ÐARҞESŦ REVIEWS
REVIEWS OF J-ROCK MUSIC AND NOT ONLY!
COMING SOON:
-JANUARY 2021: THEMED WEEK
Here I am with the first part of the themed week expected for last month, in “Lyrical Love”! Today’s subject is a song by the alternative visual kei band Plastic Tree, entitled Life is Beautiful and released as sixth track of their twelfth album Ink, come out on 12th December 2012. This song is one of their most engaging ones, because of its unique rock sound and of the theme dealt, which is more extended than that the title only, concerning deeper and crucial aspects of our existence.
Akira’s sweet and warm guitar introduces the song, with Ryutaro’s suave and simple vocals adding inside the theme, which is really nostalgical and enchanting; then the sound becomes more energetic and well driven by the rhyhtm and the piercing vocals, especially in the repeated parts, made for creating a distinctive effect. This song is a rocking, powerful and astonishing song, which leaves a particular mark after the first listening, even thanks to the several facets it features.
Hidarime niwa naite miemashita migime niwa waratte miemashita
Meto meno aini shori dekinai kimochi ga imadaninanka arundesu.
Hajimete Uenoeki heitta nowa mezurashiku yuki ga furu kurisumasu
Shuuden wamou mukou gawa tooku ni icchi yau hikari wo miokureba taishouteki
Tanoshi sugitakara shaberi sugitakara kondo wa damatte sekai no oto ni mimi wo katamuketa
Kouen no oku no shoutou shitiru hakubutsukan de hakusei tachi wa towa no yume wo miteru
Tatoeba konna utsukushii kyoumosouaruyounito isshun omou
Matteru yuki wa tsumorisounimonai.
Life, life, life, life, life is beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life was beautiful days
Was beautiful days, was beautiful days.
Bokuwa kimi ga suki nafuri woshite kimi ga suki namonowo suki toshite
Dakaramata dareka shirani sonna kanjou ga mebae unara zenbu sousuru
Korerawo rokuon shita boku no utawo gyakukaiten shite saisei sureba
Kioku wa kyuru kyuru kyuru kyuru kyuru kyuru munashii jumon wo tonae dashite
Kitte hatte itta kotoba zenbu chitte matte itte shimauyoudesu
Tsumariwa bokura wa sekai dechiisaku meramera moeru gomi ninaruno.
Life, life, life, life, life is beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life was beautiful days
Was beautiful days, was beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life was beautiful days
Was beautiful days, was beautiful days.
Chiisaku fubukiku yami ga nande konnaniitsu made mo mada kirei
Itsumo mienai okuga nanka kanashi kunaru hodoni tadakirei.
Sonna kanjou nantoka dentatsu dekimasu younito tako ashi haisen de denkyuu wo
Tenmetsu meimetsu jaku metsu shoumetsu hikari ni kidu ita minasama ni
Arayuru kamen wo youishiteokanakya chinpu na kaijin hyaku mensou da
Naiteru kao wadoudattarou? Waratteru kao hadoudattarou?
Nee?
Life, life, life, life, life is beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life was beautiful days
Was beautiful days, was beautiful days
I, I, I, I, I, my, me, mine
Ai ai ai ai ai maisugite
Ai ai ai ai ai sareta idakedesu
Was beautiful days, was beautiful
Was beautiful days, was beautiful.
My left eye could watch and cry
My right eye could watch and smile
And between my eyes there are still the feelings that I can’t elaborate. (I)
The first time I had gone to Ueno Station, there was an unusual white Christmas
The last train already left, in contrast with the light that I could see moving away
I had too much fun, I spoke too long and so now it was silent and the sound of the world is emptied in my ears
I have a dream of an eternity, different from those stuffed animals in the darkened museum of the park
For example I think for an instant to those days that seem so beautiful
The fluttering snow seem to not have any plan. (II)
Life, life, life, life, life is beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life was beautiful days
Was beautiful days, was beautiful days. (III)
I pretend to like you, I like even what you like
Therefore if those feelings bloom again in someone else, they will be whole
I reverse these songs I recorded and when I play them
Loading, loading, loading, my memories recite a vacant charm
And all the cut-and-sewn words seem to spread, to float and to die
We plan to become the little flames of the garbage which is burning in the world. (IV)
Life, life, life, life, life is beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life was beautiful days
Was beautiful days, was beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life was beautiful days
Was beautiful days, was beautiful days. (V)
Even the darkness of the snow storm is still beautiful
Even the inside which I can ever see, despite of the sadness, is still beautiful.
These emotions I feel as I could somehow transmit them are only bulbs in an overloaded circuit
Trembling, blinking, dying, vanished to all the others
I have to prepare each disguise, the clichè faces of a mysterious person
What about a crying face? Or maybe a smiling one?
Hey? (VI)
Life, life, life, life, life is beautiful
Life, life, life, life, life is beautiful
Life, life, life, life, life was beautiful days
Was beautiful days, was beautiful days
I, I, I, I, I, my, me, mine
Too, too, too, too, too unclear
Love, love, love, love, love is all I want.
Was beautiful days, was beautiful
Was beautiful days, was beautiful. (VII)
Like all the songs by Plastic Tree, this one has been written by the singer Ryutaro Arimura, whose distinctive style can be perceived during the reading of the text. If you look carefully to the original lyrics, there’s a thing more than the rest which quickly comes to the eyes, or better, it would come if the song plays on during the reading: the musicality. In fact all the words used here have a phonetic analogy, with the repetition of syllables or even expressions, a feature which means a lot for the comprehension of the text and they likely represent an image, a feeling, a mood, a memory, shortly something which comes out from the reader’s mind. And this important element leads to the meaning of the song itself, where the title already carries the main message. Life is a beautiful thing, not meaning that it is like that and enough, but rather it is beautiful what composes it, the single days spent in it, the little details, good or bad, concrete or abstract, make it a thing worth to be experienced, as we will see in the following analysis. And now… let’s analyze the song!
I) The text starts up with a direct reference to the protagonist, in particular to a part of his body, his own eyes. While the left one is watching and crying (Hidarime niwa naite miemashita), the right one is watching and smiling (migime niwa waratte miemashita) and between them there are the feelings he can’t elaborate yet in his mind (Meto meno aini shori dekinai kimochi ga imadaninanka arundesu), meaning that the eyes are the vehicle of his most important feelings, while the rest is put in a state of uncertainity, as the life itself leads.
II) Then he says that the first time he went to Ueno Station (the cultural heart of Tokyo), there was an unusual white Christmas (Hajimete Uenoeki heitta nowa mezurashiku yuki ga furu kurisumasu, a really nostalgical setting, where the snow symbolizes the concept of beauty), where the last train, which just left, created a contrast with the light going far away from his sight (Shuuden wamou mukou gawa tooku ni icchi yau hikari wo miokureba taishouteki, a contrast between urban and natural elements, which recur throughout this text). But in that moment he had so much fun (Tanoshi sugitakara) and spoke so much (shaberi sugitakara) that now everything is silent (kondo wa damatte) and the sound of the world empties in his own ears (sekai no oto ni mimi wo katamuketa), in a peaceful but lonely setting. Then he says to have a dream of an eternity (towa no yume wo miteru), different from the stuffed animals seen in the darkened museum of the park (Kouen no oku no shoutou shitiru hakubutsukan de hakusei tachi wa, where the animals are symbol of a fake interpretation of reality and the museum of the park is another reference to Ueno) and for an instant his mind goes to an example of this eternity, such as the beautiful days he spent (Tatoeba konna utsukushii kyoumosouaruyounito isshun omou), while the fluttering snow has not a peculiar plan of itself and it won’t leave for a long, long time (Matteru yuki wa tsumorisounimonai).
III) The refrain sequence, entirely written in English, encloses the meaning of the text, already mentioned above: the life is a beautiful experience, or better, the days inside of it are beautiful (the repetition of the lines is linked to the musical use written above, along with a symbolic meaning).
IV) In this sequence, the protagonist talks with someone else, probably a person who loved, saying that he pretended to be liked by her (Bokuwa kimi ga suki nafuri) and even started to like whatever she liked (woshite kimi ga suki namonowo suki toshite, synonym of deep and strong love). So if the feelings he had for her would bloom in someone else, they would be whole, and so more authentic (Dakaramata dareka shirani sonna kanjou ga mebae unara zenbu sousuru, probably he felt that he was not a good mate for her and their relationship ended). At the end, he finds himself to reverse the songs he recorded (Korerawo rokuon shita boku no utawo gyakukaiten) and when he plays them again (shite saisei sureba), they load more and more, until his memories recite a vacant charm (Kioku wa kyuru kyuru kyuru kyuru kyuru kyuru munashii jumon wo tonae dashite, the power of music in evoking the past is underlined in this line, somehow linked even to Plastic Tree’s concept) and the cut and sewn words inside them seem to spread all over, fluttering and finally dying (Kitte hatte itta kotoba zenbu chitte matte itte shimauyoudesu) and in that moment he realizes that each one of us is planning to become a little flame of the garbage which is burning this world (Tsumariwa bokura wa sekai dechiisaku meramera moeru gomi ninaruno, a strong critic to contemporary society, which has been always a relevant element of their songs).
V) This sequence is identical to the third one, repeating itself twice.
VI) Life is so beautiful that even the darkness coming from a snow storm is a beautiful thing (Chiisaku fubukiku yami ga nande konnaniitsu made mo mada kirei) and even its inside, which he can’t see, despite of the sadness it brings, is beautiful too (Itsumo mienai okuga nanka kanashi kunaru hodoni tadakirei), making even bad and meaningless things more appreciated by the protagonist. The feelings he has, as he could transmit them to everyone, are defined by him like bulbs in an overloaded circuit (Sonna kanjou nantoka dentatsu dekimasu younito tako ashi haisen de denkyuu wo, meaning that they are overloading his soul), which trembles, blinks and dies, fading with all the rest (Tenmetsu meimetsu jaku metsu shoumetsu hikari ni kidu ita minasama ni); so he needs to prepare his own disguises in order to go forward, creating several faces for a mysterious person (Arayuru kamen wo youishiteokanakya chinpu na kaijin hyaku mensou da) and finally he asks to his partner what face she wants more, the crying one (Naiteru kao wadoudattarou?) or the smiling one (Waratteru kao hadoudattarou?, linking to the fourth sequence, to the part where he pretended to be as she wanted, another strong love proof).
VII) After the refrain is repeated, there’s another little sequence, with the first line in English, where he repeates all the manifestations of himself and of what he has of his own, which is really too unclear, too uncertain (Ai ai ai ai ai maisugite) and the only thing he really wants is the love (Ai ai ai ai ai sareta idakedesu), because it was what makes his days more and more beautiful, giving to him a reason to live on.
Life and the little details and events which compose it, good or bad, right or wrong, are the best gift ever received for each one of us. Plastic Tree use an existential theme, inside a melodious and nostalgical sound, for reminding us that our existence mustn’t be wasted and rather it must fulfilled in each its part, whether you like it or not.
That’s all folks! See you with the next part of the themed week, in “Let’s Listen to”!
Thanks for the reading!
*Sorry for the delay*
Here I am with the weekly time-travel in “Throwback Thursday”! Today’s subject is the first full album by the visual metal band Scapegoat, entitled「Dekisokonai」no「Ringo」(Apple of failure) and released on 1st April 2015. It can be surely considered a musical introduction for them, because this release exalts the most important traits of their concept, which are the introspection and dark feelings, driven by their peculiar sound. And now… let’s review!
-SE: the album starts up with a short SE, where a melodious piano opens the melody, followed up by creepier and more macabre tones, with electronic effects and a distorted atmosphere, making quite clear to understand what will be this album’s style.
