We heard the trailer for “bite the bullet” last week, and, in addition to being more than ready to hear PassCode’s second major label single, I was also nervous that region blocking would kind of ruin the party for those of us in North America (we weren’t able to pre-order, for instance).
The idol experience isn’t something that a lot of us get to enjoy — due to distance, finance and other pressures, we resign ourselves to YouTube and Twitter and fan communities, and we hope against hope that maybe someday the performers we love the most will wind up within easy travel distance of our homes. But it’s kind of lame!
Whoops, I did it again; despite some doubts about whether delving back into the bowels of some favorite idols’ performance history was worth the trouble, the now-not-so-recent entry on BiSH’s Atsuko* got me thinking about other notables’ time as safe, normal idols, and I remembered Yuna’s time before PassCode.
Yes, the world’s tiniest harsh vocalist was, once upon a time, this:
Just before we begin, can I ask that we take a moment to appreciate how legitimately cool it is to see PassCode somewhat back on a tiny stage, in a smaller environment, being incredibly raw with just a back track and absolutely zero effects?
I feel like this is the quietest that PassCode stuff has been in forever, since about a year ago, when they were promoting VIRTUAL ahead of the release that would take them from cult favorite to a major release. I wasn’t ever bothered to look up sales figures for “MISS UNLIMITED,” but I’m presuming that it did well overall, and this time they’re taking now is mostly preparatory for the next record.
Good job, John. Our pal John “Straight from Japan” Winner very honorably and not at all pushily convinced YouTube Reaction Industry participant Mac Ryan Mac to take in and, you know, react to PassCode:
“This is such a great combination of idol music and rock.” Yes it is.