christmhas 25 Days of ChristMHas! The Staff Album Picks of 2016.

**Ito** · December 1, 2016

Welcome to the 25 days of ChristMHas!

Given that this is our 4th year doing this, I imagine most of you know the deal already. But for the sake of those of you who are new or just haven't checked out the list in previous years, let me give you a quick explanation.

The MH official reviewers and the staff have gotten together in an attempt to create a list of our favorite releases from 2016 (excluding December). Every day of the month we will be posting a new album until we reach the number one release on our list on Christmas day. Each album will come along with a little blurb from different staff members explaining why the release made it on the list. Keep in mind that it is impossible to really create a list that captures all of the diverse tastes of the our individual staff members, so you will have to wait for the staff member's individual lists if you really want to know a certain member's favorites. Also, the list was limited to only Japanese albums.

This post will serve as the "directory" with all of individual albums being featured in each reply post. The discussion for this will go in THIS THREAD.

And without further ado, the list!

**Ito** · December 1, 2016

Day 1: psycho:lens. by …。【サイレンス】(Silence)

Release Date: 2016-04-22

Label: Independent

Genre: Visual Kei

Impressions from @Ito:

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Gloomy - There is something about this specific mood; not quite a sadness, but rather an thoughtfulness. Like sitting at the edge of the windowsill watching the rain pour, the torrent outside and the calmness inside, and the feeling of being left without a task other than to think. Perhaps that comes across as very convoluted, but this is atmosphere perpetuate throughout the entire length of psycho:lens. Maybe it's not always outright, as Silence certainly has some more chipper songs, but the overall feeling of the album stays constituent through the entire run, which really solidifies this release as a powerful completed package.

Silence's hazy sound, the thick guitars and nasally vocals, certainly aren't for everyone. But for those who enjoy that sound that I usually associate with early 90's nagoya kei bands like Merry Go Round, this album is for you.

Highlights: Crevice, lens

Impressions from @emmny:

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Alas, the first album we open our list with is the most obscure visual-kei pick. I vouched for this baby pretty hard because I wholeheartedly believe this is the best visual-kei album you haven't heard in 2016. Silence is composed of veterans from the underground goth/visual scene: featuring ex-cocklobin drummer Kiri, Sou from emmurée, Inori from Serpentine Ghost/Glamscure and Zull from MONOURAL CURVE. Silence have been active on/off since 2009. As telling from the lineup, there is a heavy goth-rock/post-punk influence at play, but now it's filtered through a sunny shoegaze and dream-pop lens. There's a lot going on here in terms of styles and sounds, and Silence operate at the fringes of all these genres, visual-kei included. The end result is an odd patchwork blanket, incorporating scraps from all their influences. The closest to a definable end result is a dazzlingly dark, beautiful yet light ode to the 80's/90's alt-rock sound. Silence's past work has been quite experimental, but all of that inconsistency has been smoothed out for psycho:lens., making for an incredibly solid album. There's a lot here to enjoy, both for fans of more alt-rock leaning visual bands as well as j-indie heads who wouldn't touch visual-kei with a ten foot pole. If you enjoy your rock gloomy and dreamy, give Silence a try--or I will find you...

Highlights: "faraway", "プラネタリウム" (Planetarium), " 薔薇と十字架のRelief" (Bara to juujika no Relief)

Sample song:

Buy the Album:
CDJapan | Amazon Japan

**Ito** · December 2, 2016

Day 2: 歌謡サスペンス劇場 (Kayou suspense gekijou) by ベル (belle)

Release Date: 2016-02-17

Label: SPEED DISK

Genre: Visual Kei

Impressions from @emmny:

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I'll confess, I had written off Belle for quite a while, assuming they'd be a bunch of older dudes (ex-Catfist, PLUNKLOCK, Ayabie) trying their hand at oshare. That's kind of exactly what they are, but not in the way you might be thinking. Their praises are sung quite a bit on here, but once I heard whispers of them somehow sounding like 'art-kei', I knew I had to give it a try. I heard "Vidoro", track seven on Kayou... and I was hooked. These guys are smooth as hell, recalling a less messy, older oshare sound from the early/mid-2000's with their melodic pop-rock and soft jazzy stance. There's also something so retro/80's about their sound that I can't put my finger on; a theme Bellealso embrace in their hilariously quirky music videos. If you think any of the above is interesting, then you're in luck because Kayou... is 14 songs full of consistently catchy, fabulous, and well written pop-rock. Even though it's lighter listening, Belle still sound mature and true to their style; no distracting bleep-bloops, screams, or gang choruses. There's something to love here for everyone, regardless of what your current taste or opinions on the current scene are.

Highlights: "さようなら僕だけの人" (Sayounara, boku dake no mono), "ビードロ" (Vidoro), "もう一度" (Mou ichido)

Sample song:

Buy the album:

Amazon Japan

**Ito** · December 3, 2016

Day 3: Newpoesy by TAMTAM

Release Date: 2016-09-04

Label: P-VINE

Genre: Pop/Dub

Impressions from @Ito:

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Newpoesy, for me, has easily been the catchiest album of the year. That statement on its own certainly doesn't say much, as catchy things can also be quite annoying - we've all had a tune stuck in our heads that has driven us absolutely insane. Thankfully, I can say that there has only been pleasure from tracks like "CANADA" looping around in my head as I get ready for bed. TAMTAM's unique blend of pop and dub has found a perfect equilibrium with Newposey. The band started off far more dub in their earliest work, with their last few releases only hinting at it that genre as the morphed in to more of a pop outfit. Not to say any of those releases where bad, but this album feels as though the band has taken all the things they have learned and truly grown - something that is sadly become exceedingly rare these days.

All of that said, I am not sure I am willing to call Newposey their magnum opus but more of a evolution of a band's sound. The album feels cohesive, yet every song is unique with their(maybe change this to it's) own appeal - from the sludgy groove of "karute"to the dynamic instruments of "CANADA," this albums keeps me engaged from stat to finish, back to start again.

Highlights: CANADA, sweetcigarettes

Impressions from @Original Saku:

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Newpoesy, the long awaited follow up to 2014's Strange Tomorrow, is TAMTAM's 3rd full album and their second major album. It's no secret that there has been some major contention on whether or not TAMTAM has been 'compromised' since signing with Victor in 2014; after all, their signature sound took a hit after going major. What we saw in Strange Tomorrow was an experimentation of their sound, where the focus was shifted more toward the band's poppier sensibilities for a wider mainstream appeal. Their dub influences, while still present, took a back seat. I personally felt that the change was a bit much but overall I still enjoyed the album and appreciated the bands willingness to grow. Two years later and we've heard nary a peep from the band release wise... Until now.

Newpoesy is a very interesting album when we get down to it. You can hear clear traces of Strange Tomorrow's poppy experimentation, but also there are now new facets to their sound that have been introduced such as the funky influences to the instrumentals and the differing vocal styles. The overall picture is pretty easy to grasp though: this album is the byproduct of their two distinct sounds perfectly balanced without either taking the short end. It's actually quite great. One of my biggest disappointments is that after they went major their dub sounds took a hit which was the unique aspect that drew me to them to begin with. Now it feels like they have found the sweet spot and are continuing to evolve as well. The results show in songs like "sweetcigarettes", it has a great buildup, an almost nostalgic feeling to the instrumentals, and the sweet n' soft vocal technique gives me goosebumps every listen. Another standout track is "星雲ヒッチハイク" which I believe is their best pop oriented song in their entire disco and possibly my favorite on this album. It has very subdued dub input with most of it being in the instrumentals, but for some reason it works very well and blends nicely with the flashier vocals.

I don't know exactly why it took them this long to release a follow up album, but I sure am glad that they took the time to reflect upon their past releases and truly put out something worth the wait. Too many bands these days rush to release new material and that goes double for newly signed major bands, but TAMTAM did the opposite and took the time. After this album I feel more comfortable with this band's future and while I don't think anything will ever top Meteorite from them for me, this is definitely a close second and a step in the right direction.

Sample song:

**Ito** · December 4, 2016

Day 4: 超能力セレナーデ (chounouryoku serenade) by クウチュウ戦 (koochewsen)

Release Date: 2016-08-03

Label: ramble

Genre: Progressive Rock

Impressions from @doombox:

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Koochewsen are so consistent it hurts. This year's 超能力セレナーデ (Chonoryoku Serenade) was another strong release pressing forward with the band's psychedelia-fueled retro rock. After the first couple of tracks -that positively slay- Serenade takes a more laid back approach than previous albums, but without losing any of Koochewsen's fabulous vintage atmosphere. It ends up being a delightfully chill ride overall, which works as a wonderful playlist addition for the transition from fall into winter for me. My favorite tracks off of this release would have to be the quirky epic "インドのタクシー (Indo no taxi)", as well as the slow and spacey trip of "お願いUFO (Onegai UFO)".

