STEREOPONY starts official Twitter for first US Tour!
J-Rock band STEREOPONY (Bleach, Mobile Suit Gundam 00, Darker Than Black) started an official Twitter account for their first U.S. tour, starting April 6 at Sakura-Con!
@STEREOPONY_US
STEREOPONY will post updates for their upcoming appearances at Sakura-Con (Seattle) , Slim’s (San Francisco), Key Club (Los Angeles), and Yost Theater (Santa Ana). More tour info at their Facebook page: http://www.facebook.com/STEREOPONY.OFFICIAL/events
For the fourth consecutive year, all-girl rock band STEREOPONY is once again coming back to the U.S. after their remarkable performances at SXSW (2009), AnimeNEXT (2010), and Anime Boston (2011).
This year, the girls were chosen as the Guest of Honor for Sakura-Con, the largest Anime convention in the Northwest, held at the Washington State Convention and Trade Center in Downtown Seattle, Washington on April 6-8.
STEREOPONY is a Japanese all-girl rock band that formed in Okinawa in 2007 and will be attending their first Sakura-Con. Consisting of AIMI (Vocal/Guitar), NOHANA (Bass), and SHIHO (Drums) the band gained their first opportunity on the Japanese rock radio program “SCHOOL OF LOCK!”
STEROPONY should be well known to many anime fans as the artists behind several notable anime themes. Their debut single “Hitohira No Hanabira” was the 17th ending theme for the famous anime series “BLEACH”; released on November 5, 2008 and ranked #25 on the Oricon Weekly Charts. Their 2nd single “Namida No Muko” was the second opening theme for the second season of the Sunrise series “Mobile Suit Gundam 00”; and achieved #2 in the Oricon charts.
STEREOPONY has toured internationally and experienced great success in the Oricon charts. In March 2009, the girls performed in SXSW 2009, and received a thunderous ovation.
Their 3rd single “I do it” is a collaboration with fellow Sony Music Entertainment Japan singer YUI, was released on April 22, 2009. Their debut studio album “A hydrangea blooms” was released on June 17, 2009 and ranked #7 on the Oricon weekly charts. STEROPONY’s 5th single “TSUKIAKARI NO MICHISHIRUBE”, also released with a tie-in with the second season of hit anime series “Darker than Black” which ranked #8 on Oricon. After releasing 2 singles, in June 2010, the girls released their much anticipated 2nd studio album “OVER THE BORDER”.
“Chiisana Mahou”, the opening theme of anime series “Letter Bee REVERSE” was released on December 8th. STEREOPONY collaborated with the band Kariyushi58 to produce the single “Tatoeba Utaenakunattara” released on August 10, 2011. The band’s 10th single, “Arigatō”, was released on September 28, 2011. The music video for ”Arigatō”, released on September 1, 2011, features film actor Abe Hiroshi; he is also on the cover of the version B release of the single.
Official STEREOPONY website – http://www.stereopony.com Official Sakura-Con website – http://www.sakuracon.org
Next Music from Tokyo: Vol 4
feat: ZAZEN BOYS, group_inou, Charan-Po-Rantan, Praha Depart
May 18 Toronto @ The Rivoli
May 19 Toronto @ The Rivoli
May 21 Montreal @ Divan Orange
May 23 Vancouver @ The Waldorf Hotel
Next Music from Tokyo is a non-profit cross-Canada tour showcasing the best independent and underground music from Japan. Volume 2 was named concert of the year by the Montreal Mirror in 2010. Volume 3 included a sold-out show at the Rivoli which made BlogTO’s list of Toronto’s best concerts in 2011.
Volume 4 boasts the best line-up yet headlined by one of the most critically acclaimed and important bands in Japan: ZAZEN BOYS
“Taking one band to the top of the Japanese indie rock world makes you noteworthy. Starting all over and doing it again makes you Mukai Shutoku.” – keikaku.net
ZAZEN BOYS is the current band of legendary singer/guitarist Mukai Shutoku. Despite resembling a bespectacled librarian, Mukai is an indie rock god in Japan. Mukai’s former band Number Girl is renowned as one of the most important and influential bands in Japanese rock history. Whereas, Number Girl followed a progressive yet straight forward alt-rock sound akin to Sonic Youth and the Pixies, ZAZEN BOYS is the vehicle for pushing the boundaries of Mukai’s creative and experimental genius. ZAZEN BOYS’ intricate math rock delves unpredictably into electronica, Buddhist hymns, spoken word, blues and Japanese folk. Mukai assembled some of the most talented musicians in Japan to play alongside him and ZAZEN BOYS’ passionate live performances are characterized by a high level of improvisation and an almost unrivalled degree of musical skill.
group_inou is a duo comprised of producer Imai and emcee CP. Imai deconstructs chip tune, hip hop, kraut rock and noise to create strikingly fresh dance instrumentals that seem to come straight out of an 80’s video game. CP ‘s vocals flow with an absurdly broad range in style of playful rapping, singing and occasional screaming. group_inou has shared the stage with Battles, OWEN, deerhoof, Gang Gang Dance, Why?, Locust, nisennenmondai and Melt Banana and have more than held their own. In fact, group_inou’s live performances are legendary for their wild intensity with Imai flailing over the mixing board like an electrocuted squid and CP rapping and singing either within the audience or while crowdsurfing directly above them. group_inou are just as comfortable performing at tiny, cramped venues as they are performing in front of tens of thousands at major festivals such as Fuji Rock and Rising Sun. While group_inou’s groundbreaking music sounds just fine on CD their true brilliance is best appreciated in a live setting.
Charan-Po-Rantan consists of two beautiful sisters: Momo (18yo) on vocals and Koharu (23yo) on accordion/chorus. Koharu says she was born playing the accordion which made labour and delivery quite painful for her mother. All kidding aside, Koharu Matsunaga is an internationally acclaimed accordion player having won numerous competitions. She was National Grand Champion in 2009 and represented Japan at the International Finals of the V-Accordion festival in Rome, Italy. Almost as formidable as her prowess on accordion is Koharu’s razor sharp wit. Koharu’s story-telling and comedic banter during emcee breaks is frequently the highlight of Charan-Po-Rantan’s shows.
Momo’s trademark is to belt out classic and original folk/gypsy tunes while hugging a plush doll pig under her arm. But despite her young age and extremely adorable appearance Momo-chan shines on-stage with the expertise and composure of a veteran cabaret chanteuse. As a duo, Charan-Po-Rantan can captivate any audience with their soulful, quirky charm. However, when backed by their supremely talented support band CANCAN BALKAN, Charan-Po-Rantan’s already potent stage performance is exalted to an awe-inspiring level. Bizarre and campy but oozing with elite musical talent, Charan-Po-Rantan & CANCAN BALKAN’s unique Japanese twist on Klezmer and gypsy/folk songs is guaranteed to elicit cheers from anyone with an open mind and appreciation for good music. CANCAN BALKAN will be accompanying Charan-Po-Rantan on the NMFT tour.
Praha Depart’s music is a fusion of psychedelic rock, metal and shoegaze with a tribal/folk beat. Something the Japan Times describes as “irrepressibly danceable gypsy punk.” The instrumentation and female vocals ebb and flow between darkly serene to ferocious crescendos of emotion and noise. Jumpei’s intricate and powerful drumming forms the backbone. An infectious tribal beat peppered with thunderous fills and improvised solos. Tsukasa layers on simple guitar melodies accentuated with brilliant phrasing, spine shivering effects and lightning speed riffs. Lastly, Mai attacks the low end on bass while using her voice to demonstrate the full spectrum of her emotions with soothing whispers, playful shrills, ear shattering war-cries and bloodcurdling screams. Already revered in Tokyo’s underground, Praha Depart ventured to the US in 2011 playing multiple shows in New York and Philadelphia followed by a European tour with 11 shows in Slovenia, France, Spain, Netherlands and Germany. Praha Depart’s music is soulful, unpretentious and overflowing with emotion and raw power.
Next Music From Tokyo Official Website – http://nextmusicfromtokyo.com
Japanese Vocaloid fan magazine Gekkayo publishes vocalist Maiko download
March 23, 2012 – Japanese hard-rock screamo band Dazzle Vision posted photos on their Twitter account today previewing the release of vocalist Maiko’s voice-synthesized alter-ego. Famous for her “Death Voice,” high-fashion lolita style, and melodic vocals, Maiko and her band-mates recently judged an open-mic “Death Voice” contest outside Shibuya’s fashion landmark 109 building.
Japanese fan magazine Gekkayo has posted a download of Maiko’s voice compatible with the UTAU software. Competing Vocaloid software (from Crypton Future Media) was made famous by characters like Hatsune Miku, Kagamine Rin and Len, and Megurine Luka. In 2009, J-Rock singer Gackt lent his voice talents to become a character for the software Gackpoid.
Dazzle Vision’s new album “Shocking Loud Voice” releases May 4 in Japan.
Official Dazzle Vision website – http://dazzlevision.net/top.html Gekkayo Online – http://gekkayo.jp/Following the smash-hit anime tie-in compilation album “FLOW ANIME BEST”, FLOW will be digitally releasing their new album “BLACK&WHITE” through iTunes and Amazon, celebrating their 10th anniversary! Actively performing internationally from the US, Singapore, to Korea, FLOW will appear at the largest anime convention in France this summer. Next month in April, FLOW will also return to the US once again for a performance at Anime Matsuri 2012 held near Huston.
[Tracklist]
1. Hey!!! ( Opening theme song to Anime BEELZEBUB)
2. Rock Climber
3. Kakumei
4. Konosaihakkirisasetokouka!
5. Kanjyou kousinkyoku
6. Chelsea girl
7. Ohayou Japonica
8. BLACK & WHITE
9. Tabidachi Graffiti
10. Hikari
11. ON THE LINE
Album “FLOW ANIME BEST” is also available on iTunes and Amazon!
Including theme songs from NARUTO, Eureka Seven, Code Geass, etc.
iTunes Link
Amazon Link
FLOW’s US Live Information
April 6-8, 2012
THE WOODLANDS, TX
The Woodlands Waterway Marriot Hotel & Convention Canter
http://animematsuri.com/
Celebrating her 30th anniversary, Maki Nomiya will be releasing her self-cover album including songs from Pizzicato Five, Portable Rock, and her solo career, added with a brand new song “The Me Whom I Don’t Know” produced by Towa Tei. Other producers in the album features various prominent artists including Cornelius, Yukihiro Takahashi (YMO), MIYAVI, and many more.
This album “30 ‾Greatest Self Covers & More!!!‾” will be available worldwide through iTunes and Amazon on February 17, 2012.
Maki Nomiya 30 ~Greatest Self Cover & More!!!~1. History of Miss.Maki/ Produced by REKISHI
2. The Night Is Still Young / Produced by DJ FUMIYA (RIP SLYME)
3. The Me Whom I Don’t Know / Produced by TOWA TEI
4. Baby Portable Rock / Produced by HYADAIN
5. Superstar / Produced by MIYAVI
6. Sweet Soul Revue / Produced by DAISHI DANCE
7. Magic Carpet Ride / Produced by CORNELIUS
8. Twiggy Twiggy / Produced by □□□ (Kuchiroro)
9. They All Laughed / Produced by Yukihiro Takahashi
10. Me And A Rabbit / Produced by Keiichi Suzuki & Keiichi Sokabe
11. Triste / Produced by ohashiTrio
12. A Message Song / Produced by Hideki Kaji
13. On The Sunny Side Of The Street / Produced by YOUR SONG IS GOOD
14. Ambition Of Miss.Maki / Produced by Rekishi
-Bonus Track-
15. Sweet Renaissance / Performed by Portable Rock
*Countries available in: USA, Canada, UK, France, Germany, Switzerland, Austria, Italy, Spain, Finland, Sweden, Russia, Netherlands, Australia, New Zealand, Argentina, Brazil, Chile, Columbia, Peru
I’m really happy that this year, 2012, marks the 30th anniversary of my debut. Persistence pays off, and I received a very special gift commemorating the occasion–the upcoming 30th anniversary album “30”.
On this album, I sang songs from my debut album “Pink Heart” as well as Pizzicato Five tunes, and also a brand-new track. They are new, creative arrangements of songs I have sung over the years. Many of the artists who contributed I worked with for the first time, and the recording was a truly refreshing experience. My sincerest appreciation goes to all the artists who created the new brilliant arrangements.
And I re-realized that the songs I have been singing were very beautiful. Beautiful songs never fade no matter how many years pass, and never lose their shine regardless of the craftsman. I am so fortunate to be able to sing these special songs again. It’s like the “Me then” came to visit the “Me now,” and it was a remarkable and emotional experience.
I hope this album reaches each and every one of your hearts.
Maki Nomiya
Official Website – http://www.missmakinomiya.com/
I may remember January 14, 2012 as the day I discovered the soft, gooey, gross affection I have for the GazettE. That’s right folks, a live performance made me like a band I had never really heard before. All signs pointed to disliking this band simply for the fact that they’re a new school, post-Dir en grey scream fest. But damn it, they’re a good new school, post-Dir en grey scream fest. Intentionally or not, the band proved that certain J-rock aficionadas (me) need to stop reading fansites that shun bands for being heavily influenced by certain, more seasoned groups, and start embracing them for who they are.
The Live Tour 11-12 Venomous Cell – Final – Omega’s set started out strong, with songs from their latest album, Toxic, heralding in the grimy theme of the show. Songs like “VENOMOUS SPIDER’S WEB” are quick in tempo, but the texture of the guitar riffs and synth give the melody a slightly sticky feeling, as if your mind is caught on a giant, musical sheet of fly paper. The autotune in “VORTEX,” despite the fact that it’s the dreaded autotune, adds to this to make it sound like Ruki’s voice is being filtered through poisonous tree sap.
From the nasally barks to the dueling guitars, these songs speak to that angst-ridden demonic filth that lurks deep within all of our souls, whether we admit it exists or not. I don’t think I’m the only one who hears a variation of the drums from Marilyn Manson’s “The Beautiful People” when Kai starts thumping away on “MY DEVIL IN THE BED.” And that was not the only thing that harkens back to the late-90s’ king of cybergoth’s disturbing sexuality; the chorus of pre-recorded female voices proudly taunted, “Let’s have sex in the darkness!” amongst less PG-13 musings from Ruki.
These numbers that fluctuated between dirty to pervy to downright nasty were obviously well put together in the composition and production phases, and equally well done in the performance that evening. But every once in a while, a song would sneak in that sounded out of place in terms of sincere grossness factor. The band decided to toss in tunes like “CLEVER MONKEY” that lacked the texture and attitude they had originally sold me on. Upon post-concert research (read: talking to a the GazettE fan), I discovered these were their older tunes. While they were performed with the same approach as the newer ones, it’s quite obvious these were from a time when the band had not yet found their footing on the mountain of musical goo they were trying to scale.
And this is why I was glad I heard the band’s music in this stage of their career and not before. Approaching this show as a the GazettE virgin, I was prepared to have my ears violated maliciously, but was surprised to find I liked having my preconceived notions violated like that. A few of the tunes may be thinly veiled homages to a couple older artists who have been doing the grime and slime for years, but hey, I like those acts too.The diehards can cherish the older tracks on their own while I keep my pervy eyes and ears peeled for newer material.
Official the GazettE website – http://www.sonymusic.co.jp/Music/Arch/SR/gazette/
If there’s ever a time to do the Vulcan Salute outside a Star Trek convention, it’s at a SUGIZO concert. The guitarist, violinist, and songwriter started doing the Salute during LUNA SEA shows back in the day. And for some reason fans have adopted it as the most logical way of greeting him. Perhaps it’s because, between his unbelievable finesse with the guitar and brilliant arrangements, SUGIZO is some kind otherworldly genius. But unlike the characteristically emotionless humanoid alien, his show on December 22 was a whirlwind of spirituality and wonder.
Much of the set was a cross between a pseudo-religious trance and a good old-fashioned jam session. From the conga drum to the electric violin to Russian vocalist Origa’s haunting siren call, the songs and performance was more world music than straight rock, but unlike anything I’d heard before. One of SUGIZO’s more subtle tinges of genius is his ability to make simplicity so complex. He takes a rather straight-forward guitar riff and carefully places an African-style drum beat over it. When the mood hits, maybe he’ll put a single vocal line extended for eight bars. Wait a few minutes and he’ll start sawing away at his fiddle, creating notes in perfect succession of each other. This is minimalism, but minimalism layered 500 times over itself.
All of it was undoubtedly thought over with painstaking precision, as there was no room for any instrument to be misrepresented or misused. Yet at the same time, each song flowed so naturally, it was as if the music just spontaneously emerged from SUGIZO’s mind, permeated through the air, and danced around in the audience’s brains.
The visuals mimicked the music’s mantra with Rorschach tests, a vortex that may have shown me the path to enlightenment, footage of protests and Martin Luther King Jr., and (the icing on the cake) the exquisitely elegant belly dancers. This optical package created a narrative. Besides Origa’s occasional vocal lines, there were almost no lyrics throughout the nearly three-hour show. As some of the numbers were about ten minutes long, the music was in danger of wandering, and without something to look at, the audience’s attention may have strayed away from the stage and on to how cold Zepp Tokyo was that night.
On that thought, genius comes with a price. The music is not something you will get stuck in your head. It’s not easily digestible. It’s not going to appeal to everyone and not everyone will “get” it. But going in to a SUGIZO show with an open mind, you could find yourself in awe of how wordlessly and effortlessly the man can create a concert. By the end, you’ll be throwing up your hands in the Vulcan Salute and in your best monotone saying, “Live long and prosper.”
February 4, 2012 – Osaka based gothic-metal/rock band SoundWitch will make their American live performance debut at Tekkoshocon 2012. The band will perform a live concert and attend autograph and Q&A sessions for fans during Tekkoshocon’s four-day event in Pittsburgh, PA from March 22 – 25, 2012.
SoundWitch PROFILE
SoundWitch was formed in Osaka, Japan in 2005 and performing in the Kansai area. In 2007 and 2008, they released three demo single CDs, and in July 2008 performed at the female vocalist festival, “ADDICT XX”.
Maintaining their momentum, they moved into production of their first album and in April of 2009, “WICCAHOLIC” was released. For this release, they set out on a Japan-wide tour and released their first promotional music video, ”WITHOUT”. SoundWitch ended their tour in January 2010 with their first solo “one-man” live show in Osaka, performing 8 news songs which signalled the start of production on their 2nd album.
In 2009 and 2010, SoundWitch performed at several Japanese music festivals, including “FAR EAST RAMPAGE” and taking the headlining spot on the sub-stage of “ADDICT XX”, followed by the release of their second album ”GROTESCA” in October 2010. After the release, they began the “GROTESCA SHOW” tour country-wide, finishing the tour in November 2010 with a ”two-man” show with their 413 Tracks label mates and friends “6ft. down”. In March of 2011, the “KISS ME KILL ME” 2011 JAPAN TOUR CHAPTER ONE was announced.
SoundWitch members are: Twin (vocals), May (guitar, programming), Sack (drums), Matsubai (bass), Drug-on (guitar).
SoundWitch official website: http://www.soundwitch.jp/Latest Posts | All Categories | All Tags | Rock | Indie | VK | Pop | Photos | Video | Press Releases |
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