-Akai Bathroom (Red bathroom) [obsessing love]: the lead track of their tenth single is started by Haru’s obscure vocals, leading up to a powerful and disquieting metal sound, greatly helped by screamo and distorted guitar riffs; a decent song. —> 8.5/10
-Scrap Girl [dead feelings]: the main track of this album is driven by a strong rhythm, with macabre tones and Haru’s harsh vocals, all developed in a fast and quite enjoyable metal sound. —> 8.5/10
-Samishigariya no bindume shoujo (A young and lonely girl in a bottle) [a love which closes the way for the world]: exclusively featured in the regular edition of the album, this song is introduced by a creepy guitar, for a fast dark metal theme, where Haru sings in the most bizarre tones; note for the interesting bass an drum interlude, which makes this song more interesting. —> 9/10
-Count D[a]wn [there’s a reason for living, if it is painful?]: released on the eighth single, this song creates a different reaction, since it is opened by Haru’s warm vocals, accompained by a suadent guitar, evolving in an energetic and strong sound, where the voice suits immediately to the same; a song which goes live in this album, especially for the guitar solo. —> 9/10
-Tsubomi (Bud) [damned existence]: but the real exception is represented by this track, opened by a guitar which alternates soft and strong moments perfectly, for a more calming and compelling melody, where Haru’s voice, powerful and suggestive, is the best element of this overwhelming song. —> 9.5/10
-Kokyuu (Respiration) [anxiety for the death]: a balanced drumming opens another slow-paced rock theme, with a more nostalgical vibe this time, where tender vocals and a melodious guitar build a really good song. —> 9/10
-Youjo A -Hide and Seek- (Baby-girl A -Hide and Seek-) [child abuse]: an extreme guitar playing opens this song, turning back to an heavier and more macabre sound, with an aggressive rhythm and creepy vocals completing the whole thing, maintaining good the level of the album. —> 9/10
-Psycho na bansan (Psycho dinner) [madness and psychological delirium]: coming up from the eleventh single, this song features a stronger electronic component, in fast metal sound, with grotesque vibes; here Haru goes to sensual notes to clearer ones, exalting his own talent as singer; another good track by them. —> 9/10
-Rinne hajimemashita (I started playing in circle) [life which repeats in itself]: some breaths open the song, in an heavy and rapid metal theme, with piercing screamed parts, alternated with retrò interludes and brighter notes, for an unpredictable track, with a bit messy structure. —> 8/10
-Nemurenai boku no shumi (My sleepy habit) [night fears]: the lead track of the twelfth single is introduced by Haru’s electronic vocals, with a dark and well rhythmed sound; the vocal interpretation balances pretty well between aggressive and clear tones, for an enjoyable song. —> 8.5/10
- -666- [making our voice louder in a corrupted world]: the album ends up with an energetic and rhythmical rock track, featuring some electronic effects and more calming vocals by Haru, for a decent ending for this good release. —> 9/10
Final Vote —> 9/10
Scapegoat has been distinctive since the debut, occurred on 2009, with a creepy and shocking image, helped by a strong and unpredictable music and a psychological component, crucial for enjoying their songs more. In their first album, all the typical elements come out, from the heavy tones to the aggressive vocals, changing even in something softer and nostalgical in some cases, where the vocalist Haru shows an hint of what will be his maturation, seen in the following releases, surrounded even by a certain instrumental experience, provided by the other members. Now, after two years, this band grew more and more and they can surely prove it with their latest work, the single Boku to Kimi, no Shiawase (Me and you, happiness), released on 18th January 2017. An album for who needs to know better this obscure and engaging band, with all their unique shades.
That’s all folks! See you on the next post, which should have been the first part of January’s themed week, in “Lyrical Love”!
Thanks for the reading!
*Sorry for the delay*
Here I am with the first review of 2017 on “Let’s Listen to”! Today’s subject is the seventh album by the visual kei band Heidi., entitled Kaikou (Meeting by chance) and released on 28th December 2016, more than two years after their last one, Human. Highly anticipated by the single Sakura Underground on the previous month, this release brings back this band to the scene, retaking out their typical style and making it fresher and more addictive than expected. And now… let’s review!
-Teddy Bear [Honey]: the album starts with powerful guitar riffs, in an energetic and overwhelming rhythm, where Yoshihiko’s vocals are extraordinarily wonderful and strong, fitting perfectly the atmosphere of a blasting opening track for this album. —> 9.5/10
-Alive: the following track has a faster rhythm, driven by Kiri’s drumming, with a more dynamic sound; the vocals are more rapid, quite balancing the versatility of Yoshihiko between different genres; a really good track for them. —> 9/10
-Sakura Underground: the lead-track of the single who preceeded this release has a peculiar sound, mixing an energetic rock with a relevant folk element, with metallic and seducing vocals, for a catchy tune in Heidi.’s style. —> 9/10
-Ash: a vibrating guitar introduces another rapid and rocking song, maintaining strong this component of Heidi.’s sound inside the album, with more technical parts; Yoshihiko’s voice starts with an electronic vibe, alternating it with more living tones, for an entertaining track. —> 9/10
-Realize: a steady guitar opens a more paced and soft rock theme, where Kohsuke’s bass starts having a major role, in a quite simple and enjoyable structure, where the goal is to be easily remembered by the listener. —> 8.5/10
-Oboro (Dazzling): with this track, the sound turns back in its best shape, with adrenalinic guitar riffs and a fast-paced rhythm and more “calming” vocals, for a catchy and enjoyable rock theme. —> 9/10
-Refrain: another energetic rock theme, with a powerful guitar and a fast-paced rhythm, where once again Yoshihiko’s voice is the most living element of the whole thing; a catchy song. —> 9/10
-Kyousou Ultimate (Ultimate madness): a powerful drumming, provided by Kiri’s awesome talent, leads to another fast and aggressive rock track, with metallic vocals and a dynamic structure, for another good song. —> 9/10
-Retro Electro: in this song there’s a little deviation from the main theme, with more electronic effects invading the sound, featuring a relevant beat with an enjoyable guitar and vibrant vocals; an upbeat rock song, really catchy and addictive. —> 9/10
-Niji-iro Rain (Rainbow-coloured rain): an happy and freaking sound characterizes this song, where Nao’s guitar domains without any problem, along with efficient vocals and a rapid rhythm; a really positive track. —> 9/10
-Rakuin (Mark): this track can be surely considered the most relevant one in the album, since it represents the exception to the rule; Nao’s slow and deep guitar introduces the theme, with Yoshihiko’s voice which is more suffering and piercing, building up a particular vibe; then the melody evolves in a slow and emotional rock, where Nao’s guitar creates a perfect harmony with the rest; one of their best songs ever. —> 9.5/10
-Siren: the final song of the album turns back to a faster and adrenalinic rock melody, as for balancing the sound heard in this album so far; here there are the same elements heard in the previous tracks, such as guitar riffs, strong vocals and efficient rhythm, for ending this album in a decent way. —> 9/10
Final Vote —> 9/10
The Tokyo based visual band Heidi. is probably one of the most enjoyed acts of our times, because of their ability to mix the dark atmospheres of angura kei with a positive and energetic sound.
With Kaikou, they developed this idea in a fresh and enjoyable shape,
where each track, in general pretty similiar each other (with two
exceptions), give always a new feeling at any listening. There’s even an
hint to a maturation, especially for the vocalist Yoshihiko, whose
vocals are harsher and more compelling, making his interpretations quite
distinctive even for the band itself. So Heidi. comes back after two
years, reawakening the scene in a strong and energetic style, which
never bores, neither who doesn’t like them at all. An album for who was missing Heidi.’s dark and rocking music, with some surprises on the way.