Highlights: インドのタクシー, お願いUFO, 魔法が解ける

Impressions from @fitear1590:

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Throughout this year, Koochewsen has sky-rocketed to become a new favorite of mine. It appears that they're slowly weaning us off their extra progressive sound, but trust me, they're not boarding the shuttle to Genericville by any means. Opening track "ぼくのことすき (boku no koto suki)" is a noisy helping of synthy power pop. Plus, I always appreciate a band that can fuse talent and a good sense of humor--a combination that Koochewsen are currently killing. Their PVs are a blast--just check out the kooktastic "インドのタクシー (indo no taxi)" if you need proof. One of my favorite tracks, however, is "お願いUFO (onegai UFO)" which shows that the band still get their prog juices flowing now and again. Slow, creeping verses build into mighty choruses that split the sky wide open just long enough for a UFO to zip down to our stratosphere and abduct us. And lawd, is it glorious. As a cooldown, the track graces us with a killer organ breakdown and a face-melting guitar solo. Overall, Koochewsen had a stellar year, with two successful mini-albums (and five PVs, if I recall correctly!). For the purposes of this list, chounouryoku serenade just edged out Sukoshi Fushigi for its slightly more varied compositions. Let's hope 2017 brings even more tunes from these surprisingly accessible, psychedelic weirdos.
Highlights: お願いUFO, ぼくのことすき, インドのタクシー

Sample song:

**Ito** · December 5, 2016

Day 5: Program Music II by 柏大輔 (KASHIWA Daisuke)

Release Date: 2016-04-23

Label: Virgin Babylon Records

Genre: Classical/Electronic

Impressions from @Original Saku:

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KASHIWA Daisuke, genius composer and songwriter, has once again released a marvelous record in Program Music II. I'll start off by saying that my opinions of this album are in no way influenced by the first Program Music, however I will be drawing several parallels throughout this write up as examples. This is a album that deserves to be seen for it's own merits and not compared to a one hit wonder, and thus lies our crux. Since the first installment was so prolific, it will be hard at times for me to separate the two in a way that seems appropriate. I will try my best to not bring unneeded views into the fold.

It wouldn't be wrong to state that Program Music II was my most anticipated album coming into the new year, Daisuke has long been one of my favorite composers and songwriters, his compositions are so lovely and soft that they just grab you and drag you into a totally different world at times. I often marvel at the notion that purely instrumental music can relay greater emotion than music with vocals and all, but his works does just that more often than not and this album is no exception. While the first Program Music was a monster hit that came out of nowhere and blew everybody away with it's blend of electronic neo classical glitch sounds, but that was way back in 2007. It has been nearly a decade since the release of that album and some things have changed, most notably is Daisuke's use of piano and electronic beats and with the focus of his last few albums being more piano driven it is no surprise that PMII follows suit in the same direction.

Overall the album is not nearly as dark and distorted as it's predecessor with most of the glitch elements being almost non existent. Instead it paints a lighter landscape due to the lovely piano and violin that has taken the forefront. The music lends itself to beautiful imagery that can only be imagined individually - thus each persons view of the music will be different from one another, that is what's so great about this album. When music can evoke these sorts of emotions in the listener and can take them on a journey of the imagination, I would say that is truly 'program music'.

Sample song:

Buy the album:

Bandcamp | iTunes | CDJapan

**Ito** · December 6, 2016

Day 6: Butterflies by BUMP OF CHICKEN

Release Date: 2016-02-10

Label: Toy's Factory

Genre: Alternative Rock

Impressions from @beni:

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Blame it on the hype due to the bands' digital single output throughout 2014, namely "Fighter", "Parade" and "You Were Here", as to I was so excited for this album. The emotional, story-telling lyrical work and beautiful vocal delivery of Motoo Fujiwara is what made me fall head over heels with BUMP OF CHICKEN in the first place, and they manage to do this all over again this year with Butterflies. The fact that Butterflies is now the album that comprises of the majority of my favourite BUMP OF CHICKEN songs should be saying enough!

"Fighter" was instantly a hit for me because of how passionate it is, further expressed by the stunning PV of it being a collaboration between the mangaka Umino Chika's "3-gatsu no Lion" and the band. It's even the ending theme to the anime adaptation of the series airing this year. Other anime themes include the insanely catchy and memorable rock number "Hello, world!", the opening to Kekkai Sensen, and the album's theatrical, adventurous opener being the theme to Granblue Fantasy The Animation. There's so much to enjoy and appreciate with this album. There's the techno "Butterfly", the festive, playful "大我慢大会", and their usual hidden acoustic track, a usual in their albums that always send us off with a smile.

BUMP OF CHICKEN doesn't disappoint, and being my first perfect scoring release of this year, you can't miss this one!

Impressions from @doombox:

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There is so much to be said for Butterflies, but the first word that really comes to mind is 'beautiful'. The album is simply stunning from start to finish. Fujiwara's emotional vocal prowess, immensely atmospheric arrangements, and penchant for making it all feel effortless make their albums an absolute joy to listen to. And over their 20+ year career span they only seem to be getting better with age. The leading singles of "Hello, world!" and "パレード (Parade)" do well to pepper the album with spurts of energy, but it's the ballads "流星群(Ryuuseigun)" and "You were here" that drive home how less can be so much more when it comes to the warm, heartfelt delivery BUMP OF CHICKEN truly excel at.

Highlights: パレード, 流星群, 孤独の合唱, You were here

Sample song:

Buy the album:

YesAsia | CDJapan | Amazon | iTunes

**Ito** · December 7, 2016

Day 7: Karma no Kusari by Kiki Hitomi

Release Date: 2016-08-26

Label: Jahtari

Genre: Reggae/Dub/Electronic

Impressions from @ghost

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Kiki Hitomi was a surprise discovery for me this year. Her new record "Karma no Kusari" (Chain of Karma) was promoted in a newsletter from one of my favorite UK music shops (boomkat) and I would have never guessed to find a Japanese artist featured there. Immediately I was intruiged by the album cover art which had me trying to guess what the music might sound like. It's a unique mix of dub/8-bit electronics, reggae, and even some enka.

Starting off the album, "Tabidaichi (Departure)" draws us in with a spacey, dreamy set of synth notes that lead into the sirens and beatbox of the reggae and dub fused "Nightwalkers". "Yellow Story" continues off the Caribbean vibes with a more grungy bassline and punk-like energy that mirrors the attitude of Kiki's racially charged lyrics.

"Pink no Kimono" and "Yume no Hana" take you back to the 70's blending poppy enka melodies with 8-bit synth notes and wonky organs. Tracks like "Karma No Kusari" and "Samurai Spoon" are more atmospheric and evoke a cosmic or even transcendent feeling while Kiki sings in her haunting spritely voice.

The album is presented in a lo-fi analog quality that adds a warm charm to its sound. I always find that the end of each listen comes too soon and end up listening to it a second time. It's lush with sonic energy and sometimes a bit strange, but all together Karma no Kusari is a record that stands against space and time and succeeds.

Sample song:

Buy the album:

Jahtari | Amazon | iTunes | Spotify | Google Play

**Ito** · December 8, 2016

Day 8: TAXIS by 中島孝 (Nakashima Koh)

Release Date: 2016-04-27

Label: Bermuda Entertainment Japan

Genre: Pop/Electronic/Alternative

Impressions from @CAT5:

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Outside of a few token acts like Suiyoubi no Campanella, BOMI, Aimer, and a few others, the Jpop sphere has been rather dull for me in the last few years. Unfortunately, I REALLY can't stomach most of the stuff international Jpop fans are drooling over these days - all of the alternative/anti-idols, and Seiko Oomori and her countless offspring. Things have been even more dire for me in terms of male-oriented Jpop, as so much of it comes off as either incredibly cheesy (think Arashi) or just insanely pedestrian (like Gen Hoshino). Thankfully there are a few male-fronted acts out there with a forward-thinking palette - Sakanaction for one, and even the fledgeling Ame no parade (if they can get their act together). I like to think that Koh Nakashima is another budding 'aural anarchist' of the Jpop world.

He debuted early this year with his first EP RAFT, and followed it up a few months later with the lovely TAXIS. Nakashima's music incorporates a fairly diverse mix of sounds and styles from house, city-pop, uk garage, jazz and more. It's all very cohesive, though. The EP plays like a natural coagulation of different influences - nothing sounds forced or out of place. Nakashima's casual, yet super-smooth delivery also helps to tie things together. TAXIS is definitely a highlight of my year and a very welcome release in such a stale Jpop atmosphere. If you're in need of some Jpop that's nostalgic, yet fresh and all-around groovy, then this is it!

