The weekend is supposed to be a time for relaxation, not uncertainty and difficult decision making. Unfortunately, there’s a fair share of both on The Calendar for this weekend. We’re still awaiting ticketing details on a few promised shows while several A-listers are streaming lives head-to-head. I mean, it’s nice to have so many options but, a person should not be put in the position of having to choose between MANACLE, FRUITPOCHETTE and MELON BAT. That’s just cruel.
For a preview of the next few days of torment, here’s some of what’s being livestreamed from Japan this weekend: Continue reading
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…
Sokichi Osada had a plan for his own idol group that would be a unique and daring take on the genre and he created, produced, and managed a group with that mission in mind. That group, Shoujo Kakka no International, was probably born too soon to really enjoy the fruits of the underground boom of nontraditional, experimental idols, but they were certainly legendary among those in the know. As many great and daring projects go, the financial stress of running an idol group proved to be unprofitable and difficult, and so it came to an end. Sokichi took time to write a series of essays titled “The Idol Suicides” about his experience for a web-magazine that’s no longer around, but thanks to some reaching out from our very own Papermaiden, we were given the privliedge of republishing the essays on this very blog.
But despite Girls Excellency International’s collapse, Sokichi’s creative idol bug wasn’t out of his system yet. Almost immediately, he began work on forming a new idol group that was even more experimental and unique than his first brainchild. A group with an intriguing vision, or has he put it into his own words…
Cinema and Boy CQ make some of the most consistently interesting art in the entire idol genre, and on multiple levels, they challenge and shatter nearly every pre-conceived idea of what idol music is. Continue reading
Welcome to Homicidols Archives, an attempt to capture and document the ephemeral and ever-changing entity that is Idol.
Here is the reprint of the first instalment of The Idol Suicides, a column originally written for now-defunct 20hz magazine by Sokichi Osada, the producer of legend-worthy disbanded group Girls Excellency International & currently the producer of Cinema and Boy CQ (Den’ei to Shounen CQ), movie soundtrackers extraordinaire duo.
The Idol Suicides #03 was originally published in March 2017, in the fourth issue of 20hz.
For an introduction to the series, click here. For the other installments, it’s this way.
The text of the article is untouched and as Osada-san sent it to me. However, considering the original layout of the article had images and video content to supplement documentary appartés. I was linked to all idols videos, they are presented as they were. All other hyperlinks have been added by the contributor posting this.
One of the more enjoyable and exciting things in the bold new world of non-traditional idols is the continuing openness of personal self-expression nurtured into the performers. While there’s always been a creative streak within the scene even in it’s more “commercial” days, I really started to take notice of this new emergence of experimentation with the debut of Maison book girl in 2014…
Those first press photos of Koshouji Megumi’s post-BiS group, with their modernist fashion style and aesthetic, seized my attention immediately, and I’ve never gotten that impression out of my mind since. With MBG and other bold new groups taking the stage, the “alt” prefix started being applied to this emerging trend, but to me, I saw their efforts as being more about personal expression and a desire to take idol from a product market into high art. To this day, I refer to Maison book girl as an art project, and their genre as being “Art-Idol.” Continue reading