135 posts tagged “review”
Release date: 7.10.2009.
Price: ￥
1,785
NO: KICM-91290
Track list
1. BEFORE I DECAY [PV]
2. 瞞し (Mayakashi)
So... After a bit less than 3 months the GazettE present us with another single, which was shortly announced after the release of their 4th album DIM. DIM was a utter masterpiece and you don't simply go and release anything else after such a piece of an album right away, unless it was something that didn't fit into the album concept anyways but had enough potential to be released. I think this might be the case with Before I Decay, although the band itself expressed a simple wish to create a "simple, speed song" after DIM. And that is basically what BEFORE I DECAY is.
BEFORE I DECAY is a uptempo,
furious, speed song with a lot of notes flying around and Ruki blasting
his vocal folds out with raw growls. The beginning with the verses
feels like a faster version of Zetsu's riff coupled with the distorted,
noisy and ALMOST IDENTICAL riffs from CIRCLE OF SWINDLER. A few subtle
metal licks add a bit to the variety but not as much as they did in
LEECH. The chorus is the only thing in this song that feels a bit
unpolished and done in a bigger haste than the rest, you could
basically sing the MOTH UNDER SKIN chorus over it and it would fit. And
when it comes to singles the GazettE haven't done a single original
(excluding maybe Guren) chorus since Filth in the Beauty. Basically if
you were to judge a song by it's first half it would seem rather
generic as hell. The second half brings some pleasant surprises though,
from the rhythm change in the pre chorus to the growly breakdown and
the refreshing, calm and flickering moment after it followed by some
amazing guitar tapping and alternate verse which sounds really intense,
tight and cathartic before moving to the good, old chorus. It's
incredible how this little part of the song adds so much potential and
character to it! It's like when I first listened to SHADOW VI II I, I
was fascinated by this one acoustic part to it and I could basically
just listen to the song because of that part, (even though with time I
grew to like the song overall) so I have a reminiscent same feel with
BEFORE I DECAY.
So this song is cool enough to have it's own single
and distinction, but it's on the other hand too generic to compete with
some of the masterpieces off DIM (though I'd really change it for
Headache man....). And this song is being used in the Japanese edition of the movie FAST AND FURIOUS, but not like I care about that.
Mayakashi leaves me with pretty split feelings about it. I really don't like the high main wah wah melody
that repeats and sounds more like something I'd come across in a forgettable Alice nine. B-side or at some other "Light" indies band.
The verses and pre-chorus are AND IF I FUCKING WILL HAVE TO WRITE THIS ALL OVER FOR THE THIRD TIME I WILL SHOOT SOMEONE, FUCK YOU VOX AND FIREFOX really smooth and sound a bit like the song Kare Uta coupled with the transiting riffs of Gentle Lie, giving off a certain happy-reminiscent feel. The chorus sounds pretty undeveloped, like it would go into the right direction if it was given time and thought, which is not the case with this single. The main problem with this song is the same one that Shiroki Yuuutsu had on DIM: it's a song the is good as a standalone, but placed next to a harder song it simply doesn't click. Eventually this song will grow on me, given the right time and context. But the certain pre-FILTH IN THE BEAUTY feel this song has will certainly make a lot of reminiscent listeners happy.
So overall BEFORE I DECAY brings a standard Gazetto sound with it enhanced with a few touches but not so polished and thoughtful as it was with DIM. But as the guys have stated before, it's a song that doesn't want to compete with it (or otherwise it would end up on the album). For me this release came way too sudden and my impressions for DIM haven't settled completely in order for me to get hyped about a new release. Before I Decay did exceed my expectations based on the preview, though the B-side came different from what I had imagined it to be based on the song title. The songs themselves are, in the end, really more than decent and I am sure that I'll give this release a lot of spins. So if you like the band this release is almost impossible to come by. And this band has already done so much this year so that this single is just the cherry-on-top.
Release date: 16.9.2009.
Price: ￥3,990
NO: LPO-014
Track list
1.LAST Shell
2.FILMY [PV]
3.BLAZE
4.VENOM
5.Needle
6.Reservation
7.ATHENA
8.IN RUBBISH
9.M.D.M.A
10.MIGRANT
11.DETOX [PV]
12.Breathe trees
After existing five years on the scene, the hard'n'heavy Visual kei band -OZ- released it's first full-blooded album. Along with the powerful singles VENOM and DETOX this is the third release that this band has given us this year. For those unfamiliar with -OZ- ; the quintet has formed in 2004. with the members including the vocalist Natsuki, guitarist Tama and Aki, bassist Nao and drummer Zukki, this band slowly but surely started gaining fans from the start with their furious, heavy rock music often on the boarder of metalcore with grinding guitars, pumped up rhythm and interesting vocal lines as well as one of the best growls delivered by their singer and lyricist Natsuki. The band has been delivering in a slow but still regular tempo various releases and their songs have been featured on a lot of omnibuses. The band is currently signed on the label LOOP ASH and is as such their most hardest band.
The album begins with the guitar flickering intro to LAST Shell before exploding in a sharp and hard mass of riffs. The verses are slow, mesmerizing and with a thick, ominous mood. Damn it's just the kind of verses I like and the kind of verses I'd make if I was making music, damn you -OZ-. The song builds up tension in the pre-chorus and stretches in a huge, powerful and wide chorus followed by an excellent, vibrating guitar solo. If anything these guys know how to deliver energy and how to soar with their songs sky high. And LAST Shell is not just an great example of it, it is a great song.
FILMY starts off with this really twisted riff and rages with grinding distorted guitars and hoarse, brutal growls. The verses go in a fast pace with high guitar tones over it, following a growling pre-chorus and again a soaring, shining chorus. Really FILMY seems like an intense follow up to the excellent song DETOX. Right before the bone-breaking breakdown is a groovy bass solo, following a wonderful guitar solo. This song is simply intense and doesn't calm down, not a second and such are more-less all the songs on this album.
