Suzuki Kokone From SAKA-SAMA Is Here To Help Ease Our FEVER…

SAKA-SAMA is most-certainly an encapsulation of what we think of when we discuss the ups-and-downs and side-to-sides of this whole idol business. This group has run a full gamut of graduations and roster configurations, all while maintaining a musical vision that alters just as much as the member incarnations. There’s only one thing about the lo-fi dream pop idols that has stayed consistent, and that’s Suzuki Kokone, the leader and sole founding member of the group…

Kokone’s perennial presence in SAKA-SAMA has now paid-off for her (And for us, too.) with her first solo release! While Kokone has dabbled with some solo lives while playing her guitar, this marks the first actual catalogued TRASH-UP!! recording by her. (There may have been some solo CDRs sold at live shows perhaps, but I can’t quite recall.) “FEVER” is a six-track mini-album now available through TRASH-UP!!’s online store.

And right along with that welcome news, we’ve also been gifted this delightful MV of the title track! The video is very much in keeping with the sort of whimsy one would expect from a TRASH-UP!! solo artist. Tell ya what, why don’t give it a watch if you haven’t already…

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You Review Things: Viz Major on MIGMA SHELTER’s

Actually by @VizMajor

One of the best things about listening to a concept album is immersing yourself into the music and simultaneously living in that moment of the sounds being produced almost as if you had astral projected directly into the experience. With MIGMA SHELTER’s newly released full album “ALICE” we get transported right into the wacky, twisted, animated world of the classic story of Alice in Wonderland. Anyone familiar with the Disney animated film adaptation can take one glance at the song titles in the tracklisting and notice words or phrases that relate to the story and even see that it is also in chronological order. One thing I will recommend here: wear headphones because you will want to hear everything on this album.

The album opener “In Wonderland” immediately sounds like you are being taken on a journey, one can even imagine a moving aerial shot of the landscape of Wonderland. We are greeted by spacey percussion-like synths and a warm violin melody that seamlessly pans between the left & right channels in a ping pong effect. This first song is also where we are introduced to a recurring theme in the sound production of this entire album: soundbytes of nature & living things (weather, animals, insects, etc.) One in particular that I found quite unique in this song is in the 1st half before the tempo picks up there is a hi-hat that rolls & playfully skips around from left to right channel that sounds really cool.

The second song “Rabiddo” features fast escalating buildups paired with falsetto vocals and an interlude of strings that would fit well in an old movie score to a sunny day in the Classical era. It’s a very dramatic song with captivating melodies & alluring vocal harmonies. The next song “Drops” begins with a sinister bassline that can remind one of the bass in the Pink Panther theme and when paired with an old sounding piano enables one to visualize a dimly lit, smokey lounge. The song picks up the pace into something reminiscent of a Burlesque theater chorus line leading into a nasal zipper synth which is then washed away by bubbling water, water drops, & faded vocals followed by a return of the theater music to finish.

Now we get to the middle portion of the album starting with “Egg Head”, a maniacal composition consisting of 7 or 8 transitions and featuring instrumentation in the forms of timpani, midi synth, string melodies, marching snares, and even a rooster’s crow that is sampled & chopped up to fit with the rhythm of the beat. I found this song to be one of the more complex & fun productions on this album. The 5th track “Y” either samples or contains an interpolation of “Pink Elephants on Parade” from the Dumbo soundtrack which serves as a fantastic tuba & trumpet accompaniment. This song follows along in the story when Alice meets the hookah smoking Caterpillar who’s deep voice can be heard speaking his famous line “who are you?” during the percussion break at the halfway point. Fantastic brass instrumentation and full, powerful kicks in this song.

Song #6 “It doesn’t matter” is where we get a change of pace by slowing down the madness and bringing in a feeling of tranquility which not only shows a different side of MIGMA SHELTER but results in one of the highlights of the album. Starting off we are treated right away to warmly tuned acoustic guitar strings & outdoor ambience of birds whistling giving the feeling of being around a campfire singing indie folk music. To top it off, the girls’ singing on this song may be the best we heard from them yet. There’s a strong bass pad that sounds great as it envelopes the atmosphere and leads into the sound of rustling leaves as a bird flies out from a tree which transitions perfectly. The thunder & rain is also a very nice addition to the sonics and really works in setting the mood. Very dark & mysterious soundscape that matches well with the Cheshire Cat character who also said to Alice the phrase “it doesn’t matter” in the story.