Impressions from @beni:

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Nakashima Koh is an instant love from the very first listen, and now a necessity to my daily music needs. Koh is full of individuality, creativity and promise, fusing together a whole blend of sounds into a compact EP of six songs. Not a single track on this gem of an EP misses a beat. And that's a heck load of beats, let me tell you. The artist is new to the scene, having just released his solo debut RAFT in January, just three months before TAXIS came out. What makes TAXIS such a hit is its confident and masterfully done creation of all these sounds coming together. Not only do they play off one another wonderfully, but each and every track stands strong all on its own. There's city pop, house, jazz, pop, and plenty more to be discovered and enjoyed. From the gorgeous, fun fluidity of track four "OYOGU", to the jamming lead track "INAZUMA" and my personal favourite "painter", with truly artistic lyrics and delivery, it's a crime for Nakashima Koh to stay unknown. If you're looking for some indie goodness from this year, then look no further than TAXIS.

Sample song:

Buy the album:

CDJapan | iTunes

**Ito** · December 9, 2016

Day 9: The Greatest Hits 2007-2016 by Versailles

Release Date: 2016-09-14

Label: Warner Music Japan

Genre: Visual Kei/Neoclassical/Power Metal

Impressions from @fitear1590:

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With The Greatest Hits 2007-2016, consistent production and vocal style unify songs that were released over a span of years and various albums. The tracks from Versailles's 2007 mini-album Lyrical Sympathy ("Shout & Bites","The Love from a Dead Orchestra") get the most notable overhaul. A rerecording of "God Palace -Method of Inheritance-" from JUBILEE is sorely missing from an otherwise tight tracklist. The self-titled 2012 album which effectively guillotined my Versailles fandom thankfully has no representation on here. Even the band realized that the album was a flop! Fortunately, this anthology (perhaps more accurately The Greatest Hits 2007-2011;2016) has resurrected the band and the two new tracks are also welcome additions to the band's discography. Looking forward to seeing what they can deliver this coming year!
Highlights: Shout & Bites, Melodic Thorn ~美の暴力(bi no bouryoku)~

Impressions from @Zeus:

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One of the greatest visual kei power metal bands of all time makes a glorious return with a shining example of how self-covers are done! The Greatest Hits 2007-2016 features ten re-recordings with the style turned up to eleven and two new tracks that fit so seamlessly I don't know if they are entirely new compositions or old ones that never made the cut. Versailles chose excellent tracks to tackle; many fans have been clamoring for new versions of "The Love From a Dead Orchestra" and "The Revenant Choir" for ages. "Destiny" and "Philia" didn't have as many immediately noticeable flourishes to it, and some tracks felt a little strange since I'm used to hearing them a certain way for many years, but given some time I will come to accept these as the definitive versions of many of their songs. KAMIJO's performance was by far the most impressive singular aspect of the album, often granting older tracks the power they needed to reach new heights. I was left impressed by the quality of this release, but it's hard to swing and miss wearing your Sunday best. The new songs were good, but not ground breaking material, and no songs from their self-titled are present, implying that the band knows those songs can't be saved. Only time can tell if Versailles can capitalize on their former momentum and regain the glory of their JUBILEE-era, but the future looks bright.

Highlights: The Love From A Dead Orchestra, Aristocrat's Symphony, Chandelier

Impressions from @ShanethVarosa:

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My review, which you can read in-full here, pretty much said it all from a long-time hardcore fan's perspective. The original songs are truly amazing, but they somehow managed to expand upon them and give them a new vibe. Post-Jubilee songs got even better than the originals because it felt like the band has their spark and soul back. They needed a break from each other and they needed to know who needs who to make it interesting, and the succeeded tenfold. "The Love From A Dead Orchestra" alone is a masterpiece of Versailles' overall creative talent, and they breathed a new life into it.

Highlights: The Love From A Dead Orchestra, Chandelier, Melodic Thorn ~美の暴力~

Sample song:

Buy the album:

CD Japan | iTunes | Spotify

**Ito** · December 10, 2016

Day 10: Fire Bird by MIYAVI

Release Date: 2016-08-31

Label: Universal Music

Genre: Rock

Impressions from @doombox:

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In recent years MIYAVI has been positively fearless to cross genres, experiment, collaborate, and broaden every inch of his musical horizons as much as possible. His evolution may not always be in the direction fans wish, but it's always a thrill to see where he goes with it. And while I found his last handful of releases enjoyable, they weren't as cutting edge as we know the man can be. Fire Bird finally finds the right recipe to feel globally contemporary without falling into outdated neo-world music or being too pretentious in its pandering to audiences outside of Japan. Fire Bird is MIYAVI finding his own color once again with a unique sound where he finally gave up trying to fit in anyone's figurative box and just had fun with music. Which is precisely the MIYAVI I think everyone fell in love with in the first place. The genres and visuals may have changed, but this album is as big and intrepid as any of his early works.

The album is laden with super saucy guitarwork, built up by electronic beats and MIYAVI's trademark simplistic vocals that let the instrumentation shine. At its core, Fire Bird is a party that slowly builds up in the opening track, "Another World", and doesn't let up. Of course, the album spiderwebs out into a few different genres as any self-respecting MIYAVI release should. "Dim It (feat. Rosie Bones)" is a dirty, sexy, grungy banger that could be confused for a BONES song entirely (though it's painted with MIYAVI's penchant for wide blues-y brushstrokes), and shows once again Meev can hold his own musically with anyone, anywhere, any time. "You Know It's Love" is a hard hitting electro-rock tune that is one of the best examples of MIYAVI's exceedingly minimal approach to lyrics on this album that allows the thick, lavish atmosphere of the songs to take you away. Then there are surprisingly radio friendly jams like "Long Nights" that somehow splices MIYAVI's old Kabuki Rock visual days with a giant pop gang-vocal chorus that is live-ready, practically begging for crowd participation. It really is one of the best, most well-rounded rock albums of the year for me.

Highlights: Dim It, You Know It's Love, Afraid to Be Cool, Long Nights

Impressions from @Original Saku:

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Every year there is at least one unexpected release that creeps up to take a spot on my favorites, sometimes it's an album that I overlooked or a new discovery that I stumbled upon by chance. This year is no different in that regard, except this year it was something I never knew I wanted until I heard it. Fire Bird is quite possibly the biggest surprise of the year for me, I had long ago written off MIYAVI as 'washed up' and 'uninteresting'. Only on a whim did I decide to check out his newest album due to the positive chatter I had caught wind of here in the community, and I'm so glad I did.

Fire Bird is unlike anything I've ever heard from this artist, I don't have the faintest clue as to what MIYAVI's style has been like the past few years, but it's as if he decided to go all in on something new and succeeded with this album. Every song has this peculiar energy about it that pumps you up and keeps the adrenaline raging. Distorted guitar effects are aplenty and it reminds me of how good a guitarist MIYAVI really is; it adds to the overall 'loudness' of the songs and I'm a sucker for this type of distorted synth-y sound. Songs are predominantly sung in English and I really couldn't care less, his command of the language is so well done that it's hard to notice it's not his native tongue. English fits really well for this type of music and sound; it just works.

I can't really offer too much insight into how this compares to past albums or what it means for future albums, but I will say that I will definitely be checking out his next album after this. As long as there are bangers like "Afraid to be cool" and "She Don't Know How to Dance" then I will be the first one there, I guess that's all that really matters in the end.

Sample song:

Buy the album:

CD Japan | iTunes | Spotify

**Ito** · December 11, 2016

Day 11: after the addle apple by the god and death stars

Release Date: 2016-04-20

Label: david skull no records

Genre: Nagoya Kei

Impressions from @Ito:

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In 2011 the god and death stars put out their first release, addle apple, and with that fully solidified in my mind that aie was a master of his craft. Addle apple took that same guitar tone and feel that I have known from aie's work for years and somehow still made it fresh. Fast forward 5 years and we have the band's attempt to 'remake' that wonderful mini-album. And while technically that what it is, a 'remake,' I have a hard time calling after the addle apple that. While the song names are the same, sonically this transformation like that of when a caterpillar builds a cocoon and comes out of it a whole different creature. When you listen closely, you can pick out some of the riffs, textures, and lyrical homages to the original work, but other than those small bits this mini is something completely new. There is an air of complexity to the band's flavor of Nagoya Kei that gives me that same feeling of freshness that addle apple brought with it in 2011. The drum patterns are some of the most interesting I have heard out of the band, such as in "Roca," and the guitars riffs from songs like "after the addle apple" are as memorable as anything they have done before.

It's a bold claim to say that this is the band's best release, as I feel that the god and death stars haven't ever put out any weak material, but I think that it might just edge out its way to the top of their discography. Every song feels just as important as the last and there are never any dead spots. Add in that aie's vocals sound as good as they ever have and you have a recipe for one of the best releases of the year.

