One of the most intense reactions I ever feel to somebody else’s creative work is that of unrequited blown-away. Like, you know when you see that so-and-so did such-and-such, and your entire body loads your anticipated mind-blowingedness like a spring … and then it’s just fine? Or worse? I hate that feeling.
And, frankly, it happens a lot in idol. A performance medium in which so much of the performance that matters happens away from the most-held-up product, and that product’s deepest charms often relying on how imperfect it is, is going to tend to never quite reach the tippy-tops of emotional catharsis for all but the most devoted fans of each particular project. Lives are a particularly challenging environment for this, as so much can go wrong — the crowd is off, a singer can’t find her key, the acoustics are terrible, everybody had the fish for dinner — and a live band only adds more variables to what can be a volatile environment. Continue reading →
Before going on a months-long expedition to distant, monster-inhabited parts unknown*, Mr. Viz Major shared something that he knew would probably get me irrationally excited for at least a few minutes, which is to say live video of Aphrodite:
You look different, Aphrodite. You sound different, too. Did you get a makeover or something? Continue reading →
I don’t think there any many people in the world who think, man, that Maniac guy sure is a great reviewer of music! Despite having a pretty eclectic range of tastes and weird recall from certain times and places when the really good stuff was being produced (in the West America), I often struggle to find a good point of reference for things that I’m hearing, and I don’t know as much about music theory as I’d like. The end result? “Song good superlative exposition comparison to mid-tier act from 20-30 years ago” is pretty much my formula.
I want to mix that up here, though, because Himegami CRISIS, for whom my love only grows deeper every time they put something out, has this live-edit MV out today, and I want to give my feelings about the song justice. Because I particularly don’t know enough about Japanese music (like, not-idol Japanese music), and also because I’d like for the adjectives involved here to accurately express my emotions, I’m asking you guys to listen to the thing and then help me find descriptors.
So I saw this new Dots video linked on Twitter and of course I eagerly clicked it. Within a few moments, the ethereal powers of the・chans took over and swept me away as I watched this clip of them performing “Soda Float Mood”, another song written by For Tracy Hyde‘s guitarist Azusa Suga, who also penned their fantastic crossover tune “Slide”. (We interviewed Azusa previously…)
And then a minute in, I’m thinking “Uhh, hey, these aren’t the・chans I know.” Equally perplexed and fascinated, I dug into the #dotstokyo twitterverse to find out what was happening here. I had previously joked about the Dots entering a state of osmosis and multiplying into two groups, could it be that this thought was prophetic?
Well, nothing quite so heavy and world-changing. Quite simply, Dots had played a show with another delightful indie-idol group called tipToe, and they decided to pull a little stage-costume switcheroo…
Thank you to Jul for the note on this one: yandoll, who you may recall struggled to fulfill their CD-selling challenge just last year despite being sort of uniquely good in the yanderu space (also uniquely in the yanderu space), and also are yanderu idols who often practically define what it means to be chika, are nonetheless making a major debut in the summer under Universal:
To do so, three members are getting the axe (or self-delivering the axe, it’s impossible to tell), and auditions for the replacements are beginning promptly. Farewell live forthcoming. Continue reading →
While I’d love to be showing you guys a bunch of the cool stuff that’s in the queue right now, I’m taking advantage of the long weekend, wherein we ostensibly honor a leader in a long battle for equality and togetherness, but really mostly swear at the news because none of the things that said leader hoped and worked for ever actually came to pass! Like, everybody does it! We’re really unhappy people right now, we Americans are.
I’m feeling pretty good right this moment myself, though, and I was more than pleased to see that this MV from uijin settled so nicely into that placid groove:
So I’ve been feeling a little badly about selling Minna no Kodomo-chan short in my 2017 recap; the thing is, they did great work, but so very little of it! Trash-Up!!’s loudest little idols haven’t exactly been on hiatus or anything. They’re just on a very high school-indie kind of release schedule or something.
Nonetheless, they’re kicking off the year with the kind of abandon that only a group with a song called “I wish I were dead when I wake up” could muster:
As part of the new content strategy that we here on the Homicidols.com Editorial Committee call More Random Stuff, I am bringing you this morning an occasional favorite of the Committee that I reckon should resonate at least a little bit more with you genuine chika fans out there.
I speak of course of SHiX, the kind of idol project that has long warranted the occasional look-in but seems to be too scene-oriented to reach the kind of critical media mass that gets Westerners’ attention. Does this help?
It seems like the time is right to come back around on the (incredibly hard to follow!) series of PiGU releases from the past month, as I am nothing if not devoted to getting more people to listen to PiGU and their (usually excellent!) music, regardless of style variations (currently doing 80s revival!), and consider getting out to Osaka when they’re visiting Japan to see what the POPiD cafe is all about.
I was just going to throw these two you-can-get-these-EPs-from-iTunes announcements into the Weekender, but let’s have a quick look in instead: