Since Maniac launched this blog back in late 2015, over 4,000 articles covering more than 200 idols and units have been published here at Homicidols.com. As the result of a bit of spring cleaning, the majority of them have now been organized, alphabetically by artist, on one convienient page. This archive is now accessible from THE ARTISTS link in the main menu above. Happy browsing!
After their first and last oneman live, their last ever performance with every song and a small cafe talk event, Hamidasystem finally closed in on itself for the second and final time.
The reason for the group disbanding might seem unclear because the official statement consisted of mostly “Hamidasystem will cease activities at the end of March and the manager will leave the company office”, but to those who’ve followed the group since 2016 the reason is crystal clear.
When an idol group dissolves and reforms with an entirely new set of members most of the fans don’t stay. Sure, you might get a few people who stick around because they like the music but when the girls leave so do the fans. Fans of OG Hamidasystem are now fans of Crossnoesis, the group comprised of the old members.
So, what do you do when you can’t fill those gigantic shoes? For an indie group, the shadow is cast not only on their popularity but their pockets too. If you can’t break even then what’s the point? Even with the old songs, the new songs, the promotion, and the ex-MIGMA SHELTER member, the numbers just weren’t adding up.
But honestly? Who cares. Continue reading
HANAMUKE is the third idol act on the current SHINDENTSU PRODUCTION roster, the same agency that has won us over with the fabulous ELECTRIC HEARTS and the delightful scribble scritch! While we’ve been previously introduced to the other two acts, HANAMUKE have only been known to us over here at Homicidols in name only, so there’s been a bit of anxious anticipation to find out what they’re about…
— HANAMUKE (@HANAMUKE_info) August 1, 2019
All I’ve really known about them is that they’re a duo consisting of Yuni and Tsubra, and that they describe their music as “Underground Techno Idol”. Beyond that, I had nothing to speculate on regarding their musical sound until now…
So finally, in the tradition of previous SDP promo media, here’s a cool little low-budget video for you!
I sure do like it a lot! It’s all very familiar sounding but yet not so derivative that it feels like meatloaf again. It’s good, solid pop music that would lend itself well to dancing around your room or helping you survive the drudgery of a morning commute into work. It also sounds ripe for some fun extended remixes, so hopefully they’ll follow up on the underground techno spirit by letting the tracks be open to experimentation by amateur soundboard enthusiasts.
And as for the MV itself, it plays off nicely with a bit of a young Vanilla Beans sort of vibe, complete with lackadaisical choreography, retro dresses, and bob-cut wigs! And oh yes, bonus points for the robot dance moves at the 2:50 mark, you really can’t go wrong with that!
— HANAMUKE (@HANAMUKE_info) September 7, 2019
Obviously, with a limited amount of material and small following, the group still has room for growth ahead of them, but that’ll most certainly change in the months to come. Give em’ a chance and follow them so you can later brag that you knew about em’ early on!
Man, what is up with us?!? We’ve been gushing so much about how much we all love ELECTRIC HEARTS, (Which is 100% totally justifiable.) that we never really wrote a proper profile of their sister group, scribble scritch! I went back and searched the site, and while Daemon had the good taste and keen insight to include their “DROP” MV in a weekender back in August, there’s still no dedicated article to this damn near perfect punk-pop-idol outfit from Osaka, and that’s kind of unforgivable! (I’m blaming myself in this too.) Well, that ends ends today, buster!
Since we’re on the late bus with this, chances are mighty good that you may know these ladies already, and that’s great! But I also think some you haven’t, because I feel pretty certain you’d be ranting and raving at us for not covering them sooner because Holy Moses are they terrific.
— scribble scritch 10月7日(月)新体制スタート！ (@scsc_info) September 6, 2019
As it stands at this exact moment, the group is a trio made up of Nina, Suzuna, and Erina, hailing from the Osaka area under the Shindentsu Production banner, which as mentioned before is also the agency that represents our favorite idol group with paper bags on their heads. (The agency also has a third group, and duo called HANAMUKE, who we’re also watching out for.)
Musically…well, tell me to shut up and post the MV already!