BLAZE's main riff sounds like stone breaking, powerfuuullll. The pre-chorus is dangerously in the extreme metal territory, just as the short solo after the quite inappropriate bright chorus that somehow just pops-out and sounds almost "gospel" because of it's mass chore feel. VENOM comes as a small reminder on this years, same-titled single that has got really good intro riff before going into some really strange verses and very tight packed chorus, though I have to admit sometimes -OZ- does deliver songs which have parts that don't really seem to have a logical melody or logic at all and VENOM is one of them, though saved by really excellent and hard riffs.
Needle brings some heavy groove to the record just as Perfect Ruler did on the single VENOM, but Needle's groove is more worked out, cooler and moodier. Interesting the verses could pass as real metal thanks to their guitars while the chorus delivers this pretty cathartic, wide and intense feel like one of their songs Fade which I really love when it comes to some Visual kei songs. One of my favorites here. Reservation seems to continue onto Needle but it is more faster and more vicious. And again the heavy guitars come as irresistible for fans of distortion. Reservation gives a lot of growling and a pretty upbeat chorus that pulls out the best of Natsuki's pretty high pitched vocals.
Interesting enough was to see their almost pure-metal song ATHENA coming on the album, but the excitement was somehow watered down by the fact that this album version had way blander singing than the original and less dynamics, but still brings some diverse and dynamic guitars this band has to offer. Sadly the song had to experience some changes because the original really kicked ass. On the other hand I am glad S.I.N didn't make it to the album because it was quite average. IN RUBBISH opens up with some fast and razor sharp riffs and again I feel like a total sucker because I absolutely adore the brutal guitars this band has along with their raw, explosive energy. IN RUBBISH also emerges as a gem on this album with an excellent pre-chorus where Natsuki's voice comes out very raw and very clean, which is cool enough to make this song stand out. The rest of the song develops in this usual, catchy growl-distortion storm that is bound to torment you all the way.
M.D.M.A is another mosh-grind fest but with this oriental touch in guitars as well as dark, almost demonic verses and a sweeping, big, interesting chorus that blows anything in it's way. MIGRANT has got this one downbreaking, dark, fucking epic riff that would be an excellent bas for a fucking killer song, but in MIGRANT it doesn't seem to have this strong role unfortunately. MIGRANT has got this really odd vocal melody lines, just like VENOM for which you don't know whether to love them or hate them, while the rest of the song has got this usual, brilliant guitars.
Following MIGRANT comes the excellent, uprising song DETOX which came from the same-titled single. With it's anthem chorus and character, powerful guitars, bright as well as dark moments DETOX is sure to lift anyones spirits up as well as encourage. Really excellent song.
The beautiful, glimmering Breathe Trees serves as an excellent, yet reminiscent ending to this album as well as it's one of it's best songs. The pre chorus and chorus remind me on some Visual kei song I can't really recall, but I know I have heard this bright vocal line coupled with sustained chords. Overall the song lifts us once more sky high and loudly as well as strong ends this exceptionally strong album.
It's enough to be a fan of fierce, hard Visual kei songs with distorted guitars, blasting rhythm as well as with a lot of bestial growls and soaring choruses altogether packed with unbeatable energy because it's the basic formula all songs of the album Versus are based, almost without any exception. This is really awesome if you are a fan of the band and their effective, although not very original riffs. So if you're hooked on them, you'll have no complaints to this album. But to be somehow objective about it, this album most of the time sounds like an undifferentiated rage and loudness fest that blends in into almost one track. You will know how the whole album sounded overall, but you won't remember the individual tracks (not before spinning it a lot of times), so it's not very versatile in terms of song construction and innovation.
But what this album does deliver is the very best this band has to offer and every song is filled with such energy that it's almost impossible not to feel at lest a bit excited about it. Their live performances must really be an exhilarating experience because by just listening the songs on the stereo you feel almost overwhelmed by their raw energy, which isn't held back not even for a moment.
So overall -OZ- really gave the best of their brutal style and met with all of their fans expectations, not going beyond them but also not delivering anything below. -OZ- fans as well as the fans of the harder Visual kei bands such as UnsraW, Sadie and similar really have a reason to be excited with VERSUS. So if you're looking for an energy and rawness driven soundtrack you're no better off with anything other than -OZ-.
Release date: 9.9.2009.
Price: ￥1,260 (normal edition)
NO: UICV-5004
Track list:
1. FINAL CALL [PV]
2. Going on!
3. Ark in the storm
CONGRATULATIONS D'ESPAIRSRAY ON YOUR 10TH ANNIVERSARY!!!
So more-less to mark this auspicious event I shall write a review for their new "Anniversary" single entitled FINAL CALL. Because what is the best way of marking a decade of activity other than releasing a nice single (okay, though for a decade an album would be more fitting, especially in Visual kei where rare bands manage to hold together for a decade, but that would be picky wouldn't it?).
FINAL CALL is a typical D'espairsRay energy-infused, industrial-glazed , uptempo rock piece leaning more to a hard rock sound other than the industrial/gothic metal sound they've always pulled off. The song takes the bits of the best this band has to offer: layered, running and awesome guitar riffs which will make you instantly take your guitar and play along (or at least in my case), a soaring chorus with a gothic-glaze to it, pumping basslines and powerful drums, even a warm and expressive guitar solo. FINAL CALL takes the certain warmth and melody that was featured in some tracks of their latest album REDEEMER and fuses them with the raw energy and rapture this band is known for. Though FINAL CALL isn't exactly another REDEEMER, nor does it have it's explosive energy and fiercness it's nevertheless a very decent and interesting song that won't leave the fans dissappointed.
I can imagine Going on! to melt faces, cause acute myalgia as well as dislocate joints from the excessive jumping and banging on the lives, but as a standalone track Going on! feels a bit undefined. There is this energy and groove that is really appealing and cool, but the song is somehow thinned by the not so good hip-hopish part and backrgound yelling which seems quite pointless. On top the song doesn't really bring anything new (but on the other hand, the whole single overall doesn't do that) and it's a bit ruined by some redundant parts. Though I do fell it eventually growing onto me, though it doesn't have this secret charisma or greatness that B-sides like Scissors, Desert or even Cocoon had.
