not to head bang, but to dance like we’re back in a 90’s party. Its sound is very reminiscent to such a time, with a repetition of beats and vocals. The layering effect of Atsuo and Takeshi’s voices create echoes and a very enjoyable break from their darker side we just heard. This cheerful number leads into the album track masterpiece that is “Angel.” Don’t let it's length put you off - you’re missing out on a journey if you do! The song starts with a lone piano, then slowly building up alongside tribal percussion instruments. It’s varied and takes on many sounds, from black metal to psychedelic and shoegaze. As Atsuo’s voice is introduced into the track, guitars begin to become louder and choppier until we hit seven minutes when things finally explode. Shrieks from the guitar wails and drums thrash for minutes as Atsuo sings, all musical ingredients now bellowing out. The final few minutes is a lengthy, shoegaze finale, ending on a massive high. The gradual escalation makes this a dramatic and memorable piece. The only down side to this, as many might be expecting, is the length of the track. While beautifully created, those who already have to hover over the skip button for ballads may be quickly put off by this one. Another favourite, “Quicksilver,” is exactly what you think when you read the track title. It’s extremely fast paced yet melodious at the same time, making it a very enjoyable and unforgettable piece of the album even after the magical “Angel.” The song has a harder sound overall and nicely contrasts with the journey we just experienced beforehand. And finally, "Siesta" (シエスタ) is a calm, instrumental track which waves us a mournful goodbye. It’s awfully haunting and melancholic sounding, making this end even more emotional. As a whole, the album just keeps on giving, never slowing down and turning many corners when it comes to musical direction. And yet, it never disappoints. Not one track drags the album down, even if the track lengths all vary and it can appear daunting at first. You just can’t go wrong with Boris.

Artist: Dir en grey Album: ARCHE Score: Diru's ARCHE has two of everything. It's not at Uroboros levels of good, but ARCHE can go toe to toe with Withering to death. for third best Dir en grey album. Dir en grey learned a very important lesson with Dum Spiro Spero, which is that sometimes less is more. Nuance and Dum Spiro Spero went together like an axe to the face. Dir en grey have been a constantly evolving band ever since their formation in 1997, but 2011's Dum Spiro Spero was an almost clean break from everything they've done up to that point. While it was an interesting experiment, listening to the band buckle under the weight of their own creative ambitions was an overbearing, unrelenting, suffocating experience. It's a positive sign that Dir en grey have stopped trying so hard to mix progressive metal with deathcore while retaining an ethereal atmosphere and complementing it with well-thought out melodies (for the most part), because the result is pretty damn pleasant to listen to. ARCHE is their most focused effort in years. It may not be as unrestrained as Dum Spiro Spero, but it is an infinitely more listenable experience. By not trying as hard to replicate the progressive atmosphere they farted out with Uroboros in 2008, they nailed it again and perpetuated their cycle of good album/bad album. ARCHE has hints of the atmosphere explored by Kyo's side project sukekiyo with nods to styles from previous albums now and again. It's no easier to take in all at once, but I can see how Diru's interpretation goes down better with some than the abstract and sometimes plain strange vibes of sukekiyo. Songs like "phenomenon", "懐春"(kaishun) and "禍夜想" (magayasou) are great examples of when the band excels at this sound, being amongst the top tracks on the album. It wouldn't be a Dir en grey opening without an engaging opener, and "un deux" is exactly that. It's not the tribal acoustic source field intros of previous albums but I find the more direct approach refreshing. With ARCHE clocking in at 68 minutes, unnecessary pretentious intros are not needed. The first four tracks are pretty damn good, remaining consistent in quality and mood while watching Dir en grey alternate between experimentation and straightforward melodies. It's a sound we always knew they were capable of, but only surfaced once in a blue moon with songs like "腐海" (fukai) and "蜷局" (toguro). If the album stayed this course, it would have been one killer record. But it isn't a true Dir en grey album without some tracks that should have never made it onto the album. The first is "cause of fickleness", which tried to combine the 90's visual kei mental instability antics with the nu-sukekiyo atmosphere and failed. The result is a lame chorus, uninteresting guitar melody and a total departure from the atmosphere that was built up by the first four tracks. To make it worse, the song that follows, "濤声"(tousei), picks up right where "phenomenon" left off, which makes me question why "cause of fickleness" is here. It's the kind of basic error that should not be made after eighteen years of making music. They repeat this mistake later with "The inferno" sandwiched between promotional ballad "空谷の跫音" (kuukoku no kyouon) and album ender "Revelation of Mankind". "The inferno" is junk not worthy of further elaboration but the ballad is a nice melodic break after all the metal. It wasn't the best choice to get people excited for the album though - "Un deux", "咀嚼" (soshaku), or "鱗" (uroko) would have been better choices. "Revelation of mankind" feels like a re-interpration of Dum Spiro Spero's "流転の塔" (ruten no tou). It doesn't get quite as good as "流転の塔", but it's a solid song and ends the album on a high note. ARCHE's biggest issue is that after two years "輪郭" (rinkaku) is still the best song, even though several contend for second place. "Sustain the untruth" slides unnoticed into the latter half of the album, remaining the most straightforward metal song on the album. It also doesn't fit in all that well but the second half of ARCHE is an identity crisis anyway. All consistency goes out the window as Diru can't decide if they want to be mysterious, straightforward, reserved, or aggressive. It hurts more than it helps and with long albums consistency is important. The silver lining in all of this is that there is no progressive behemoth like Vinushka or Diabolos to inflate the running time further and make ARCHE unbearable to sit through. The ideas don't work as well if the execution isn't top notch, and with the removal of some tracks and rearrangement of the rest ARCHE could have been in the same league as magnum opuses Uroboros or Macabre. But for a band that's been continuously reinventing themselves for the better part of a decade to be taken as a legitimate metal band, seeing them finally embrace melody and compose without pressure to conform to "metal ideals" is great. All aspects of Dir en grey that fans adore are still here, just devoid of the sprawling, unfocused attempts of albums past. In the future, I could see ARCHE mentioned in the same breath as VULGAR and Withering to death. as generally good Dir en grey albums, and it is definitely an album I will find myself revisiting again and again. It's just something that could have been a legendary release with a bit more time and care.

Artist: MEJIBRAY Album: The "420" THEATRICAL ROSES Score: A step-up but still not quite there yet! Finally, it's here. MEJIBRAY's 2nd full-length after 2.5 years, which might sound like a long time in 'J-rock years' but Tsuzuku & co are not ones to slack off. After releasing countless singles and a mini album, they've kept plowing on with varying degrees of success. That's one thing about MEJIBRAY: they have an air of uncertainty about them. The problem is, this atmosphere is generated not by their image but the inconsistency of their songwriting – something that should be expected if you churn out song after song like a reverse-Yoshiki on crack. Accordingly, I was looking forward to their 2nd album with a mixture of hope and anxiety. The fact that their 1st album (after my initial excitement died down) turned out to be mediocre and lackluster at best when counting the actual new tracks didn't bode well for the hilariously titled THE"420"THEATRICAL ROSES either. I must say, however, that I'm truly impressed this time around! I really feel that they managed to construct a better vision of what an ideal MEJIBRAY album should sound and feel like. Gone are the stilted, almost demo-like compositions that so often plagued their previous full-length. Instead, these songs are clearly fleshed-out and arranged rather well. The band adds lots of small details that make the tracks much more interesting and enjoyable to listen to – a flourish of synth, piano or even an exotic instrument here and there. MiA once said in an interview how, at one time, he wanted to give up playing guitar and just be a producer/arranger for bands. This shows here wonderfully, and proves to be an effective 'secret weapon' in the MEJI' repertoire. The expansion of sound also opens up new doors for experimentation, as evidenced by tracks like the light, poppy "瞬間のアイディアル" or the extremely powerful and dramatic closing monolith that is "鳥は泳ぎ方を知らず溺れ亡骸" (complete with haunting traditional flute melodies). Those who like their MEJIBRAY a bit more direct and fast as a cannonball will be glad to know that the 2nd half of the album packs some strong numbers, such as the infectiously driving "BOWWOW" or the ominously titled "SUICIDAL WORD GAME" that features the cheekiest punky riff of the band's career. It's interesting to hear how they managed to spice up these compositions despite their apparent simplicity, with unexpected acoustic rhythm guitar in the former and some wicked death growls in the latter one. Also, just before we get to the dramatic finale we're treated to the excellent "Cristate" that competes for the title of catchiest song on here. A nice way to lead the listener into the grand closing track. That said, the album is not all moonlight and roses (see what I did there?). While most of the tracks manage to capture the listener's attention, some of them are just too long-winded and fall into the trap of being a bit too makeshift. A good example for the yawn-inducing type is "Echo", the song they curiously chose as the music video to represent the album. Honestly, who wants to hear another 6.5 minute-long fluffy ballad when such songs often miss the mark even in the hands of the most skilled craftsmen? I believe that if the band had weeded out a track or two this would almost be a 5-star release but instead they went with including everything they could, so that there would be a better chance for everyone to find something to their own liking. Which doesn't sound like an inherently bad thing, but brings me to my final gripe: the album is just too damn long. It could've been tighter with 10 minutes or so chopped off. All in all, I think MEJIBRAY were able to convey their vision and sound a lot better with this album, compared to Emotional【KARMA】. There is a great variety present here and most of the slight experimentation they implemented into their tunes comes across effectively. As someone who has been following the band from their very first releases, even I was surprised at some of the decisions they made with a couple of songs on THE"420"THEATRICAL ROSES. It's a commendable effort that is well worth listening to if you are a fan of the band – and especially a fan of their releases from the past year or so. I'd gladly recommend the album to those, too, who haven't had their taste of MEJI' before, since it showcases some impressive tracks despite the obvious flaws and shortcomings. However, if you haven't found enjoyment in MEJIBRAY's work so far (or you just liked their first few records) then you can gladly skip this one.