Highlights: Roca, after the addle apple, elephant in the room

Impressions from @emmny:

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Remakes are a tired visual kei concept. A lot of times, to pad out a single, mini-album, or full-length, bands will throw in a few re-recordings of old songs. Usually, it shows off a band adapting their older sound to their current style with few relevant changes--mostly an upgrade in recording quality. However; in a few rare circumstances (DIR EN GREY I'm looking at you), bands manage to push the creative boundaries with remakes in a way that can allow them to stand independent of original tracks. A huge fan of this concept is aie, the Nagoya kei mastermind behind deadman's awesome remake album 701125+2 and a handful of other remakes. But he doesn't just stop at a remaster, he butchers the past material beyond recognition. On after the addle apple, a remake of the god and death stars' debut release addle apple, the songs are heavily altered compared to their reference material--outside of their titles. The new compositions often take a musical motif from the original and spin an entirely new song based off that little thread. Listening to the tracks one after another, comparing original to remake reveals what elements were borrowed and which were discarded. Outside of that context though, they're all basically brand new songs. I call aie a wizard a bit too often, and after the addle apple in creativity alone is notable, but the fact that the songs are also incredibly well written and textured is what pushes it to straight up witchcraft. Bravo.

Highlights: "after the addle apple", "濾過" (Roka), "elephant in the room"

Sample song:

Buy the album:

CD Japan | Amazon

**Ito** · December 12, 2016

Day 12: EDR TOKYO by DIV

Release Date: 2016-03-16

Label: Danger Crue

Genre: Visual Kei

Impressions from @fitear1590:

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Since their debut, DIV have been toying around with synth arrangements, though they were just background flourishes in the beginning. Flash forward to four years later, the band is fully electronic on EDR TOKYO to the point where the more traditional rock instruments aren't even audible at certain points. It takes some getting used to knowing the band's earlier material, but the arrangements are very well done. Listening to a track like "東京、熱帯夜につき (tokyo, nettaiya ni tsuki)," the best compliment I can give is that it sounds like it could have been on the Tekken Tag Tournament 1 OST. Though EDR ('electronic dance rock') seems to be a bit of a misnomer with this release (I'd sooner attribute that sound to a track like their masterfully crafted “漂流彼女 (hyouryuu kanojo)”), turning the electronic dial up to 11 was a ballsy move. I may have had a rocky relationship with DIV over the years--we've had our highs (ZERO ONE and various excellent a-sides) and lows (SECRET and some weak-ass b-sides)--but ultimately, their disbandment this year is a huge blow. I know not everyone appreciated the full embracing of their electronic sound, but I'm really disappointed that they pulled the plug before letting us hear which direction they would have taken next.

Highlights: 東京、熱帯夜につき, Relic Snow

Impressions from @ShanethVarosa:

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A truly spectacular idea for an EP, but exceptionally upsetting that it will be their final one... As DIV anyway. My personal view is that Chobi and Satoshi likely got tired of being criminally underutilized. In any case, the EP itself was a blast to listen to and birthed my most played VK song of 2016: "東京、熱帯夜につき." The greatest part about EDR TOKYO is that it wasn't just a thrown together idea of electronic music interpolated with heavy rock beats and riffs; on the contrary the songs all had their own unique thoughts and compositions.

Highlights: 東京、熱帯夜につき, サクラユメ, Relic Snow.

Impressions from @tetsu_sama69:

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DIV's lifetime as a band has been a roller coaster ride of musical variety and none stands out more amongst their colorful discography than EDR TOKYO. Typically I'm not a fan of heavy electronica music, but this one came out of nowhere blowing the minds of fans and non-fans alike. Electronica blends so well with Chisa's hypnotic vocals and is a pure pleasure to anyone's ears in listening distance. Every time I listen to it I find it difficult to not start dancing and grooving along with the entrancing beats and sweet synths infused throughout all the songs.

Highlights: 東京、熱帯夜につき, サクラユメ, Relic Snow

Sample song:

Buy the album:

CD Japan | Spotify | iTunes | Amazon

**Ito** · December 13, 2016

Day 13: 不完全な音楽 (Fukanzen na ongaku) by chanty

Release Date: 2016-09-14

Label: Manpaku Records

Genre: Visual Kei/Indie Rock

Impressions from @emmny:

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Soan-managed J-indie/visual kei crossover darlings Chanty come back to dazzle us all in 2016 with Fukanzen na ongaku. You'd be hard-pressed to find someone who actively dislikes them, with their distinct visual kei flair morphed with an angular, alt-rock sound. Don't be thrown off by their pretty, kirakira looks; if you close your eyes, it's not hard to imagine the band as bunch of black-clad, art school rockers with long wavy hair freaking out on their jazzmasters. Chanty remind me a lot of Belle if their members were, let's say, 9mm stans instead of oshare archivists. Interlocking guitar lines, charismatic vocals and a furious sense of rhythm underpin their sound. If this description is something you've been beaten over the head with a few too many times, you'll have to excuse me, Fukanzen... has been my introduction to Chanty. What's taken me so long? God knows, spare yourself the regret and get to following these trailblazers as soon as possible.

Highlights: "今夜未明" (Konya mimei), "滅菌、消毒、絆創膏。" (Mekkin, shoudoku, bansoukou), "世界に見捨てられてもきっと音は鳴り止まない" (Sekai ni misuterarete mo kitto oto wa nari yamanai)

Impressions from @tetsu_sama69:

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When it's time to take the gloves off and blast back into the scene with musical greatness chanty doesn't hold back. I tried to count how many times I've listened to this release and it's somewhere in the realm of TOO MUCH. 不完全な音楽 (Fukanzen na Ongaku) proves that the visual kei scene is far from becoming stale and repetitive especially with artists like chanty at the wheel. You know a band has done something right when they leave you wanting so much more. My only complaint about the mini-album is that it gave me such a dark desire to get more songs packed with sweet groovy goodness that five tracks just aren't enough.

Highlights: ねたましい, 無限ループ, 世界に見捨てられてもきっと音は鳴り止まない

Impressions from @fitear1590:

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With numerous singles and an album in 2015, Chanty took it relatively easy in 2016. As the premier face of the fledgling strain of 'VK-goes-indie-rock,' we were all excited for their September mini-album this year. Other than being too short, it does not disappoint! It's got more uplifting numbers like "世界に見捨てられてもきっと音は鳴り止まない (sekai ni misute rarete mo kitto oto wa nari yamanai)", but also more somber and/or aggressive work, like "今夜未明 (konya mimei)." Plus, I have to wonder about the word '不完全 (fukanzen)' in the mini's title which can mean 'incomplete.' I wonder if this refers to the fact that the songs on this release are very stripped down--no backup arrangements or canned strings here. This allows the rock instrumentation, particularly dat bass, to really shine. In any case, Chanty is one of those rare bands that a variety of us in ORZ and staff (beyond those of us writing about them here: CAT5, beni, fictioninhope, etc.) are fans of, despite music tastes that otherwise don't exhibit much convergence.

Highlights: 世界に見捨てられてもきっと音は鳴り止まない , ねたましい (netamashii), 今夜未明

Sample song:

Buy the album:

CD Japan

**Ito** · December 14, 2016

Day 14: Hologram by Abstracts

Release Date: 2016-03-09

Label: GO WITH ME RECORDS

Genre: Metalcore

Impressions from @doombox:

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Djent done right! It took 2 years for abstracts to come back with a new album, but the wait was more than worth it. I knew HOLOGRAM would be one of my favorite releases of the year the moment I heard it. It's not a metalcore album that relies on its heaviness or insane breakdowns to get your attention. Since the backbone of the album rests on the emotional core of the compositions, the songs don't always need vocals to carry them. Some, like the densely atmospheric "Gemini," are completely instrumental, while other previously released tracks were updated with vocals. "Ancient" was already a pretty damn epic tune before, but the new version with vocals reinvigorates it to be one of the album's most memorable tracks. HOLOGRAM is also conceptual, and you'll find interludes scattered throughout the track list to break it into three segments- complete with their own moods and stylistic differences. There's a lot to love about HOLOGRAM as it offers something new to uncover every time you listen.

Highlights: Hologram, Mirror, Ancient, Gemini

Impressions from @togz:

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I only discovered abstracts this year just before the release of this album. In my eyes, they were pretty mediocre sounding and the change in vocals only made me feel that they were inconsistent. However, this album is a complete turn-around which is why it made my top album list, not because it was the most amazing thing I have heard, but it showed significant growth for the band and their direction. Not only is the music tasteful, the vocals both match and contrast very well. There's no element that is over-used in this album, unlike their self titled which was familiar and safe. "Ancient" is a great example of change as it was an instrumental track on their self-titled; this works fine but it's nice to hear a nice vocal melody over it. There's more of an artistic sense to this album as well with transitional and instrumental tracks to bridge it all together. After this Hologram, I'm definitely keeping a closer eye on them!

