I stand in complete solidarity with Yellow on the issue of those poofy hair things
Things got a little heated online the other day when Hissatsu Emomomomo — bizarrely, not even close to the most ridiculously named thing in idol to debut just this year — started to get out some new, important things. For instance, there’s a new (venue-only) single on the way:
Oh heck yeah! It had been so long since Wagamama Rakia was legitimately on my radar that the last reference to them I’d seen was a not-recent Facebook post to year-old video of theirs. I knew they were around because the members are hilariously busy on Twitter, but whether they were ever actually up to much of anything, I legitimately didn’t know. And then today, exploding out of the fandom woodwork, came what must be their first MV in like … a really long time. Which would make sense, seeing as how it’s their second single. I had to think about that. It’s been a long time!
Ah, SHiX. I feel like I’ve been saying this a lot lately, but: Remember when they were like the darling of the alt set for a hot minute about a year ago? I should hot-key that sentence.
But SHiX! I always genuinely got a kick out of them, with their weird guerilla marketing tactics and definite anti-idol vibe. I count … nine total posts and other references to them since we were first introduced; here’s the most recent actual post, wherein we heard one hell of an unfinished recording.
Man, do you guys remember that hot minute about a year ago when WiLL was one of the darling acts of the alt set based entirely on the fact that they sometimes do cool rock and electronic sounds? I do. That was a good time. I’d even link to an example, but, you know, the word “will” doesn’t search very well in an archive, and “world ill” just throws the dang directory into a tizzy.
You should! PiGU has established themselves as nothing if not a solid good time, and like a miniature membership soap opera to boot. I’m quite literally shocked that they didn’t get even more love for one of the most twisted MVs of the year, at the very least. But heck, it’s been a tough one for Osaka’s cosplay cafe house idols — membership turmoil and the like limited their releases to a mere handful in 2017. And there’s still time to get in one more!
Kerrie, our wonderful weeaboo witch, had her computer crap out on her, so she begged off of doing her job as official Hello! Project correspondent and also WACK Meme Lord for Homicidols.com and instead asked that I do something with this new MV from Up Up Girls. I told her that she was more than able to continue to post from her phone, which she refused to do. I then threatened to withhold her pay, only to realize that contributors to Homicidols.com get paid in respect and bubblegum, so my threats were well and truly impotent. You’re stuck with me!
Good morning, friendly people who might still believe that I am Kerrie! Last week, in addition to the wrestling thing, there was also a solidly great new release from Up Up Girls. It was actually a B-side of their new single. Per Kerrie’s request and because it makes sense, here is the A!
And now the part wherein I pretend to actually know what I’m talking about: Continue reading →
It feels like my timing was off for a Babymetal release by the end of the year (though I get a keep-the-seat-warm strategy, too), but today’s confirmation of an appearance at Rock on the Range in May — and thereby backdoor confirmation of a U.S. tour in 2018 — combined with other stuff that we already know, is screaming out that an album is impending.
By the way, that’s some good billing! I wondered where they were starting to rank in the overall heavy milieu — coming out ahead of Asking Alexandria and Trivium and Black Veil Brides, etc., that’s pretty good, or at least good marketing. (Also, Maynard, you’re gonna be a busy dude.)
Kaqriyo Terror Architect wouldn’t be a proper Codomomental outfit if they weren’t at the very least starting off in deliciously dark directions, and this is a hell of an entree for a second single. Leaving the song alone for a minute, the video’s mostly just straightforward idol stuff — except for that deeply foreboding love-in-the-shadows routine that, of course, culminates in Komachi’s murder of Megumi (WHY). I don’t know where this thing about love and death comes from, but it’s a company staple, and emerging as one of my favorite moves of theirs. Continue reading →