That’s all folks! See you tomorrow for the weekly time-travel in “Throwback Thursday”!
Thanks for the reading!
*Sorry for the delay*
Here I am with the first post of 2017 in “Focusing on”! Today’s subject is a really energetic and seducing visual kei band, which nowadays is spread in some project we are enjoying. Their name is VelBet, formed on 2007 and composed by Riuki (vo.), Kaie (gt.), former member of Luzmelt, who substituted Hyuga on 2012, Yuuna (gt.), former member of [_Vani;lla], who substituted Hagiri on 2012, Ryohei (ba.) and Natsuka (dr.), who substituted Yuu on 2010. The origin of their name is still unknown, even if there’s a possible reference to the English word velvet. Started as session band, they developed a concept which united strong looks with a quite positive style; in fact their sound is an extremely powerful rock, with creative and sometimes eccentric melodies, greatly enhanced by Riuki’s suggestive vocals. Their debut occurred on August 2007 with the single Song for… xxx, followed by the singles Usagikari (Rabbit hunt), 03/08, Kagerou (Ephemeral), Rokujo hitoma no komori uta (Hidden chant of the sixth road) and Nousatsu Spangle • Bug (Bombshell spangle bug), the first mini-album Batsu (Punishment) and the single Tokyo.
The title-track features a strong and energetic rock sound, where Riuki’s voice has a creepy and sensual tone; the song is about an intense and seducing love in the darkness of Tokyo. It has been followed by the singles Tenohira (Palm), Oni (Demon) and Red Voice and the second mini-album Kirin (Cold demon).
The lead track, Worldrop, features a more raging and chaotic tone, even if the setting appears brighter than expected; the song is about a world drop, with a metaphor of itself linked to the sea. It has been followed by the singles Gain CoЯe, Twisted a lie/Black@Envy/BountyxHunter, Sasori (Scorpion) and Mahoroba.
The title-track features a strong and well paced sound, with some nostalgical elements enriching the structure; the song is about Mahoroba, a land of peace and bliss, an idyllic place, coming from the Japanese tradition. It has been followed by the single Medicine.
One of the lead tracks, entitled Bacteria, is probably their most aggressive and powerful track, with a really engaging rhythm; the song is about a corrupted and sick love, with a direct reference to a bacterium which causes a disease. It has been followed by the compilation Best Tracks and the first and unfortunately last album Яe:set. Then they announced that their disbandment would have occurred on March 2014.
In the visual kei world there are always great acts and little stars, ready to shine more or less, and often they are the most followed and then missed when they break up. VelBet can be surely one of these ones, where their music has been distinctive and efficient, even if they aren’t The GazettE or Girugamesh. But their end is not so definitive, at least for two members. In fact both the singer Riuki and the bassist Ryohei found new and exciting projects: the first one became the singer of the young band Miztavla, who already released a mini-album last Summer, followed by another one last month and a single expected on March, while the second one became the bassist of the emerging band Cløwd, which is doing very well so far. So if you loved this band, you will surely follow even the works of their former members, because it is worth the time.
Who might enjoy: who is looking for a not high rated metal band with a seducing and energetic sound.
Recommended songs: Tokyo, Worldrop, Black@Envy, Mahoroba, Medicine, Bacteria and Psycho Freaks.
That’s all folks! See you in a brand new review in “Let’s Listen to”!
Thanks for the reading!
The final month of 2016 was not so empty as usual, especially for the first album by Decays, the project led by Dir en Grey’s Die, which kicked off last year with a promising mini-album. Now, with the addition of the violinist Ayasa and the singer Ataru Nakamura (do yourself a favor and listen to her songs as solo artist!), the band starts to have a proper identity, formalized with the first full album, one of the best visual rock releases to date. The richness of sonorities, filled between intimate and seducing vibes, accompained by the gorgeous work made respectively by Die and Ataru as singer (for not talking about the instrumentals), where each track makes appreciating their music more and more.
The most freaking and colorful visual duo ever known marks another relevant moment of this month, concluding their 10th anniversary era with the fifth full release. After two preparatory singles, Lm.C unleash their madness and energy in a fresh and mature release, where eccentric tunes, hinting to more exotic roots, mix up to a brimming rock sound, for another confirmation that this band is not so predictable as it seems.
After five years from the last brand-new release, the composer Yune Sugihara, known for most people as Sugizo, releases his sixth creature, anticipated by two digital singles. What comes out from the release is that the complexity never left Sugizo’s music, rather it wraps all the tracks, from the most aggressive to the calming ones, where the poliedricity of the artist is the best highlight, between guitar riffs and sumptuous violin melodies; if you love him, you must listen to Oto, an awesome and fascinating album.
Probably known only for the collaborations with T.M. Revolution, Nana Mizuki always tried to distinguish herself from the typical canons of pop music and she managed to do that pretty well so far. The twelfth album, as by title, can be seen as a reinvention of herself, made by a new spirit and style, which I hope she will keep in the next works; her charismatic voice animates a release where the tones are various and intriguing, making her more interesting than expected, especially for one like me who is not so keen on Japanese pop scene.
Before officially becoming the violinist for the band Decays, Ayasa was already a little star of instrumental music in Japan, even if her work is not advertised as expected. My first approach with her as solo musician has been with her fourth mini-album, where she managed to compete even in her own, without other musicians overcoming her notes; her touches are powerful, for a wide and complete repertory, between a warm and dancing tune to the saddest themes, for a relaxing and suggestive musical work.
The first mention goes to the female rock band Cyntia, which released their fifth album one year after their latest work, Woman. This quartet always appeared interesting, making attractive rock songs which never bore, but in this release there’s something more; there are more mature elements in their energetic and catchy rock sound, playing even with some electronic effects, for a quite interesting release and a good occasion for getting introduced to this band.
The next mention is for one of the most relevant rock acts in Japan, which already caught my attention last year with Maze. This year they released their eighth full work, anticipated by the singles In Future and Adventures, where their quality never faded at all; extremely rhythmical tunes are surrounded by peculiarly experimental influences, showing that they are good even in uncovering new styles.
The final mention goes to one of my recent musical discoveries, the pop-rock band Fo’x Tails. Debuted on 2013, this band released several singles, always appearing pretty anonymous in the scene. With their first full album, they introduced their typical sound, made by an entertaining rock style, with good rhythms and interesting clear vocals, pretty easy to enjoy; I hope that they won’t become the predictable rock act with no peculiar shades.