Highlights: Hologram, Mirror, Ancient

Impressions from @Ito:

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It's hard to express as to why Hologram made it as one of my top albums of the year. It isn't anything mind blowing - you won't leave the experience saying 'holy shit' or any other expressive phrase of your choice. The album is very solid, but being solid doesn't earn you a spot on a list of the best albums of the year. What abstracts have managed to do is to create a collection of djent tracks that just feel 'right.' They strike that balance between bands like Meshuggah, who's work comes across as putting all its emphasis on being heavy to the point that it just feels stales, and Animals as Leader's most recent album which feels complex for complexity's sake. Hologram is an album that just somehow feels like home in that odd way, where you can be engrossed while also relaxing back. It never overstays its welcome and begs to be put on again as soon as it hits its end. Hologram is an album best enjoyed as a complete package, and while I don't expect this to be anyone's favorite album of the year, I think it still is quite a pleasant surprise.

Highlights: Hologram, Mirror

Sample song:

Buy the album:

CD Japan | iTunes | Spotify | Amazon

**Ito** · December 15, 2016

Day 15: S.I.V.A. by Royz

Release Date: 2016-04-06

Label: B.P.RECORDS

Genre: Visaul Kei

Impressions from @ShanethVarosa:

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Having just gotten into this band about a year ago, this album was kind of a surprise. I don't typically take so quickly to bands, but Supernova was a jam and b-side "Alive" is still a favorite. Naturally, I had to check out their backlog. The album shows that they have some easy going pop/rock songs with "僕らのつづき" and "Emotions" and gets a bit darker on album promo track "R.I.P," but they really hit the nail on the head by going full-demon on "鬼ト邪吼" and the Indian-inspired "毘紐天-Vishnu-." Needless to say, S.I.V.A shows exceptional musical growth. In the future if Royz attempt an album as varied as this one again, it's sure to be a hit.

Highlights: Emotions, R.I.P, 鬼ト邪吼.

Impressions from @tetsu_sama69:

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Honestly I was a little worried about the build-up for S.I.V.A. because "Emotions" and "THE BEGINNING" really didn't really get my attention as much as their previous releases had up to that point. But I was a moron for doubting that Royz would disappoint in any way whatsoever as they came bursting out of the gate with a heavier sucker punch of musical awesomeness. If there's one thing that sticks out the most with S.I.V.A. is that musical variety that makes the album transition so well. "R.I.P" opens the album with a powerful rush of heavy rock that shifts smoothly to electronica that by the time you get to "THE BEGINNING" it fits in so damn well. The latter half the album is personally my favorite as it takes a more metal infused turn with "鬼ト邪吼 (Oni to Yokoshima)" that melts back into the infectious pop-rock that only Royz is capable of, before ending with the emotionally packed "僕らのつづき(Bokura no Tsudzuki".

Highlights: R.I.P, 鬼ト邪吼, 毘紐天 ‐vishnu-, 僕らのつづき

Impressions from @Seimeisen:

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S.I.V.A is Royz’s most cohesive album to date. They have spent their career crafting a blend of metal and pop with boyband-ish melodies. This mixture has been rather hit-and-miss throughout their first three albums, and the singles leading up to this one have slipped my radar. “Emotions” and “THE BEGINNING” captured no interest when they were released as singles, but on the album, you realize that they are both great songs. The songs on S.I.V.A do not underwhelm or bore, as each song carries great energy. My only complaint is including "Supernova." It’s a good song, but it feels like as much of a bonus track as "僕らのつづき (Bokura no Tsuzuki).” “THE LAST” does a good enough job at ending the album, as it’s the softest song.

Highlights: R.I.P, 鬼ト邪吼, 毘紐天 ‐vishnu-

Sample song:

Buy the album:

CD Japan | iTunes | Amazon

**Ito** · December 16, 2016

Day 16: raison d'etre et de sang by KEEL

Release Date: 2016-09-21

Label: ROCKGUILD INC

Genre: Nagoya Kei

Impressions from @emmny:

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Combining grace and fury in equal parts, KEEL are still on fire after grabbing 2015 by the balls with a slew of phenomenal releases. If it ain't broke don't fix it, and KEEL live by this philosophy, offering another round of 6 killer songs to #ResurrectVK and save us all. Regardless of how you feel about the alleged death of visual kei in the western fandom, KEEL serve as a reminder that the underground is, and has been full of talent. When our fixation on the big names of yore run stale (no, MUCC aren't coming back for a European tour), we have to shift our focus towards some new sources. If you've given up on the scene after one too many Royzs and MEJIBRAYs, KEEL are for you. Unapologetically underground, true to their sound, and sharp as all hell; one listen and you'll know exactly where the ethos and spirit of visual kei has gone in the past 10 years (spoiler alert: nowhere). The reason we 'are' and the reason we bleed might just be the same.

Highlights: "SWANS", "午後の射殺" (Gogo no sashatsu), "rain song"

Impressions from @Ito:

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KEEL pulled down top honors on our list last year, with their second of two mini-albums they released, and proved that this band of veterans was the powerhouse that we were all hoping for. Their follow up mini-album doesn't quite pack the same punch to send them to the top for a repeat of 2015, but Raison is no slouch. If you are looking for a fresh new sound, I suggest you look elsewhere, as the band's sound is deeply rooted in the history of VK - specifically that of the early 00's. Aie continues to bring that Nagoya Kei flavor that he has built up across his career, and the mash up of that signature guitar tone with Ryo's beloved vocals continues to be a match made it heaven. The album is seemingly split in two parts, with the first half having a far more driving pace and the second half slowing down. Only the closing track, "May Your Life Always Be Fullfilled With Love", an upbeat ballad, falls short for me. Perhaps that might have been a bigger mark against it, especially on the shorter run time a mini-album affords, but KEEL packs so much quality into the rest of the release that it just doesn't matter.

Highlights: SWANS, Gogo No Shasatu, Sirisugita Sinzou

Impressions from @Zeus:

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The longer I stay in the scene, the more I appreciate what KEEL has to offer. A no-nonsense, mature alternative to the metalcore bands that spring up a dime a dozen, KEEL is the closest thing the alt-rock mask of visual kei is getting to a super band. And for a band that has had this "mega-band" label thrust upon them unwittingly, they've risen to the challenge with equal parts speed and precision. Raison de etre et de sang is a wonderful release. It doesn't push boundaries or try anything new, but it doesn't have to. KEEL have settled into a sound spectrum that works for them. Even as they rubber band between melancholic rockers, upbeat ballads, and lightly distorted mid-tempo rockers, they do it just right. It still brings me back to the early 2000s when I was really excited about visual kei and good bands felt plentiful. To feel that again, especially after the tumultuous year that was 2016, KEEL was everything I needed and more. The inclusion of "SWANS" makes Raison de etre feel like an extension of their Ugly duckling single from earlier in the year - which is the only criticism I can come up with - but even that's not bad. There's a reason why veterans rally around this band and claim they will save visual kei. They just might.

Highlights: SWANS, 午後の射殺, 知りすぎた心臓

Sample song:

Buy the album:

CD Japan | iTunes | Google Play | Spotify | Amazon

**Ito** · December 17, 2016

Day 17: DIAVOLO by ギャロ (The Gallo)

Release Date: 2016-03-02

Label: EMPEROR RECORDS

Genre: Visual Kei

Impressions from @emmny:

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Longtime cult favorite Gallo entered 2016 with full intent on snatching all of our wigs right off our scalps, touring basically non-stop and dropping not one, but two full length albums. In case you're new to Gallo, their sound is based off angura kei, but with added prog-rock influences, a copious dose of eccentricity, magic spice, and insane vibrato. Each track off DIAVOLO has its own funky flavour to it, and while The Gallo can be quite all over the place, the compositions are always well thought out. Their main songwriter and guitarist, Wajow also plays in a non-vk prog band, so there's something greater than just MERRY worship at play. Writing music that is simultaneously catchy, challenging and weird, yet fun isn't an easy task. It's a skill that only Gallo possess in the indies scene, something they don't get enough credit for. That said, Gallo are an acquired taste; they can be oblique and off-putting at times, but they're well worth the effort for anyone looking for some originality.

Highlights: "夢魔-Incubus-", "殲魔-Ziz-", "淫魔-Belphegor-", "夢魔-Succubus-"

Impressions from @tetsu_sama69:

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This album was pure hype for me from the moment it was announced and every little preview that was released just built up the excitement until it finally surfaced. DIAVOLO was a pure sucker punch to the face of visual goodness that shouldn't be missed by anyone who enjoys the genre. From the start of the album it is very obvious that the whole listening experience is a trip down a path of insanity and darkness lead by a cacophony of batty instrumentals and vocals that are just a twisted as the trail. THE GALLO aren't afraid to show off their musical prowess as every track stands out so uniquely that it is a feat to pick out a favorite since all the songs have their own strong presence.

