Featured Review #17: THE"420"THEATRICAL ROSES by MEJIBRAY

[Jigsaw9 6783]

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.

[beni 2149]

MEJIBRAY had originally caught my attention because of their eccentric and attractive Visual Kei image. I feel their second album captures their style almost to a t. Being one of many indie Visual Kei bands on the scene with such massive adoration from a healthy fanbase, the anticipated album doesn’t fail in delivering the juicy goodness of MEJIBRAY’s sound we all know and love. Compared to their first album, it flows a lot better, with a preferred track placement this time. Chocked full of brilliant singles and new songs, the album is a thrilling ride right from the get-go.

 

The opener, “IDEA,” has a futuristic and eerie feel to it, thanks to an electro current going high and low in pitch. It’s a quick and fitting welcome to THE “420” THEATRICAL ROSES, and this is again delivered by the suitable, instrumental closing track “COPERNICUS.” We get right into the flow of the album with their newest released single “シアトリカル・ブルーブラック AI Ver.” which further offers a new sound to the album, making this release even more refreshing as these ‘AI Ver.’s are altered ever so slightly. “シアトリカル・ブルーブラック” was already a personal favourite of mine when it was released. The song, much like any Visual Kei single, follows an expected pattern. This can obviously be an issue for long time Visual Kei fans, but MEJIBRAY hits the nail on the head with this particular track. The chunky guitar and crazy drumming is super energetic and addicting. Tsuzuku’s vocals offer us what we’ve always received from him; a mix of clear singing, screeches, growls and screams. And let’s not forget how well MiA really works that guitar of his in his solo parts!

 

“DiefiL” is up next and is a very enjoyable track even after such a excellent single backing it up beforehand. Like track three, “Hungry Psychopath” doesn’t slow down the energy, actually sounding more melodious than previous songs. Its repeated guitar chunking after the chorus is highlighted wonderfully before leading into the chorus which is ever so harmonious due to the swift change in tune. Tsuzuku’s higher pitched vocalisation is something to treasure in this track.

The album seems to keep stepping up after every track for now, next with “Mr.レインは死んだふり.” The song falls and then rises to intense heights as Tsuzuku’s vocals alone accompanied by piano which continues to play along with the band into the chorus. Another ‘AI Ver.’ follows, this time of ‘RAVEN.’ Nothing can beat MEJIBRAY’s singles in my book and ‘RAVEN’ certainly doesn’t miss the mark. Dramatic and smooth, the chorus is even more pleasing to the ear compared to the highly enjoyable “DiefiL.” The steady and gripping pace of this single definitely shouldn’t be overlooked.

 

Following tracks “埋葬虫” and “Contagion” continue to deliver the punches without exhausting the album. I particularly enjoyed “Contagion,” which takes on a slower tempo against the first load of rough tracks but still keeps Tsuzuku’s signature vocalisations in. It’s actually quite pleasant. Following in the ‘pleasant’ description, ballad “Echo” comes next. It’s unfortunate this album promoted track is the one ballad in the album, but already a problem might be spotted by a few listeners. At over six minutes long, it’s a lengthy track in an already packed album. But even if it looks unappealing, you better give it a chance. My view on MEJIBRAY’s ballads is that it’s the best produced songs of theirs. Tsuzuku’s voice is fitting to such a song and the instrumentals definitely compliment and drive this along, making it an emotional and smoothly delivered performance.

 

Now, after nine tracks in, the album seems to exhaust considerably due to its big running time. This becomes increasingly obvious after this song as every other tune follows a similar formula to all the other previous, first half high energy songs, no longer sounding individual. As a massive fan, it’s disappointing to admit. Even though we've waited a while for a full-length album, it may be a bit too much. So, while every track packs a punch, the album itself may fail keeping listeners gripped from start to end, not managing to impress newcomers or even long time listeners. But this album is a definite step up from their first. I look forward to the band progressing further and finding their place and sound in the scene before being seen as unoriginal or uninspiring. With an eye catching album cover and beautiful detail to attire and music delivery, you've gotta give these guys some credit at least. Step up lads and prove to us all your worth!

 

[doombox 4421]

MEJIBRAY formed and rose from the ashes of VanessA in 2011. Since then they've had a rough go at it with a rather hit or miss discography. Their latest effort, THE "420" THEATRICAL ROSES, shows more of their struggle to find an identity. But that's not to say that it's without merit. 

