This post is entirely about doing three things:
- Posting about PassCode, which we don’t get to do enough
- Enjoying a PassCode album, as we haven’t had a new one in a while
- Spreading the gospel and hooking in some people who maybe aren’t as familiar
Anyway, let the title describe it for you. I almost always pass on live records from big idol gigs, the exception to date being the OG Red Night/Black Night Babymetal recordings. There’s just only so much time and unfathomable amounts of music to fill it with, and I may love idol but I also love a lot of other things; if I wanted to listen to off-quality recordings of people who for the most part aren’t particularly good singers in the first place, I’d invite my friends over for DIY karaoke again. Continue reading
Ah, as previously noted, everything’s coming up Malcolm Mask McLaren these days, and now a month on from announcing this summer’s new record from them, the group dropped the MV from what I really hope is the trendsetter for the thing, because this was worth waiting for:
What a payoff! MMM and their melodic hardcore thing have always been such a neat package, and filing down the edges for a slightly more radio-friendly product has done nothing to take away from the group’s core merits, which in no particular order are “cool music that people of a certain age enjoy either literally or ironically” and “an effervescent joy that very few loudol acts can approximate, let alone duplicate.” Given the connotations, “maudlin” maybe isn’t the best word, but you try finding M words in English that correspond to net-positive emotional stuff. These highly attenuated post-titling conceits aren’t writing themselves! Continue reading
All right, I’ll admit to having been a skeptic about the latest WACK unit to emerge. ANAL SEX PENiS, or ASP as I prefer to call them because I’m not some prurience-obsessed teenager and I have to worry about how and where my website’s going to show up in various people’s Google results, really did feel like a stupid gimmick at first. Yes, we were willingly falling for an obvious ruse, as usual playing along with one Watanabe J. for the sake of getting to the bottom of whichever kind-of-inexplicable-but-no-doubt-lucrative-and-enviable game he was playing this time around, but the thing about falling for even obvious ruses is that you still went there and in the interests of intellectual honesty you have to admit to yourself that you did, in fact, let yourself believe if only for the briefest of moments, like a kid old enough to know better unironically hating the heel. I mean, read this. The line between truth and kayfabe is always clearly there somewhere, but whether you find it in the place where it really is as opposed to where you assume it to be, therein lies the trouble.
But anyway! As ASP emerged as a bona fide actual, regular-ol’ idol unit (name notwithstanding), it also became clear that they had the musical chops. And of course they did — WACK can be and usually is a lot of things, but musically not-good is not one of them. Yes there’s a template, and no we don’t call it Kentacore because it’s so wildly diverse, but good and enjoyable and undeniably punk-inspired if not outright so are all true things to say about the product, and those are perfectly fine bars to set, and then we can leave up to you the question of whether you like and want to listen to ANAL SEX PENiS.
Anyway! ASP’s first album is arriving, and they’ve been trickling out ever more music on Soundcloud as is the wont of new WACK units, and then yesterday they dropped their first MV, which is pretty much also the clearest multisensory view we’ve had of them yet: Continue reading
Of course within minutes of my having dusted off my hands from the earlier post and congratulating myself on a job well done to toss off some doldrums and do the the kind of post that used to foul up the ol’ Homicidols feed back in the day, Zenbu Kimi no Sei Da is out here with a promo for their other new album of re-re-recordings (“standards,” we used to call ’em), and while it’s quite familiar to many of us I don’t know if it’s all that familiar to many more of us, not anymore, and it’s such a bright and shiny and joyful little romp that, hell, just watch the damn thing and be happy and then go buy Zenkimi’s album:
I remember coming back from hiatus last summer and getting run through the various goings-on in idol over those several months out. Graduations? So many! Debuts? Some good ones! Almost the entire membership of an iconic chika unit graduating en masse, reuniting with an old friend and starting something completely new? True as can be!