Artist: DEZERT Album: 「タイトルなし」 Score: Sometimes, you just want some DEZERT before dinner. DEZERT fall under the umbrella of “up-and-coming” visual-kei bands influenced by earlier acts— “homage-kei,” if you will—with “friend bands” Grieva and AvelCain. Grieva is on the far left of the spectrum, providing the most old-school-meets-modern-day sound; DEZERT is on the far right, as they are the heaviest of the three and mix later influences, such as Merry, Lynch., and D’espairsRay with nü-metal; AvelCain is in the middle, drawing on influences from turn of the century~mid 2000’s bands while remaining as a happy medium between the two styles of the other groups in question. All three have similarities, such as dark themed music and resounding feelings of angst, which provide a modern twist on the visual stylings of days past. In addition, these bands appear to tour with each other quite often and have even participated in some beautiful photo collaborations. Of this trinity, DEZERT is actually the least discussed aspect on MH, even though they are actually the oldest (and last to release a full LP). So, how does 「タイトルなし」 hold up to other visual-kei releases of this year? Originally, titled “嘔吐ニ関スル勅語(outo ni kansuru chokugo)”, an abrupt name change to「タイトルなし」 ("Untitled"), generated a bit of anxiety amongst fans. As this band has released a handful of singles and 2 mini-albums before now, I was fairly concerned that an uninspired album title would pave the way for an album taking a page out of 朱’s (Suzaku) book—in case you’ve gotten, they had a whole album with only 4 new songs, 1 of which was a short intro. Thankfully, this album did not fall for the enticing, lowly hung, fruit and pulled a lynch. by releasing an album made of entirely new material out of nowhere. From the get-go, it dishes out hard-hitting tunes in their Sunday best nü-metal style, presented in a way that is 3~4 steps above the quality of their previous releases. As someone who didn’t care for their two previous works, 精神科医(拒食症)のスナッフフィルム集 (Seishinkai(Kyoshokushou)no SNUFF FILM Shuu) and 特製・脳味噌絶倫スープ〜生クリーム仕立て〜 (Tokusei・Noumiso Zetsurin SOUP～Nama CREAM Shitate～), and somehow always found something preventing me from really digging these guys, I went into this album rather aloof. With the start of “----,“ I immediately lost my jaded / faded disposition. Finally, this had done it for me. One of my immediate thoughts while listening to this album was that fans of early Mucc will probably dig this. The first two songs, “----“ and “「嘔吐」“ (Outo) are both short, but heavy, numbers with a ton of emphasis on bass. It’s nice to hear a visual-kei song, let alone two songs, with this dynamic—usually there is a lot of guitar wankery and soloing for the sake of soloing. Here, SaZ steals the show, while キラ-Kira- supports this bass-driven melody with brooding guitar harmonies. In terms of vocals, those lovely aesthetical vocals from “「眩暈」” (Memai) are back, but quickly turn turbulent at the start of “「嘔吐」,” which I suppose is where 千秋-Chiaki- vomits his feelings, aptly happening in song who’s name translates to “vomiting.” What works really well here is that after guttural part, the melody of the song returns to the original theme, showing that these songs are of the same idea. A good chunk of this album is in the band’s typical style—still in the realm of nü-metal, mixed with a bit of –core and angsty “ZETSuBOu!!!” delirium we’ve all come to know and love from the early 2000’s. If bands like Mucc, Kagerou, and Vidoll—groups that often used heavy verses and a poppy chorus, sometimes paired with mumbling or frantic breathing—spark some feelings of nostalgia, then you know exactly what I’m talking about. “「殺意」,” (Satsui) the promo track for this album, falls into aforementioned category, is typical DEZERT in a slightly more disjointed form. One strength here is that “「殺意」” has quotable lyrics. However, the flow of how he says "satsui" eight consecutive times is awkward: with a 4/4 time signature over a chorus in a different tempo and key, it sounds disjointed. Since the pv showed up, I was not into this song for whatever reason. Listening to it in the context of the album, I do like it a bit better, but it is far from the best track on here. “Infection”, “「教育」,” (Kyouiku) “脳姦少年,” (Noukan Shounen) “doze.,” fall into this category as well, ordered from least preferred to most. “Infection” felt like a filler track to me; “「教育」” is more of the same heavy verses with poppy chorus –core song that I’ve heard before that is almost redeemed with some neat riffage; “脳姦少年” has some interesting Merry-like guitar work going on, albeit the chorus is really weak; and “doze.” sounded like something off of –OZ-‘s Versus, which was cool. I would also like to note that “doze.” has the frantic mumbling motif going on during one of the breakdowns. Nothing like a breakdown in your breakdown |D DEZERT also threw in some lighter songs here as well, which is fairly new for them. I personally did not care for them myself, but, if those are your cup of tea, be sure to check out “さぁミルクを飲みましょう。” (Saa MILK wo Nomiamshou) (a more melancholy ballad about drinking milk), “「軽蔑」” (Keibetsu) (fairly straightforward indie / ojisan rock song), and “-26時の冷凍庫-” (26ji no Reitouko) (which is a decent piano outro). Without these tracks to break up the flow, this album would have undoubtedly been exhausting to listen to. In addition to the first two songs, there were a few songs that I did really enjoy. The first is “胃潰瘍とルソーの錯覚” (Ikaiyou to ROUSSEAU no Sakkaku) : where did this Matina-styled riffage come from? From the get-go, this song has a mesmerizing draw. What’s interesting here is that this isn’t just an old-school revival song, it actually mixes a few different genres around in a way that I haven’t often come across before, especially in visual indie bands. Somehow “胃潰瘍とルソーの錯覚” sounds like a mix of Madeth Gray’ll and 鴉 (Karasu) and it works, gawddamit. I enjoyed the airy and wistful chorus, as well as how this song played on some new ideas that are not just dissident chugging. “「擬死」” (Gishi) is another powerful track. This song is one of their slower ~ mid-tempo’d numbers that brings back what DEZERT does best: creepy atmospheres that build into an angry mash-up of rage and smeared eye shadow. My favorite part is the guitar riff paired with a vocal melody that gently progresses upward in pitch as the tension in the song swells – phrasing like this is something visual-kei is in dire need of. Every so often, “「擬死」” gets quiet and then explodes into a break down with千秋-Chiaki- freaking the fuck out. Not to be shady, but Kaya could not. Overall, this album is a decent debut for DEZERT, especially as a band who isn’t actually new and has quite a few releases prior to this. On the plus side, none of their earlier material is featured on here. On the down side, there isn’t enough of a change in style amongst the songs presented here that I never felt like “yeah, I’ve heard something like this before.” In comparison to the rest of their discography, the maturity they’ve shown here is enough to not feel like this was more of the same, but I would have been far more impressed had I not heard their earlier works before. With that being said, this is one of the best visual-kei albums I’ve heard this year. If you’re in the mood to feel your angst-kei oats, give this one a spin.

