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Archive for the ‘visual kei’ Category

[review] exist†trace – VIRGIN

Tuesday, May 15th, 2012 by Kathy Chee

Veterans of the visual kei music scene, exist†trace are no virgins when it comes to churning out great songs. Though there’s not a lot of virgin territory on their third studio album (hint hint, it’s called Virgin); it includes five tracks from previous mini-albums. “WONDERLAND” starts out like the opening to a gothic horror flick; sliding guitar notes mimic an organ and Jyou’s contralto slinks along behind them. “Daybreak” is just as deliciously catchy and rockin’ as when we first heard it in 2011. “Honey” has a very American, hard rock feel. Jyou is carrying the melody, throws in an MC that will be great during a live show, and there’s a very definitive end as the guitar rides the melody out in time with the snap-close of a drum snare.

I don’t like “Ginger,” no offense to all the red-heads out there. It’s like a bad show-tune mixed with every visual kei musicians’ desire to play something jazzy. The remaining songs that weren’t previously released on a mini-album are neither too interesting nor too terrible. The one standout is a wailing ballad, “Anata,” which brings to mind a crazed mix of enka and goth-rock opera. Jyou is a banshee drifting amidst a forest of music, crying out for you to listen. And long time fans will answer that cry, even if it means they have to suffer through “Ginger” land to get there.

Tracklist

WONDERLAND
Daybreak – Jyusan gatsu no shikisai **
HONEY
GINGER
Keiyaku
Little Mary to Utsukushiki Nikushimi no Danube **
Signal
TRUE *
Futatsu no Koe
Anata
KISS IN THE DARK *
I feel you **
SORA

*originally on TRUE EP
** originally on THE LAST DAYBREAK EP

Official exist†trace website – http://www.exist-trace.com/
RESONANCE Media – http://www.resonance-mms.com/

INORAN – A Little Less LUNA SEA, a Little More “Nevermind”

Friday, May 4th, 2012 by Sarah

Call me ignorant, but I really didn’t know what shoegaze was until a few months ago. Or more accurately, I’d never heard of the moniker, though I was keenly aware of the concept: a subgenre of alt-rock that was so flippant, it made Kurt Cobain seem like Freddie Mercury.

I’m not saying INORAN’s 15th anniversary of his solo career on March 15 was exactly shoegaze, though elements such as the heavy use of distortion pedals were certainly there. What made me immediately think of straggly-haired guitarists preoccupied with their untied Converse was actually the audience, mostly because, well, they all looked like straggly-haired guitarists preoccupied with their untied Converse.

INORAN is most famous for being one of the guitarists of LUNA SEA, a band known for their finely-tuned ability to move even the most frigid hearts. Their audience is somewhat reflective of the band, with nary a dry eye leaving any of their shows. You can call a LUNA SEA fan dramatic, expressive, and overly sentimental, and that’s also the band in a nutshell.

But INORAN is a different story. Stepping out on the dusty rugs set up on stage, INORAN looked all the bit the blasé rocker. His backup band was even less extravagant, each wearing simple T’s and jeans. The candles places haphazardly around the stage made the whole atmosphere feel like you just entered your friend’s cool older brother’s basement apartment a la Trent from Daria. He’ll move out as soon as the band gets signed, but in the meantime, help yourself to some leftover pizza.

I hate to state the obvious, but one listen to INORAN’s music and even the least savvy listener will know exactly who his influence is: the one, the only, the slightly clichéd at this point Nirvana. The first number, “No Name”, might as well have slapped the audience in the face with an ironic smiley face with X’s for eyes. The guitar may be more complex that your typical Nirvana tune, but it’s still relatively simple and chunky, playing at a rhythm that allows the audience to bob their heads with all the enthusiasm of a gaggle of zombies. INORAN’s even got the signature marbles-in-my-mouth thing going on as he occasionally slurs English and bursts out with random frustration.

Reaching past the glaring similarities, INORAN is his own man and brings his own voice to the genre. Songs like “Santa Ana Afternoons” feature a cool, repeating bass, while venturing into melodic pop rock for “Sennenka”. Bringing out his acoustic guitar for “Leslie”, INORAN completed the picture of just a couple of guys jamming. The guitar sounded raspy, like the action was too high and who could be bothered to fix it? The rest of the instruments added layers to this song, as if they were trying out some new riffs at that very moment. It felt real, organic, and true to the mood of the audience.

When INORAN announced the upcoming release of his new album, the audience gave him a half-hearted applause, as if clapping took away parts of their souls. And that’s cool. OK, I’m not so good at pretending to be – let alone actually being – dispassionate, but INORAN is the perfect voice for those chill times when your emotions are stuck on shoegaze levels of giving a fuck.

Official INORAN website – http://inoran.org/app-def/S-102/wp/en/

[live report] La’Mule – My ’90s Visual Kei Fantasy Realized

Wednesday, May 2nd, 2012 by Sarah

If a magical visual kei genie appeared before me right now, granting me one wish, I know exactly what I would want: to travel back in time to the mid-90s. I can give up the instant intellectual gratification of Wikipedia and the oversharing aspect of Facebook for a couple of days just to do a massive concert hop of all the bands that were either at their prime then or have since vanished into the annals of obscure Japanese pop culture history.

La’Mule would be one of those bands.

I got my wish, brief as it may have been, on April 6th in Tokyo’s Shibuya REX. La’Mule was always one of those bands whose name you might come across in passing as part of that last-blast band boom that occurred in the late ’90s. Those bands always boasted hair that was unnaturally borrowing from different colors of the rainbow, the vocalists sang like angry goats, and music was more punk – and somehow more honest for it. These were the bands that were more directly influenced by some of my favorites (Kuroyume, to be more specific), and were untainted by the overexposure today’s internet produces. Looks were important, but it was more about the theatricality. Plus, there was no autotune back then.

The venue was tiny, but packed to the gills with surprisingly youngish fans sporting the cyberpunk gothic fashions popular in the late 90s. When the screen rose to reveal vocalist Kon tied in bloody rags to each side of the stage, the compact throng rushed forward. I hovered in the back, afraid to touch this scene out of my ’90s visual kei fantasy, for fear of tampering with it and somehow changing the course of history. You know, the whole time travel cliché. I had to remind myself that it is in fact 2012, and I needn’t worry.

Kon started out clean and clear, bringing a slightly nasal but solid tenor melody that took me by surprise. The La’Mule recordings I’d heard made him sound wane and with the occasional signature goat-bleat, but live, he was an entirely different beast. He ripped himself out of his binds and moved about the somewhat limiting stage like a mad, wounded bird. Beneath the shock of unnaturally red hair, he maintained good eye contact with the audience, which was probably hard not to do in a venue this small.

The instruments, on the other hand, were more or less what I expected. Static and shallow drum beats like a stick on cinderblocks kept the rhythm in the background, allowing the simple but tight guitars to take the lead. This is definitely not a bad thing, as any extra frills might have overcomplicated the music, making the fast-paced beats sloppy and hard to follow. La’Mule is skilled at the style they do, and I wouldn’t ask for much more.

Some songs did manage to surprise me as the guitars played Dorian scales (a.k.a. “that Middle Eastern kind of sound thingy”), adding a little flavor to the music. The tempo slowed down, allowing the audience to sway back and forth. Just as we were lulled into a hypnotic trance by Kon-monologueing, the mood flipped on the crazy switch. The guitars went wild as Kon chucked feathers at the audience like a mental patient ripping apart down pillows. This number was followed by the audience repeating, “Mienakutemo… Todokanakutemo…” (“If we can’t see it…If it can’t reach us…”), covering their eyes with the backs of their hands for the first part, and reaching out toward the stage for the second. It was creepy, but that was the mood they were going for.

The show ended with the band untying the dozens of bloody rags from the stage and rather unsuccessfully tossing them into the audience. The members were crying, embracing each other, and delaying the inevitable: pretty soon, we would all have to go back to the 21st century, with our smart phones and our Lady Gaga. But it was fun to live ’90s visual kei for a couple hours.

