One of the more interesting developments in idols who do loud music, I think probably ever, has been Q’ulle’s Yukuzi and her project with BLOOD STAIN CHILD, which has in every instance so far yielded sonic madness of a type that somehow actually projects beyond the scope of human understanding and more into a realm in which “idol” and “metal” in combination is something that takes on all aspects of both of those things in totality at exactly the same time. The first album’s release has been part of a drawn-out promotional campaign of ever-increasing musical stakes, as if everybody in the band decided to engage in a perpetual state of one-upmanship.
The latest (and last?) release is called “National Anthem”, and I want to know which country would claim this as their own song, because that country would be the other side of the wormhole from Event Horizon. I mean, listen to this thing:
There’s “devoted to raucousness,” and then there’s “needs to take a lesson in the age-old principle of less being more.” One of the charms of deathcore, for instance, is how it so often sounds like a bomb has gone off; this lacks that degree of subtlety. If he weren’t dead, Seth Putnam would be stoked that he finally found a drummer who could play all of the beats he needed. The guitar work would impress Skwisgaar Skwigelf. This is what happens when two producers — one metal, and one idol — make a The Producers-like bet to each respectively write the most intensely self-fulfilled piece of music ever, then encode those into binary alignments of quarks, then load those into the Large Hadron Collider for purposes of smashing them together at almost the speed of light.
It’s a lot, is the point, and frankly way too damn much. It’s pretty darn metal, though.
— Q'ulle ゆずき (@yuzukingdam) June 13, 2018