Artist: TK from 凛として時雨 Single: Fantastic Magic Score: Fantastic Magic? You bet it is! TK from 凛として時雨(Rin Toshite Shigure), male vocalist of said band, presents his second solo album titled Fantastic Magic. 凛として時雨 and TK’s solo works are indie rock and alternative, but both units also utilize the genre of shoegaze, making them incredibly interesting. As TK breaks away for a solo effort from his band formed way back in 2002, he successfully creates a wild and dramatic ride sure to please all our musical needs. The album starts with “Fantastic Magic.” Our ears are exposed to thrashing drums and quick piano keys playing along to strumming of guitars along with TK’s whimsical vocals calling out to us between the pauses. As soon as the song’s in full flow, it’s a manic musical racecourse, building up to the chorus where we hear TK’s sincerest shouts we’ve been waiting for. The single “unravel,” featured as the opening for anime Tokyo Ghoul is up next, the song many listeners look for. It gets any listener pumped up for what’s coming next. Thanks to the cluster of violins, drums and guitars playing together, and the emotional drive of TK’s helpless tone, “unravel” is a gripping song. Along with the tuneful build up to the end, we’re hit by TK’s desperate shrieks after the first chorus. Not only is it fitting for the anime tie-in, it’s a perfect fit to TK’s signature musical style with the mixture of high and low vocalisation, creating a quick, pulse-racing track. Being a more beat oriented track, “kalei de scope” builds up tension and the emotional chaos is slowed down. The tiny taps of piano with small segments of drum beats, guitar strings, and electric beats all mix into a mesmerizing piece of music. The abrupt end makes you want more. “an artist” contrasts with previous tracks, sounding far more hopeful. TK doesn’t raise much of his voice in the song and it’s is definitely the calming point of the album. With piano backing the band, its melody is enchanting. In small sections, the music may completely halt so we can only hear TK’s echoing, breathy vocals. This creates a haunting tone, never stopping in dragging the listener in. TK’s tone in “tokio” is just as emotionally breath-taking as his shrieks. He captures us, being entrapped and torn by his vocal work. An impressive acoustic track, it shows us just how emotional his unique voice is. A piano is used throughout this song which continues into the upcoming track. The stunning ballad “Shinkiro” features the equally child-like, innocent sounding singer Chara. The track is distinctive because of the added vocals and emotions. The fluid sounds of acoustic guitar, drums and bass doesn’t make the song overbearing or sleep inducing. The imperfection of both vocalists’ voices creates a modest and honest song which is chilling to the bone. There’s a sense of gentleness and warmth with the duo of sweet sounding voices. The album version of “Dramatic Slow Motion” now begins to refill the tank after the few resting tracks, which is a thrilling ride, effectively building up throughout by the instrumental involvement to create a dramatic and racing tune that delivers an electrical current until the end. “Spiral Parade” is instantly a toe tapping number. Catchy and addicting. This track welcomes you to dance while rocking out. TK keeps his unique tune as the violin playing within the chorus adds another layer of chaos below the electronic beats and taps. The louder the music gets, the more instruments become involved, including random piano keys playing and steady beats from a drum. TK takes on another soothing song, entitled “fragile.” The track is just as atmospheric as the ballads beforehand. What can now be noticed is how strained TK’s voice can be when he sings in a lower tone. This may put many listeners off the acoustic/ballad sounding tracks due to how piercing it can be. However, that’s where the source of magic can be most noticed. The irregularity of TK’s vocals creates the much needed melancholic feeling. “contrast” mashes various pieces of instruments very smoothly to create a tuneful closing. Starting off with only the piano, it quickly becomes very pleasing to listen to. We’re given everything TK’s offered us throughout the album in this final track alone. It’s atmospheric in the verses and bridges then energetic as soon as the chorus hits us. And when it does, it’s stunning. The instruments play harmonically together into a dramatic finish and TK’s vocals never slip up. It’s very worthy of being the album closer. In conclusion, what we have here is a gem. Listeners who haven’t given a shot at the genre should definitely give TK a listen. His individuality and uniqueness is expressed wonderfully and definitely deserving of more attention. Because of how the tracks are ordered, various songs contrast effectively with one another. While my personal preference disagrees with the placement of “fragile,” the ‘problem’ many may be turned off by is TK’s vocals in the slower songs. However, the tranquility of each and every song deserves recognition. It’s ‘Fantastic Magic.’

Artist: MY FIRST STORY Album: 虚言NEUROSE Score: Blazing your own trail isn't all it's cracked up to be. It seems MY FIRST STORY have had a solid increase in popularity over the short amount of time they've been a band. In 2011 members of the piano-pop outfit fromus joined forces Hiroki Moriuchi and formed an alternative-rock powerhouse. 虚言NEUROSE (Kyogen NEUROSE) is their third full length album and shows a solid change in the band's direction taking shape. It's a nice that the first track "monologue" pays homage to the piano-centric compositions from the band's early days. Soon electronic elements creep in and the intro builds on itself until it blends seamlessly into the title track, "虚言NEUROSE". This song is a high energy crowd-pleaser with open power chords and more atmospheric synth. It breaks down into small haunting piano interludes that are the dynamic strength of the track. Sadly, the song ends up being forgettable and blends into about 10 other similar tunes in my memory if I try to recall anything specific about it afterwards. Further down the tracklist, "ROOM" has more personality in spades and the guitar riff has a quirky bounce to it that leaves it stuck in your brain. The song has a focused electricity to it that would make it perfect for anyone looking for driving music. And each part of it feels necessary to make the energy climb sky high. Even Hiroki's scream, while it's the same wild animalistic cry we got in "虚言NEUROSE" was called for and it didn't cut in like some abrupt interruption. "ROOM" felt more like MY FIRST STORY's version of what is popular right now, and not cloning someone else's version of it. The album holds a few solid tunes with hints of old school flair that die-hard fans should enjoy, "If I Am.." defines the 'classic' MY FIRST STORY sound while letting the drums take center stage, even riding the fine line of overpowering the vocals at points. The band should explore more of this sound. The simple, stripped down style suits them and shows off the side of them that people fell in love with on their self titled album. "Someday" picks up where "If I Am..." left off and returns to the band's signature style. Drums continue to be the driving force only this time they are armed with electronics and a more intricate vocal melody. The passionate feeling in the vocals steals the show and reveals that Hiroki does have an impressive vocal range. The band took some risks and it's always nice to hear an expansion of their sound. "CHiLD -error-" opens with a monster drum line and plays with some punk influences in skank beats and three chord progressions on guitar. Their experimentation pays off because they didn't over-complicate it. I braced myself for a train wreck but "CHiLD -error-" stays the coarse and ends up being one of my favorites on the album. On the other hand some songs fell flat and came far too close to ONE OK ROCK territory. I would consider this the most glaring flaw on 虚言NEUROSE. It's hard enough not to have comparison based on the Moriuchi brothers' similar voices, but in a perfect world that is where the comparisons would end. MY FIRST STORY is encroaching on a style ONE OK ROCK is already famous for. It's a bad move any way you slice it. The most disappointing of all were promotional tracks like "Black Rail" and "Fake" that were sent out to define this album and end up sounding like tired, cliché filler. This was exacerbated by bad tracklist placement. "Drive Me" and "Monochrome effector" came up short. While both had cool intros that stood out, the songs themselves didn't deliver and rested on the band's laurels with dull compositions. "Zero Gravity" is the summit of this album and harbors full-tilt screamed verses with fervent guitar-heavy aggression supporting it. The song has an unusual layering effect where the sung choruses have lower volume screams behind them that do not blend very well. It leaves me confused as to what direction they wanted to go or if it was simply a bad experiment. The song has another identity crisis soon after that and takes on an EDM(-ish) section that then tries to marry all three elements together and fails, leaving this album's climax rather anti-climactic. The band themselves are adept musicians. The changes in their writing style shows they have the ability to grow and evolve as necessary. They can play a multitude of styles well. Now, this bias may be defined by my musical taste from an American perspective, but a band having it's own musical identity is a big part of what makes them worth listening to. 虚言NEUROSE has a few songs that I would recommend, but mostly it's a letdown. There's far too much filler and the songs that give them their own identity play second fiddle to other songs that resemble what other bands, much too close to home, already do better. MY FIRST STORY are a relatively young band, and they have a lot of time left to find themselves. I hope this album ends up as an experimental addition to their catalog and not a transitional one. Continuing down this path will only place them in an already overcrowded cannibalistic market that lets the trends define them instead of creating those trends.

Artist: アルルカン Album: ニア・イコール Score: It's called near equal because all the songs are just as good as one another. In life, the first impression is everything. This applies even to music, doubly so for visual kei bands. The first visual kei band in a long time able to combine metalcore with dubstep in a way that didn't make me want to smash my head against a wall, アルルカン's single 墓穴 left a good impression on me. With all their ducks in a row, the announcement of their first full album piqued my interest. I was curious to see what direction this nascent band's first full-length would go in, how many risks they would be willing to take, and how far they bend their approach to music before something gives. However, the second impression is just as important. アルルカン play it safe with near equal, opting to neither amaze nor disappoint. Previously released singles 墓穴 and Eclipse hover a cut above the rest, but there's not a gulf of difference between the old tracks and the new tracks. If anything, they all sound interchangeable. This is both a good and a bad thing. This is a good thing because it shows that the first few releases weren't a fluke. Their overall sound remains the same, borrowing elements from their peers while also excelling at what they play. 暁-aki- has nice growls with a penchant for catchy hooks and the guitarists have an ear for good riffs. Many of the songs give off the same vibe and toy with the same ideas in a different way. I understand that they are a new band still finding their way, but their bag of tricks is small. They've already recycled such ideas like the dubstep sample over a breakdown, or the overused aggressive verse/uplifting chorus dynamic. As always, the melodic parts kick ass, but it wouldn't hurt to let in a few more influences take over during those moments. The melodic bits are 90% of why this band sounds as good as it does. We can break up the songs on near equal into three categories. The first is the energetic metalcore numbers that form the backbone of their sound, such as opener 暁 and single 墓穴. There are some more electro rock oriented tunes such as Alive and あの窓に教わった事. Then there is アルルカン's softer side with ending track clepsydra and カレイドスコープ, where one can catch some power chords and piano on display. One look at the track list and it's clear that similar sounding tracks are close to one another. Thus, this album flows in phases instead of hopping between all the different approaches. Whether this is intentional or not I do not know, but it wouldn't be wrong of me to say they had three ideas going into this album and they made those three ideas work as best as they could. This also leaves me with little else to say about any song in particular, as all points of praise or criticisms noted apply to most of the songs equally. Does アルルカン miss the mark? While I would have been pleased if they had exceeded my expectations a second time, they delivered at the level I expected them to. It's an enjoyable, but forgettable album. That's not to say that near equal is bad. It's all rising action and no climax, and the abundance of familiar tracks don't help any. There are also moments in individual tracks where the transition between two phases of the music aren't as clean as they could be. There's an undeniable feeling of dissatisfaction at the end of the album, as if the blistering pace and raw energy teased at with prior singles doesn't translate well into a full album. Next time around - and there better be a second album - these rough edges should be polished up. This is a contender for one of the top visual kei albums of the year - although that's not saying much - and アルルカン has set the bar for visual kei at a comfortable height. If this band continues activities at their current rate and find some way to make their sound more memorable, I can see them gigging at Budokan in a few years. Three cheers to no tragedies and more music from visual kei's new poster boys.

Artist: THE NOVEMBERS Album: Rhapsody in beauty Score: Fifth time's a charm, right? With five albums and a number of EPs under their belt, THE NOVEMBERS have had a hand in the Japanese indie scene for years. Their first EP was released in 2007, but I didn't take the time to listen to them until their third EP, GIFT, in 2012. With no disrespect to their beginnings, they started off as a better-than-average band playing good ol' angular indie rock. They've since evolved into so much more, adopting heavy shoegaze influences. Their most recent releases exhibit a louder, darker sound. So what does their fifth album Rhapsody in beauty have in store? The album kicks off with the noisy intro 救世なき巣 (or Xenakis as it's known on the English version of the tracklist). The instrumental features a dense concoction of airy synths and layers of atmospheric distortion. It begins in a chaotic and foreboding manner, but then slowly develops into something blissful. I find myself zoning out to the second half with its euphoric heaviness. It clocks in at almost six minutes, so impatient listeners might find themselves reaching for the skip button. Next up, Sturm und Drang opens with a bang, or rather a shriek. The title, a reference to the German literary period characterized by passion and an outpouring of emotion, is spot-on. The energetic punk riffs, screams, and distortion-filled outbursts conjure up the notion of "Storm and Stress." Due to the repetitive notes in the first half of the track and Yusuke's extremely distant, unintelligible vocals, this track reads like an interlude. Considering it just followed a lengthy instrumental opener, the structure of the album is off to a perplexing start. You could say the album gets underway with Xeno and Blood Music.1985. Both songs continue the darker, alternative sound the band began to explore on their previous two releases, Fourth wall and zeitgeist. Expect hi-octane riffs, crashing drums, and powerful, fuzzy bass. Without being predictable, these two choruses have a signature flow that instantly let you know "This is a NOVEMBERS" track. But the best vocal work is yet to come. tu m'(Parallel Ver,) slows things down for a ballad with a hypnotic guitar loop. If you're wondering what "Parallel Ver," refers to, this song is a rerecording from the band's second album Misstopia. This version is noticeably slower than the 2010 one, which in retrospect sounds rushed. This new rendition sounds the way the song was meant to be. The following title track is a rockier approach to the calmer sound just presented. Built around the siren-like guitar riff that repeats throughout the track, Rhapsody in beauty is a dreamy romp into sublime shoegaze territory. Yusuke's vocals simultaneously tread the line between effortless ennui and ecstasy. 236745981 guides you back to the gloomy dark side. About two-thirds through the song, all the distortion is lifted and the song begins to sound like a classic Strokes song! The change is abrupt, but both sections are enjoyable. It's up to you to decide whether the track was patched together convincingly enough. dumb provides one final helping of brooding NOVEMBERS goodness. A deliberate beat and mysterious synths establish a melancholy mood and to top it off, Yusuke shows off a selection of vocal styles: chanting, soaring falsettos, and his gruff scream. Romancé begins the last leg of the album. A short percussive intro leads into a section of feathery soft synths and jangly guitar riffs. So begins my favorite album track and one of my favorite NOVEMBERS tracks, period; I'm not sure anything will top Reunion with Marr from GIFT, but this is a damn good attempt. The intro reminds me of something defunct dream pop band Hotel Mexico might have done. But it would be unfair to compare Yusuke to Hotel Mexico's vocalist. Beyond the rich vocals and beautiful harmonies in the second half of the song, everything is in place on Romancé from the breathy synths to the tight basslines and, dare I say, perfect guitar. Sit back, close your eyes, and relax. Heaven must sound something like this. This gentle beast of an album closes with 僕らはなんだったんだろう (Bokurawa Nandattan Darou), a gorgeous acoustic ballad. Despite its length, the song never overstays its welcome. Slowly, the song unfolds in front you. Yusuke delivers an emotional and delicate performance. Matching that, the sole guitar doesn't hide behind any production tricks. You can hear every single strum and twang of the guitar strings. Track two might represent the more violent, visceral side of Sturm und Drang, but this track represents the counterpoint; it's equally as emotional, albeit in a different way. Although the best NOVEMBERS release remains GIFT for me, I do tend to prefer their softer, dreamier side. Having said that, Rhapsody in beauty is my favorite album of theirs. It's more memorable and varied than zeitgeist and more consistent than any of their pre-2011 material. I could listen to Yusuke's vocals all day long and this album is further confirmation that he is one of the freshest and most versatile voices in the Japanese indie scene right now. While not without its minor structural flaws, this is a hell of an album, sure to make appearances on many a Monochromium's Album of the Year list. Whether you'd rather float aimlessly through the clouds with Romancé or fuck shit up to the tune of Blood Music.1985, THE NOVEMBERS have you covered. Anyone with even a marginal interest in Japanese indie rock/alternative/shoegaze owes it to themself to check out THE NOVEMBERS' Rhapsody of beauty. You'll be glad you did! What did you think about the album?

Artist: JUPITER Single: 氷の中の少女 Score: Bland power metal single take three. 氷の中の少女 is the newest single before their sophomore album THE HISTORY OF GENESIS, which will feature all six songs from their last three singles. While hyped at first because it was going to feature four members of theatrical power metal outfit Versailles, JUPITER has failed to deliver any release - let alone any song - that gives them their identity. I don't follow JUPITER religiously, choosing to check out a release of theirs now and again to see if their sound has changed. Since this, as well as ARCADIA, is indicative of the sound on their upcoming album, it's looking pretty weak right now. 氷の中の少女 is another run of the mill power metal track. It has Hizaki written all over it, and it's clear he's lost his touch. He's always used the same bag of tricks, but it's never felt so familiar and rehashed. The ambitious, grandiose tinge to the tone of the song, as well as the variety and inspiration from different eras of classical music are gone. It's been replaced with a more commercial, accessible, and unoffensive sound. Since it's been this way since the beginning of their career, it's a deliberate attempt to either distance themselves from previous bands or to compensate for Zin's peculiar singing style. Whatever the reason is, it's not working. On one hand, I shouldn't be comparing this band to previous bands by these members. On the other hand, when all the complexity and camp is stripped from the music this is what's left. A part of me is bothered that four of the most talented musicians in modern visual kei are producing music of this caliber. Teru, Masashi, and Hizaki all have vastly different compositional styles, yet I don't sense a synthesis of their influences anywhere. Zin sings with clarity and control, but has no power or presence. He's at odds with the quick, demanding melody. Hizaki and Teru are more concerned with twin guitar riffing than with the overall direction of the song. The result is a song that while technically demanding, doesn't go anywhere. Those with a preference for guitar will adore this song; for the rest of us it goes in one ear and out the other. The crucial ingredient of diversity, missing from 氷の中の少女, is present on SACRED ALTER. This sounds like a Teru creation, but I could always be wrong. JUPITER like to switch it up by producing a faux-thrash number, and most of the time it complements the usual bright and cheery affair well. It starts out with a spoken voice section over violin and electronic beat before going into riffs with some groove and body. Even the rhythm section feels invigorated and all the life missing from the first song is here. That's where all the praise ends. Zin can't growl, so he improvises with a combination of an awkward rasp, a falsetto that would make Asagi blush, and poor harsh vocals. He was able to get by on Darkness by just sticking with the rasp, but his need to be diverse does more harm than good. The falsetto in the chorus is the tipping point, as it doesn't harmonize with the sudden change in the melody. Overall, it was an experiment that didn't work so well this time. Jupiter need to either accommodate for Zin or do something else, because this type of music does not suit his voice. What frustrates me most is that the song with the goofy vocals has all the drive and energy and their actual single feels so dead. 氷の中の少女 has a feel of "been there, done that" and models the previous single ARCADIA in both composition, construction, and mood. It fails to distinguish itself in any way. I must sound like a broken record by now, but there's an insurmountable wall between the band and I. There's a crucial element missing to their music and I can't put my finger on what it is. If we could take the energy from SACRED ALTAR and mold it to complement Zin's singing, we would be cooking with gas. But I don't understand why Hizaki and company decided to go with Zin as a vocalist if they weren't going to make music he could keep up with. Time is ticking for this band. THE HISTORY OF GENESIS better have some killer tracks that define this band's modus operandi, or they will soon fall into obscurity.

