I sometimes wonder about what really goes on in Watanabe’s head. The person he portrays is a callous, free-wheeling imp who functions largely through a Hegelian series of resolutions of superego and id, but I think it’s pretty clear that the Watanabe who traps girls on islands and makes people go on morning fun runs just to prove their mettle, who forces idol icons to sleep in a car and eat nothing but rice, is in many ways an idol himself; Watanabe (just like Homicidol Maniac!) is a persona more than a person, and so the very essence of what he puts on is not in fact the rotten-egg target posing as manager of BiS and BiSH and EMPiRE and GANG PARADE, but at the very least a calculating, deliberate mind*. Anybody who’s ever read or seen Hamlet knows that playing the fool frees one to expose so many more truths, after all.
Now, I don’t think that Watanabe is quite up to Shakespearean standards, but he is a performance artist in his own right, with human emotion and maybe even an entire industry** as his media. The thing about artists, though, is that they still need to get paid, and getting paid can get complicated, so you wind up with situations like BiSH’s song to promote something called KIRIN LEMON:
There of course can be discussion around whether the SCRAMBLES sound, or the WACK approach in general, has in fact entered freely into the mainstream, and how it obviates the very notion of the “alt” edifice that they largely created, but that’s not this moment. No, right now it’s about the various things that BiSH in particular is doing to make some lucre. Continue reading →
It seems that our old friends in Q’ulle are taking good and generous advantage of their Avex association, too, and for good and cool and on-brand ends at that. My first response to seeing a little bit of buzz around the following was to get all excited about another new album or the like, but it’s actually for a collaboration with something (a show?) called DYNAMITE BOATRACE:
Now that is some quality-ass idorock
This being a Q’ulle release, of course nobody’s going to be satisfied with just that much. Continue reading →
Gah, I have been waiting >forever for this, and it’s my own fault; I’ve had placeholders about item #2 in this post just sitting in the queue for … well, a while. Nonetheless! It’s time for some motherhubbard Zekkyou rocking your dang face off:
Urge to two-step rising …
Welcome back to the world of staged, pro-shot MVs, Zekkyou, and prepare for the warm embrace that this is going to bring you even before you set foot in the UK. Continue reading →
“Oh cool!” I thought at first. “Another Aina collaboration with somebody that I’ve heard of!” And then came the gritting, as such a notion recalled Aina + TeddyLoid, a project toward which my first reaction was tepid enthusiasm (“Good for Aina, though!”) and has since aged like unpasteurized milk. So it followed, then, that when I finally got to press play:
Oh that’s good work! One could be forgiven for hoping that Watanabe would put that TeddyLoid pile of meh right into the memory hole and spare us another electronic collaboration for Aina (or anybody, really), but this is nice. Like, really nice. And seeing how deep have gone the disses toward Mr. Loid lately, I’m beginning to understand why. Also why I should be adding MONDO GROSSO to my personal list of things to catch up on!
But this is about BiSH collaborations, not just Aina’s, which means that there must be more, yes? Continue reading →
This is a great example of why you should get on Twitter and follow idols, yes, if you want to learn about idols, but why you should also follow people who know about idols, because it’s the random things that sometimes send you straight to gold.
In this case, I refer to @deadgrandma, a Person Who Knows Things and has been around a little bit, who sometimes refers to things that I’ve never heard of. This sends your dutiful Maniac to look up the reference, which often leads to neat personal discoveries but, fortunately(?), not so much on the idol side. Until, UNTIL my friends, until the other day when a familiar word — Pikarin — was in the tweet, and … well, this was the result:
When we last checked in on Screaming Sixties, Zekkyou had just won a big ol’ idoling contest by being that much cooler than the competition. But when we last checked in on them before that, they were gearing up for a joint album and tour doodad with I love you Orchestra (as opposed to their traditional support band, 6% Is Mine).
That was a while ago, but now, finally, we get this cruel tease:
I had somewhat grandiose plans to celebrate this amazing juncture of NECRONOMIDOL and Guso Drop, but life intervened with a vengeance over the last couple of days, and ol’ Maniac just plumb ran out of time to do it well. Fortunately, John was on the case.
Honestly, if this doesn’t get Collaboration of the Year, something (especially) terrible is wrong with the universe.
Sometimes things come together in great ways. Who remembers the old Reese’s Peanut Butter Cup commercials? What goes together as well as chocolate and peanut butter? Well, it seems NECRONOMIDOL and 偶想Drop do, as was seen last night at their 2-man live: 『暗黒混沌GIG』.
I like this little bit of news: FRUITPOCHETTE, who I seriously hope can get back the great momentum that it felt like they had just a little over a year ago, are going to take their relationship with SEX MACHINEGUNS* to the next level by not just performing together, but proverbially making a baby together and hitting the road to promote it: