In a move that was definitely intended to make fun headlines, RILISREVERSE have released their new digital single Reversal!
I know we Weekendered it a while back, but it’s entirely possible that people — silly, fallible lumps of loosely organized flesh that they are — either have forgotten or are somehow not at all aware of the fact that DAIDAIDAI, one of the most unique and exciting acts in this entire scene, has an album coming out in basically no time at all now. I’ve been excited about since the day I heard about it! Imagine being aware of what this group brings and not being excited.
And so there was the move by producer-san, it seems, for DEMON TAPES decided to drop the first proper promo for the album on Valentine’s Day, and I’d have missed it completely if not for a bit of research last week. The thinking is sound, right, like of course a Sunday in the middle of winter when people are much more worried about their SOs is the best time to slide out new music that will gin up interest in your album. I am in absolutely no way being sarcastic! But anyway, this is awesome and exciting: Continue reading
NECRONOMIDOL’s new album — first full-length with the new lineup — is just days away, and you know what that means: IT’S LEAD SINGLE TIME. I know we were all kind of shocked when The Breakup happened, and then intrigued as the new group took form, and then everybody had their own opinions about “santa sangre” but this particular development, this new album, has felt like the part that we’re all most eager for. You like when Necroma dominates your soul and grants you immortality just to inflict as much agony as possible for all time, in song form!
If vämjelseriter can deliver on even a fraction of the promise in here, it’s going to be a hell of a lot of pain: Continue reading
Good morning! Or, if you live in (say) Texas, I really do hope that you’re having a good morning because power has been restored, your pipes are unfrozen and imminent threat of danger is no longer necessarily a thing at home. What a week. We had two separate “storms” here in the National Capital Region, one of which was billed as It Will Ice So Much That Your Trees Will Come Down (note: trees still standing) and the other, the tail end of the system that obliterated the aforementioned Texas and many other points in between because we didn’t get the polar vortex, went from OMG 8 INCHES OF SNOW AND ICE to me scraping less than 1 full inch of icy slush from the driveway. I love myself some good winter snows and we haven’t had much in that way the past few years, so … get your act together, Mid-Atlantic Winter.
Big week in idol, too, which is going to seem like a weird thing to say because this isn’t the thiccest Weekender we’ve ever put on, but there are a whole mess of posts to follow because basically everybody chose the past handful of days to put out things that we’d want to talk about in much more depth than, well, the Weekender. Those’ll be coming over the next few days. Homicidols Hot Takes, get ’em while they’re HOT!
You all stay safe and well, please and thanks. If you need to hunker down with the DAIDAIDAI EP that’s like minutes away at this point, do it.
Biases Make Baby Jesus Cry
Happy belated Valentine’s Day from Aizawa Aria:
Dempagumi.inc: Eitaso out, half of DEARSTAGE in:
— でんぱ組.inc (@dempagumi) February 16, 2021
It’s getting very hard to avoid becoming a POPPiNG EMO blog:
Things are going well when I’m telling randos about Sway Emotions Slightly:
BOY MEETS HARU NEW EPISODE START:
BOY MEETS HARU
-NEW EPISODE START- pic.twitter.com/DzY7uTKr3m
— BOY MEETS HARU (@boymeetsharu) February 18, 2021
It’s fun to think about how far WAGAMAMARAKIA has come:
Of course Herosyn dropped an elbow on ^that^ dance video with one of their own:
Very all about this upcoming Alive to Rainy EP:
M04 drain away
型番ALCD-0009 価格：1.650円（税込） 全4曲入り 販売、発売元：アライブエンタープライズ 流通：タワーレコード pic.twitter.com/1B3cXPt0wc
— アライブとレイニー 公式アカウント (@alive_to_rainy) February 18, 2021
WILL-O’, get ’em while you can:
Just a reminder that Babymetal still has more of these left to perform than they’ve done, and we can’t even think about being at them:
Thank you for coming to "10 BABYMETAL BUDOKAN"
DOOMSDAY ‒ Ⅲ
— BABYMETAL (@BABYMETAL_JAPAN) February 16, 2021
This is not the “solo track from a member of RAY” we ordered!
Idol in Focus
This week’s Idol in Focus is Sugarpills because they keep teasing and even releasing new music but not actually doing it in ideal media for sharing:
作曲 Top Athlete
— Sugarpills-シュガーピルズ-(公式)🌓 (@sugarpills_info) February 19, 2021
Bonus in Focus
I did some math and I might get to this new Kolokol MV in several weeks’ time, better to give it some air when it’s still fresh:
Also, new costumes!
Kolokol – New costume ✨✨ pic.twitter.com/ts3qmVvP0F
— Kolokol (@klkl_official) February 20, 2021
Upcoming from Aina:
Obligatory NEOJAPONISM, who are welcome to release another album soon:
In the big promo push for that new single, Zenbu Kimi no Sei Da did the Natalie interview thing:
— 音楽ナタリー (@natalie_mu) February 17, 2021
Got a couple of treats for my fellow BIRTH fans:
tipToe. released a maxi-single this week, and it’s awesome; this is the thing:
And this is the one from DESURABBITS, who did not release a maxi-single this week:
Thanks Hina, very cool:
— ムラタ・ヒナギク ▽ 始発待ち (@hinagiku_482) February 18, 2021
Broken By The Scream showing us how idol covers ought to be done:
Have a great weekend!
Well by now you’ve likely seen that Malcolm Mask McLaren dropped their new single and gave you an MV, and if you’re the kind of smart person that you no doubt are as a reader of Homicidols Dot Com, you’ve seen it already because my long promotional missive on MMM’s behalf either eased any remaining doubts OR reconfirmed the exceptionally astute biases you have for them, and you were aware of this release the second it happened. This post isn’t for you. It’s for that mere scattering of random humans who have somehow both heard MMM before and read my awesome celebration of them and still isn’t convinced.
Had to do it to ’em!
So you all likely saw on Wednesday that the re-done OG of OGs — and therefore not OG at all, but somehow one of the best representatives of the OG’s brand since the OG was still the OG — BiS dropped the official lead track from their brand, shiny new upcoming second EP, and I don’t want to put more time into it because this is going to be a “song good” post and I’m running out of ways to pad the word count! Continue reading
Is it okay to call Zenbu Kimi no Sei Da “living legends” when the group may be closing in on a sixthiversary but there’s only one of the originals left? Yes it is because I want it to be? Fantastic.
Living legends Zenbu Kimi no Sei Da, fresh off of a year of causing their many longtime fans to soil themselves in fear that the group may be on the outs, or at least all but completely redefined, dropped their 12th single the other day. That’s a lot of singles! But it’s the first new material from the all-but-completely-redone group, and it’s a great opportunity for a “came out swinging” cliche, not least because saying it would not make me a liar, just an unimaginative nincompoop who couldn’t think of a better way to describe one of Zenkimi’s most ambitious works:
This is both a review and a discussion of Derek Vasconi’s third episode in his documentary series Flowers of Passion. If you would like context and an introduction to the series, I recommend checking out the reviews of the first two instalments. I have tried to label what is directly about the documentary versus what is in conversation with it, but as the two are intertwined, it was not always possible.
This third episode is shorter than its two predecessors, clocking in a little under 40 minutes, and it covers the relationships between fans and idols. It features Moe from XOXO Extreme, Chihiro from Merry Bad End, Koyuki and Yuka from Lilii Kaona, as well as Japanese pop culture academic Patrick Galbraith!
The documentary opens on a quote claiming that idols are 2.5D (halfway between fiction and real humans, basically) and that is what idol fans are supporting. I take issue with that statement, especially since I think this is a by-product of the documentary analyzing idol as a whole industry and underground idol in the same breath, as I find it way less applicable to smaller acts. The stakes are not the same as the scale changes. I engage in depth with Galbraith’s interview later in this article.
Much of the interest of this episode was the intertwining of Galbraith’s acafan perspectives (he seems to be really into Xteen, per his chekis) with the impressions of idols themselves on the idol-fan relationship. I was happy to see a more academic take on idol. While the interviews are gold, it is nice to have more reflective segments once in a while. The interiority of the performers we love is a very rare sight, and I really loved hearing from the Lilii Kaona girls what they thought about their fans and how it differed from their previous artistic experience, as they both used to be actresses and therefore have a much more distant and less involved relationship with their fans. The idol to fan relationship is unique to this scene, and that post-live proximity is where the crux of modern idol resides.
I loved seeing Lilii Kaona’s Koyuki talking about how despite being on a much smaller budget/scale, the underground idol scene is as compelling as bigger productions like music stations, because of the sheer energy of the fans as well as the strength and diversity of the music.
Modern idol is also rooted in catharsis. One of the interviewees, event organizer Ansan, said: “There are some people are coming to just cause a ruckus” [sic]. It made me laugh because I do know a couple of fellow fans who used to unwind through mosh pits and cheki interactions and who are now bored at the “no fun allowed” lives necessary in the presence of a pandemic. So I feel like the variety of music in the underground idol scene and this bit of loudol in particular has several avenues for cathartic release, including ones that go beyond the discussion after you took your cheki.
During the documentary, the following quote appears: “If a live house is like a jinja, then its front doors are the torii gates and the idols are the kami who live within. The fans visit these kawaii kami, offering prayers of thanks in the form of special chants, known as ‘mixes’, along with dance and hand movements that are similar to the nirei-nihakushu-ichirei (clapping your hands twice and lowering to the ground) custom. Fans also show gratitude financially through osaisen, tossing their money into the cash boxes of the idol groups via the purchase of idol merchandise. Finally, to commemorate their visit, fans usually will buy a kind of take-home ‘ema’, in the form of a cheki. And just like a real ema, chekis cost anywhere from 500 to 1,000 yen (or more).”
While discussing this with Daemon, who noted that the “worship at the altar of rock” was a fairly common analogy, this quote still doesn’t sit right with me. The docuseries spends a long time talking over several episodes about how the underground idol scene does not have that aspect of distant worship compared to previous iterations of idols pre-AKB, and then presents us this. It seems like an oxymoron. In addition to the contradiction, this quote also does two ideological things that rubs me the wrong way: first, by associating this contemporary and very modern phenomenon with something traditional, the traditional give it a form of forward momentum in time that means the present is a teleological endpoint of history. There’s no real looking beyond it. It cements “Idol” as being this exclusively Japanese thing, despite there being no real equivalency. Furicopy (copying the dance/hand movement of the artist on the stage) is not derived from nirei-nihakushu-ichirei, it’s literally just dancing. In addition, because Ema (the wooden tablets you purchase to write a wish and then hang at the temple) are meant to stay at the temple, I don’t think the chekis that you take home as a souvenir really works as an analogy. I know that tourists do buy Ema to commemorate their trips, but it’s not the intended purpose. Secondly, that deification really shifts the focus away from the fact that you are interacting with a real, live person, who has a history of their own, bills to pay, and exists beyond the context of the livehouse. And that is the core of my disagreements with this episode.
2.5D, Authenticity and Context-Based Relationships
My issue is a fundamental conceptual difference in how we consider idols. Some idols, like Dempagumi Inc.’s Risa Aizawa, do identify as 2.5 people. It is also relatively applicable to more popular idols from bigger agencies insofar as the rigid context in which they exist and in which you can meet them means that the distance between the fan and the idol will always be palpable. However, the proximity with the performers in the chika idol scene, combined with how precarious indie groups are bringing a very different experience. It also means that some of us (us being idol fans) care about the girls as people rather than as characters. Idols show you selected parts of themselves, much like anyone in your life. There is always some sort of filter going on in social interactions and I would liken the chika idol experience more like this than a betwixt and between fictional experience. Also keep in mind that for smaller idol groups, due to the proximity with the fans, a facade or character might be harder to keep up, as you are seen much closer and in somewhat less rigidly geared settings.
One thing that is interesting to me is that it is fairly common for idols to aspire to be considered/labelled “artists” rather than “idols”. Being considered an artist carries that idea of legitimacy and authenticity in the sense that the person is doing their craft as they are, as opposed to the idea of playing a character. A fairly popular example of this would probably be Perfume, who started as idols but are now wildly just considered artists by the general public, as if they transcended idol. A smaller, more local example would be the proficient, multitalented Yoneko, who said they had nothing more to accomplish as an idol, but is certainly continuing their creative musical endeavours.
The musical diversity is really highlighted as part of the documentary, and I think that’s important. While I know this scene is not only about the music and rather about the whole experience of proximity with the performer, I sometimes wonder if there are people who don’t care about the music and how it must feel for the girls. This is anecdotal at best, but I have heard people talk about traditional idols as this “really cute but extremely dumb girl,” which is … disrespectful, to say the least. I wonder about the people who go to idol shows more for the experience than the music itself. Like people who like a group or a member but find the music literally unlistenable. Is that a fan I made up? A person who goes “Aaah, I get to spend time with a cute girl but you are so bad at what you like to do”? I don’t know how I feel about this.
During this episode of the documentary, Ansan also assesses that “Idols really think about the fans . . . the difference between any artist and idol is that idol shows aren’t over after the performance.” I do think this is an accurate and astute statement, but I wish we could also figure out a way or a system that would make idols support less unilaterally. I know that, well, fan pay for the emotional support they get from idols by giving them money for the interaction. However, per my own observations and per what you can see in the documentary, fans are not the only ones who struggle with alienation and other mental health issues. And while money does help (having a roof over your head and being able to put food on the table are pretty much requirements for living and not being immediately overwhelmed by the stress of trying to survive instead of living), it doesn’t fix your mind. Feeling the pressure of perfection, the pressure of being likable, the pressure of being thin enough or pretty enough are significant ordeal that fan money will not fix. I don’t know how it would work, but if I have only hope for the idol fandom, it would be to make it more about the performer as people rather than just the figure of a person.
Galbraith seems to refer to an unnamed “they” (The Tokyo Idols documentary producer and her team, perhaps?) as people who just don’t know about idols and don’t have data to be forming their opinions of thinking this is an icky scene. The thing is, we do have data to back the fact that there is (occasionally) gross abuse happening behind the scenes. It is (as far as we know) occasional. However, as the idol scene involves several performers who are minors (and therefore considered vulnerable by about any ethics committee), it is particularly important to scrutinize this. We don’t want more of this happening. There are idols like Wada Ayaka (of S/mileage & Angerme fame) who give interesting and nuanced interviews about her experience as an idol and what she thinks should change. You can find one here, please give it a read. That is one part of it. The other part of it is that although the documentary works very hard to make everything seem very platonic, not talking about gravure, nor about photobooks with bikini pictures. Now, in very crude terms, I am not saying, “if you bought a photo book with bikini pictures in it, you clearly rubbed one off on it”. But gravure is titillating, it’s not on the same level as artist profile photos. In the previous episode, they even go so far as translating Gachikoi as “they really like that idol ^_^” whereas it means being in love with an idol. Like, dissolve the idol/fan relationship, “I want to date her for real for real” love. Gachikoi means that this love goes beyond supporting her dream and involves wanting her for oneself in your personal life.
I am not saying that these are necessarily reprehensible things1, nor am I even thinking it. You can be an adult and platonically support idols. You can even think “Yes, she is surely a fine young woman that could be the age of my hypothetical daughter” in a non-creepy way (maybe don’t use my wording, though). I know and love very respectable and respectful idol fans who are exactly the kind of people to give no mind to gravure. Heck, I am arguably the Horniest for Idols ™ member of the Homicidols staff. These nuances aside, I find that this sanitization of the idol experience in order to make it seem respectable both to us and to the exterior, uninitiated world is not doing us a service. At best, it simply glosses over a non-negligible part of the industry, at worst, it makes us sound disingenuous or in denial.2
Speaking of gachikoi, I thought Yuka’s assessment of the idol/fan relationship being like a regular at a coffee shop rather than having a wall between them was very interesting. It’s not the first time I hear this. A friend of mine once compared the oshi experience to going to his usual bar to see his favourite barmaid. But while there is no wall, there is still the same idea that this relationship takes place in certain contexts. While it’s not impossible that you could build links strong enough to hang out with your favourite barmaid as a friend outside of her work, it is more likely that she really appreciates you in the context of her work, but keeps her private life separate from the customers who happen to go to the bar and chat with her. And the same is true for idols and their fans. I am absolutely willing to die on the hill that the idol/fan relationship in their gratitude and how they remember you and bits of your life is genuine, but I also think compartmentalization is an essential part of this job, in order to keep yourself from burning out. I still believe this compartmentalization does not equate a 2.5D relationship.
Now, one very interesting and important element of this documentary that is not addressed is that the part of the idol scene that Derek documents also has a tendency to have older performers. That part is extremely good news for many idol fans and idol advocates in that it demonstrates that this is beyond a scene akin to watching an extremely good high school talent show. In Episode 2, for instance, Lilii Kaona’s producer talked about the fact that Koyuki and Yuka were adults when they started, which makes it likely that they have more more leeway in how they decide to live their life (compared to an adolescent doing this as a part-time job) and likely more life experience as well. Featuring performers who are (somewhat) older is an important debunking and an integral part of the current modern idol experience. It also vouches for the legitimacy of idol as a “genre” rather than something that performers inevitably get tired of.
All in all, this episode was the one that was probably the most consistent in having one very explicit theme and treating in a concise way. Despite this, it might be the episode I liked least so far. While the other two episodes really fired me up with new content and tidbits about idols I didn’t know about, I felt like this episode didn’t bring much of something new, if only maybe defending its points of few compared to the content presented in other documentaries on the topic.
1 Except,obviously, the “taking advantages of minors” part. That is absolutely, 5,000% reprehensible, don’t do that. Garbage. Gravure done by people old enough to know what it entails, then that is your business.
2 Should it be necessary to precise, I am not saying this is what Derek’s documentary is saying. A five hour (approximately, estimated) documentary series cannot and should not be expected to cover everything. This is part of a larger discussion on the conceptualisation and representations of idols. So literally all I am saying here regarding the documentary is that this translation of Gachikoi is a little sterile, and it works with the larger message that idol = support system that is the essence of this docuseries. But let’s not kid ourselves and pretend that there is no horny system in idol.
Well … okay, so it’s mid-February, actually. But yeah, February 1, 2016, was the day I chose to flick the lights on for this ol’ website. I’d been “building it” for several months at that point, collecting assets and planning out a content strategy and the like, and then started writing a backlog of posts in October 2015. I hadn’t quite sussed out how Idol Twitter worked, nor had I found more than a handful of other Westerners to try to connect to, but I had a mission and a fairly decent idea of how to accomplish it.
On that first day, I think I had something like 5 total page views, and they were frankly probably all bots and/or people googling “Kuromiya Rei”. Because I have a background in analytics, I’d hover over the numbers in the early going, checking in at least once per day, trying to measure what did and didn’t work, what people did and didn’t seem to respond to. Not so much because I was trying to have a Popular Idol Blog or anything, but because dammit, I’m actually kind of a professional, and if I was going to do this thing I was going to do it right. There was an objective, after all: LEVERAGE WESTERNERS’ GROWING FASCINATION WITH BABYMETAL TO GET THEM TO LIKE BIS AND STUFF TOO.
I have no idea if that was ever actually successful. Yeah, there are anecdotes from people who are like “I saw a thing on YouTube and liked it and Googled it and I found your website and now I have a Zenkimi tattoo,” but how many are there really. My personal measure of success was always going to be whether a handful of certain acts came to the Americas and/or Europe/West Asian/Africa to perform, and while we’ve been so graced to welcome NECRONOMIDOL and Yukueshirezutsurezure and Oyasumi Hologram and 2& and Yanakoto Sotto Mute and even Chiaki, bless her, to Western shores*, I am shamed to say that not a one of the groups that I originally tagged for U.S. appearances has actually done so yet despite some of them being fairly significant acts not just in Japan but elsewhere in Asia.
So has the project failed? In that regard, it really has! But with five full years under our belts, and really just an absolute ton of development in idol and the fandom and even how casuals connect to it, I think that’s worth talking about a little, no? Continue reading
Good morning! I don’t have a whole lot to say by way of intro because I want to do most of the work in the next post that just so happens to be a milestoner, so I’ll refrain from the observances. Instead, let’s acknowledge the we get the rare weekend Valentine’s Day this year … while in the middle of an unrelenting pandemic and the dead of (northern hemisphere) winter with various assaults by cold and ice in the mix. DID YOU SEE WHAT HAPPENED IN TEXAS! People shouldn’t be allowed to drive. If you’re valentinesing it this weekend, have fun and be safe.
And now to avoid getting too deep into reflections and stuff, let’s get to it!
Abrupt Shifts Are the Work of Lazy Minds
We still have several VIP tickets left for GARUDA! Let's show her a warm overseas welcome and sell those puppies out! Snag your own ticket and play games and participate in the Q&A with GARUDA on Discord!
— Chaotic Harmony Imports & Events (@cha0ticharmony) February 10, 2021