Ark in the storm sounds a bit ambitious with this "uprising" feel and emotionally colored mood similar to the song KALEIDOSCOPE and MASQUERADE but it simply has got this void in it, sounds like something is missing or like there isn't enough thrust to it to really lift it sky high. The song isn't bad, the riffs and "solo" are awesome, Hizumi's singing is decent, the drumming really keeps the song going but it just feels there.
The overall please with this single really depends on your expectations from this band. The single isn't as energetic as REDEEMER was, but it's less "light and happy" than KAMIKAZE or HORIZON, though those singles have way more powerful B-sides. I am personally pleased with guitars since I like Karyu's style so in that aspect it did match my expectations. But the basic weakness of this single is that it's very uncovincing and almost without any charisma that simply overflows many of this band's songs. If you're able to get over that then you'll get a decent single which is more like a bottle of champaigne opened up for the auspicious occasion rather than a full-blooded serious release.
But overall fans of the band and everything this band has to offer musically won't have too much of complains and will surely play this release over and over to mark a decade long activity of this great Visual kei band. I raise my guitar in your honour.
Price: 3780￥
Track list
1.「剥離」(Hakuri)
2. THE INVISIBLE WALL
3. A MOTH UNDER SKIN
4. LEECH
5.泣ヶ原 (Nakigahara)
6.「エリカ」(E RI KA)
7. HEADACHE MAN
8. 紅連 (Guren)
9.「子宮」(Shikyuu)
10. 13STAIRS[-]1
11. DISTRESS AND COMA
12. 「感触」(Kanshoku)
13.白き憂鬱 (Shiroki Yuuutsu)
14. IN THE MIDDLE OF CHAOS
15.「朦朧」(Mourou)
16. OGRE
17. DIM SCENE
It's almost hard to put into words how actually agonizing it was to restrain oneself from listening a possible milestone release from ones favorite band. Without overdoing it, at certain points it was almost physically nauseating. This showed me how much I need their music, or rather how much I depend on it. Surely my world wouldn’t be the same without their music.
It’s quite unavoidable to intro this review without looking back at the previous albums and also the history of this band.
Reita (bs.), 流鬼 Ruki (vo.), 戒
Kai (dr.), 麗 Uruha (gt.)
Active since: 2002.
Status: Indies (self proclaimed)
Lable: PS Company
● pscompany.co.jp/gazette
Album Discography
DISORDER NIL STACKED RUBBISH
[13.10.2004.] [8.2.2006.] [26.6.2007.]
Previous Releases
DISTRESS AND COMA LEECH 紅連(GUREN)
[25.3.2009.] [12.11.2008.] [13.2.2008.]
Upcoming releases
BEFORE I DECAY [7.10.2009.]
DIM CM
Buy DIM
● Amazon (JP)
● Brand X (JP)
● Colloseum records (EU release)
● CD JAPAN (International)
The loud and rebellious character of the band reached it’s peak with the release of their first album, auspiciously titled as Disorder. The album was a bunch of really loud, distorted to the maximum songs, to a point going almost in the field of dissonance, delivering just a few if “soft” moments, that would make even the hardest of all punk rockers go envious. Nevertheless Disorder was an album that showed how even, what usually would be considered as chaos and noise, could be seen as “melody”. Order in disorder. The “chaotic” attribute to the band became even stronger.
2005. the band brought up the releases that, in a way, marked the transition from the chaotic, untamed, loud rock band Gazette to the great, sophisticated, mature and even darker band known as the GazettE. You could compare that as a “growing up” from a loud, extrovert, opposed to everyone rascal to a less chaotic, but vague, dark, introvert and opposed to the rotted world of oneself person. Nevertheless, the releases that came from this transition period brought this band closer to the fans than ever before, bringing songs that sounded the most “human” in terms of reflected life experiences and straightforwardness of all human feelings.
It was the 2006. that became the most important and redefining year for this band. Though never truly confirmed by the band itself, due to their explicit desire to be addressed as indies, the band is considered to have gone major with the single Cassis released in the late 2005. In February 2006. the band has released their best album called NIL. What made NIL stand out of every other release before and following was it’s balanced out, incredible song set that featured various songs being very different one from another but yet being united under the banner of “Nameless Liberty”. Not just the brilliantly compositions and versatility made the songs shine, but also their honesty, rawness in expressing the basic as well as complex feelings in their most true, essential forms. NIL was followed by a name change to the GazettE and peaked at the tour final in Budokan. But it didn’t stop there and the GazettE emerged on their first overseas performance in Germany and crowned the year with two singles REGRET and especially FILTH IN THE BEAUTY, whose multi genre blend and new elements such as vast chorus, worked out powerful guitars and occasional background female vocal addition, single handedly launched the band into the heights and became a core for each following “single” songs to come.
2007. brought another highlight single Hyena before the release of their third album STACKED RUBBISH. It’s no unknown fact that the albums are the ones that define the band the most, basically because they bring a much larger set of songs other than singles and mini-albums, as well as they are made with much more work by the band and faced with much higher expectations by the fans. And just a year has passed after NIL, and even less after a series of very strong singles. No doubt STACKED RUBBISH faced a lot of expectations. Unfortunately STACKED RUBBISH didn’t manage to match them. It had a set of very bipolar songs ranging from some harder ones, with a strong nu-metal touch going to lighter, rock ballade like ones, without any inner cohesion, but most of all, shred to almost no depth that NIL had. STACKED RUBBISH was a compilation of pretty experimental, but yet strong sure shots, which could only be appreciated after a lot of listening, but always leaving a bitter aftertaste. Maybe for the first time, the band has faced a stagnation that not even the overseas tour could have overshadowed. It took a while, but the band did admit that STACKED RUBBISH didn’t turn out the way it should, though the reasons for that never did came out, it can be assumed it was their labels hastening and the pressure to bring out a lot in a time tight space.
2008. was the “breathing” year, with the band releasing only the singles Guren and LEECH which both provided slight redemption for their STACKED RUBBISH album, being shed off the elements that made STACKED RUBBISH stagnate in it’s quality. The single DISTRESS AND COMA launched a final preview and speculation material before DIM’s release in 2009.