Artist: coldrain Album: UNTIL THE END Score: coldrain are fighting for international attention, but are they ready? Hailing from Nagoya, coldrain is a five piece band that over the last few years has found itself stepping out of Japan's alternative rock scene and into the global post hardcore market. Most recently, they've spent their time recording with notorious hit-maker David Bendeth. coldrain are the type of band who hit the ground running seven years ago and have no visible intent on stopping any time soon. coldrain crack open this mini album with some stereotypical teen angst lyrics on "AWARE AND AWAKE". Moving past that, the music has a nice groove to it. The time-signature changes and the transitions from heavy verses to arena-rock choruses show small hints of the band's diversity. However, the entire song is quite cookie cutter, predictable, and falls into mediocrity. I can imagine this serves well as an introduction to new listeners who may not know quite what coldrain are capable of. It's wrapped in an easy to grasp package with all the mainstays of mainstream metalcore virtues. If you enjoyed this song, then the rest of the album will bode well for you, but if you're long-time fan, it might leave much to be desired. "EVOLVE" blasts you in the face with much more intricate guitar work straight away. Just when you expect to hear a standard post-hardcore chorus, the song teases you with a sludgy bridge first, which at least is a step in the right direction. This track shows more diversity in the first minute than the previous track en masse and sounds infinitely more brutal- partially due to Katsuma's solid double bass drum work. "AWARE AND AWAKE" sounds whiny and weak in comparison. Lyrically, "YOU LIE" treads familiar territory that other songs on this album have already covered, but it's much more emotional and bears a stronger alternative rock influence that gives contrast to the bridges and breakdowns. This song proves that sometimes less is more, and band's needn't reinvent the wheel to remain poignant and connect with the audience. "FADE AWAY" has a fun, fast-paced, bouncy feel and is the high point of this EP, even if the lyrics are contrary to the atmosphere. This feels like the major crowd pleaser on the record and could easily fuel some fierce circle pits. It also carries the album's most infectious chant-along mantra, "until the end, you never learned, you never learned what it means to love". The band 'chooses their moments', so to speak, with the sparing breakdowns to retain a strong momentum throughout the song. They do a good job of keeping things from becoming monotonous by injecting a monstrous breakdown instead of the default pop formula ending that repeats the chorus into oblivion. Opening with an emotive, squealing guitar, "MARCH ON" is another strong showing. This track ushers in some restrained verses and continues the album's theme of chanted vocals, making this song's title easy to remember. The song builds on solid guitar work and explodes into machine gun riffing before the breakdown (which is unfortunately located at the exact same place as the previous song). The interesting guitar effects from the intro return to add dimension to the end and transitions nicely to the next song. "HOUSE OF CARDS" starts slow and sultry, with a lonely resonating bass line and a delayed piano effect that sounds both haunting and seductive. Drums fill in the hollows of the second half, and by the time the instruments have gelled together, most of the song has already passed you by. The last chorus feels like it slips through your fingers, all too soon, as it returns itself to an echoing wisp of notes. Normally I take issue with ending mini albums on somber notes, but this one leaves us with a great cliffhanger for the next release. UNTIL THE END does as much right as it does wrong and it's hard to say who I would specifically recommend this release to when it comes down to new or old fans. They did the smart thing and tacked these songs onto the deluxe edition of their previous album, The Revelation, for international fans. The variety in the tracklist feels like the band wanted to show all of their strengths in the short number of tracks, but it also brought some glaring weaknesses to light. As for strengths, it really plays on Masato being one of the few English singing Japanese vocalists who was raised bi-lingual from birth. His English is about as perfect as you'll find in this scene. The band has a great pop sensibility and knows how to change with the times; being one of the few bands that has actually gotten heavier as they've gained popularity. Regardless, the major weakness of this album is the stale and formulaic songwriting. One of the pitfalls of having good pop sensibilities is the double-edge of sticking to the cookie cutter format of pop songs. The moments when this album gambles on mixing up that formula are when it truly starts kicking some ass.

Artist: DuelJewel Album: Story Score: Heroes in shiny visual kei costumes have come to save you. Story marks Hayato's triumphant return from hiatus earlier this year due to throat problems. It also hallmarks DuelJewel as one of the few visual kei bands that have stayed together for over 15 years and still release music. Their sound has grown and matured whilst remaining true to its core of soft flowery ballads cleaved with hard rock shred. "Days" is reminiscent of a nostalgic visual kei fairy tale with a beat that makes you want to clap along. Hayato's voice soars, as clear and inviting as ever, as it weaves in and out of falsetto. The guitar work allows the song to swell with each chorus until it explodes into a solo plucked from the heavens. "It's just love" builds off of the previous song and settles into a sing-a-long song structure. The bass is much more prominent and brings necessary weight to the song. It settles into wide open soundscapes that rise and fall with small clips of distorted guitars. The simple melody is catchy, as if it were specifically written to be a single. "Sad/Mad" and "Sunset Riot" raise a tower of intensity through the first arc of Story as full-on headbangers. "Maze" doesn't lose any momentum yet smooths things out with contemporary visual kei riffage and a gloomy atmosphere. In spite of this, the song finds a way to lift you up by the end and stills your heart just in time for "Chronos" to raise your pulse again with its anime theme levels of grandeur. This feeling is magnified by the abundance of synth and effects. "アビスライフ(Abyss Life)" and "SLIP FROM MY HANDS" drive the album towards its frantic apex. After that adventure, "奇跡の花(kiseki no hana)" offers a much needed melodic break and showcases operatic influences with angelic choir segments and leads us to "君の世界で(kimi no sekai de)", a full on ballad. Robust and overflowing with dark beauty; it's precisely how a classic visual kei ballad should feel. The way DuelJewel pulls you in shows you why they have remained relevant for all these years. "愛愁メランコリア ～Story Ver.～(Aishuu Meloncholia ~Story Ver.~)" is a second take on a fan favorite from '06 that never secured its place on any of DuelJewel's albums. I view this song as a "thank you for sticking with us" message for their fans. The Story Ver. has much better production that strengthens some of the buried instruments in the original recording. It is a perfect way to wrap up this album and bookend the wonderful nostalgia found in the first song. There isn't much else I could ask of the band to improve upon with this album. My only small gripe is that they could have broadened their horizons with more new influences. With that said, it doesn't negate that Story is a great album and addition to anyone's record collection.

Artist: chouchou merged syrups. Mini: clepsydra Score: chouchou merged syrups. is back in the game and playing for keeps. Having reigned the latter half of the 2000s as Japan's "go-to" female-fronted indie-rock band, MASS OF THE FERMENTING DREGS left a huge void in the scene when they disbanded back in 2012. Many acts have sprung up in an attempt to claim that abandoned spotlight, but few have managed to distinguish themselves. Bands like Tricot and MAMADRIVE, while competent, still suffer from forgettable songwriting, while other groups are still trying to find their sound (Cö shu Nie, THE★komesuduo), focusing their talents solely on pop efforts (negoto, akai-ko-en), or simply not consistent enough in output (itsue) or quality (uchuu conbini). One band that fell into the trap of inconsistency is chouchou merged syrups., but on their latest mini album "clepsydra", they've managed to patch up the holes in their sound and present themselves as a force to be reckoned with. Formed in November of 2010 in Kyoto, the quartet quickly garnered interest by signing with the indie-powerhouse label Zankyo Records (cinema staff, People In The Box, mudy on the 昨晩, té, early 9mm Parabellum Bullet) and released their first track "針中察するに" on the label's 3rd compilation subtitled "-brightest hope-". This song alone was enough to grab the attention of indie-heads, as it introduced a refreshing take on the emo-rooted, indie-rock styles played to perfection by bands like 9mm parabellum bullet and Cinema Staff. The intrigue surrounding chouchou swelled into hype as it was announced that their first mini album "since" would be produced by none other than Cinema Staff's bassist, Souhei Mishima. Unfortunately, that hype quickly fizzled out with the mini album being an utter disappointment. "Since" sounded dull and soulless, as if the band were handed blueprints to unreleased cinema staff songs and forced to play them at gunpoint. Even vocalist Chiaki Kawato gave a timid, almost fearful-sounding performance - one that was further marred by her constant straining to hit notes that she either couldn't or shouldn't have attempted to; this is a common, but contemptuous trait amongst Japanese indie-rock vocalists. Because "since" didn't live up to it's expectations, prospective interest in the band diminished and the release of "clepsydra" nearly went unnoticed. Thankfully, chouchou took note of their defects and improved upon them in every aspect. Contrasting "since" from the get-go, "clepsydra" opens with a 40-second instrumental titled "月光" - a guitar riff that's melancholic, menacing, and shrouded in atmosphere. This piece sets the tone for the first half of the mini album as chouchou delves into a darker, more emotionally-driven sound than they've done previously. The first 2 songs "斜陽" and "白昼夢は色彩の無い" not only showcase this new direction, but they also boast a vast improvement in the band's songwriting. There's plenty of intense, emo-inspired instrumentation to rock out to, but this time it's more precise and colorful. Chiaki's vocal melodies are more congruent with her skill level and there's more power behind her delivery. The gloomy pseudo-ballad "踊る、そして" slows things down to a post-rockish crawl, but fails to reach a substantial climax. This is perhaps my biggest grievance with "clepsydra" - they missed an opportunity to catapult this track into the stratosphere, and instead, ends up sounding like a 4 minute interlude. Subsequent tracks "Havfrue" and "風のように" move the album in a brighter direction and expand on those undeveloped post-rock tendencies by employing a fine balance of twinkly guitar interplay and emotive choral passages. "橙鳴る" brings the album to a brilliant finish. It's intense but delicate, melancholy yet uplifting - the perfect symbiosis of sounds represented in the first and latter halves of the album. As a whole, "clepsydra" makes it clear that "since" was just a hiccup and the initial hype surrounding the band was warranted after all. With performances lined up at MINAMI WHEEL 2014 and Zankyo Matsuri's 10th Anniversary events, in addition to a brand new track featured on the latest Zankyo Record compilation, the future is looking bright. chouchou merged syrups. may very well solidify themselves as the next female-fronted "it" band of the Japanese indie-scene!

Artist: 陰陽座 Album: 風神界逅 (Fuujin-Kaikou) and 雷神創世(Raijin-Sousei) Score: I need new pants. What band could possibly release a double concept album that eclipses their magnum opus? This band. It may have taken them three years, but 風神界逅(fuujinkaikou) and 雷神創世(raijinsousei) are a monolithic compendium of Onmyouza's self branded youkai heavy metal. Translating to "Fuujin Against the Realms" and "Genesis of Raijin", respectively, these two albums together weave a saga about a war between the gods of wind and lightning. 風神界逅 is the more accessible of the two despite a bit of atmospheric self-indulgence, and is where the concept starts proper. Opener 風神(fuujin) sets a light, brisk pace with wood instruments which builds up into a small orchestra over two and a half minutes. A low rumble resembling thunder from the drummer tops everything off, lending a complexity unexpected of an instrumental introduction, and paves the way for the next few tracks. Saying that 風神界逅 dominates from this point on is an understatement. Temper your expectations for aggressive metal and in turn be rewarded with the most creative rock music this band has ever written. Every single song is amazing. Tracks that kick serious ass are littered throughout 風神界逅, starting with 神風(kamikaze). A by-the-book melodic heavy metal number that cements the tone for the first half of the album, what it lacks in wow factor it makes up for in consistency. For the uninitiated, this is the first introduction to the sonic angel Kuroneko, the operatic, emotive front woman who nails every note from beginning to end. Her expressive vocals take center stage on every song she's in across both albums and shares singing duties with bassist Matatabi more than ever. 故に其の疾きこと風の如く(yue ni sono toki koto kaze no gotoku), 然れど偽りの送り火(saredo itsuwari no okuribi), and 飆(tsumujikaze) are just as aggressive as 神風 with impressive solos that push the album forward and maintain momentum. 一目連(ichimokuren) is notable for Kuroneko's enka performance, which adds a nice traditional touch and is a treat to hear her use. 無風忍法帖(mufuu ninpouchou) differentiates itself as the purest example of Onmyo's rock and roll spirit. The result of a band comfortable enough with themselves to experiment and have fun, it grooves hard despite breaking immersion. However, the album doesn't solidify it's position as one of the top releases of the year until it hits its climax at 八百比丘尼(yaobikuni). An eight minute progressive behemoth, few words exist to describe how beautiful this track is. A masterpiece that obliterates everything that comes before and after it, 八百比丘尼 starts with a tone suggestive enough to summon spirits and a distorted, hypnotic electric guitar which provides the barest of main melodies. Slow, deliberate buildup comprises the first three minutes, with elements weaving in and out repeated and rephrased as Kuroneko grips your attention for the entire song. Starting strong and improving as the song goes along, it picks up pace with the solo three minutes in. From there, the song starts taking shape, culminating in a second, more technical solo and an explosion of piano, violin, and multiple guitars at the apex. The song comes down from it's climax the same way it started, with the immediacy of the first few minutes replaced by confident resolution. If you listen to nothing else from this album, listen to this. There is no lack of slower, more introspective moments on the album either. Ballad 雲は龍に舞い、風は鳳に歌う(kumo wa ryuu ni mai kaze wa tori ni utau) soars into the stratosphere while Kuroneko puts her opera training to good use. As far as the slower tracks go, this is at the top. Likewise, mid-tempo number 蛇蠱(hebimiko) follows 一目連 with pulsating bass, generous accompaniment, and a mesmerizing chorus that sounds like it came from a spell-book. Very reminiscent of 金剛九尾 era tracks, it surpasses them because it doesn't meander in it's own atmosphere. The album ends on an upbeat pop note with 春爛漫に式の舞う也(haruranman ni shiki no mau nari). It's almost become a tradition to end albums with the most accessible track of them all. If the depth, complexity, or traditional Japanese influence of earlier tracks weren't to your tastes, give this song a spin. It's at odds with everything else on the album, but fits in nonetheless. If my glowing impressions of 風神界逅 were enough to get you curious, then it's time to blow your mind. 雷神創世 is the better album out of the two. It will go over much better with those desiring a more metal-oriented sound. Consistency is this album's strongest point. Every song uses the same batch of ideas, but Onmyouza synthesizes them in such a way such that they all are distinct and complement each other nicely. Contrast the ominous, brooding opener 雷神(raijin) with rocker 而して動くこと雷霆の如し(shikoushite ugoku koto raitei no gotoshi). The former ensnares the listener with weaving a thick Asian melody backed by hollow drums to produce an atmosphere that demands your attention. The latter has a guitar driven melody with a piano introduction and a notable guitar solo. Both songs feel like they're cut from the same cloth, yet they're on opposite ends of the album. This speaks to the amazing execution of the concept behind this album. There isn't a moment on 雷神創世 where the music isn't charging ahead at full speed. Songs may feature the occasional slow melody break, but every song is as metal as this band gets. The party starts with the second track 天獄の厳霊(tengoku no ikaduchi), and from there it only gets better! The only snag is 人首丸(hitokabemaru). It's the first time Matatabi has done an entire song with only harsh vocals and no assistance of Kuroneko. He alone cannot capture the dynamic vocal range I've come to expect from Kuroneko, and some dimensionality in the music is missing. Not that 人首丸 is a bad track - it's just that every other track is better. 雷神創世 is the spiritual successor to 魔王戴天(Maoutaiten), and an alternative take on the sound scape explored by 2011's 鬼子母神(Kishibojin). Even the thirteen minute epic 累(kasane) - while not as impressive as 八百比丘尼 - weaves a tale so epic you can feel the emotion without needing to understand the lyrics. Kuroneko's trademark sinister laughter makes an appearance too! Standout tracks of 雷神創世 include 夜歩き骨牡丹(yoaruki kawarabotan), which sounds like a new take on an early Onmyouza sound, previously released single 青天の三日月(seiten no mikaduki), and ending track 雷舞(raibu). 雷舞 is the most straightforward, rock-and-roll album finisher from Onmyouza ever. Both Matatabi and Kuroneko duet the entire time with with an amazing amount of energy, and do a great job of engaging the listener right up to the very end. This is impressive when the album borders on two hours of content. 雷神創世 may be a notch above 風神界逅, but both take the spot as Onmyouza's best albums to date and get better with every listen. I have no idea what direction they will go after this and I have no idea how long it will take them to get there, but I'm ready anticipating something big. Onmyouza have made it clear that they are not done yet. Successfully pulling off a double concept album with only one song that was less than amazing, this is something every lover of metal, rock, operatic female vocals, or Japanese culture and music should listen to. In a year full of amazing music, these two albums sit at the top.