It’s always hard to say that someone experiences completely a musical scene, without tasting the deepest and darkest shades of this one. In my personal case, the dark classical ensemble known as Films represents one of the best discoveries I’ve ever made in Japanese music. The third album shows off an enchanting atmosphere, made by sumptuous electronic effects, vibrating melodies and chilling lyrical voices, creating a sense of calm and peace after the first listening and maintaining it in the next ones, for a release like few in the scene.
It’s impossible, when talking about visual kei, to not having heard
about musicians like Kyouka or Hideaki, respectively coming from the
bands Aliene Ma’riage and Das:Vasser, and about the following projects
they had done in the past years. Then last year they came out in this
new project, adding other relevant members (as Chaos, Glamscure’s voice) to fill in their ranks. The real results can be seen in their first mini-album, where each element works perfectly, the sound, the rhythm, the powerful contrast created by the two singers and the richness of little peculiarities, distributed in different and suggestive songs.
In five years of career, Diaura always distinguished for their unique and revolutionary musical approach, bringing them to creat most popular themes in the visual kei scene. Following up two awesome and quite different singles, the band releases their third mini-album, a really blasting and mind-blowing rock release, thanks to the energetic instrumentals (a strong component of their sound), to the unexpected contaminations and above all to the deep work made by the singer Yo-ka, in one of their best works for sure.
Another great Japanese singer approaches to start a solo project, whose name is directly linked to a known visual band, Plastic Tree. Ryutaro’s first album embraces his deep and unique spirit, exploring several genres, from the harder to the softer, giving them a new shape, suitable even for who didn’t know his music so well (like me!); a great masterpiece of alternative rock, where you can surely appreciate Ryutaro Arimura’s talent, with a great attention to the acoustic part.
The powerful Japanese metal band continue to smash and storm the scene, with always new and energetic compositions. Two years after the double album release, they come back with the thirteenth full release, where their formula continues to be compelling and suggestive, with a peculiar attention to the harmony which always characterized their concept (the two singers make an extraordinary work), for a metal release which shouldn’t be missed.
The first mention is for one of the most unexpected returns in the scene, the band Chariots, with the same singer, Phantasmagoria’s Riku, but with new members, after four years of hiatus. The latest mini-album confirms that their style never disappeared at all, with dark and powerful themes, accompained by a nostalgical and fresh vibe, meaning that this band returned with all the best possible intentions, ready to twist the scene once again.
The second mention goes to one of the most appreciated visual acts of our times, led by the eccentric figure of Hakuei, already glorified by twenty years of career as solo singer. Their seventeenth album, came out almost one year after the last release, the single Stranger, brought up a breath of fresh air, thanks to innovative and entertaining rock themes, which never hurt; if you love Penicillin, you should check this album!
The last mention goes to the first album of the promising band Avanchick, which mixes good intentions with some defect here and there, as expected by a young band; dynamic and powerful metal themes (helped by the presence of the new guitarist Rey), accompained by an unexpected ballad and some parts which sometimes appear repetitive. I really hope that this band starts really to take the best they have, bringing it to a better level, since they are able to do it.
The instrumental rock band Mono continues to be powerful and astonishing, as always they have done in their career. On 2016 they released the ninth album, after two years from their last work, where the music cannot be defined as the togetherness of notes and tempo, but more a journey, made with feelings and soul rather than with pleasure of listening a song; the complexity of each single track drives a release which is hard to explain without having listened to it at least once.
The band composed by members like the former singer of Hana Shounen Baddies and a guitarist of Heidi. started their career with a really awesome mini-album, re-released in a longer edition. Their sound appears even more unpredictable, mixing energetic riffs with retrò and positive elements, going straight to listeners’ mind in a blink of eye, marking a promising path for them.
After having released the powerful and experimental Chikyuu on January, Matenrou Opera unexpectedly suffered the departure of an historical member, the guitarist Anzi, and so most people thought that the band would have lost their personal vibe. But this mini-album proves that they are unstoppable, unleashing their passion and energy in the six tracks inside it, even helped by an illustrious guest, the guitarist Leda, in a rocking and fabulous release.
Another band who repeated itself in 2016 was the retrò-freaking act Liphlich, following the experimental work made in February with Hebi de are o kurae and the single Double Feature; the fifth album is an invention by definition, since they revaluate their concept in a darker and more grotesque way, enclosing even electronic and industrial influences to the sound, with seducing vocals and extreme touches; a must for who loves the seducing essence of visual kei.
One of the biggest surprises of the year comes from the former vocaloid singer Reol, who passed to a more relevant scene with her first full album. Apparently it seems the predictable electro-pop thingy which beats and nothing else, but after a careful listening it shows off a notable potential, coming from Reol’s voice, metallic and charismatic, fitting the energetic and uncorrect sound which invades this album, good in any its part.
The first mention goes to another awaited comeback in visual kei scene; the gothic band D, after two good singles, releases a new album, which generated mixed feelings even in a loyal supporter like me; their unique style can be perceived, where the experimental ways appeared to be the weakest element of the release, which in general didn’t betray the expectations, for the hope that they will embrace their greatness once again.
Another star rises up from the metalcore scene; we are talking about Survive Said the Prophet, which always distinguished themselves, even if they have been around for few years. Their third album shows off that they are not only able to create pumping and adrenalinic melodies, but even take more innovative and experimental way when needed, in a surprisingly good manner; if you are looking for a fresh metal band, you can surely try them!
The final mention goes to one of the most promising visual acts of recent times. This band is formed by all ex members of the band Noctscure, apart from the singer, and started brillantly their career with two good singles. The first full release represents what characterizes them most, from upbeat electro-rock melodies to noisy metal tunes, made by shocking colours and vibrant energy, which will make them pretty addictive in the following times.
2016 featured the most awaited comeback of visual kei in recent times, happened after four years, passed between other solid musical projects. The aristocratic metal band per defintion releases a compilation, including some classical hits, revisited, and two new songs, for a majestical product; in the older songs each note seems converted in something more powerful and engaging, where the new works can only enrich the structure of the album, where what makes it distinguishable is the incredible maturity by the excellent singer Kamijo Yuuji.
Following up the dark and seducing work made in Elegance, The Novembers bring out the sixth album, which this time takes its own energy from all the best aspects of their music. The melodies go from an extreme grungy rock, to an indie nostalgical ballad, adding even some shoegaze hints, belonging to their early works; an album which suits perfectly to old and new supporters of this wonderful rock band.