Even before it’s release DIM faced a lot of expectations, since it had to redeem somehow for STACKED RUBBISH’s downfall, but somehow brake the chain of releases that sounded way too sure in their core. Can DIM truly take GazettE onto a new stage of development and what is it’s significance?
「…」
THE INVISIBLE WALL is very tight, with amazing and intense guitars soaring, roaring and silencing with each moment, full and powerful riffs, thundering drumming and bass and Ruki’s voice being vast and bright, as well as delivering whispering and violent screaming. THE INVISIBLE WALL is a showcase GazettE song indeed, though slightly more passive and deeper than DISTRESS AND COMA is, but way more powerful when it comes to expression than it. Heavy and melodic at the same time, slightly vague, THE INVISIBLE WALL is the NAUSEA & SHUDDER of DIM.
The silence of THE INVISIBLE WALL’s marching outro is broken with a thick bassline in par with something you can call heavy-funk guitars. A MOTH UNDER SKIN bursts out as a hybrid of FILTH IN THE BEAUTY with BURIAL APPLICANT and ZETSU’s explosiveness, but even more aggressive and for the first time since FILTH IN THE BEAUTY correctly used female backvocals which make an adequate contrast to Ruki’s twisted and fierce vocals. The breakdown brings BURIAL APPLICANTS main riff flashback before bursting into a mass of chaos. Catchy as hell, slightly sexy, twisted and totally unchained, A MOTH UNDER SKIN is GazettE chaos at it’s best.
The intense mood is even pumped more up with LEECH, a last year’s single with such versatile guitars changing from hard rock, heavy metal, alternative, thrash metal showing the true genius of the both guitarist Uruha and Aoi. The rapturing chorus has got this almost cathartic feel and Ruki’s intense vocals are well complemented with gentle yet not so harmless female backvocals.
With the intensive and expressive, almost crying riffs and dark basslines we come to the longest and first ballad, Nakigahara (The crying field). Usually long ballads somehow tend to stretch out too much, but this is not the case with this beautiful masterpiece brought to perfection both in expression and in technical sense. It’s so raw and yet moving and vivid, without pretending or being pathetic, expressing sadness, hopelessness and pessimism like no other ballad before. Taion had hope, but this is peeled off any hope, sounding as all hope is gone. The vast and tragic chorus, the calm and broody notes in the verses, the antique koto in the background of the pre-chorus as well as the drowned in rain, slightly withering outro contribute to Nakigahara being one of the most emotionally intense songs, most likely since NIL or maybe Chizuru.
Erika sets out an pulsing and haunting outro to Nakigahara, giving the final, almost horror like seal to it on before moving to the explosive, hymn of chaos known as HEADACHE MAN, another song from the single DISTRESS AND COMA that made it onto DIM, for which I’m really glad. The song explodes in some very deeply tuned guitar madness and yelling, you’d shudder and think of Slipknot at first, moving onto a melodic bridge and exploding in an anticlimactic headbang fest. But it doesn’t stop there and the chorus explodes in a true hardcore Rock’n’roll manner! If you’re not going to go insane in this hymn of madness than you should really ask what’s wrong with you.
Though a bit strange in the set, following HEADACHE MAN’s madness is the wonderful over a year old, ballade Guren (Crimson Lotus) which has been re-recorded and a bit changed on a couple of spots, sounding now even more like the live version of this song. Overall, Guren still manages to enchant with it’s gentle, moving tone and flow, violin enhanced chorus and grandiose guitars with Uruha’s solo bringing out the best of the song. Even more beautiful than any crimson lotus.
Shikyuu (Womb) can be considered either as the terrifying outro to Guren or the intro to the next song. Shikyuu does give goosebumps because of the distorted horrifying baby screams, that exceed even Dir en grey’s Masochist of Decadence’s horrid baby cries.
Moving onto Uruha’s composition 13STAIRS[-]1 which represents one of the highlights of the album. The song begins with stretched out, distorted to max riff mass, over lined with even more mood riffs sounding mechanic, dirty, lustful. Yes, lustful would be the best way to describe this song because of it’s seductive, dark, lustful mood. Just a moment after another soaring the moods change, the riffs become clearer and more vicious bursting into a scream and growl fest in the chorus. It’s almost incredible how well this song tightens the mood, becoming intense with each second as well as faster until reaching it’s climax and slowly relaxing into the initial riff’s slowness. This song is sex. Literally.
Following 13STAIRS[-]1 is DISTRESS AND COMA which was released on the same titled single earlier this year, being another intense song with a balladesque touch, but powerful guitars bearing a metal touch onto them which is amazing. DISTRESS AND COMA brings on a pretty secure song structure for GazettE, but the strong riffs and intense, repeating chorus make this song another intense experience before moving onto the calm intro to Shiroiki Yuutsuu, Kanshoku (Sensation). Kanshoku provides some calming with it’s gentle guitar tones in couple with synth drums, having a slight R’n’B feel but perfectly setting up the mood for Shiroiki Yuuutsu (White Melancholy) probably the lightest GazettE song ever.
As far as Shiroiki Yuuutsu sounds beautiful with it’s coupling of fresh acoustics, emotional violins, present electric guitars as well strong drumming, reminiscing a lot on WITHOUT A TRACE and Junana sai as well as LUNA SEA’s masterpiece Gravity but even more lighter; Shiroiki Yuuutsu simply doesn’t fit in the dark, aggressive mood of DIM and Ruki unfortunately offers the weakest vocal performance on the album. Shiroiki Yuuustu is nevertheless a beautiful standalone song, being neither joyful or sad, but having a lot of reminiscence and warmth, perfect for those light days on which time seems to have ceased flowing.
Following Shiroiki Yuutsu is IN THE MIDDLE OF CHAOS, the most likely most intense and complete 3 minutes you’ll ever experience in your life. IN THE MIDDLE OF CHAOS is the combination of punk, hard rock and turns into heavy metal in the second half. The guitars seem as they’re racing against each other, the chorus explodes in the hymn like manner and the song changes paces on each moment. From Kai’s drumming, Reita’s basslines and everything, this song is a true gem. They’ve even managed to squeeze a solo into it! IN THE MIDDLE OF CHAOS is like the GazettE version of MUCC’s Sora to ito, but shorter and way more fun.