Highlights: 嬲魔-BELIAL-, 凶魔-BEHEMOTH-, 姦魔-LEVIATHAN-

Sample song:

Buy the album:

CD Japan | iTunes | Google Play | Spotify | Amazon

**Ito** · December 18, 2016

Day 18: 中毒症状 (chuudoku shoujou) by ザアザア (XAA-XAA)

Release Date: 2016-03-23

Label: Timely Records

Genre: Visual Kei

Impressions from @doombox:

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XAA-XAA released a ton of music in 2015, and most of it was my favorite music of the year, but sifting through all of it for recommendations for new listeners is quite a feat. So I'm extremely glad the band did all the hard work for us with Chuudoku Shoujou. It may not be the most cohesive album on the list this year, but it certainly is a lot of fun. For anyone who wasn't sure where to start with the band this would be the best possible place. From the creepy headbanger "コワイクライ (kowai cry)" to the folk-y, MUCC-reminiscent "夕焼け(yuukake)", this best-of has a wide range of styles to offer from XAA-XAA's catalog and shows off the band's versatility extremely well. Even if you're already a fan, you can't go wrong revisiting all of these killer tracks.

Highlights: コワイクライ, どしゃ降りの彼女, 闇

Impressions from @Zeus:

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Visual kei flirts with a gamut of musical styles, but many newer bands don't take an affinity to hard rock. In addition to that, quirkiness as an aesthetic has been on a decline for some time. These two qualities are why up and coming rockers ザアザア impressed me with their LP 中毒症状 (Chuudoku shuujou). This band blends a lot of visual fads together with a penchant for repetition to create something familiar yet refreshing, varied yet always hypnotizing. 中毒症状 does not escape the curse of compilation albums since it feels like a grab bag of their Sunday best but it's a serviceable introduction to one hell of an eclectic band. To think that I only checked this band out because of the clamor and drama over the rarity of their releases! It's not for everyone but you won't know until you try.

Highlights: コワイクライ, 君の心臓を食べてしまいたい, 今宵は鬱くしい

Impressions from @emmny:

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Hey,

XAA-XAA rock. This best-of album combining bits and pieces from their past minis, singles and live-distributed shows the band in all their glory: catchy, heavy, pop, old-school, new-school, every school, etc. Much like Chanty, if you follow visual kei and don't consider yourself a XAA-XAA fan...what are you doing? Who are you following? Who hurt you? Some things are beyond human comprehension so I guess I'll leave you alone for now...well, until the next column where I'll inevitably be bragging again about XAA-XAA.

Goodbye!

Highlights: "「うそつき」" (Usotsuki), "コワイクライ" (Kowai kurai), "死にたい" (Shinitai), "気持ち悪いほど晴れた空をペンキで塗り潰した" (Kimochi warui hodo hareta sora wo penki de nuritsubushita)

Impressions from @Seimeisen:

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ザアザア (xaa-xaa) have been killing it for two years straight! Their band accurately describes the nature of their music as “addictive,” and the title of this compilation, 中毒症状 (Chuudoku Shoujou), translates to Symptoms of Addiction. 中毒症状 showcases some of the best (and most addictive) songs from their 2015 releases, all of which are now out of print. The core of ザアザア’s sound is a fast-paced blend of indie rock and metal. Recommended for those who want some heavy VK, but are getting bored with the current wave of pseudo-deathcore bands. Take early 2000’s MUCC, a little bit of 2007 アヲイ (Awoi), some heidi., umbrella, and throw them all in a blender.

Highlights: コワイクライ (Kowai Kurai), どしゃ降りの彼女 (Doshaburi no Kanojo), 今宵は鬱くしい (Koyoi wa Utsukushii)

Sample song

:

Buy the album:

CD Japan | Amazon

**Ito** · December 19, 2016

Day 19: Hallelujah by the Novembers

Release Date: 2016-09-21

Label: MAGNIPH/HOSTESS

Genre: Alt Rock/Shoegaze/Post Hardcore

Impressions from @togz:

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They're back at it again! THE NOVEMBERS never seem to fail my expectations with their releases. Rhapsody in Beauty hit pretty far but left me half confused and wanting something a little more than a lot of distortion and noise. More and then some was provided in Hallelujah. It's emotional, powerful, harsh, psychedelic, and still genuine to their sound. Songs on this album have more melodic vocal phrasing compared to Rhapsody in Beauty. I'm fascinated with the different ways they explored this album and how well they made each component transition well in to each other. The absolute must listen to titles are "What Little Love", "Black Rainbow", "Beautiful Fire", and "1000 years". Still not their absolute best release, but certainly one that forced it's way in to the top three with Zeitgeist and Fourth Wall.

Highlights: What Little Love, Black Rainbow, Beautiful Fire

Impressions from @fitear1590:

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Despite unprecedented tracks like “Wind” and “I Want To Love You,” the album is heavily derivative of work they’ve already released. Having said that, ‘more of the same’ is not necessarily a bad thing for THE NOVEMBERS. Overall, Hallelujah is still a kickass record and is commendable for balancing the band’s two primary sounds (soft/dreamy and heavy/aggressive) more effectively than on recent releases. THE NOVEMBERS have been around for eleven years and it's not that they are starting to show their age. Rather, it’s simply getting tougher and tougher for them to outdo themselves. Read the full album review here.
Highlights: 1000年 (1000 Years), 愛はなけなし (What Little Love), 美しい火 (Beautiful Fire)

Impressions from @Zeus:

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Another year, another THE NOVEMBERS release. The indie band with wide appeal that can change styles at will, no one was quite certain what to make of Hallelujah after the sleepy Elegance EP and the convincing teaser of "Black Rainbow". The entire album delivered on the promises of the single more or less and is a welcome return to their more aggressive, alternative side. Those looking for a follow-up to 2014's Rhapsody in beauty may come away wanting a little more. The opener is a bit of a snooze but when the album finds its stride it feels like THE NOVEMBERS are at their most focused. "1000 Years", "Beautiful Fire", and closer "IKOUYO" are all great tracks in their own right, mixing and matching the different styles they're known for. I might even call this their most straightforward release yet! This quality is also a negative however. The flow of the album is inconsistent: more than once the band builds tension only to blunt it with abrupt changes in mood. Hallelujah also lacks a killer track for the rest of the songs to rally around. Despite these shortcomings, it's is a great album but unfortunately not THE NOVEMBERS' best.

Highlights: "1000 Years", "Beautiful Fire", "IKOUYO"

Impressions from @Seimeisen:

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THE NOVEMBERS all dyed their hair black! …

… oh and they also released an album, that too. For their eleventh anniversary, they give us an album that serves to define their sound changes over the years, and answer the question to those who may ask, ‘who are THE NOVEMBERS?’ While there are remnants of their past albums evident in songs like “時間さえも年老いて (Even Time Ages)” and “!!!!!!!!!!!,” you really hear more of the noisy atmosphere from Rhapsody in beauty and the 80’s hipster vibes of Elegance. Still, this album has “黒い虹 (Black Rainbow),” and while nearly none of the other tracks resemble it, it’s a memorable hit!

Highlights: 黒い虹 (Black Rainbow), 愛はなけなし (What Little Love), 時間さえも年老いて (Even Time Ages)

Sample song:

Buy the album:

CD Japan | iTunes | Spotify

**Ito** · December 20, 2016

Day 20: 「最高の食卓」(Saikou no shokutaku) by DEZERT

Release Date: 2016-01-20

Label: MAD FACE RECORDS

Genre: Visual Kei

Impressions from @emmny:

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My thoughts and feelings on Saikou... should be pretty obvious by now (shameless self-promotion). Know that I stand by every word; even as the year has gone by, Saikou... has been on constant rotation. In a year with a weak album showing from visual bands, DEZERT has blown them all far out of the water with their creativity, strength and uniqueness. Practically unknown five years ago, they've gone from a 'homage-kei' band with not much more than potential to a superstar four piece, spawning a mass of imitators and sharing event lineups with icons. DEZERT stand above the crowd, thumbing their noses at 'em. There's no one like DEZERT, and no one will ever sound like DEZERT.

Highlights: 君の子宮を触る」(Kimi no shikyuu wo sawaru), 「ここにラブソングを」(koko ni love song wo), 「おいしい脾臓は笑わない」(oishii hizou wa warawanai), 「ピクトグラムさん」(pictogram-san)

Impressions from @ghost:

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最高の食卓 is a delightfully wonky and hard-hitting second album by the industrially dark DEZERT. The opener "あー。" shows that they haven't lost any of their gritty aggression and, in fact, that they've grown into a more experimental stage. Their experimentation is highlighted on tracks like "問題作" with the use of cartoonish moog-like synthsizers and "宗教", where they shift between quiet, quirky moments and distorted, heavy sections.