One of the most awaited releases of the year was the 20th full album by the legendary visual kei band Buck-Tick, highly anticipated by the single New World. With this release, the band explores their own sound, going through their darkest and rebel notes, breaking any possible canon and rebuilding at their own pleasure, between aggressive melodies and nostalgical themes, for a greatly structured album.
Along with the claimed band Hollowgram, the singer Ryo has founded another awesome project, made with illustrious names of Japanese rock scene, which already last year managed to be on my personal list. On the past year they released the third mini-album, where their compositions are deeper and more articulated than expected, continuing the work they started since their debut, with complex and technical songs.
Lynch. retakes their own style, after the dim and successful work made in the previous year with D.A.R.K. -In the name of the evil-, bringing out the ninth full release for them. In general it brings the typical energetic and powerful sound that this band always had, but with some avantgarde-ish things here and there (not fulfilling the expectations coming from the title), which didn’t diminuish the relevance of this release, from a band which is now passing a bad moment, because of Akinori’a arrest.
The first mention is one of the most curious discoveries I have ever done, represented by the instrumental rock act I Love You Orchestra. I admit that instrumental rock is not something which I listen to everyday (apart from some exceptions), but their style, well shown in the third album, is great and has an huge impact, with efficient melodies and rhythmical works, which will surely hook any new listener, as happened to me.
One of the most promising Japanese pop singers of modern scene marks the second mention of this month. Coming out from the success of the song Re:I Am, she developed an interesting image, fulfilled with her fourth album, a togetherness of styles, shades and experimentations, without forgetting the interesting duets with other famous singers of the scene, working perfectly with the sweet and pulsing identity of Aimer, a sure bet of J-pop.
The final mention is for the visual kei band Kra, which this time released something which appeared quite interesting. The twelfth mini-album, divided in two parts, unleashes the true aspect of Kra’s sound; Core is about their energy and positive spirit, while Cell is about their passion and deep feelings, for a compelling work, fit for fans and not only.
-CORE-
-CELL-
The Princess Masaya Kawamura, known as Hizaki, kicks off his first solo release, being the first important activity of this year for him. The album is filled with grace, beauty and virtuosism, between great hits and new majestical themes, helped by the presence of known artists, such as the violinist Rookie Fiddler; if you never appreciated this guitarist as whole, Rosario is the right album for you.
The metal band come out from the ashes of Memento Mori already blasted the scene with a great album and a mini-album in the previous year; in this one, despite that they are only three members, they took the songs from the first single and united them with three inedits for the second mini-album, which signs their return to a classy and powerful metal sound, continuing to not letting us to regret the former band.
The sinful Starwave Records band signs an important goal, after having passed to the sub-label Glendia. Against any expectation, the band didn’t lose their potency, rather they improved it and extended their range to new styles and approaches, with an unexpected maturation for the single members, especially the singer Liki; at the end Synk;yet aren’t screwed at all.
This band, formed by the members of MiLLa, started quite well their career with a bunch of singles, but unfortunately they disbanded on September, greeting their audience with a full album. Considered as a “best of” release, actually it is divided in two discs, made by old and new songs, representing the quintessence of a band which still could give more of their fascinating style.
-Disc 1-
-Disc 2-
This Japanese hardcore band already caught my attention in the previous year with the album Fortitude and on 2016 they didn’t fail in being better and more addictive. Their latest EP features a more dynamic metal sound than expected, which I greatly appreciated, along with Dieshi’s overwhelming and energetic vocals, which reach higher notes without any problem, making this band more and more interesting.
The first mention goes to a band which most visual kei supporters missed; in fact The 3rd Birthday changed name and added two new members, starting their new adventure with a mini-album. Their style hadn’t changed at all, rather it grew up and embraced more dynamic and mature directions, for a band which you shouldn’t miss, if you really love visual kei music.
Another important mention goes to another great comeback; we are talking about Riuki, former singer of the loved band VelBet, with his new project, composed by members of old emergent bands. They debuted with a mini-album, where there are all the expected elements: a rocking sound, going from extreme to harmonious in a blow, greatly enriched by the singer’s talent and by the technical approach shown in some melodies. I hope that this band will do more in the following months.
The final mention goes to one of the most eccentric and interesting alternative rock bands of contemporary scene, which for two years had a quite interesting career. Their third mini-album is filled by a futuristic setting, with vibrating sounds and uncommon vocals, a strong point of Koochewsen, whose image is fascinating and compelling.
One of the most prominent visual superbands ever made go on their shining and superb career, started last year with three different versions of their debut work. On 2016 they released Malus (which I reviewed here), a real basis for the following release, here featured; the sound is really refined and well defined by different and unique tones, where Ryo’s vocals are one of the fundamental components, along with a rich and vibrating instrumental work, showing that this band is never wrong in its career.
This year is important even for the sensual and rebel Japanese singer Hakuei, who achieved his 20th year as solo singer and he wanted to celebrate it with this new album. In this release, featuring even revisited old songs, there’s a deep exaltation of Hakuei’s style, alternating eccentric tunes and sensually sweet melodies, for one of the most prominent works of the year, even thanks to the presence of important names of Japanese rock music.
Three unique and different voices for a quite peculiar release; three great names of visual kei, specifically D’s Asagi, Diaura’s Yo-ka and Gotcharocka’s Jui, reunite for this EP, where they sing respectively two songs belonging to the other groups; in general the result is good, with the best highlight for the dark Asagi, followed up by a mature Yo-ka, while for Jui, the interpretation was decent but not so much suitable for his skills.
This really good band suffered the departure of their vocalist Ricky, which will not be regret so much; in fact another good singer joined their ranks, specifically Anonymous Confederate Ensemble’s Nimo, who debuted with them on the single Scandalous. This mini-album sees a glorifying comeback for them, where Nimo brings a fresh and new vibe in their engaging and creative sound, making this band once again more and more interesting.
After the two years hiatus (sorry the word game), one of the most relevant Japanese alternative rock acts comes back with the fifth album, mixing up what they can do best in a decent work. For being my first real approach with their music, the release resulted in general well structured, with an interesting variety of styles and sensations, but I think it lacked of the strong element which characterized their most famous works (except for a couple of songs); an interesting comeback for The Hiatus.
This young alternative rock band releases their first EP, marking the first mention of this month; their sound is balanced between whirling and engaging instrumental games and simple and efficient vocals, an interesting mix which makes this band a promising act of the actual scene.
The promising visual metal band Krad releases their second mini-album, reinforcing the style which is already introduced in their debut works; the sound is a powerful and obscure metal, with disquieting atmospheres and chilling vocals, perfect for who already enjoys this dark side of visual kei; this band continues to be a sure promise for the scene.
The final mention goes to the first and unfortunately last album by the young visual band Meary, which reunite their debut tracks plus adding new and fascinating tracks; their sound is dark and creepy, with eccentric vocals and even particular influences from other genres, such as funk and jazz. It’s a pity that they will disband next January, since their style was quite enjoyable and might have been a solid visual act; I only hope to see them in other projects.
Another successful visual band of recent times is Arlequin, who already introduced themselves with a freaking first album and several nice singles. Now they released the second album, and they made a relevant step forward in their sound; the dark setting which always characterized them is still there, but now there are even a strong virtuosism and an elevate focus on technical aspects, improving more and more their image.
Dadaroma continue their 2016 with their first full “best” album, containing already released themes and even new works, making it already enjoyable for fans. But what hits most is the amplification of their dark and aggressive sound to new and unexpected horizons, which appear even innovative, for a band which never stops surprising.
Another great name of visual kei comes up to confirm once again what is their real style. Kiryu’s fourth album remarks again their wonderful talent, in building up rocking melodies inside folk and vibrant atmospheres, as they were able to do in another great work, Mugen no houyou; if you love Kiryu’s fascinating sound, you shouldn’t miss this one.
The former vocaloid singer goes major with her first EP, emancipating herself from the genre she belonged to; rocking and fresh melodies, accompained by her charismatic and flaming voice build up an interesting release, synonym that she is quite promsing and can be an important part of Japanese rock scene.
The latest addition to Starwave Records is the metal band Fixer, which hadn’t made a good impression in their early works, while this first album gives something about them which we can rely more; the sound is quite consolidated, with listenable themes and quite good vocals, preparing to them a good terrain for a possible success.
The Queen of Japanese Pop continues to fascinate and attract her audience with her seventeenth album, where her enchanting voice crosses it out, creating a magic and unique atmosphere, quite rare to find in the scene, including even rock, dance and folk elements, in a beautiful musical experience.
The former singer of bands like Light Bringer, Dolls Boxx and Unlucky Morpheus starts her solo career with a full album, showing off the best of her talent as singer, even if the sound is not powerful and energetic as we could expect, rather it encloses electronic and pop-rock vibes; a quite efficient and enjoyable rock release.
The last mention goes to a young visual kei band, named Iggy, made by members of other short lived acts; the final result is a good series of releases, arriving up to the third mini-album, where the rock sound appears eccentric and quite rapid, balanced and not so predictable; we only have to see if this band can improve from their interesting concept.
The dark and nostalgical visual kei band Grieva brings out the third album, where their obscure and freaking concept is incredibly amplified, with notable sound improvements and more mature vocals, putting aside the experimentations seen last year in the mini-album Mousou shugisha no haitoku; a powerful and dim metal album by one of the best visual bands around.
The Starwave band releases its fourth mini-album, where we can finally hear the real essence of their music; gothic melodies, virtuous touches and warming atmospheres, along with the unexpected talent of Rui, who incredibly matured and improved himself as singer, in a style which definitely influenced their path.
The visual kei trio releases their second mini-album, going from the status of interesting to more promising one, with engaging rock melodies and fresh rhythms, giving something more to their catchy rock sound, especially in the title-track; so Gotcharocka is going to be more relevant than expected.
One of the most interesting Japanese rock bands of this time achieves its first full release, where their sound, already object of my interest with the mini-album Supernova, is energetic and quite brilliant and charismatic vocals provided by Luiza, as few might do in the scene; another promising band to look at, without any doubt.
The popular rock band Cinema Staff releases the fifth album, creating a separation between their most popular works and the sound featured here. The structure of the songs is more or less the same, as they always accustomed us to, but it seemed to lack of the element which always characterized their music, anyway enjoyable and multi-paced; a standard rock album by this band, nothing else.
Debuted on 2015, this visual band shaped up a dark and grotesque image, which made them pretty attractive and pretty efficient. With their first mini-album, their style is better introduced, with a dynamic metal sound, well built by the instruments and pretty good vocals, all around a gothic and fairy vibe, for a freaking and spooky release.
One of the most interesting rookies of last year continued their bright path, after several good releases. And now here it is the third mini-album, which reinforces their compelling and powerful style, putting up more potency and depth to their sound (with one track in particular which underlines this aspect), for another awesome work by them, which would be followed by the album Tranquilizer on November.
The last mention is a really great surprise, since Scapegoat was not my cup of tea, at least until this second mini-album. The improvements are concrete, with dark and creepy melodies, along with an incredible growth made by the singer Haru, whose voice is overwhelming and deep, putting this band closer to my attention.
This year has been a relevant one for the visual metalcore band, with the third mini-album, ready to go through the overseas scene, with an awesome final result. Their sound is powerful, energetic and virtuous, the vocals are aggressive and adrenalinic, surrounded by dymanic breakdowns, whirling riffs and pounding rhythms (giving new life even to two older songs), shortly a real spectacle for ears, which brings Nocturnal Bloodlust to an higher level.
The Japanese-German metal band started two years ago with a rocking and promising image, which rewarded them quickly. Their second EP symbolizes the best of their sound, with a rebel and energetic approach, with the duet between George and Flo working perfectly inside each song, maintaining it even in the following release The Awakening; an attractive metal band all for you.
Already released on January with a quite different tracklist, the first album of this important visual kei act brings all together their potency and their unique and dark image in a single hit. A particular virtuosism, mixed to dark and beating rhythms accompany the tracks, from the “softer” to the heavier, where Jin’s voice is the most important element, with his deep and gloomy tones, always distinguishing himself in the scene. An album which shouldn’t be missed by real visual kei lovers.
The claimed hardcore band continue their path with a sixth album, where I started to know them better. The most peculiar and shocking element of the album is the “waltz” style, featured in each track, in a faster or a slower tempo, a not so common musical contamination for them and surely they will be more on my radar, after an extraordinary release like this.
Another interesting surprise comes from the female trio, which released their third EP, for an interesting listening experience; the three singers Ikkyu, Motoko and Hiromi drive the whole thing with their warm interpretation, making the single tracks fresh and enjoyable, with calming and fascinating touches, uncommon for the scene.
The new era of Alice Nine continues, after the brilliant work done the previous year, with a new EP, made of different colors and sounds, even for them. Their typical essence can be surely felt, but it is rooted in new and peculiar tones, including experimentations (the funky bass!), for a fresh and engaging rock release by one of the most important visual acts of our days.
After the exceptional work made in the album Quattro, the tormented rock band rise from the ashes after two years with a new mini-album. Despite of the member changes, Loka didn’t lose their vigor, rather they quite improved their musical approach, for an energetic and compelling EP, suitable for fans and newcomers.
The last mention of this month is for the first album of the former member of the loved band Deathgaze, which continues to not disappoint. What he already did on the previous single is put and reinforced, recalling even his musical past and going harder when it’s needed, for a not so confusing release.
The visual female rock band comes back to their typical style, releasing their sixth mini-album, anticipated by two digital singles, which goes against the plain and not so compelling World Maker. The sound is powerful and engaging, adding something new to their music, with the duet made by Jyou and Miko enriching and making this release a sure bet for their repertory.
The former singer of Rentrer en Soi releases his fourth album as solo singer, which actually is divided in two parts; the first one, Eclipse, with already releases songs, evokes the past and the present of Satsuki’s music, while the second one, Apocalypse, explores new paths, with an uncommon style, made by aggressive and technical works. Shortly, Satsuki throws away his typical image, for something grittier and more compelling.
-ECLIPSE-
-APOCALYPSE-
This band already smelled of success since its debut, occurred last year, thanks to the presence of people like Sugar’s Loki, 12012′s En’ya and The GazettE’s Yune. With the first mini-album, they throw in their peculiar style, made by aggressive and dark themed sounds and idyllic tunes, all well managed by the versatile vocals and the technical work made by the other members, for a pretty unique release for the genre.
After having revived his former bands Kuroyume and Sads in a spectacular way, the talented oji-san goes back to his solo project, releasing the eighth album, after four years from the last one, Under the Sun. Once again the singer expresses his own soul, in new styles and refreshing touches, where Kiyoharu balances his tenderness and his sensuality as none could ever do.
While Ling Tosite Sigure didn’t attract me as expected, the guitarist TK always hooked me with his own music and his second mini-album (first work in this year, followed up by the good album White Noise) shows his talent in creating a relaxing and stimulating atmosphere, with a rich and deep sound, featuring clear tones, helped by synths, with dynamic structures invading all the tracks, for a relaxing musical experience.
-HONORABLE MENTIONS-
The first mention goes to the band Vistlip, which, after three solid singles, come back with the fourth mini-album, a bit closer to what their style is; the structure is pretty various and the sound is multi-shaped, going from pounding themes to softer ballads, where the unpredictability and the talent domain all over the rest, for a band which continues to confirm itself.
The second mention is for the debut EP of this visual kei band, digitally released and by surprise, led by the former bassist, here in the role of singer, of the visual shoegaze band Dish. The sound here featured is incredibly adrenalinic and pumping, with psychedelic rhythms and harshing vocals, alternated by shoegaze-ish presences, for a surprising rookie band, which shouldn’t be underrated.
The last mention goes to the freaking visual band The Gallo, which kicked off their 2016 with the third album (which will be followed by Lucifero on November), going a bit forward to their typical chaotic and dark style, taking something even from their early works, which I quite liked; a grotesque and retrò metal sound crosses the release, with old-school vibes and a peculiar attention to the presence of bass, thanks to the awesome work by Andy (a thing which characterized even the following album).
In this year there has been a pleasant rediscovery, enclosed in the figure of the almost 30 years metal band Ningen-Isu, who released their 20th album, after two years from the last one, Burai houjou. Their sound is freaking and astonishing, with well bulit rhythms and pounding guitar riffs, along with mad vocals, a real echo of 70′s Western hard rock, a mix which always helped them gaining more popularity in Japan (not by case this release arrived at #22 on Oricon chart) and if you don’t want to miss their powerful music, you must check out this album.
Another relevant farewell in the scene of this year came out by the RPG-themed band Souiumono, officially marked by their second full album. In this release their sound result being more attractive and unpredictable than expected, going out from their typical fantasy colorful image; an incredible alternance between warm melodies and dynamic instrumentals, where Sacchi’s energetic voice comes out as the main element of each track, by a band which could give more and more of themselves.
One of the most productive bands of this 2016 is the retrò visual act Liphlich, which on this month released their fourth album, almost two years after the last one. The album, really awesome and compelling, features sonorities which are incredibly various and heterogeneous, filtered through the band’s freaking and uncommon style, with a particular attention to the rhythmical and technical component, especially provided by the presence of a new drummer, Kobayashi Takaaki, former member of Yazzmad, who substituted Maruyama Eiki last year.
One of the most enjoyed visual bands of recent years release their first album, and unfortunately the last, as they would disband some month later. A release which gathers their most famous themes, along with new tracks, which can be considered a musical manifesto of their style, an engaging electro-rock sound, with catchy rhythms and fresh vocals, which quickly attracts the listener. Shounenki will be surely missed in the visual kei scene, but not so much, as the singer Kou founded two bands, respectively Hakujitsu no yume (with the guitarist Eiki) and Kurohime no Muyuubyou (with the guitarist Nao).
One of the most popular rock acts in Japan at the moment releases his fourth album and it represents my first real approach with their music. A simple and efficient rock sound, alternated with electronic, new wave and indie influences, which marks it as an object of interest, but nothing else than that, since the single tracks didn’t offer anything more than a pure and flowing theme, with all the elements of the genre; surely this made me more curious about their past works, which are surely better.
The first mention of this month is the first album by the young band Belle, formed on 2014, which has been quite successful with the previous releases. In this album we can assist to what they can really do, with a retrò component, fundamental for their sound, along with nostalgical vibes; the thing is completed by the talent of Haro, already known in the band Plunklock, whose voice is fleble and enjoyable in its own way and by the adorable melodies; a mix which surely can bring a lot of supporters for this band.
Another mention goes to the fifth mini-album of this band, whose image has been a bit shocking, especially for the singer, Suzuki Satoshi, who is the former voice of the oshare kei band Aicle. Their style quite evolved since their debut, enclosing more and more influences which belong more to indie rock scene, with sometimes gloomy and sometimes energetic touches, for a good start of year for them; in fact they would go on with the first album Antithese on September.
The final mention is the first mini-album by the emerging visual kei band Malisend, which already introduced themselved with three good singles. With this release, they have surely balanced their sound to a standard level, quite enjoyable and well built around dark metal themes and Yu-ki’s obscure vocals. Unfortunately they announced their disbandment for October and they released two live-limited singles on July and August for greeting their fans.