Morou (Dim) will be familiar to people who have dropped a visit on GazettE’s homepage when DIM was promoted, this screeching like a broken radio sounds combined with a scream representing the transformation to a monster, make way for OGRE, GazettE’s Reiketsu Nariseba and Stuck Man at the same time. This is the most fierce song these guys have done ever, dark, twisted, with mincing riffs, bestial growling, being harder than DISCHRAGE ever was. Really brutal song that sounds like the soundtrack to hell.
The album closes with the core-song DIM SCENE, that sounds like a funeral march for the GazettE. It’s heavy, dark, with passive rainy riffs I associate with Ryojoku no Ame by Dir en grey, but with even more weight. On DIM SCENE, speaking of Dir en grey, the whole band comes the closest to what you’d call a Dir en grey song and Ruki’s singing is awfully similar to Kyo’s, that you almost have the feel it’s Kyo singing with another timbre. The slow pace of the song in combination with the lagging guitars give a withering feel, and the bursted chorus with flickering in the background is very alike to Ware yami tote… DIM SCENE is the most serious song you’d ever hear from GazettE and presents a perfect, dim, dark ending to a such album. Perfection.
DIM is a pretty conceptual album and all the songs really do have a dim element in their core but there are differences between them. The songs that were previously released on singles are pretty similar in terms of having tension building verses and a vast, stretched chorus charged with feelings. Though GUREN, LEECH, DISTRESS AND COMA and even THE INVISIBLE WALL vary quite in their approach, the basic structure and idea is nevertheless pretty similar. Not actually criticizing that, but it’s pretty obvious how only “sure shots” are bound to head the singles, while all of the other songs are reserved for albums and B-sides, at least when it comes to PS COMPANY bands.
The new songs are really unbound to any rules and truly show how versatile this band is and how it isn’t afraid to explore new boarders and try out new styles and executing them well. Technically speaking each song will leave you amazed, whether you like drums, bass, guitars or just singing. It’s hearable how each member is developing in it’s own way, some more some less. It comes out pretty clear how this album was given a lot of thought and work, compared to the slightly hastened STACKED RUBBISH. I can only imagine how well STACKED RUBBISH would have been if it has been given “time to think about it”.
Aside the anti-PSC songs, songs such as 13STAIRS[-]1 and OGRE contribute to the anger sewn into DIM thanks to their fierce guitars and heavy growling. But the ballads such as Nakigahara and DIM SCENE deliver a strong touch of bitterness, disappointment and almost resignation to a certain point. All of these aspects carried in the songs contribute to the heaviness of DIM, with even “lighter” songs such as IN THE MIDDLE OF CHAOS or Shiroiki Yuuutsu having a certain bitter-frustrated note in them.
DIM is GazettE’s Uroboros.
Somehow comparing DIM to Dir en grey’s latest Uroboros isn’t without base. It’s very hard to actually see where this connections comes from; was it inspiration, homage, tribute, copy or just an independent style evolution that just matters to have similarities to the one of the other band. I believe in the latter. Not because I love GazettE or anything, but because rather than for DIM sounding as a rip off it sounds more as a complementary album to Uroboros. After listening to both and trying to find a comparison, an influence, I have seen how both albums extraordinary complement each other. After listening to DIM, Uroboros seems to be more comprehendible, but Uroboros provides that certain counterbalance to DIM that is left to be filled out after listening to DIM. In short, it’s pretty hard to fully understand one without the other. Which is quite interesting, considering that those are basically two quite different bands.
Though the sound of it is very close to Uroboros, I think this album is to GazettE what Vulgar was to Dir en grey, a boarder album that marked a transition to a more complex sound and a stronger musical affirmation. Interesting though, Dir en grey has long ago abandoned it’s visual style and definition as well had an almost complete change of mind in order to achieve the complexity of sound that DIM and Uroboros have, while GazettE more-less stayed the same Visual kei band, still somewhat accessible to it’s listeners and still playing their old songs on their lives unchanged.
DIM isn’t far from perfection, with almost all songs perfectly portraying the basic idea of the album, surely getting rid of some elements that seemed to be overflowing in the recent songs as well as implementing some new elements. Also the album as a whole delivers a versatile as well as a balanced out set of songs, not overdoing with one or another kind of songs, though less balanced than it was with NIL. Though there are some minor, but more less “digestible” flaws unlike it was with STACKED RUBBISH. The obvious “downer” is Shiroiki Yuuutsu, but not because it’s a bad song, in contrary it’s a very beautiful song, but it just doesn’t fit in DIM’s set because it’s so “light”. If there was a need for such a song, WITHOUT A TRACE would have been a better choice or no song like that at all. Also the production at some songs seems pretty loud as well as there are somewhat not necessary elements in certain songs such as too much violin, which is a rather nice touch but doesn’t make the songs benefit too much. The album also has got this certain distance and thickness in it resulting for the album to feel a bit “off” but not unreachable, but still more distant than the previous albums were and as such is much less of an “easy listening” experience, though that isn’t necessarily a bad thing.
Though it’s quite early to say this, at least until the next single UNTIL I DECAY (with very symbolic title) comes out, I feel that DIM is definitely a new and revolutionary step in this band’s sound and that with it the GazettE have reached this certain maturity and sound quality that way surpasses the borders of Visual kei bands and a sound uniqueness that the band may claim as their very own. DIM is most likely the best and expressive release this band has released and created and which significance can only grow with time. The GazettE brought to perfection and I feel that it’s just the start.
Images and promotional video copyright by the GazettE, PS Company, King Records 2009.
Please do not use, reproduce, alter, publish or claim any part of this review without the owners permission
Release date: 10.6.2009.
Track list:
1. ALIVE
2. GAMBLE
So Girugämesh introduce us with their first single of the year, the new release after their last year's third album MUSIC.
ALIVE is an uptempo, grumbling, powerful metal-rock anthem with earthquake riff attacks, pumping bass-lines and soaring chorus. Mix all the ingredients, add a bit of scratching and you'll get every other great Girugämesh rock hit. Th only thing I hear as an improvement from the usual pattern is the metal rhythm-like drumming by Ryo which give an additional punch to the song. You love Girugämesh for songs like this one, and you'll certainly won't love them less for ALIVE.
GAMBLE goes on the harder track with a whirlwind of distorsion blasts, drum outbreaks and sinister bass. Satoshi takes the lower, vicious registers to bring out a certain, surpressed anger which simply explodes on a growl-mosh chorus explosion. And again you won't find anything new here, just the good combination of songs such as Patchwork, Volcano and similar.
So yeah more-less ALIVE is a sniper sure-shot of a single, bringing all the characteristic and loved elements this band offers combined in two pretty decent songs. Most likely it's kind of a redemption single for the last years pretty experimental and more risky album which didn't quite hit all the expectations from a lot of their fans. Oh well, better to stick with the confirmed, good-old winning recepie than going into the unknown, at least that's Girugämesh's philosophy on this single and I'm certain the fans will not mind it.
Because ALIVE is a true showcase of this band you can reccomend it to a potential new-fan without fear.
Track list
1. Parade
2. Can you do it? [PV]
3. Mr.trash music
4. NAKED LOVE [PV]
5. MASQUERADE
6. MELODY（original ver.）
7. Cynical Re:actor
8. ジャイアニズム究 (Djaïnism Kyuu)
9. Nothing you lose
10. Lost in Blue [PV]
11. シンプライフ (Simple Life)
12. クロニクル (Chronicle)
Hand on heart, I have heard a lot of Nightmare songs and almost all of their albums and I have really endured and toleratet their frequent lack of originality and innovation in some of their songs, especially choruses, but I've never had such an URGE to erase each and every chorus like I've had on this album, I don't even want to start commenting them because it always goes down on one: repetition, same progressions, same melody patterns, same singing style... How much you'll enjoy this album depends on how much recycling you can handle and how hardcore of a Nightmare fan you are.
The album starts with the unexciting rock'n'roll march named Parade, pompous on each step, stretching way too long to be an effective intro, but being too short to be an actual full-blooded song. Can you do it? comes along shimmering, bursts with a mass of trembling riffs (the ones they pull off the best) tensing up to the chorus that tries to burst but doesn't and leaves a "this is familiar..." feel that will haunt you on every chorus. Mr. trash music is actually Nightmare? Right? Right? Because the jumpy, distorsion, horrid trash fest will make you smash your CD player onto a wall.... horrid...
NAKED LOVE gives a better impression here than it does on the same-titled single. The slow-tempo, funky guitar flaired, seducive piece hits the sexy mood right in the middle, subtly crawling under your single until you're struck with the usual, but passable chorus. Wish they did something else, a bit less explosive there, but it works and passes, unlike the most choruses on this album. The funky feel on MASQUERADE is actually really fun and I could easily imagine this track as a great, energetic summer hit, yeah if it wasn't plaqued with THE GENERIC CHORUS. The jazzy-breakdown-switch of this song is really cool and another plus.
Melody brings some beautiful acoustic guitar melodies but that is almost all that is to this lovely, half-melancholic piece. The deep-rooted genericness can't be overshadowed, not even by the amazing guitar that stroll around this album. Cynical Re:actor is a very interesting blend of harder guitars and english female talk set in the foreground that reminds on End of Sorrow by LUNA SEA... when I think about it the guitars DO sound like a harder version of LUNA SEA. I could even close an eye on the chorus cause it doesn't beat the song to the ground like the rest of the chorus-gang. Djaïnism songs are almost a standard sure-hit on each Nightmare album, and Djaïnism Kyuu isn't an expection, though slightly weaker than the rest of such songs because of the generic and predictable elements. I'm really glad to hear Ruka smash that double bass for once.
Nothing you lose glove-slaps the GazettE for a ballad duel, but doesn't really stand up the fight because of the lack of deeper expression, more tension and slight originality. They could easily be head-to-head with the GazettE in popularity if they'd just be a bit more versatile, original and not killing themselves with generic melodies, progressions, choruses and similar. Lost in blue brings a reminiscent and melodic feel, excellent bass-lines but turns a bit bland halfway, but is overall a tense and pretty expressive song. Simple life is a lazy lying in the grass staring in the sky on a sunny day, progressing slowly, without any sudden nor strong jumps, but lives up to the carfree, unexciting mood. Chronicle is a bit more present than Simple life, but is just as light, hitting a hrad not here and there but being overall slight reminiscent and relaxing.
Fact is Nightmare haven't managed to top their previous album Killer Show, but frankly not even any other of their albums, making majestical parade their weakest long player. The sadest thing about it, as mentioned on the start, are the generic choruses that basically and reservelessly water down every song, giving them a generic and unmemorable seal, even though some of the songs like NAKED LOVE, MASQUERADE and Cynical Re:actor as well as Nothing you lose aren't that half bad and have really great instrumentals. I wonder do these guys ACTUALLY listen to their songs because the repetition of certain elements is obvious even to half-deaf people. And it's more like their aiming for quantity rather than quality.
If you're a diehard Nightmare fan or somebody to whom this album is a first contact with this band then you'll probably be pleased with it, while other should rather get ready for a generic-fest if they don't plan to skip this one this time.
Release date: 1.4.2009.
Track list
1. ぱらいぞ (Paraizo)
2. 渦 (Uzu) [PV]
3. 蓮 (Ren)
4. 嘆美なる死への憧憬 (Tanbi naru shi e no shoukei)
5. 桜月夜 (Sakura Tsukiyo) [PV]
6. 鬼哭啾愀 (Kikoku Shuushou)
7. 咒葬 (Jusou)
8. 素晴らしきかな?人生 (Subarashiki kana? Jinsei)
9. 永遠に、、、(Towa ni...)
10. 鬼灯 (Hoozuki)
Kagrra, deliver their first and most likely only release this year with their sixth studio album entitled Shu meaning jewel when translated. Their previous album Core featured their most experimental output side by side with their traditional song styles. So what does Shu bring us from Kagrra, this time?
The album begins with the vivid, vast, Japanese instruments and sounds colored Paraizo that rolls off as an perfect show reel of this bands sound and capabilites fusing harder rock guitars, Japanese music inspired melodies with a rich, beautiful chorus and wonderful instrumentals. No doubt Paraizo is one heck of a perfectly executed sure-shots and a great way to begin the album.
Uzu reflects once more the wide, ethnic flaird sound of this last year's single. The vast instrumentals unusual for a rock song, would most likely impress anybody as well as Akiya's tight, amazing solo that gives another hard edge to this "epic" piece. Ren introduces us to the song with a gentle melody and then emerges in a koto verse that had some Satsuki reminiscence. The pre-chorus tightens the mood before the usual, expressive and thick chorus. But then again it sounds more-less like every other expressive songe they've done which will keep fans satisfied, but those wanting more a bit empty-handed. Tanbi naru shi e no shoukei just lifts up the tempo of Ren, but follows the same mood type but shamelessly ripps off their older song Rin on an almost identical chorus. I'm used to other bands copying each other but that one band recycles ones songs so darn obviously is really surprising, especially when we're speaking of one really creative band like Kagrra.
Sakura Tsukiyo closes the first half of the album which we could mildly lable as generic. I can't believe that they made a PV for this because this is the most generic song on the album, starting off with a lulling, nighty verse and going onto the upbeat-but-not-quite chorus very similar to one in the song Kaze off the album Shizuku. Even my limited Japanese knowledge easily detects the very usual and slightly overused sugary imagery of cherry blossoms in the lyrics of the chorus.
Kikokuu Shuushou (I apologize if the song titles were wrongly romanized) ties on the glimmering riffs of Sakura Tsukiyo, but sounds more firmer and harder. And I hope I'm not the only one who thought that Isshi's balls dropped on the explosive, strong, melodious chorus where Isshi's deep singing sounds simply amazing, very expressive and much more confident than when he sings in the high registers. There is something simply strong and rapturing in this song that makes it stand out more than the other songs on the album. A nice way to start the slight "not-sogeneric" half of the album.
Now the rest of the album made me think about Kagrra, sneaking into the secret vaults of other PS COMPANY bands and grabbing some of their unpublished materials and modifiying them slighty. Jusou has got this thick, thick mood, thicker than it was on their album Miyako and way more sinister on the verses before emerging in the powerful, IN-YOUR-FACE chorus which style somehow brings GazettE allusions to the head. And it's one of the rare spoiled choruses that isn't spoiled by the vocalist, but the guitarist playing it in a scale that's a bit too "bright" for a song of this kind, as such discontinuing the excellent mood delivered in the verses and singing. But overall Jusou still emerges as a hit on this album.
Subarashiki kana? Jinsei is just way too weird, unmatching and unappropriate with it's saxophones hitting into something that wants to be subtly hard and very upbeat at the same time. But yes the saxophones are what is annoying me the most in this song, because despite all the rocky, metaly edges on this band they were always a rock band with a strong Japanese sound. SAXOPHONES DO NOT BELONG THERE (with all do respect)! This song sounds more like the attempt to freshen up something that was left to be a filler track, but unfortunately the Miyavish, enhanced track doesn't do anything good to the album other than just capturing your attention for a couple of moments (either in positive or negative way).
Towa ni... would pass as an Alice nine. track thanks to it's upbeat, playful, riffs but when you hear Isshi instead of Shou on the mic, well that's when you realize it's Kagrra. And again the chorus just horridly reminds on one of their other songs, in this case Kamikaze (seriously if you don't believe me compare the choruses). Eien ni... is not bad in it's intention, but it provides way too familar stuff other than trying to bring something new. The album closes with the wonderful song off the single Uzu called Hoozuki where I simply can't find adequate words to describe it's melodious chorus, the reminiscent and swaying atmosphere, the way the song simply goes through you, ah, like sunbeams through a dark cloud after a rainy day.
Though Shuu has got a jewel or two and the songs overall are not bad, very well produced and polished, but compared to their previous albums this is their weakest album and not just of one reason but because of several reasons. The songs resemble a lot not just with one another but also with some of their older songs sometimes to the level where it sounds as a thoughtless self-ripp-off (like on Tanbi naru shi e no shoukei). A lot of them simply lack the direction, start off in one way and develop in another and then return back and forth, making them sound less certain. But that all could have somehow be overshadowed if there was at least some excitement or some innovation to them. I really love Kagrra, but I really though there would be more to the album than this.
But if we look at it's bright sides the album features the unmistaken, unmatchable Kagrra, sound and expression, fuses wonderfully the traditional Japanese sounds with powerful rock music and a feel as if their music is meant solely for the sake of beauty. Also the songs Paraizo, Uzu, Jusou and Hoozuki count not only as jewels on this album but also as gems in their discography, making this album a worthy listen even to the most demanding Kagrra, fans.
With all it good sides and those less sucessful sides Kagrra, still manage to deliver a recognizable sound and mood on their album Shu. Even though without any surprises nor will for experimenting Shu represents an excellent spring soundtrack which not only will Kagrra, fans enjoy but also fans of Japanese music overall. Still we do miss San and Miyako... quite.
Date released: 15.4.2009.
Track list
1. 39GalaxyZ [PV]
2. VAMP VAMP VAMP
3. V.I.P GOBLINZ
Looks at the pink post-it placed above her head threateningly saying "I will not make fun out of bands in my reviews" and headdesks herself.
Though trying to compare SuG with anything coherent fails, you can consider them as a kind of cheap, colorful, E-colored, health check certificate-less candy which is anything but good for you yet you still consume it once in a while when your candy-rush goes over your healthy judgment capability.
Unfortunately 39GalaxyZ is (if even possible to believe) this insane Oshare kei's band worst output. 39GalaxyZ parades around with a clowny melody, squeaky electronics, really really bad singing (though that stopped surprising after a few singles) and guitars simply crying for help to get out of this rainbow colored LSD mash. I believe that even kindergarden kids (for whose level Takeru's singing/songwriting is) would find this song over the top.
VAMP VAMP VAMP tries to be all oriental and seducive, but it's melody evokes certain allusions on a certain kind of music I DESPISE so it's a minus from the start. The industrial touches and moody, distorted guitars would have worked really good if this was any other band than SuG. Just no. V.I.P GOBLINZ goes a bit faster, rougher, bringing more overall distortion noise a few background growlz, more of Takeru's squealing and some brainless headbanging/jumping. This probably works somewhat decent on a live performance, but here...
