All right. So before I do NECRONOMIDOL again, let me say that I’m also making a new year’s resolution to get more idol records and do more reviews, including some older stuff. Including something that I’m going to publish in like the next couple of days to break up this Necroma run. And then something else.
Well what the heck, you guys? Even though it was basically a given that BiSH would release another MV to promote the release of THE GUERiLLA BiSH, I don’t think anybody expected that it would appear out of nowhere on a Friday morning in Japan. Just like last time, they stayed true to the theme of the record!
So that’s a pretty solid MV; I’ve never more wanted to be a guy tied to a chair, up to and including the apparent immolation-by-Ayuni. It was a wise choice, too, for the follow-up to “My landscape”, to convince that handful of people in the world who don’t already know that the album actually has a ton of upbeat intensity that BiSH is and always will be BiSH. For what it’s worth, I thought that “SMACK baby SMACK” was the best song on the album … and in wanting to say that and this one other thing* about it, I decided to include a miniaturized version of the review that I’ll now never publish. Continue reading →
I look back on when I first heard Yanakoto Sotto Mute. It was months before Bellring Girls Heart was announcing its kind-of end, and a sister unit coming into being felt like a nice move; give Bellheart a sidecar, and oh look they do grunge and stuff, that’s appropriate and … damn, that one girl there can sing like the dickens, huh? And these songs are pretty powerful!
Two EPs and about a year later, there’s a distinct feeling of change around the whole thing. BRGH took a break and got a new name and a bunch of new members, and it may be that the student has become the master. Or is the Yanamyu thing really just a bunch of hype? On to the review! Continue reading →
Bringing back the disclaimers! It’s not a secret that I’m a huge mark for NECRONOMIDOL, and that their producer, Ricky Wilson, has been a friend to Homicidols.com in what I hope is a mutually fulfilling relationship; that being said, while I never had much reason to think that DEATHLESS would be anything less than great, I made a strong effort to put the relationship behind me for this sucker; I may love idol and I may love dark idol and I may love NECRONOMIDOL, but we don’t build community trust without honesty, and we don’t make other fans by being sycophants.
This review’s going to be more than a little different from how we usually do things, because a thought occurred to me when folks started to talk about the songs being released from Re:STUPiD as if they might be unrecorded work from Lui Frontic Akabane JAPAN (I can see arguments pro and con and have at different times supported either) — we’re thinking about BiS and their music now in the completely wrong way. See down at the end for the punchline and why I legitimately think that’s good and bad, but for now … on to the review! Continue reading →
Other than Babymetal’s Metal Resistance, I don’t know if I had more eagerly awaited an album in 2016. In absolute terms, “meteoric” isn’t a great way to describe Yukueshirezutsurezure’s rise, but in terms of awareness (at least among our kind) and rapidly defining a sound and attitude, they ran a marathon in a short while, only just failing keeping up with their equally compelling big sisters in Zenbu Kimi no Sei Da in total releases.
So yes, I anticipated that this was going to be a definitive album. I had such high expectations of it that, like a former jock parent who just can’t let go, I’m probably being a little bit unfair to the work, which should always be taken as it is rather than as I or anybody else want it to be. Nonetheless, I gotta be honest: I’ve struggled with this one. Continue reading →
It’s not a secret that I’m super-duper excited about the launch of Yanakoto Sotto Mute. Grunge idols from the people who brought us Bellring Girls Heart! That’s pretty much guaranteed to be right up Maniac’s alley. And their first EP, 8CM EP, proved that this was a project way the hell on the right track; hard alt-rock with well-matched vocals and members who put on as elegant and artistic a stage show as you’ll see in idol.
I never thought I’d review a single; I just didn’t see the point. And yeah, “MISS UNLIMITED” is listed on iTunes as an EP, but it’s three songs and an air vocals version of the title track, and that’s a single in my book.
So why would I bother reviewing this one? A lot of reasons, actually: Because there’s an ongoing discussion around whether idols other than Babymetal can achieve crossover success in the West; because PassCode is among the most cited and seen when newcomers go looking for “what else is like this”; because I felt like it; and so on.
This is PassCode’s major label debut. It’s available internationally via iTunes (and probably other mechanisms, too, eventually). It’s already available in Europe and soon will be in North America. This might not be going all-in, but it’s a move aiming at international audiences.
And then they had their live debut, and BOY were a lot of people confused. Instead of a -core-riddled harsh idol project speckled with yami-kawaii violence, we got what sounded like a safe, contemporary-standard denpa-style pop song. I remember the Twitter chatter that day: Had we been had? Like, of course denpa makes sense because it’s so hot right now, but where’s the rock? Sanity did ultimately prevail and people seemed to reach a consensus agreement to withhold actual judgment until the debut EP, I.S.C.R.E.A.M., was released.
So what does I.S.C.R.E.A.M. sound like? What does ICE CREAM SUICIDE bring to the world? On to the review! Continue reading →
For all of the chaotic good news surrounding the return of BiS to actual existence, the first major-label release of their official successor, BiSH, almost managed to fly under the radar. Hell, even the introduction (and subsequent Internet love-in) of Ayuni D seems to have gotten more hype. And the one-day bonus sale pre-release of KiLLER BiSH actually garnered complaints from people — I’ve seen everything from “it’s a cheap stunt” to “why are you such a rip-off, Watanabe?” — and warranted official replies from BiSH on Twitter.
It’s BiSH’s third full album release, all in a span of roughly 16 months (insane), which also includes the “OTNK” and “DEADMAN” singles, which is remarkable; considering that they tour pretty much constantly, it’s almost impossible in fact. For the sheer number of songs now in their discography, plus the schedule and move to a major label, one could be forgiven for thinking that they’d be toning it down. The same was expressed around “DEADMAN,” for which “toned down” is not something you’d use as a description. But this is an album, a major investment by a label that knows what it’s doing.
Basically, did KiLLER BiSH deliberately get a little lost in the shuffle? Or is it delivering on BiSH’s burgeoning promise?