Official La’Mule website – http://lamule-official.com/

[interview] Dazzle Vision – Shocking, no. Loud? Yes!

Tuesday, April 24th, 2012 by Kathy Chee

Female fronted pop-metal band, DAZZLE VISION, is set to release their 6th studio album on May 4, 2012. After opening for Evanescence a few months earlier, recording a new album, and having Maiko’s death voice vocaloided, the band took a quick breather to answer some of our questions via email.

pSKY: John, did you change any of the guitar parts on the remixes for SHOCKING LOUD VOICE? How would you describe your particular style of guitar playing?

John: Other than the song “Kuhaku,” we just re-recorded.  In the new songs, “Second” and “Take my hand,” I didn’t change anything in the guitar parts.

About my style, I am best at emotional guitar playing with freedom of expression. The most important factor is for it to be unique, so I always look for things only I can do or sounds only I can create. When I perform live, I emphasize mainly on how it looks but this isn’t limited to during live performances. If it’s an instrument I don’t feel any attachment to, I don’t feel the urge to play whether it’s at home or at a live. Another essential thing is for the pitch to come together and the guitar to have a strong foundation.

pSKY: The album remixes/remasters have really clean production. Did you re-record any parts and if yes, how did you approach recording each song in the studio?

Maiko: “Second” and “Take my hand” were new songs, so we newly recorded them. We created them with an emphasis on the live aspect, to connect with the album concept. I have poured more emotions in than ever, screamed and sang both songs. We also recorded “Kuhaku” as a live version. To give it more of a live ambiance I sang it all out in one shot without resting in between.

pSKY: Was there a specific direction when you chose the track listing? It makes for a very energetic feeling album as a whole.

Maiko: We chose the track list by imagining a live performance set list. If you listen to this album, I think the flow of DAZZLE VISION’s live performance can be felt. We tried really hard to figure out a way to make the sound close to the sound you can hear at a live venue too. If you listen to it, I would like everyone to come to our live performance.

pSKY: You opened for Evanescence, did you get a chance to hang out? How would you describe the experience of opening for a popular foreign artist?

Maiko: As for myself, I was very moved because it was a band I really liked before I started a band. Their live performance was inspiring, but all of us were inspired by how Evanescence was backstage too, how they interacted with their fans, etc. After the live performance we talked, took photos, and got their autographs.

What I was happy about the most in the two days of performing was that on the first day we gave Amy a copy of our album “Kirari.” After the second day’s performance, it seemed as if she had listened to it, and Amy asked us to autograph the jacket cover. I was really surprised and also I was so happy she felt a positive vibe from our piece! We felt we would like to become artists who have big, warm hearts like Evanescence.

pSKY: Do you consider yourselves part of the metal scene? Tell me about the metal scene in Japan in terms of popularity. Do you think it’s similar in popularity to visual kei (more popular, less popular or just so different it doesn’t matter)?

Maiko: DAZZLE VISION is in a broad category of genres including metal, visual kei, pop, screamo, etc. The only thing is that it’s not for us to decide and we believe it’s something defined by the listeners. I think the popularity of the metal scene and visual kei scene is about the same in Japan, but the age range/gender of the main listeners are different.

pSKY: Do you ever hope to break into the metal scene in North America? Think Evanescence will invite you to tour with them outside of Japan?

Maiko: We would like many more people to know about DAZZLE VISION and like us, so we definitely would like to get ourselves into the North American market. Evanescence said to us, “See you soon!” so we would happy if they invited us. We would like to continue on our activities to grow into artists who are worthy of being invited.

pSKY: Maiko, have you ever felt discriminated against as a female vocalist in this genre? Have there been any tough decisions you’ve made based on your gender?

Maiko: I do feel this. But there are more times I feel I’m glad I am a woman. Also, up to this point, I’ve never had a experience where I had to make a difficult decision.

pSKY: Maiko and Takuro, you’re siblings. Do you ever run into sibling rivalry? Takuro, have you ever had to fend off Maiko fanboys?

Maiko & Takuro: There’s really no sibling rivalry.

Takuro: It’s not a sibling rivalry, but I believe we give each other good influences. There are times when I think Maiko’s working really hard, so I have to as well and it makes me think a lot. Also, we barely have the sense that we are siblings and we mostly interact with each other as band members. Although, there definitely is an existence of mutual understanding, for sure. I believe this definitely is a merit for siblings. And DAZZLE’s fans are well mannered, so I’ve never been put in a situation where I had to protect Maiko. If, in a situation where something like this did happen, I think not only myself but the fans would protect her too.

pSKY: Maiko, your death voice was recorded for an alter ego compatible with the Utau software. Have you listened to any tracks featuring your alter ego? What do you think of her?

Maiko: Of course I listened to it! So many people are making pieces using “Hakaine Maiko.” The voice and her image is me, so I want to love her as another part of myself. I will work hard on my activities as “Maiko of DAZZLE VISION,” so I won’t lose to “Hakaine Maiko.”

pSKY: What are your plans after the album release on May 4?

Dazzle Vision: We decided to make this year -the year of the live- after releasing “SHOCKING LOUD VOICE,” so we are thinking of performing live in all different parts of Japan. We already have many lives planned, but we would like to go perform a lot overseas, so please invite DAZZLE VISION to your country! Let’s go crazy at the venue and have fun. We would like to meet everyone soon!

Official DAZZLE VISION website – http://dazzlevision.net/top.html
Resonance Media – http://www.resonance-mms.com/

[press release] X JAPAN WINS THE “BEST INTERNATIONAL BAND” AWARD AT THE GOLDEN GODS AWARDS

Thursday, April 12th, 2012 by Kathy Chee

April 11, 2012 – X Japan took home the award for Best International Band Wednesday night at the Golden Gods Awards, after becoming the first Asian band to ever be nominated for a Golden Gods Award.

The band beat out internationally acclaimed Rammstein (Germany), Lacuna Coil (Italy), Sepultura (Brazil), Behemoth (Poland), and Meshuggah (Sweden).

“Thank you Revolver. Thank you so much for recognizing us,” said Yoshiki, leader of X Japan, who was present at the ceremony to accept the award.

“Some people might have heard of us, we’re from Japan. Well, our band name is X Japan. We toured North America in 2010, and did our first world tour last year. Now we are finishing our first worldwide debut album. And we are planning on doing another world tour soon. And to our beloved fans: Thank you so much for your support, we are going to keep on rocking. And we fucking love you.”

Held at Club Nokia in downtown Los Angeles, the fourth annual Golden Gods awards handed out 11 awards Wednesday night. Other winners included Avenged Sevenfold, Slash, Korn, and Evanescence. The Black Carpet and Show was broadcasted on X Box Live and will be aired again this year on VH1.

The show coincided with the opening of the Grammy Museum’s new exhibit, Golden Gods: The History of Heavy Metal, which will run through February 2013.

[press release] exist†trace Previews VIRGIN Album on USA Tour

Tuesday, April 10th, 2012 by Kathy Chee

April 10, 2012 – All-female visual kei band exist†trace surprised fans during their first USA tour by performing an unreleased track “Honey” from their upcoming album “VIRGIN,” due to release May 23 in Japan.

Performing in four cities across the Northeast, exist†trace completed their first live-house tour of America in March with stops in Boston, New York, Philadelphia, and Pittsburgh, where they played for over 1000 fans at the Japanese anime and culture event Tekkoshocon.

In addition to the new track from “VIRGIN,” the hour-long set list included recent singles “Daybreak” and “True,” along with early-career crowd pleasers like “Judea” and “Sacrifice Baby.”

The exist†trace concert at Tekkoshocon was so loud that noise complaints were received from neighboring buildings in the area.

Tekkoshocon partnered with national restaurant chain Hard Rock Café for a special 150-person invitation-only performance by exist†trace on the final day of the tour. This marked the first occasion where a Japanese band has performed at Pittsburgh’s popular rock-themed venue.

“VIRGIN” will be the first full-album release from exist†trace through major Japanese label Tokuma, following two 5-song EPs from 2011, “TRUE” and ”THE LAST DAYBREAK.”

exist†trace guitarist and songwriter miko expressed her appreciation for American fans:

“Everyone who joined the East Coast Tour, otsukaresama deshita!

“This was our second performance in America following last year, so we thought we understood the American energy. But, the ‘IGU family’ in America really surprised us, in a good sense! We were really happy that you guys welcomed us with heat that’s hotter than we imagined!

“Thank you so much!

“We created our stage show with some special elements this time. Songs with a unique production style, like ‘Little Mary…’ and ‘Kiss in the Dark,’ our new song ‘Honey’ that joined us all together, and ‘Judea’ which has always been supported by all of you overseas. All of these songs became important and a special time we shared with you.

“We have been going overseas once a year so far, and if possible, we’d like to visit America more often. We’d like to truly become a ‘Vanguard’ to tell many people how cool Japanese Rock is in many different locations.

“We’re really eager to visit you again, so don’t hold back! Show us your excitement and invite us again. We may visit your town because of your voice.

“See you again somewhere. Take care until then!

“- miko”

Official website – http://www.exist-trace.com/
Link to Daybreak Live Video – http://www.youtube.com/watch?v=HqN3xxuQYcE&feature=youtu.be

[press release] X Japan Nominated for Golden Gods Award

Monday, April 9th, 2012 by Kathy Chee

X Japan becomes first Asian band nominated for Golden Gods Award

April 5, 2012 – X Japan has been nominated for Best International Band at the Golden Gods Awards alongside Rammstein (Germany), Lacuna Coil (Italy), Sepultura (Brazil), Behemoth (Poland), and Meshuggah (Sweden). X Japan is
the first band from Asia to ever be nominated for a Golden Gods Award. This year’s nominees in other categories include Guns N’ Roses, Foo Fighters, Van Halen, Slash, and Evanescence.

The winners will be announced on Wednesday, April 11th at Club Nokia in downtown Los Angeles. It is America’s biggest hard rock and heavy metal awards show, and special performances include Marilyn Manson, Evanescence,
Korn, Slash, and more.

[live report] Versailles – Born in the 17th Century

Wednesday, April 4th, 2012 by Sarah

There was a sketch back in the ‘90s, when Saturday Night Live was a respected comedy outlet, called “Goth Talk.” In one edition of this satirical talk show, Chris Kattan’s character mutters in a waif-like voice, “We should have been born in the 17th century.”

Every time I hear the band Versailles -Philharmonic Quintet- (formerly and much more simply known as Versailles), I can’t help but think of that overly romanticized picture of a faux pre-revolution France that goths around the globe so deeply yearn to live. The spectacular elegance,the vibrant extravagance, the frilly sleeves, the machinegun rapid-fire electric guitars… all these ring true to an era that never existed, but certainly should have.

That image didn’t fail to float into my head like a stray bouquet of roses when I saw Versailles on February 12 for Versailles World Tour 2012 – Holy Grail – Grand Final ~ Chateau de Versailles~. Even as the audience brandished the metal devil horns, between guitarist Hizaki’s bell-sleeved gown and vocalist Kamijo’s pirate captain coat, the band was one powdered wig away from a retelling of Les Miserables.

Grand costumes and bouffant hair are a given at these concerts, but the band did try to mix it a little with some human props. The show opened with fully cloaked, suspiciously feminine monks marching onto a platform behind the drums. These monks would later reveal themselves to be belly dancers for the song “Rhapsody.” Besides that piece of theatricality and the free-standing band members’ sporadic twirling, the stage set up seemed a bit bare. Even the obligatory audience hand movements were a tad lackluster. Without much of the visuals to concentrate on, I was forced to focus on the music.

Thankfully, Versailles is one of those visual bands that is surprisingly more complex in the music department than they are in the costume department, which – if you’ve seen any pictures of them – is saying something.

This band is power metal to the finger bleeding extreme. The guitars in songs like “Philia” duel with the utmost precision while Hizaki and Teru still make it look as effortless and delicate as sipping tea. While the band’s early body of work is heavily influenced by the technical complexity of classical music, the newer songs seemed to be less Mozart and more pop metal. “Thanatos” brought a mid-tempo pace that focused more on the beat rather than showcasing the guitarists’ otherwordly skill. Versailles even delved into a touch of pop rock with “Libido”’sprominent vocal melody.

But at their heart, Versailles are inarguably the musical speed demons less costumed men would be envious of. The guitars in “Threshold” go so fast, the band might have broken through time and space, traveled back to the real Versailles to have cake with Marie Antoinette, and returned before anyone in the audience could even blink.

With all of Versailles’ impressive and seemingly impossible skills, the costumes are still there, front and center. Granted, they’re gorgeous and I envy Hizaki’s tiny waist, but what would this band be like without the classical period extravaganza? They would probably garner a more proletariat than bourgeois crowd, but the music would still be utterly exciting and mind-boggling difficult. However, Versailles will always be part frilly sleeve, part maddening musical speeds that will make all their fans wish they were born in the 17th century.

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Official Website – http://versailles.syncl.jp/

[press release] An Cafe – The Cafe is Reopening

Monday, April 2nd, 2012 by Kathy Chee

It’s An Cafe, the Harajuku Dance Rock band that took the international music scene by NYAPPY storm with their danceable pop tunes and uniquely fun-filled production, and they’re coming back!!

The 5-piece band, who was taking an indefinite break since their Budokan concert in January 2010, announced on April 1, 2012, on their official website as well as on YATTAR JAPAN (international news site for Japanese pop culture) that the band will recommence in summer 2012.

Want details of what is coming up?? They’re planning a new release for summer. And of course, they will be true to their promise to the Cafe-kko for “ANCAFESTA ‘12 SUMMER DIVE”, their comeback event, announced as Saturday and Sunday, September 8 and 9, 2012 at Kokuritsu Yoyogi Kyougijo (Yoyogi National Gymnasium) in Tokyo. Pre-sale tickets will be available from their fanclub site “FC BondS” starting April 25, with a smartphone site due to start the same day. (*Note: “FC BondS” is available only in Japan.)

Further plans are in the works for a World Tour, a Japan Tour, etc. to bring you the maximum An Cafe experience!! Look forward to the all-new, revved-up An Cafe, going full throttle towards the year 2014, their 10th anniversary. O(≧∀≦)O

official website - http://www.ancafe-web.com
Facebook - http://www.facebook.com/ancafehonmono
FC BondS - http://www.fcbonds.com
YATTAR JAPAN - http://www.yattarjapan.com

[press release] IRUMA RIOKA @ Anime Central Chicago

Monday, April 2nd, 2012 by Kathy Chee

IRUMA RIOKA will participate in “ANIME CENTRAL,” a convention in Chicago, USA to be held in late April. During the convention period of 4/27 to 4/29, IRUMA RIOKA make 2 appearances as a panelist and present a live performance.

Anime Central Website
http://www.acen.org (Top Page)
http://www.acen.org/category/categories/guests/musical-guests (Guest Page)

IRUMA RIOKA Profile:
Singer and song writer. She wears her hair long, so she often called “Rapunzel” in the Grimm Brothers’ fairy tales. She has learned piano and composition from her childhood. She covers composition, lyrics and arrangement. Her melodies based on her classical music background catch listeners’ ears and remains for a long time. She is especially good at waltz rhythm songs creating her own world. She always gives the concert with her support guitarist, NERU, and her audience never gets tired with their high-level performances in Gothic-Lolita style costumes known as Japanese subculture. She appeared on the stages of Japan Expo 2011 in France, several cities in Mexico, Switzerland, and so on. She is going to appear for Anime Central U.S.A. in April 2012 as a musical guest. She has many fans all over the world.

Official Website –  http://irumarin.com/
Official Blog –  http://irumarin.com/
Official Myspace –  http://www.myspace.com/irumarin/
facebook (Official Fan Site) - http://www.facebook.com/iruma.rapunzel/
YouTube IRUMA Channel - http://www.youtube.com/user/irumarioka/
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