Unfortunately 39GalaxyZ doesn't have a upbeat, crazy, sugary yet somewhat enjoyable song that would make the endurance of the [insert pejorative adjective] songs be worth even a bit of your while. I can only imagine really tolerant listeners and DIEHARD fans listen to this single (questionably enjoying it).
Oh yeah and SuG's drummer Mitsuru will leave the band, which I think is a bit tragicomic because of all of the members, we know who deserves to be kicked out of the band first and banned to do music ever (and I'm not speaking of the drummer).
Release date: 1.4.2009.
Track list
1. DETOX [PV]
2. Public Speaker
3. Nerve[less]
After they have intoxicated us last month with the fierce single VENOM, now it's time to go through an equally rough detox process with DETOX.
DETOX is one of the melodic -OZ- anthems with interchanging vicious verses and an uplifting, sky soaring chorus, something like Ringing, but even more intense. But DETOX really hits on the right spots: The growls are powerful, the melody is like it has wings and the moshing breakdown is their most wild up to date. DETOX is just another excellent song added in the discography of this definitely interesting and talented band. Fly Forever...
Public Speaker is something I'd define as a kind of street metal: raw, straightforward, riot inducing, loudness beauty with a certain, jumpy beat almost made for skip-roping onto it (think of Rich Excrement by the GazettE). Aside those rhythmic verses the chorus delivers a bright, capturing melody which is an effective contrast to the raw verses. The more I listen to the chorus the depper is the impression of this song. Really good!
Nerve[less] plays it on another approach combining metalcore-esque riffs with a fast, groovy rhythm which invites to banging but dancing at the same time. I sense a full body action at the lives! Nerve[less] blends perfectly with the rest of the single delivering fiercness, melody as well as a certain heavy-music-detox everybody needs sometimes.
Though at the first listen DETOX seemed like the less interesting version of VENOM, just like Spiral was to Blot, another few listenes showed me more and more just how good this single is and how in fact it's even better than it's more violent counterpart single VENOM. -OZ- fans as well as fans of the rougher, mosh-inviting, head-banging rock should check this great single out.
Release date: 25.3.2009.
Track list
| 1. DISTRESS AND COMA [PV] |
| 2. HEADACHE MAN |
| 3. WITHOUT A TRACE |
The GazettE present their first single this year and the last single before the release of their fourth album DIM. Last year the band presented us with two very excellent singles Guren and LEECH, both special in their own way,
Whether DISTRESS AND COMA can keep up with both of them, you will find out here.
DISTRESS AND COMA sounds like a hybrid of the excellent crooked, gloomy song Bathroom thanks to it's dead note filled riffs and creeping, dark atmosphere combined with the elegance, flow and steadiness of Guren. The song has got a very explosive (though female backvocal featuring) intro that drives into excellent riffs with metal licks all over them. The chorus is intense as always and features some really Yomi-esque singing by Ruki ( Especially on the Odoru odoru part of the chorus, that slight vibrato) but then after you've heard it like for the third time you realize that maybe it's a bit too much choruses for a song. In it's core DISTRESS AND COMA is a no-doubt certain sucess by the GazettE but it's such a steady, one line of the song that it gives off a feel that these guys had a good idea for a song but didn't know how to work it out to the end (just like Dir en grey's Glass Skin).
On the other hand HEADACHE MAN is insane. And that is a mild attribute for it.
I smell a lot of ambivalence here!
It starts of with some really screeching guitar sounds and then bursts into thick, dark, heavy riffs combined with a crazy beat, rabid scratching, growling, yeeling... and then you realize: HOLY SHIT! IT'S SLIPKNOT.. WAIT GAZEKNOT! so obivous to anyone who has ever heard Slipknot. After the initial outburst they stick on such a mighty, excellent chorus as if it was taken straight from NIL and then it's like they have thought Wait... we have done this before... Let's do something different while the majority of the listeners most certainly thought Fuck. The song takes a totally new direction and turns into a very frantic Gazetto (not the GazettE) version of Dir en grey's Machiavellism with a collective ground shaking chorus and a lot of twistedness that GazettE used to have back in their old, pre-NIL days. And there is a person that can screech like Kyo and his name is Ruki (the smaller they are the higher they screech)
I already sense one of the most bonebraking pieces on their live performances. AND I'M EAGER TO SEE IT!
So whether you love or damn HEADACHE MAN you must admit that it's a totally different tune by this guys, even though it's not very original overall.
The last song of the single is the ballad WITHOUT A TRACE that is going to be used as an ending theme for some movie I don't care about which automatically calls out the association on the cold and distant ballad Chidzuru, but WITHOUT A TRACE is different than that. The song is filled with sharp yet warm acoustic guitars with such a style that I don't believe the GazettE have ever used before, it has got a very westernized feel. But then the song burst out on the chorus, the instruments joins in and everything reaches it's peak on this strong, expressive, quite Guren like chorus. I love the feel that is enveloped in the chorus, a slight melancholic string but filled with a crtain warmth and strength, a kind of a ballad that rather makes you lift your head up and smile again rather than putting you more down. Though the song doesn't have a certain tension or a strong emotional seal, it still delivers a strong feel and impression on the listener, which is a undeniable sign of it's strength.
Rare are the bands that manage to deliver songs with such energy, strength, honesty and freshness making it sound like nothing you have heard before yet preserving it's core, as well as to redeem themselves for any downers they have done. DISTRESS AND COMA is another absurdly excellent single by the GazettE, which is compared to the previous singles more of a sure-shot, but a sure-shot that doesn't fail in delivering something new and unheard from this band in the end. The very narrow song structure that seems as if it's going in a straight line does leave an impression that this single is going in a bit westernized way, aimed more at a Western listener.
DISTRESS AND COMA is definitive, unconditional MUST for all GazettE fans as well as a strong reccomendation for every fan on intense, rocking Visual kei bands. We can definitely be curious about what DIM will bring this summer.
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