Artist: 12012 Mini: XII Score: After years of uncertainty, 12012 finally leave their fans a release that shines with confidence. 12012 have been struggling to find their sound for quite some time now. Throughout the years they have had a number of stylistic changes, jumping between gothic hard rock tunes and gentle pop melodies before settling on dark chugfests. It’s ‘Deicida of Silence’ and ‘The Swan’ which grabbed my attention, with new guitarist Saitou embellishing the band’s sound with the technical skill missing from their lacklustre self-titled album. With the announcement of their final EP before an indefinite hiatus, I was expecting 12012 to leave with the same deafening roar they displayed with their latter EPs. On the contrary, ’XII’ signals another sonic change for the band. Rather than creating more confusion for fans, 12012 seem to have found their identity. What hits you about ‘vicious of absolution’ is how calm it sounds in comparison to ‘The Swan’. The downtuned riffs and thunderous drums have been given less precedence, instead running in tandem with audible basslines and gentle piano tones. Although lacking in sheer volume, the opening track is a brilliant showcase of Wataru’s vocal skill. The poor engrish and harsh vocals that hampered previous releases are gone, leaving us with a strong and emotive voice which has been missing since ‘Seven’. Although a quiet track, the intricate bassline, tinkling piano, and complex drumming in the background perfectly complement Wataru’s voice, creating a dark and despondent atmosphere fitting for the band’s potential final release. Devoid of chugging, screaming, or deafening blast beats, the song sets the tone for the majority of the EP. ‘story of a different dimension’ leads into more familiar territory, sounding like an experiment between ‘Diamond’ and ‘The Swan’; catchy and instrumentally balanced, yet dark and with a killer riff you’ll be humming for days. Again, Wataru’s vocals are impressive here, perfectly matching the energy of the song without going overboard. The chorus in particular highlights this, as well as the foregrounding of the bass guitar on ‘XII’, which allows the whole EP to sound more atmospheric than previous efforts. Saitou’s guitar work is also given a larger role in this song, infusing it with some much needed energy after the previous solemn affair. Due to its catchiness, infectious rhythm section, and frenetic opening riff, this is easily the strongest song on the EP and one which best shows the band’s newfound confidence. This leads into ‘the red’, which is reminiscent of 12012’s latter EP. The sludgy guitar is back along with the guttural growling and desperate shrieking. Although out of place compared to the rest of the EP, the song is a perfect fusion of their pop and death metal sounds, with clean vocals and melodic instrumentation placed in parallel next to their binary opposites. Although the weakest song on ‘XII’, it displays a successful amalgamation of 12012’s previous sounds. Although this fusion is explored in every track on the EP to some degree, it’s this song which makes it the most apparent due to the ever-changing musical atmosphere. In sharp contrast to this, ‘alone’ is taken straight out of 12012’s poppier back catalogue, making it a less challenging track. From the guitar tones to Wataru’s softer crooning, the song could have easily been slotted into ‘Mar Maroon’. Initially I couldn’t bear it; the mildness of the track detracting so much from what I was now used to from the band. However, repeat listens revealed the track to be one of the most musically balanced, with each member being easily audible. Due to this, the song is fuller than ‘the red’ in terms of its sound and allows each member to stand out in their own way. Not only does this make the song pleasant to listen to, but it also helps to convey the sound of ‘XII’ through its rich instrumentation. Complemented by basic guitar chords and beautiful piano, this song shows how 12012 can write a good pop song without deviating from the gloomy theme of the EP. This skillful mix of genres is also apparent with the EP’s closer, ‘aqua’. The longest track on ‘XII’, this song starts with a simple electronic backing tune and piano. Once again, Wataru’s vocals take centre-stage here alongside a sombre bassline. It takes a while for the song to gain pace but as soon as the drums kick in, ‘aqua’ is given real weight. Matched perfectly by the louder, more insistent vocals, a true sense of closure is given to the EP. Wataru’s plaintive cries also convey the sadness behind the band’s hiatus which makes the song much more emotive. Sadly, this climax is followed by a clumsy guitar solo which sounds like a collection of odd notes thrown together. Unlike the bass solo preceding it some minutes before, it doesn’t seem to match the key of the song and stands out in the wrong way. The song’s length is also a drawback, weakening the effect of ‘aqua’’s impact through its meandering middle section. In spite of this, ‘aqua’ is an emotional piece and a fine way of ending ‘XII’. I was disappointed with this EP at first. I hated that the band had changed their sound despite creating something unique with ‘Deicida of Silence’ and ‘The Swan’, flippantly disposing a genre that suited them well. Despite its lack of initial impact, I found myself listening to this EP over and over again, realising each track was as infectious as the last. As a result, ‘XII’ isn’t a step backwards at all, but a display of maturity caused by a fusion of everything that makes the band great. The EP is heavy but in a different way; with nothing used to excess. Every track demonstrates each member’s technical skill with darker, heavier material, but also an awareness of the fans and what they’ve wanted since ‘Seven’ or even ‘Play Dolls’. Due to this, they leave the scene with their most memorable release to date, covering all past soundscapes in a fusion that is a pleasure to listen to. If they ever come back - and I truly hope they do - this is the 12012 I want to listen to. This is 12012 at their finest.

Artist: Sadie Album: GANGSTA Score: The musical equivalent of the human centipede, where genres are held hostage and stitched together ass to mouth so shit flows in one end and out the other. Except one of the genres is emaciated, another is dressed in drag, and a third took five too many Xanax and huddles unconscious in the corner. Making heads or tails of what GANGSTA wants to be is fruitless. A convoluted mess of bad ideas, worse ideas, and terrible execution, the best thing about it is how little the name has to do with anything. If you like your clouds with silver lining, it's not the visual kei equivalent of Sasuke Uchiha's mixtape, but the turntable scratching and rapping still rears it's ugly head when Sadie is done violating all the other genres they think they can handle. The beginning of the end of my expectations starts with MODE OF GANGSTA, which kickstarts this thirteen track tour de force of all the ways to not juxtapose genres. Evoking feelings of a coked out futuristic dystopian cyberpunk electro-rave punctuated with gang vocals, it's about as good as DEATHGAZE's Japanese Meliorism. And by that, I mean it's cool for eight measures and then it needs to stop. But by this point, you've already ventured into the ectosphere and are being pulled towards the gravitational singularity that is this album whether you like it or not, and the only question you should have is why. One of the few constants within this album is how any attempts to extinguish the flaming wreckage only makes things worse. Lead single DEAD END's intro may give you hope - as a formulaic Sadie rock number they're in familiar territory - but even here there are signs that things are going to go wrong fast. Not only do I feel like I've heard this song before - probably because I have - but the song feels like a disjointed collage of half-executed ideas that don't play well together. There's some sugar, some spice, a funky guitar line or two, a chorus with complex delivery, token heavy sections, and harsh vocals that feel like an after thought, thrown about to take up eight measures worth of time. There's some good and some bad, but it's the most consistent track on here. Differences in opinion over the first two tracks can be summed up into "at least they're trying!" and "diversity!", so I can't knock this band for having no ideas. But at the end of the day, the inability to execute a vision even with a multitude of ideas is not a matter of opinion. It's a fatal shortcoming that births tracks like WELCOME TO THE UNDERGROUND, which is the most clumsy jazz-kei attempt of the last decade. It also marks the point where the album crosses the event horizon and there's no coming back. They keep up their cabaret pretenses for three minutes before sliding back into their trademark metalcore sound so they don't feel too out of their comfort zone, but the awkward focus on English lyrics and inappropriate guitar tuning betrays the band's intentions. The left-field metalcore section sports harsh vocals poor even by Mao's standards, and the aggression displayed near the end is at odds with the rhythm in the beginning. If they had held consistent, it would have been an amusing LIPHLICH imitation at best. Instead, this is a muddled mess. But it's not just WELCOME TO THE UNDERGROUND that sounds like a spiked cocktail of ill-executed concepts. The second constant of GANGSTA is that Sadie doesn't know what it wants to play. A puree of shit banded together by interludes forms whenever Sadie tries to coax ideas into places they don't fit, and a majority of the album falls into this category. Whenever they stumble onto an idea that might work, they suddenly switch gears before it can get going. It would be more prudent to highlight all the songs that stay the course - wherever that course may be headed - from beginning to end. For that, I give props to Tokyo Gypsy, MESSAGE FROM HERE, and the piano outro PHRASE OF LIFE. I would never say any of these three tracks are "good". Singling one out as the best song is deceptive; it's like comparing a turd to twelve less smelly turds. What we have here are three tracks that didn't elevate my blood pressure, and thus I'll take the road less traveled and talk about the few positive aspects of this album. Tokyo Gypsy is a slower rock song, which in the hands of a different band could have worked a lot better. It's the first song on the album that isn't a total disaster, but the band refuses to let it's hair down and get into the groove. This creates unneeded apprehension in the atmosphere. Nothing about this song screams "Listen to me again!", but the greasy back alley male strip club vibe I get from listening to it gives it a place of distinction in my mind. MESSAGE FROM HERE is a six minute ballad driven by a piano where only the rightmost five keys work. There's a feeling of the piano sitting on top of the music instead of integrating itself to it, and feels at odds with the prominent bass line. It deserves brownie points because it doesn't have a section of asinine songwriting to ruin the flow, but it doesn't captivate me either. It's far too long for what little ideas they're toying with, and could have been four minutes and delivered the same impact. The fact that it follows another ballad and leads into a piano outro means that while the album takes a sonic detour into consistency near the end, it's sinks into obscurity in a sea of similarity. I won't mention much of PHRASE OF LIFE, except it's a nod to Kisou and STACKED RUBBISH - a disjointed album ending on a pleasant note. Once the piano from PHRASE OF LIFE twinkles it's way to an understated ending, my hopes are crushed. I've listened to the entire album but I don't know what the purpose was. How can GANGSTA be justified as the product of hard work and musical creativity, when corners were cut and questionable choices were made at every turn? When the band wants to play metalcore, I'm bombarded with rave synth, embarrassing gang vocals, bars of absolute shit songwriting, demented gerbil sounds that are supposed to pass for harsh vocals all held together with derivative pop hooks so recycled the logo is visible. How can one rectify the disparate influences that pull tracks apart rather than brings them together? Take bleach as a four minute excursion into all the things wrong with this album. There's prominent DJ scratching, more bad gang vocals, random unexplored changes in riffage, and melodic metalcore over a house beat held up by Sadie's favorite musical crutches. None of these things go together either on paper or in practice, but the band insists that they do. I can't find any redeeming qualities in this album, and additional listens of GANGSTA reveal more flaws and no hidden gems. If there are any in the music, it's hidden deeper than it's worth to find them. There's trying, trying too hard, and then having no idea what you're doing anymore. Sadie has always been a straightforward metalcore band. The contention with their sound in the last few years is that they're using the same formula to come up with their tracks and they need a way to distinguish them. Thinking outside the box, gathering all of these ideas, and then leaving them outside the box defeats the purpose of gathering those ideas in the first place! If these ideas can't be used, they should be discarded. Instead, the box is as empty as it was before, the ideas are neglected like a child whose mother doesn't love them, the presentation is messy, and it's left to the listener to puzzle out what the band's true intentions were. I'd rather vomit on tinfoil and eat it than listen to this again.

Artist: ユナイト (UNiTE.) Single: レヴ (Rev) / ice Score: Armed with a new drummer, UNiTE. returns with a brand-new single! Earlier this year, UNiTE. lost longtime drummer Yukimi to chronic back problems. Having been a member since the days of キャンゼル (Canzel), the ex-band of three UNiTE. members, he will be missed. With new drummer Sana (ex-EVE's Yoshi), UNiTE.’s 6th single レヴ / ice marks a new beginning. So how does Sana compare to Yukimi? Well, it's a bit early to say, but one thing's for certain: he's more into showmanship. If you watch the Rev PV, you'll see he plays his instrument about 35% of the time and spends the remainder of the time flailing his drumsticks around! But in all seriousness, his drumming has more of a robust sound and he already uses more double bass than Yukimi ever did. I'm looking forward to seeing how his future compositions compare to Yukimi's! The single opens up with Rev, composed by guitarist Mio. Dark, ominous synth lines lead into an explosion of chuggy riffs one wouldn’t expect from a group of sparkling VK boys. Prepare to headbang! There’s an interesting rhythm that produces a sense of momentum-- almost a “rev"ving effect. While the initial part of the verse features some clunky Engrish lyrics, it is followed by much smoother, groovier pre-chorus, punctuated by light-as-air synths that squeak their way to the surface of the dense soundscape. This has to be my favorite section of the song. While the chorus is indeed catchy, it's not poppy to the point of disrupting the song-- something you can't say about many of the band's contemporaries. After the second verse, the song slows down for a dose of atmospheric synths and twangy guitar notes, before going into a guitar solo variation of the intro riffs and finishing out with one more blissful chorus. The keyboard outro might be a bit out of place, but it does help to tie the song to UNiTE.’s more typical style. Not to mention, Mio's synth arrangements are always a pleasure. Barring the Engrish, there’s strong vocals throughout the track by Yui. I can see Rev becoming one of the band’s premier “heavy” songs, so for this track, I suggest cranking the volume up to 11 and letting it blast! Right away, fans can identify ice as the work of none other than guitarist LiN. Solidifying his reputation as the band’s quirkiest composer, this track stands out, vocally and musically. Of note from Yui, there’s a striking “itadakimasu” intro, a funky falsetto section (it’s not written in the lyrics, but is that English?), and a fast spoken word section reminiscent of oldschool VK. The song is very bass-driven and adds to the urgent, dancey beat. There’s also a slight spooky-tinge that recalls LiN’s classic B-side Love_Duck_Core_Nothing. “Squealing” pre-chorus guitar notes and a creepy “scratchy” fret board effect during that spoken word section are among the commendable moments of tight guitar work; this song outperforms Rev on a technical level. If you're not feeling the song, at least give the video a quick watch. It’s a contender for one of the best VK PVs this year! Just in time for Halloween! The final track, 君は知らない (Kimi wa shiranai), is written by Shiina Mio. Keen fans (and eagle-eyed readers) will know that this is a “different” composer than for Rev. In fact, Shiina Mio is in general responsible for softer, poppier tracks, while the Mio “persona” takes over for the heavier, darker tracks. What’s most remarkable about this song is the prominence of acoustic guitar, which hasn’t shown up enough in the band’s repertoire. As soon as the first verse begins, one of the band’s signature traits appears in full force: ADD technical riffing. No other pop-rock band I know features such prevalent guitar work, but Shiina Mio and LiN will not stand for simple power chords. Instead, they trade off notes, go up and down scales, and show off with other riffing shenanigans. It's what makes UNiTE. stand out to me, but some listeners might be turned off by such unrelenting riffs. Yui delivers an emotional and sweet vocal performance, fit for this type of ballad. While the most conventional of the three tracks, Kimi wa shiranai is a welcome acoustic variation of the band's core sound. With the double A-side Rev / ice, UNiTE. gained a new drummer and churned out three new songs. So what is the result? Is it “rev”olutionary? I wouldn’t go that far, but it is one of their best singles to date. As a maxi-single, there isn’t much concern about cohesion, so the band uses the three tracks to exhibit three wildly different styles – and they do quite well in all three! I’ve been looping the single for the past few weeks and each song offers something to keep me coming back. While I would say ice is my personal favorite (I'm a LiN fanboy, what can I say?), last.fm tells me that I've listened to Rev the most! Because of the variety and quality of the songs here, the single serves as an excellent starting point for new listeners. So if you’ve been sleeping on UNiTE., now’s the perfect time to give them a chance! What did you think about the single?

Artist: SiM Album: i AGAINST i Score: SiM is having an identity crisis and you're all invited. Never shying away from their modus operandi of reggae grooves mixed with chaotic punk rock, the last ten years have gifted us many strong showings from SiM. They may be an acquired taste, but they've carved themselves a niche that very few bands worldwide can share. And to further separate themselves from the pack, they aren't afraid to cover the hard hitting topics in social-political, economic, or environmental commentary that are becoming less and less common in the modern punk scene. They are also poster boys for promoting recreational marijuana use in Japan. After a nearly year long wait since the last release, i AGAINST i is finally ready. The mini album opens with "RiOT". A song that sounds like it will get the crowds going at their shows, but falls short as an album opener with lots of energy but no dynamics. I would have been far happier if it were swapped with the second track or left off the mini, since SiM has similar and better songs in their catalog. As for that second track, "Fallen Idols" embodies everything I love about SiM: catchy lyrics, crunchy riffs, bouncy reggae bass lines, unbridled aggression, and most importantly-- the message. While SiM often relies on stories and fictional characters to get their points across, this time they took a more direct route warning fellow bands about letting their egos get out of hand. It makes this song the most attention-grabbing on the album, and fans are already driving themselves crazy deciphering the mystery of whom is being referenced. "GUNSHOTS" keeps the record turning like a calliope carousel on drugs about to spin out of control. The strong storytelling element to this song keeps the lyrics at the forefront, but the music has a palpable atmosphere that transports you out of this world! The classic punk riffs come out to play for "IKAROS" which contrasts nicely with song before it. Outside of that, it's a rehash of older material. They virtually cut and pasted the ending of "Happy Home" right onto this song and thought no one would notice. The emotional vocal melody is buried whenever the guitars come in and they don't compliment each other very well. "Slim Thing", the next track, highlights some interesting and unusual musical choices from SiM. I've never heard guitar work like this from the band before and I'm glad to see them expanding their repertoire. This might be the first time they've stripped down without resorting to a ballad or dub intermission. The placement in the tracklist also worked in this song's favor. Rounding out the album, "Teardrops" brings the intensity down a notch and SiM reminds you that they can do emotional rock as well. It straddles the line between a lullaby and a breakdown, yet restrains the 'heaviest' parts in effects so they don't steal the show. I was leery of ending the album on a melancholy note but with such a drastic mood change, this was the best place to cut the album short. Overall, i AGAINST i ends up being hit and miss. The fat could have been trimmed to reduce this mini to one kick-ass maxi single. If that had been the case, "Teardrops" would've had a better place in the middle instead of slowing the mini to a tepid stop. But since the high points were so high, it's a ride I'd get in line for again. The reggae infused songs were a lot stronger than others on Pandora and they brought back that vintage SiM feel. This band is much better at creating cohesive albums with varied content, but they've fallen a bit short this time. i AGAINST i lives up to it's title, with too many tracks that work against each other and even themselves.

Artist: girugamesh EP: Gravitation Score: After a few years of borderline radio-friendly stagnation, Girugamesh have hit back with quite possibly their best release yet. After a few years of borderline radio-friendly stagnation, Girugamesh have hit back with quite possibly their best release yet. Last year's Monster symbolised a beacon of hope for both fans and the band. The aggression was back, the heaviness was back, Girugamesh was back. Although steeped in pop-sensibilities at times, the album took a 180 from pop to electronic metalcore, leaving the burning wrecks of Now and Go far behind. It's been a year since their last full-length Monster, and Gravitation not only keeps this reclaimed heaviness in place but polishes it to perfection. Kicking off with their hardest song to date, 'Go Ahead' lures you in with gentle tones before ripping your head off. Satoshi's transition from gentle crooning to terrifying growls, for example, are nothing short of frisson worthy. Having the rawest vocals, the hardest breakdown, and the most memorable chorus, this song characterises the EP and spearheads their new sound. As a song that can only be described with superlatives, 'Go Ahead' highlights how Gravitation has led the band to a new level of heaviness. This permeates throughout the EP. While 'Reflection' displays a hard metalcore influence, for instance, 'Vortex' goes beyond that, opting for a thrashy deathcore vibe; a massive departure from Go in many respects. I thought it would let up at some point but the whole EP is like this; every time a lull in the intensity is expected, it continues its bombardment of chunky riffs and pleasantly incessant drumming. This is exemplified best in 'Reflection' where Satoshi tries to do some severe damage to his throat...in the best possible way. They could have included a slower, gentler track to give the listener a breather, but instead they opted for five heavy songs varying in loudness and intensity. The infectious electronic elements and catchy vocals which have characterised their more recent efforts are used to full effect here, modernising their previous sound and making each track as memorable as the last. All of these elements culminate in 'Vortex' which, replete with screams, riff-heavy guitar work and double-bass pedaling, is the best way to end Gravitation: in the same loud and exciting way in which it started, exuding a confidence not found on their older material. This is the Girugamesh we wanted after Music and the band sure as hell knows it. By cramming everything their fans love about them into one neat package, Girugamesh has created their best effort yet. Contrary to more recent releases, the intensity and loudness of their old sound is back and better than ever. While taking a new form reflective of some current "-core" genres, classic Girugamesh permeates to the point where they might win their older fanbase back. Upon listening to Gravitation it's clear that Girugamesh are back and louder, heavier and better than ever!