 

The production on the album is a definite step up from their previous releases. One of the most notable improvements being Meto's meter sounds abundantly more solid and less "chopped"- a recording technique where drum hits are moved or replaced to have more clarity and precise meter. In the 2 years since Emotional【KARMA】's release the compositions have come a long way. The members no longer sound like they are fighting for attention over each other and have opted to share the spotlight to write songs that have a much more defined direction. The problem is the songs on the album don't necessarily complement each other. THE "420" THEATRICAL ROSES comes off as just another collection of songs and not a conceptualized collected work. One theme that does seem to span the album is wearing inspiration and influence on their sleeves. The album reads as a huge love letter to 90s and early 00s era visual kei. Which is something I can appreciate.

 

One of the stronger songs on the album, "Mr.レインは死んだふり(Mr.rain wa shindafuri)" leaves behind Mia's penchant for hair metal nostalgia and the guitar takes a more atmospheric and modern approach. The vocals mirror the polarity and sound as if Tsuzuku's voice might crack from emotion at any second.  "RAVEN Al Ver." would have been my pick for album opener. Everything works together in an insane, unexpected way with machine gun drums and vocals that erupt in inhuman shrieks and screams. Bass is rich in tone and breaks through to carry as much of the song as the guitars. Koichi may have took his sweet time showing up to the party, as the bass is considerably buried in much of the album, but he picked one of the best times to do it. Then there are the blatant Dir en grey tribute songs "埋葬虫(Maisoumushi)" and "hatred × tangle red × hunger red" which ironically enough are on par with the best songs on the album that showcase technical ability and emotional connection from the members.

 

THE "420" THEATRICAL ROSES is not without some missteps, however. The album suffers from being overly indulgent and could have trimmed the fat to be a much better 11 or 12 track record instead of condemning its listeners to the likes of "Hungry Psychopath", "Contagion", "瞬間のアイディアル(Shunkan no ideal)", "BOWWOW", and "SUICIDAL WORD GAME". These songs struggle with Tsuzuku's vocal melodies sounding thin and overpowered by the instrumentation of the songs. They also have trouble walking the line between boring filler or obnoxious try-hard territory.  I do give Mia a bit of credit for his guitar solos being the saving grace for far too many of the aforementioned. 

 

But the most memorable songs for me were the 6 plus minute epics "Echo" and especially the song "鳥は泳ぎ方を知らず溺れ亡骸(Tori wa oyogikata wo shirazu obore nakigara)". Thumping bass and drums pulse along to string and wind instruments creating a multi-layered orchestral atmosphere in the latter track. Guitar is retrained initially but steps in as the song explodes into full band for the chorus and Tsuzuku's voice manages to hold on for dear life to stay front and center. It was the only track that had me so enveloped I couldn't stop to compare it to anything else for the first time in the entirety of the album.  "SERVANT" is also unique with an interesting, almost death metal inspired approach to it but never quite makes it all the way there. Even still, I don't mind. The middle space they find is pleasant. Maybe if they wanted to break from the tribute band comparisons they could explore more of this sound. 

 

Even with its short-comings, I do think THE "420" THEATRICAL ROSES is MEJIBRAY's strongest album to date and they've come a very long way. And they'll continue to go a long way so long as they don't let their egos do too much of the song writing for them. Die hard MEJIBRAY fans should enjoy this album, but it may not be suited to the general visual kei fan's taste.

 

Rating:

[fictioninhope 355]

THE"420"THEATRICAL ROSES is the first thing by Mejibray that I have listened to that wasn't their cover of Dir en grey's "Cage." I figured that if their cover of Cage was so good, this album would be pretty good too. I was sincerely hoping I'd love the hell out of 420. Sad to say I was disappointed instead. The amount of Dir en fanboyism in pretty much every track was a letdown for me as I was hoping for something that would set Mejibray as its own entity in my mind instead of "that band that covered Cage." I got the feeling of a band that was still trying to find their footing but couldn't quite get the traction they were looking for. 

 

My experience with 420 was a game of "do not push the next button, you need to listen to all of it." Each song seemed to bleed into the next, only letting me know the track was even switching with a small bit of silence between them. It went on forever and it definitely wasn't in a good way. Saying I had to force myself to give it a re-listen is a bit of an understatement. When I would think it was time to start the album over I'd look at iTunes and there would still be 10 tracks left. I don't feel like this band has enough in them yet for a 17-track album to not be completely exhausting for the listener. Based solely on 420, I don't feel like Mejibray is a good match-up with ballads, at least in terms of vocals. They were the worst part and only managed to make the album feel even longer.

 

I can tell this band has so much potential to be something awesome, it's right there at their fingertips. They just failed to fully reach out and grasp it with this album. I will say that this is going to be a band I will keep my eyes on in the future with hope that one day they'll surprise me.  "hatred × tangle red × hunger red" was the one track I did enjoy and would recommend to others. Rating this one is really hard for me as I didn't outright hate it but I wasn't in love either. It wasn't horrific but it's not an album I'd tell people they needed to listen to.