So yeah, following MANACLE from what you might call a curious distance for the last little while has been an interesting experience. Once I heard that the tea spilled over Okaki et al’s exodus was pretty tepid, I settled myself into a “this is fine” kind of scenario, like not really caring how or why but just accepting the reality of it all and hoping for the best overall. NECRONOMIDOL has obviously had some challenges; MANACLE, despite the circumstances, is plugging along and building momentum, and the release of their first album is occasion for a real-deal MV to show off what they can do:
That’s some quality work right there. You don’t hear quite so much of this take on idorock so much anymore, like it’s on the heavier end without being heavy-heavy, and it’s synthy enough that you might mentally file it under some kind of -wave designation, and it’s got a great hook that practically makes you give up and call it a pop song. Give me more of it, preferably via IV. Continue reading
You may have seen the news this morning that Zenbu Kimi no Sei Da is releasing another album of re-releases, which is all for the good even if I do personally prefer my Zenkimi to be of the more chaotic variety. There’s an MV coming, too, apparently. But no Zenkimi announcement of music to be released is complete without preview tracks on two-hour windows, which we’ve lately been a little bit less aggressive in grabbing afore they’re gone, but I did get to this morning, hallelujah.
First, the tweet:
Those links aren’t going to do you any favors at this point, I don’t think, but we here at Homicidols Dot Com do pride ourselves on catching these guys before they truly do disappear forever. It’s a service to the late risers and people who aren’t terminally online! I did however restrict the post to just the track we haven’t heard a hundred different times and ways already (if you want that one, here), so let’s go through the motions from here and … you know the good stuff is behind the jump.
Whoops! We here on Team Homicidols are obviously supporters of Codomomental, including and especially the artists employed therein. It is therefore an all-time embarrassment when we, uh, kind of forget to do something with a Codomomental release because *brain fart*. It’s only been a week but what with various other goings on it does feel a little bit more. So here we go.
Hey! Remember how Codomomental debuted two projects in the past six or so months, and one of them is clearly further along than the other for they have two singles and a whole-ass album out, and that one is TOKYO TEFUTEFU? You do — cool. So yeah, that album’s out now, and therefore the boss was obliged to drop an MV to support the release, and to my complete lack of surprise it was for their best song to date, and … here you go!
This website is very pro-Malcolm Mask McLaren, so while we do try to keep a certain objectivity about this group and that and which releases are truly good and which are basically warmed-over garbage, some just kind of bring out the enthusiastic fan in us. I won’t make a list; suffice it to say that MMM, the actual focus of this post, is one of them. And when I went to check up on a video I saw they’d released on YouTube, it set off a whole string of discovery moments that make me feel just incredibly happy for them, so yeah, they get a whole-ass post to celebrate the good things afoot! Continue reading
It appears to be that time of year again, folks. That’s right — it’s the time when not a whole lot goes on for about a month, so let’s discover some idols! We’re in an odd-numbered year right now, and history has shown that (idol-ly speaking) it’s the even-numbered that tend to be chock full of awesome debuts and important albums and stuff, and the odd years when things like the Mass Graduation and Disbandment of Beloved Idol Things of 2019 happen. Like, for all its warts, 2020 was a pretty okay year for debuts! And somehow, maybe because the entertainment universe held its breath for the past 12 months or maybe just in penance for the really shitty time we’ve been having as a human society, we’re still getting good ones here in 2021.
So when Mr. Toxic Breakfast himself shared this in Team Chat recently, it definitely felt like something to run with:
That’s MAD JAMIE, obviously, which, as Chris put it, “Thankfully Mad Jamie is not the local 15 year old arsonist, but is some idols.” And what idols! Continue reading
NEO JAPONISM, who absolutely own and really need more love among you blockheads, released their latest album, THE SPIRIT, about six weeks ago. We did the lead single when it dropped, and frankly I thought that was going to be the end of it. But then this morning brought a shining ray of more NEO JAPONISM MV to gawk at, and in doing so I had a thought that hadn’t struck me when listening to the album, but suddenly seemed fairly clear: If Yanakoto Sotto Mute are the perfect modern idols, are NeoJap the most modern idols?
Let’s do that MV: