I was so tired, you guys. Like you know when you reach a point where not even sleep seems like it’s going to get the job done, and what you really need is to remove any and all obligations from your schedule for a few days while you blissfully do absolutely nothing of import? That’s where I was yesterday! And I thought to myself, you know what, you still need to finish the week, but let’s keep the sideshows to a minimum and just chill when possible. No projects, no working out, no bringing the job home, no idol.
So of course on that last point I knew better immediately and thought out loud, “Right, and now watch BiSH or somebody drop another MV and then all your not-plans will be for naught.”
Silly, silly Maniac. If I’d been mindful in even the tiniest way, I’d have known that, yes, another BiSH release was looming, and with it likely something to talk about. They were pretty clear about the build for CARROTS and STiCKS — one EP each in April and May, and then the full album in June — and had already provided one MV as promo to prove it. Why was I sleeping on this?
Here we are, then. And can I admit that I had the most conflicted smash of the Play button of my entire life? The song title and general visual aesthetic put my mind right down the path of expecting yet another Kentacore ballad that would probably sound very cool and nice and possibly even powerful, like that style is at its best, but very much the same, and yeah, that blunts a lot of enthusiasm. On the other hand, their last lead song and MV were absolutely delicious and reinvigorated my old passion for the group, so I had to see where this landed one way or another, right?
Things have been quiet on the BiSH front lately, haven’t they? Sure, sure, they announced a big-ass new tour with an awesome theme, and they have all of the usual tie-ins and promoted merchandise and all that jazz, but … yeah, the thing that put BiSH on the map in the first place (their music) was kind of bereft of attention, and by all parties it seemed. It seemed.
Because what better day to near-guerrilla-drop a new album in a split concept over a 30-day span than April Fools’ Day?
All right, I think we got that out of our systems. We really sweated it down! Other fitness allusion! Did it work for you? I enjoyed it.
And on that note, let’s get back to serious business! Business that in reality I’m pretty late on, and almost missed until Andrew reminded me, and even then didn’t have the wherewithal to watch completely until Team was neck-deep in putting the finishing touches on this year’s big gag, so unfortunately the first real big visual presentation by Marionet is going to get some short shrift. It’s good short shrift though!
From the little preview, I thought I had the track for this picked out, and boy was I wrong! And that’s okay. I’m not manager-san and therefore not in the least bit privy to what manager-san is thinking about re: the direction of the group’s latest iteration and hence its artistic choices, and I can respect that this is a different group than the one that I treasured in the past. And it’s not a huge departure from that legacy! Just idollier than I’d usually expect.
I periodically lament the amount of change that the idol scene has undergone since I first picked up it, and certainly since I started this goofy ol’ website. So many of the groups that were effective backbones are dead and gone, and even many that have managed to keep it together are very different entities than they were in the day. What’s worse is that I outright miss some of them to the point that, during duller times of the year, I get a little too nostalgic and pull that old-man-yells-at-cloud-get-off-my-lawn thing. I miss my idols, is all!
Fortunately, HimeKyunFruitCan (which I believe is now the preferred romaji nomenclature!) may have gotten a reboot, but they’re still at it, and still repping Ehime, and still releasing new things. Just learning about this new one filled me with happiness — one of my favorite old mainstay groups, or an approximation thereof, remains to remind me of the best of it all!
And then yesterday, tootling as I was after some other thing that got buried in my YouTube notifications, I found MVs! New ones! Brand new ones! And with them news of a dang EP that they’re calling a single because that’s the world we live in! Did I give those puppies a spin and immediately feel like I was in some dank torture dungeon? You bet!
True to form, You’ll Melt More! have continued their prolific effort to create an MV for every single song they record, which is a custom I totally endorse and encourage. And so here’s the third and final chapter of their “Never Give Up Drunk Monkeys” EP release, a lovely and positive set of sound vibrations and rhythmic vocalizations that they’ve provided with the translated title “Where There’s Life, There’s Hope”….
It’s finally here, friends. Yes, I refer to the MV to promote the Identity Crisis EP from Kaqriyo Terror Architect, a record that was released in October and somehow feels like it’s still trying to earn the respect it deserves. The title of this post refers to a message that Papermaiden sent to the Team in the wee hours, in which it was suggested that perhaps one view this production not at work, for which it may be neither suitable nor safe, a qualifier that could be extended to public transit, school, where baby Jesus can see and judge you, etc. It also refers to lyrics! So keep this context in mind for a second, as you’re no doubt itching to press play and finally get to dig in.
But don’t let the various stuffs distract you too much, as you should focus on the song, because it’s a pretty good song!
I love a lot of things about You’ll Melt More!, and one of those things is their sheer prolificness. While other groups take months to release a single with two songs on it, YLMM! release singles and EPs like a 24-hour factory of goodness, hardly even slowing down to catch a breath. But what’s important to mention here, is that this continuing flow of output is consistently high-quality and always a sure-fire crowd pleaser.
And then there’s the music videos! The group has gone through the effort to make MVs for practically every song on their recent EP releases. I like the way they’ll produce a couple of videos that show off a somewhat considerable (but still fairly modest) budget, and then knock out some quick ones with hardly any money spent at all, relying strictly on lo-fi charm and hooks to get the point across. The videos often present themselves as labors of love by a group of girls who are clearly enjoying what they do, and that’s far more valuable than a lavish budget shot at some fancy location.
So right now we’re basking in the hangover left behind after the rollicking fun of “Never Give Up Drunk Monkeys”with a follow-up video for their song “Dahlia”. The song itself is a nice, upbeat number giving off a positive glow, accompanied by a kinda dark, but also kinda hopeful MV with idol-zombies, existential late-night wandering, gardening, and Younapi behind the wheel of an early model Ford T-Bird: Continue reading →