Okinawa Electric Girl Saya’s new album “Black Angel” is finally out, and she’s been working overtime doing shows and publicity to promote it! Not only is she consistently interesting and daring with her musical choices, but with a non-stop succession of live performances and a highly active social media presence, Saya has also emerged to be easily one of the most tirelessly committed artists on the scene right now. I’m really not sure if she actually sleeps or has a battery pack hidden under her black clothing.
Okinawa Electronic Girl Saya, 8/7 release second album 'Black Angel' preview movie completed!
— 沖縄電子少女彩 Okinawa Electric Girl Saya 8/21代々木23小岩 (@Tincy_saya) July 21, 2019
The avant-garde idol from Okinawa is also quite prolific, releasing a steady stream of experimental CDRs nearly monthly along with her regular output. A few of those works are even on Bandcamp, which we covered here a months ago. Her new album is a crowd-funded effort, featuring quite a number of collaborative guests helping this unique vision come out in what’s certainly her biggest push on the edge of the envelope yet. Saya already released one MV last week, and now a second one has already arrived! Here’s the most recent, a video for “Black Flower”…
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…
About the “CINEMA AND BOY CQ” …we are idol unit of man and girl duo who sing fictional movie soundtracks mainly active around Tokyo.
The members are Ruan and Yukkyun.
We will take you to a journey into another different temporal dimension travel.https://t.co/R7ux9ty5ox
— 【電影と少年CQ】Official (@cinemaboycq) June 1, 2019
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
I’ve been kind of tingling with giddy anticipation all day today since this bit of news broke via a retweet from the Dots staff twitter. As you may know, the mysterious mind behind Dots has been quietly planning a successor to the seminal experimental and constantly evolving shoegaze idol project, and at last, it appears that the time is nigh for the next event to break out and dare I suggest, likely shatter expectations with an exciting new unit…
— 音楽ナタリー (@natalie_mu) April 15, 2019
I could not have been more explicit when I said that Amuse doesn’t care about you other than your ability to have a transactional relationship with Babymetal, but no, I was the bad guy. Or very likely the person that you agreed with, judging by the comments! I just felt like a little rueful back-patting upon finding out that MY LITERAL BABYMETAL SUB-OSHI YUIMETAL, Patron Saint of Try-hards Everywhere, did not appear at the Kansas City show last night. Let’s have a taste!
— Austin @BMTW2018 (@AustinBarnette7) May 9, 2018
— Q (Displacer Squirrel) (@displacerq) May 9, 2018
People lost their freaking minds; as a person who enjoys a good disaster just for the sake of it, I have to give credit to all parties for playing their parts perfectly. Continue reading
Idol’s jagged edge.
Let’s tell a story, one that involves yet another attempt at forming a heavy idol group and failing and coming back stronger.
I’m actually not talking about Parallel Japan, but their predecessor, Parallel 5.
Notice anything, or anyone, familiar? Like maybe a certain center for a certain idolcore phenomenon? She’s obviously doing other things now. And that’s literally the story of Parallel 5 — they formed as something of a dance unit with their own vocals, all self-produced, and then lost one of the best singers in the game probably right about the time when they were starting to feel like they were getting somewhere. “Look at Me,” after all, is a pretty okay song.
This is usually the part of the story when the rest of the group breaks up, gets repackaged, etc. But rarely are such things the choice of the members so much as it is the prerogatives of management, and Parallel 5 were running that show themselves.
So despite losses in March 2015, the remaining members — Sari, Asumi and Tibiyui — basically said, “Okay, nbd, let’s reboot.” And that’s what they did. They kept working. According to reader Caleb, they were promised debuts that never materialized. Somebody disappeared with their money; yes, Parallel Japan could very easily have a sad trombone accompaniment.
Definitely feel free to correct this, but most indications are that their first significant appearance on stage following the regroup was actually at the 2015 Tokyo Idol Festival backing up none other than Pour Lui:
They also, without a single official release, spent the autumn of that year rolling out a series of videos that really highlight what Parallel Japan is all about:
The first thing that springs to mind for me when I think about Parallel is a news segment that MTV News did following Kurt Cobain’s death. It involved interviews with mourners, one of whom remarked that he didn’t even know what to do with himself anymore, given that Nirvana was about all he listened to. “Well, them, and Mudhoney.” I’m not saying that Parallel is the Mudhoney of idolcore (not like the way that I look at Himekyun Fruit Can as the Van Halen of rock idols), but that for every ascendant master of a particular scene or sound, there are always keeping-it-real, beloved-by-fans acts at the margins, fiercely independent and just embodying grit and earned emotional expression.
