Dear idols: When you take on the massive lift that is going from the Tokyo underground to international touring, you get the benefit of the doubt when it comes to the ol’ Homicidols editorial calendar, and things that I’d ordinarily Weekender become features. If I can goose interest in your gigs when they’re going to happen right here in my country, I’m going to do it, you know?
In this case, with Oyasumi Hologram now only a couple of weeks away from their first (and hopefully not last!) run of U.S. tour dates, I wanted to highlight some live video from their gig over the weekend. If you’re new to them or just plain on the fence about whether to get to the Bay Area or New York or Philadelphia, maybe these little tastes of what’s in store can sway you. Or you’re like me and will just plain enjoy seeing OYSM doing their thing!
I’ve been sitting here with my finger twitching over this stuff from Yet Another of Maniac’s Favorite Recent Discoveries JOANJOAN for several weeks, and I really just can’t wait anymore. Plus, what I’m waiting for might not ever actually make it to fruition, and then won’t I be the one with egg on my face? And you’ll be the ones who probably didn’t learn some additional info about JOANJOAN because I can practically guarantee that you’re not following them yet!
So to preface, the really important news is that there’s this new digital single available:
本日10/10より、ジョアンジョアンの最新音源『NEW AGE RIOT』の配信販売がスタートしました！
At first blush, I didn’t want to make too much of this … well, not completely unprecedented, but nonetheless very special-feeling pro cut of the inimitable Zenbu Kimi no Sei Da, live, in front of a ton of people, doing the thing that they do so well and pretty much everybody else has to just hope to keep up with.
For real. Just bathe in that. Understand that it’s a gift to see these particular masters of the craft in the chaotic revelry that is their live stage without actually being at the live stage, Codomomental’s business model being what it is. Garry actually wrote a really great reflection of that environment, and from a hyper-rare Codomomental grad show to boot (that grad show), and you can see the same emotional sweep at play here minus, like, the weeping and stuff.
This is just a simple thing. I’m posting it so that the folks who follow the Zenkimi tags or hit that category via Google or whatever really see what it’s about, and maybe gain a different level of understanding from doing so. Also to encourage Producer-san to maybe do this more often!
And speaking of stuff that I didn’t get around to working on while I was on hiatus, here’s one that I found to be a true personal delight … two weeks ago, when I first saw the video and made a post draft. “A ha,” thought I, “’tis the perfect item to schedule ahead for when I will be detached from the Internet!” So cute of me to think that I’d actually have the time to do all of that, pre or otherwise!
It’s a nice song, though.
This guy was actually released on Sept. 26, so I’ve technically gotten in the post within the opening two weeks of its existence, YouTube publish date of the video (and lack of full MV) be damned. They also had a one-man on the 30th, which I obviously didn’t inform you about despite the big note a few lines down from here that I’m about to delete, because, like, this post is late. Continue reading →
Well, friends, while it may be coming to you late, I hope those of you within driving distance of HOTLANTA don’t have anything else planned, because idols of esoterica STARMARIE are making yet another U.S. appearance, this time at Anime Weekend Atlanta, and if I didn’t have half a hundred things to do I’d be considering it myself:
Indulge me this morning, folks, for I have seen a live video and I want you to see it as well. The reasons are simple: I want you to feel about it as I feel about it, and to get that swell of “I need to support this!” inside, and to want to make impulsive purchases through international grey markets in the act of that support.
Wagamama Rakia (no, not the other Wagamama, this Wagamama) release this the other day, and I set it aside purely so that I could get the feeling down in full. To whit:
These videos aren’t new, friends, but I had this guy right down here sitting there in the Weekender, and I was like, you know, it’s kind of rude to just leave this here. Remember the good ol’ days, Maniac, when you used to just about zing straight out of your clothes like in an 80s cartoon any time favorite idols of yours got a total bootleg fancam video uploaded to YouTube and you just had to blog a post? Those were good days. Exciting days! And NECRONOMIDOL was one of the most featured things in those days, before they got all big and swanky and stuff and before you realized that there were like 7,200 idol groups to cover.
I originally just published the videos for one thing, but right as that was happening came along a preview of “SAMHAIN”!
A funny moment on Saturday: Within a few hours’ time of saying not-great things about IVOLVE’s new MV, I fumbled around with Soundcloud while looking for a good soundtrack for a bunch of housework and boom, right there at the top of the feed, a fresh track from … the same IVOLVE that I’d just kind of dismissed. Funny!
It doesn’t appear on the new single, but was instead announced at their one-man the other night, from which they’ve also released a ton of live video: Continue reading →
This started off as a Weekender thing until I had that sudden sinking feeling that I hadn’t brought up 2018 Corenament champion and all-around great pair of people Minna no Kodomo-chan, and even then it was just going to be a throwaway post until — gasp! — I went back to read up on what the real hook should be and remembered that not only had Everybody’s Children promised to go full-idols-plus-band-entity, but that this might be the first time that was put to video, like, officially.
In overall context, that’s a big deal! I certainly thought so, a take apparently so hot that it’s still burning its way toward the earth’s molten core (where it belongs). Which is profoundly stupid, because a) everybody likes when idols play with bands and b) there’s nothing about the permanent inclusion of live musicians on a stage or in the studio that in any way obscures the experience of idols doing idol things, and certainly not so for the audience, and c) if you’re ostensibly a music fan, having more music in a performance is probably a good thing.
Zombie idols are all kinds of well and good. When you think about zombies as a meta-pop cultural thing, they can represent a whole lot of things — loss of self, relentless danger, apocalypse — and so are excellent vehicles for commentary. The whole being-eaten thing is scary on its own, you know? A skilled storyteller can take all of that in just about any direction you might like. So, applied to idol, you face a mess of possibilities, from mirroring wota back at themselves, to the transition from person to performer to idol, to the reduction of self to a mindless automaton.
Anyway, ANotheЯ may have started off as just Luna doing surprisingly competent solo work, but the plan was always to have her a) shuffle through the streets of Tokyo at night and b) devour the living flesh of other girls so that c) at least some of them, rather than just being food, would become new members of ANotheЯ. It’s a pretty straightforward process!