Following this song is “Unbirthday”, the song that is most fitting to the psychedelic trance soundscape. The music here has intervals of an Arabian theme melody and the familiar tone of sci-fi synth trance patterns. The chorus in this is probably the catchiest & most memorable on this album with the girls singing the lyrics “a very merry unbirthday to you”, which is what the March Hare & the Mad Hatter were singing at their tea party. The placement of sound effects in this song was also mapped out very well. The next song “Road” I will say is one of the best produced records I have heard this year. This composition is structured in about nine different sections. The pop beat & rhythm in the beginning flows into a gritty smug rap-like vocal cadence which then mellows out for a short break before returning to an electronic dance breakdown. What follows is the most interesting section of the song: a flourish of fanfare that swells & builds up into an incredible drop of background static & electric guitars and finally finishes with a guitar solo.

The second to last song “QUEEN” I can only describe best as serving as battle music for a last boss in a JRPG. There are brooding & pulsating bass synths and backing choir vocals. This song also features on production Chapa Didgeridoo who plays the didgeridoo and provides that low frequency rich bass & strong vibrations. The second half of the song kicks up the tempo to make everything feel more intense. I actually think this one may be the fastest BPM that MIGMA SHELTER has ever done before. The final track “My Wonderland” is a 9 minute epic that encapsulates all the elements we experienced throughout the album and is formatted into a song that perfectly expresses the feeling of accepting this wild & weird Wonderland until the last two minutes where we seem to slowly drift away from the dream into a beat that could play during the ending credit roll of a movie. The chirping of birds and even what sounds like a faint voice saying “Alice!” eventually wakes us up for the album to come to a close.

The factors that really make this album great are the always superb production & mixing of AqbiRec recordings and the high attention to detail in the sonics & compositions. Every song was carefully planned and song structures & melodies meticulously pieced together. It feels like an art performance piece or avant garde painting projected through music. It’s difficult to say this album can be completely labeled as Trance since there are so many different genres & orchestrations found here: Pop, Goa, Classical, Experimental, Rock, R&B, etc. The members of MIGMA SHELTER each have great voices and vocals are arranged in a fashion where harmony is melodic & contributory to the instrumental. In 10 songs there are so many ideas & layers that can fill two albums. Transitions are executed flawlessly, vocals are performed well, and the songs have a good replay value. This is definitely one of the best albums of the year.

Official Homicidols Rating

Score: One full Heartbleed, the logo of Homicidols.com, used for reviews One full Heartbleed, the logo of Homicidols.com, used for reviews One full Heartbleed, the logo of Homicidols.com, used for reviews One full Heartbleed, the logo of Homicidols.com, used for reviews One full Heartbleed, the logo of Homicidols.com, used for reviews

5+

EMPiRE’s Early EP Release is SUPER COOL

WACK and Avex’s collaborative group (no, the other one) have decided to get a little 70’s to switch things up and boy do these EMPiRE SOUNDS feel SUPER GOOD.

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KAQRIYOTERROR gets colorfully in-your-face with B.W.G.

Amidst the pandemic, some idols companies have thrived to make the best of it. Video-making-company-turned-music-label Codomomental has not only been doing regular streamed liveshows (mostly for their idol groups), they have also done some recording and announced music releases.

The time has finally come to release B.W.G. into the world. Initially, the recording was supposed to be released as gift to fans who reserved their tickets for the oneman show Bipropaganda. It’s now the A-side of their newest offering available to all.

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And Now A Delightful Visit To SAKA-SAMA World…

I’ve been wondering if this steady stream of... um, well…streaming live shows is the beginning of another game-changing alteration in our strange and new socially distant world that’s here to stay, or just a means to get through the weirdness of the times. Ultimately I feel like it’s probably a little of both. A number of idol groups have figured out that there’s different ways to supplement their incomes through these online shows by either charging indie-pay-per-view fees, selling merchandise tied into the moment, or even just leaving up a donation link like a virtual hat laying on the sidewalk busker-style. There’s a ton of these events happening now of course, and thankfully Daemon’s been doing a capital job of trying to help keep us aware of what’s coming up.

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Cinema and Boy CQ Present “The Picture Show of Chronic Deja Vu”…

Our number-one favorite coed-experimental-theatre-art-idol duo, Cinema and Boy CQ (You may call them Densho to shorten it.) have graced us with a new release! Following up their groundbreaking album The Soundtrack of Different Dimension Travel”, the pair have digitally unveiled their second full-length. due out on a  physical disk on May 18.

For the more adventurous masses who yearn for bold, left-of-center experiences that push the edges of what one typically considers to be within the “idol” genre, this is the far and above one of the most eagerly awaited albums of 2020. However, due to the recent historical-scale health crisis, this album was actually delayed slightly, but like all great art, it just simply wasn’t right to suppress work that yearns to be heard. And so Densho and TRASH-UP!! Records have generously gifted us this release in advance  courtesy of digital streaming platforms, and you should by all means immerse yourself in this rich audio/visual journey…

The new album is called “The Picture Show of Chronic Deja Vu”, which right off the bat is a pretty cool sounding title that conjures up feelings hallucinatory projected images that match up (or even clash) with relaxed moments of solitude. It wouldn’t be the first time visual and audio art colluded to make for a serious headtrip, y’ know?

Anyway, right on cue with the new album, there’s also a couple of MVs to help get you in the Densho mood. First up is “No. 9”, directed by Yukkyun himself…

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Have You Heard The Good News Of RAY?

The glorious RAY posted on their twitter to look forward to an upcoming announcement, which sounded very promising for once, as opposed to all the downtrodden news we’ve gotten recently. “Yes please o’ etherial shoegazing idols , give us something good!! We need this!!”, we were all thinking to ourselves…

And so today, (Which is is actually now yesterday as of this publishing.) the good news was delivered! Have you heard? Listen and listen well, those who believe, and welcome to the light, those of you who are new…

https://twitter.com/_RAY_world/status/1250378525732786176

 

Yes, Sweet Hipster Moses, RAY is releasing their first album!! I swear the sun came out and bathed the Earth is a pink glow while the Corona virus cowered a little today. Everything just got a little better. And oh, guess what else? For a limited amount of time, the album in it’s entirety is uploaded on YouTube, to let you taste the rainbow a little bit early!

Maybe before I say anything more about the details, I’ll leave the embed right here and let you dive in. So go ahead, breathe in, and savor a full preview of RAY’s very first full-length album, entitled “Pink”

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The Grateful a MogAAAz Bring a Wide-Screen Masterpiece…

Yeah, I know we haven’t really dedicated as much ink to The Grateful a MogAAAz on this blog as they deserve. It’s not that we have any bias against them, we like them actually, but for me at least, they’ve never quite broken the intangible barrier that would truly win me over. I can’t even give you a good reason why except maybe to say that Melon Batake a go go’s shadow loom over them a bit too much. But I think the real truth is that it’s really my fault for not giving them enough attention and I simply need to do better.

https://twitter.com/mogaaaz/status/1239401155613974528?s=20

But there might be a change in the wind’s direction with this new tune from Melonbat’s sister group. They dropped a new MV and I casually decided to give it a click, thinking that I’d probably suggest it for the Weekender later on. And then I watched this video, and then I watched three more times…

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For Him? For Her? It’s POUR LUI

Is this the longest downtime between albums in idol history? Seriously, we’ve been waiting for 10 years!

Today the sequel to Pour Lui’s original solo album “Minna no Pour Lui” aptly titled “Minna no Pour Lui II” drops and oh boy was it worth the decade long wait.

As you can see we have a full double album here! Eight brand new songs and a second disc of re-recordings from the original Minna no Pour Lui.

The initial sound is what you’d expect from a WACK and SCRAMBLES production – it’s solid alt-rock that makes you want to slam your head back and forth, with opening track “I’m in love” featuring some guitarwork that wouldn’t go out of place on an Iron Maiden album. Pour Lui would kill Run to the Hills but could Bruce Dickinson do THIS? No, because he can’t speak Japanese.

 

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Beni and CHILDISH TONES remember life as an “Ex Fan Des Sixties”…

avandoned may be approaching an end to it’s illustrious career run, but by no means does this mean that Beni Usakura will be ceasing to work on terrific musical projects that are both sublime and meaningful. Once again the multi-media chanteuse has teamed-up with the amazing toy instrument garage band CHILDISH TONES to offer another great take on a classic pop tune!

This time the delightfully quirky combo is treating us to a haunting cover of a song written by the LEGENDARY master of subversive pop, the great Serge Gainsbourg himself, which was recorded by his long-running romantic and artistic muse, the fabulous and stunning Jane Birkin

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