While their dark and rough sound is ever present throughout the album, their pop appeal has not been forgotten. Songs like "君の子宮を触る", "セイオン", and "ピクトグラムさん" feature catchy hooks and melodies that really stand out against the hard instrumentals. Previously a live distributed single, "追落" was a nice surprise as it's one of a very few DEZERT ballads. While I've read some people expressing a dislike for the track, it's a refreshing break from the typical dark and brooding sound the band is recognized for. In fact, the whole album in general has a lighter mood than their "Untitled" first album.

I've always felt the flow on their first album was broken by the jarring contrast between the darker and lighter songs. While still heavy, 最高の食卓 trades in darkness and chaos for strangeness and quirkiness. I think that helped in creating a more uniform flow between the songs and every time I listen to the album a single track doesn't feel out of place.

I think the reason I enjoyed this album so much is that the band takes their musical foundation and builds something new on top of it. It's not an abandonment of their old style for a fresh take or the exact same product. It's an expansion. And, while DEZERT is certainly not for everyone, I invite everyone to make more room at their table to taste the more peculiar side of what Visual Kei has to offer.

Highlights: The whole friggin' album.

Impressions from @tetsu_sama69:

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Our ears or minds were nowhere near prepared for the twisted nether of music that is 「最高の食卓」(Saikou no Shokutaku). Opening with the psychological torrent of "「あー。」(Aa)" it was more then obvious than the album was going to drill into your psyche. Every track seems to tell a tale through its scattered mess of bass lines, rapidly shifting musical pacing, and vocals that never grow stale. The instrumental prowess of new members Miyako and SORA fit in as if they were missing puzzle pieces bringing a new layer of depth and darkness to DEZERT's already demented style.

Highlights: 「あー。」, 「君の子宮を触る」, 「宗教」, 「問題作」

Impressions from @Ito:

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DEZERT picks up where the mid 00's left off with Saikou no Shokutaku. The juxtaposition of poppy verses followed by heavy, grinding riffs and growls brings me back to a time when my favorite visual kei bands where putting out their (arguably) best material. It gives off this wonderful 'unhinged' feeling and really conveys a sense of insanity in the band's music. Perhaps that idea has become a cliché in visual kei by now, but DEZERT does it so well that I don't care whether the formula is stale or not.

Highlights: A., Shuukyou

Sample song:

Buy the album:

CD Japan | Amazon

**Ito** · December 21, 2016

Day 21: OUSIA by THE BLACK SWAN

Release Date: 2016-04-27

Label: Terakoya Records

Genre: Visual Kei/Metalcore

Impressions from @Zeus:

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Whatever negative impressions I had about THE BLACK SWAN and their role in visual kei was demolished with this release. Far from a band who looks better holding instruments than they sound playing them, OUSIA is the album I spent the most time with this year. It's a remarkably solid release that deserves to be counted among the best. I still can't get enough of the messiness of the title track, "OUSIA", and how much creativity and energy went into all eleven minutes of it. I've warmed up to all the tracks; the gothic "失い" and "RUVISH" are other highlights of the album, and even "THE WORLD IN MY ROOM" still sounds like a discordant mess, but a fun one I won't always skip. This is the closest we have ever gotten to progressive metal core in visual kei, and here lies the key to THE BLACK SWAN standing out from the rest of the crowd. OUSIA is an impressive first album that did the near-impossible feat of grabbing my attention, and you should totally check it out on those merits alone.

Highlights: OUSIA, アスモデウスの槍, 失い

Impressions from @emmny:

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THE BLACK SWAN are the most divisive band on the list this year, and with good reason. How'd they make it this far up? I'll tell ya. The basis of TBS's sound is a more polished, harder-hitting metalcore variant of NEGA's later output. That's the big deal-breaker here: NEGA's borderline tone deaf, melodramatic vocalist Jin was a cause of contention for a lot of listeners and so was their messy metalcore sound. Jin has since improved a bit and while the lineup is entirely different from NEGA, the sound does have a fair bit of a residual NEGA sound--or what was them basically putting their spin on DSS-era DIR EN GREY's sound. If you've been able to sit through this and think your ears won't bleed, you're in for a treat. Jin explained TBS's concept as (and I'm paraphrasing here) as the bird which wanted to fly but couldn't suddenly finding its wings and soaring. The band soar here, providing one of the most ambitious and unrelenting visual releases in recent memory. While they're riding off the back of an expiring interest in visualcore, the band push it to the darkest depths the genre has to offer and thus distinguish themselves from the rest of the flock.

Highlights: OUSIA, 失い (Ushinai), 赫音-finis-, RUVISH

Impressions from @tetsu_sama69:

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All right assholders, hold on to your asses! If you're looking for an album that breathes darkness and feels like a nail of emotion being hammered into your bone then you have hit the jackpot. THE BLACK SWAN opened the door to the inner reaches of the soul, pried out the twisted nether within, before forming it musically into the powerhouse simply known as OUSIA. There were no holds barred in this metalcore visual kei monolith of musical ferocity. The best part is pretty much every track that was featured from their previous single releases were re-recorded and redefined to boost the torrent of deviance throughout OUSIA. The heavier vindictive spirit that left with NEGA lives on through THE BLACK SWAN, and if their albums continue to go beyond the limits reached by this release then the future is very gloomy and sweet for die-hard fans.

Highlights: 流声、相剋の廃と, RUVISH, DEJECTED RAIN, アスモデウスの槍

Impressions from @Seimeisen:

Quote

A year after NEGA disbanded, 儿 (Jin) rounded up four new guys and formed THE BLACK SWAN, where he would continue to share his vision of loud, depressive, doomed metalcore (this time with the flu, I guess)! After a year and a half of singles, they finally give us an album, and with the exception of the opening “流声、相剋の廃と (Ryuusei, Soukoku no Hai to),” it is fucking dark and not happy at all. OUSIA has the same anti-spirit that NEGA brought, but with more progressive experimentation than before, with the eleven minute title track, and songs like “アスモデウスの槍 (Sword of Asmodeus),” where we get a random (but not unfitting) and super-fun metalcore breakdown in the midst of a slower, apocalyptic 'doom-core' song.

Highlights: 流声、相剋の廃と (Ryuusei, Soukoku no Hai to), DEJECTED RAIN, アスモデウスの槍 (Sword of Asmodeus), RUVISH

Sample song:

Buy the album:

CD Japan | iTunes | Amazon

**Ito** · December 22, 2016

Day 22: アトム未来派 No.9 (Atom miraiha No.9) by BUCK-TICK

Release Date: 2016-09-28

Label: Victor

Genre: Visual Kei/Industrial

Impressions from @doombox:

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I can fault 2016 for a lot of horrible things, but thank goodness through all the tragedy we got a small reprieve as BUCK-TICK graced us with yet another great album. There wasn't much experimentation with most of the tracks following suit of BUCK-TICK's trademark style, but since when has that ever been a bad thing when it comes to this band? They are wizards at mixing haunting atmosphere with fun and uptempo dance beats. This, coupled with their flair for a theatrics, frames their electronic-industrial decadence with goth rock panache. Atom Miraiha No.9 marks their 20th full-length studio album and that alone is something very few bands can brag about accomplishing, but B-T, as usual, have done it with style...a lot of it.

Guest artist Takeshi Ueda's (AA=, ex. The Mad Capsule Markets) special touch on "PINOA ICCHIO -躍るアトム-(PINOA ICCHIO -Odoru Atom-)" really crank up the industrial rock fuzz up to eleven to give the track another level of edge. "El Dorado", "美 NEO Universe (Bi NEO Universe)", and "THE SEASIDE STORY" all stand out for pure danceablility, and "愛の葬列 (Ai no souretsu)" is so dark and beautiful that it hurts. If you want to hear BUCK-TICK being absolute masters at their craft then you should pick up Atom Miraiha No.9 straight away.

Highlights: PINOA ICCHIO -躍るアトム-, 美 NEO Universe, 愛の葬列

Impressions from @Zeus:

Quote

There's a sense that bands come with a shelf life and after that point they're phoning it in. Skeptics have been waiting with watches in hand for the legendary BUCK-TICK to overstay their welcome for some time now. Any signs of age or cracking detected with previous albums that weren't up to snuff were put to rest here. With their twentieth album, Imai and company are going at it stronger than I've heard them in years. This is the perfected form of a sound they've been chasing since Razzle Dazzle and Arui wa Anarchy, and with it they go in a direction Japanese bands rarely explore - and yes I'm talking about the Latin influence. From the thick Moroccan-inspired opener "cum uh sol nu -フラスコの別種-" to the darkwave "BOY" to the boisterous "PINOA ICCHIO -躍るアトム-", it's everywhere, it's original, and it's awesome. This successful gamble - it honestly doesn't feel like a gamble but for any other band it would be -defines アトム未来派 No.9 and really makes me long for more bands in the scene to follow in BUCK-TICK's footsteps. For a band that many see as past their prime, BUCK-TICK have struck back at any would-be detractors with a nuclear bomb of an album. If you are daunted by the sheer amount of music this band has produced, this is a fine place to start.

Highlights: DEVIL'S WINGS, cum uh sol nu -フラスコの別種-, PINOA ICCHIO -躍るアトム-

Impressions from @ShanethVarosa:

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I'm not sure what possessed me to check out this album as I don't consider myself a Buck-Tick fan. However, the variation of sounds made アトム未来派 No.9 interesting. Sitting down and really listening to and hearing the lyrics made it even more enjoyable. Also, the introductory track "cum uh sol nu -フラスコの別種-" is not only catchy, but ripe with hidden meanings. This also forced me to check out their previous album 或いはアナーキー, which I should've really done a lot sooner.

Highlights: cum uh sol nu -フラスコの別種-, 美 Neo Universe, New World -Beginning-.

Sample song:

Buy the album:

CD Japan | Amazon

**Ito** · December 23, 2016

Day 23: 第六作品集『無題』 (Mudai) by downy

Release Date: 2016-09-07

Label: felicity / Space Shower Music

Genre: Post Rock/Shoegaze

Impressions from @togz:

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While many of you may know downy already, they're completely new to me. I had impulsively checked this album out when it was highly spoken of in the forum chat. It was no mistake. downy presented a new realm of sound and feeling for me because I had only dipped my toes into this side of the musical spectrum. Honestly, I'm not sure what to label them because 第六作品集『無題』 (Mudai) is comprised of a variety of techniques. It's eerie, smooth, swing-ish, jazzy, but most importantly, fresh. I've never listened to a full album and appreciated each song individually. It has amazing flow and while each track is very memorable and different, the big picture is still visible. 第六作品集『無題』 (Mudai) is like a puzzle and each song is a piece like no other, but they fit perfectly together. The transition from "海の静寂" to "色彩は夜に降る" alone shows diversity in their sound. "海の静寂" is sleek and slow while "色彩は夜に降る" picks up right away with a quick drum beat and guitar riff but both share that same eerie and unique vocal style. I'm disappointed in myself that I hadn't discovered them sooner and will be paying attention to them from here on out! Not surprised to see these guys in the top twenty five!

Highlights: 海の静寂, 親切な球体, 乱反射

Impressions from @Zeus:

Quote

第六作品集『無題』 is the album which musically defines 2016 for me. downy's fourth full length album is a musical juggernaut that takes time to truly be appreciated, yet only one other release came close to leaving such a strong musical impression on me with only the first listen. It's very difficult to describe the otherwise paradoxical feelings that characterize 第六作品集『無題』. Transitions are both carefully planned and seemingly spontaneous, ensnaring me within seconds. downy crafts a unique world with each album, chasing a goal they reach on their own time. It takes really great musicians to be able to communicate emotions like these through music and at times I forget that downy is a band and not a collective being exerting their will upon me. I've always liked this band, but this album flipped a switch inside of me that truly turned me into a downy fan. I can't recommend it enough for anyone fans of alternative shoegaze.

Highlights: 凍る花, 乱反射, 孤独旋回

Impressions from @CAT5:

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New music from downy is a scarce thing. They're one of those bands that reside outside of the mainstream, and given the nature of their music, they certainly aren't trying to break into the market either. Legends in their own right, their fanbase is more or less set, and anything they release is guaranteed to be a spectacle. Such was the case with their 6th untitled album, and as expected, it is absolutely singular! It's much different from their previous album, yet just as good. Robin Aoki's vocals are more prominent than they've ever been, and the production seems a bit more earthy and natural, as if the album was produced specifically with live performances in mind. It's brought out a new kind of warmth to their otherwise stark and cold, dystopian sound. The general soundscape of the album isn't as varied as their previous releases, but it works in downy's favor here. Instead of going for an outwardly expansive sound, the album plays out like downy exploring their own inner workings, and it's a whole new world unto itself. I'm not sure how these guys do it, but they keep evolving while remaining a uniquely potent force.

Highlights: 乱反射, 翳す、雲, 檸檬

Impressions from @Original Saku:

Quote

Downy had a triumphant return to music in 2013's excellent 第五作品集『無題』. Just three years later, they've done it again with 第六作品集『無題』. Most artists would start immediately pumping out music for their fans after a nine year hiatus, but downy did the exact opposite and disappeared for three years. While this was frustrating as a fan, as a music lover it's hard not to respect the band's methodology and principles, especially when the album in question has delivered wonderfully.

Listening to a new downy record is like listening to a new genre of music or viewing a new form of art for the first time. Everything about it is just so dialed in, no doubt due to the painstaking amount of time that went into it. It feels fresh, new, and unlike anything else. A record truly worth the wait.

Sample song:

Buy the album:

CD Japan | iTunes | Google Play | Spotify | Amazon

**Ito** · December 24, 2016

Day 24: siraph by siraph

Release Date: 2016-05-18

Label: NBC Universal Entertainment Japan

Genre: Pop Rock/Electronic

Impressions from @Zeus:

Quote

Rising stars of the indie scene, electronic pop band siraph takes number two on our list this year. I've mentioned the merits of siraph earlier this year, but it needs reiterating that this is the most refreshing, vibrant mini album of the year. It's rare to find a band establish their sound so firmly with their first release, but with Masayuki Hasuo and Yoshimasa Terui as primary composers it doesn't surprise me that siraph strike gold on their first try. This is the kind of meaty, complex pop music indie heads seek out for years before stumbling upon. The heavily rhythmic opener "in the margin" is the black sheep of the release and with each track the band ease into their roles as if they've been together for years. "時間は告ぐ (Jihan wa Tsugu) feels like a school food punishment track that didn't make the cut, and my favorite track "thor" combines the chillwave and pop elements with a progressive rock flair for a haunting yet entertaining track. There is more to this band than the six tracks have time to show, and their first single "quiet squall" tells me they have lots of ideas waiting to be explored. If you weren't listening to this band all summer, you should start now.

Highlights: 時間は告ぐ, thor, linotype

Impressions from @CAT5:

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You know those "create your dream band" topics? Well, I've ruminated on those kinds of subjects quite a bit and never in a million years would I have thought to create a band as perfect as siraph. These guys are literally a dream come true - mostly due in part to the god-tier combination of haisuinonasa's Yoshimasa Terui and school food punishment's Masayuki Hasuo. Terui was the driving force behind haisinonasa and Hasuo was responsible for school food punishment's best material. With both bands in the throes of oblivion (the former appears to be on hiatus and the latter has been disbanded for years) their unique sounds seemed at danger of being lost to time. Thankfully siraph has appeared with this godsend of a debut to save the day! The EP combines Terui's offbeat, math rock-sensibilities and Hasuo's eccentric synth grooves to brilliant effect. Both composers wrote three tracks each, and while their individual styles are obvious, they couldn't be any more complimentary as a unit. Singer Annabel completes the circle, bringing with her an anison charm that completely invigorates Hasuo and Terui's already imaginative compositions. This EP is a winner from start to finish, and a must-have for fans of school food punishment and haisuinonasa. I can't wait to see where they go from here! Hopefully @Pho and I will have much more material to fanboy over in the future!

Highlights: 時間は告ぐ, thor, linotype.

Impressions from @Original Saku:

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Siraph is a band that seemingly came out of nowhere for me, but I'm sure glad they did. Consisting of members from School Food Punishment, ハイスイノナサ (Haisuinonasa), mop of head, and the delightful Annabel on vocals. Siraph captured me this year with catchy tunes that have infected me over the last six months. It's not surprising when you consider the members who make up the group. Annabel on vocals is just sublime and really sets the songs off on a one-way track to my heart. Combine that with the electric performance from Masayuki Hasuo on keyboard and Yoshimasa Terui on guitar and you can just tell something really special is happening here.

Impressions from @Ito:

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What I was hoping for out of siraph was school food punishment 2.0, but that wasn't what I got. I might have been really disappointed if what we got instead wasn't equally great. This band, while living in the same pop/indie rock space as SFP, somehow manages to capture its own unique identity. The flavor of pop delivered on this mini feels complex and layered, captivating me in a way that very little other pop music manages to do. I'm not sure if I'm entirely sold on the vocals, as they feel a bit shaky in points, but the rest of the music is so enjoyable that it is hard for me to really care.

Highlights: in the margin, 時間は告ぐ

Sample song:

Buy the album:

Amazon

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christmhas 25 Days of ChristMHas! The Staff Album Picks of 2016.

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