That is Parallel. You can see it in their dance — crisp and professional, a cut above just about everybody else not named Q’ulle, but so expressly violent — and hear it in their songs — raw, largely unfiltered, intense and purposeful. This isn’t yami-kawaii; this spits in kawaii’s face.
But unlike with Mudhoney, I get the feeling that Parallel’s story has a happier ending, or at least a more successful one. You may have noticed that they’re suddenly all over the place, sharing stages with everybody from BiSH to Screaming Sixties to NEXT Shoujo Jiken; their anniversary show was loaded with groups featured on this site, and idol Twitter buzzed about it for days. And for what it’s worth, I don’t know if I’ve ever seen a group more well-respected by their peers: Maybe because they’re independent, or maybe because they’re just plain loved, but everybody takes photos after and genuinely shows a lot of affection.
Of course, such a sudden burst of attention is bound to mean something, right? As of this writing, the scuttlebutt suggests an album, which would be very cool. If anybody out there would get a huge bump out of working with pro producer to refine their sound, it’s Parallel, and the same goes for their presentation if they can get with solid management, especially if that management doesn’t make them lose their indie edge. Like, for example, these guys. The sudden appearance of this track on Soundcloud, and the accompanying art, suggests the possibility.
So keep an eye out for Parallel. They seemed to be poised to do some serious damage.
What they sound like
A gritty combination of hard rock and idolcore. Their performing style is so well-conceived and well-executed that you can almost tell the sound of their songs just from watching them dance. Which is violent. They are violent even when nobody actually gets hurt. Violence.
You’ll like them if
This is a tough one, and I hate to bring back Seattle scene comparisons, but I actually think that you’ll be able to get into Parallel Japan best if you’re a fan of those 90s-era bands that were distorting blues rock and adding punk and metal elements. Of course, Parallel involves plenty of synths, too, in which case the PassCodes of the world can give you a good place to start.
Entries on the Ultimate Homicidol Playlist
There isn’t one yet!
Just you and me, punk rock girl!
Do you like idols? And do you like things that are fun? And do you like rock ‘n’ roll music played at a fast tempo? Well, then you’ll like The Spunky. Get over yourself.
I can say with total honesty that I (even I!) hadn’t yet connected with THE SPUNKY when preparations for this site began, but I was cruising other websites and communities on the regular to make sure that I would be exposed to enough artists to warrant actually having a site that wouldn’t be just another Babymetal tribute.
“You failed at that one, Maniac!” Oh, you.
At any rate, I actually had a few light touches with THE SPUNKY along the way … unfortunately at the same time that I was getting a little idol fatigue. It’s not the idols’ fault that “Thunderbolt” was first played by me in the context of Little Brother asking out loud if every girl in Japan was in some kind of idol group.
But the name registered, and I recalled that there was an album coming out, and I even managed to follow up on that. And when I got to play the teaser, I got a little excited.
Of course, where most of all-of-us first got acquainted with them was in the 2016 Homicidols Corenament, where they shocked the literal world by winning the punk idols category and ultimately finishing in third place with their entry “Rock ‘n’ Roll and Idol and I”:
What are the things that stand out here, and just in general across their work? One, it’s all really well-written and well-produced, part of which you can tell because 2) the members are stupid talented, and their voices are put right out in front.
Also, their music is fun. This site owes its life as much to BiS and their legacy as anything, and there’s usually a certain merriment in the culture-shocking madness to those groups, but it’s all so deliberate that, if you take a step back, you wonder why they even bothered if it was all so joyless. Not the case for THE SPUNKY, who I’m not sure can even define “irony,” let alone apply it to their work.
And dammit, that easy-breezy attitude is very, very welcome sometimes.
These bouncy bolts of lightning are currently beginning what could be looked at as their big move, having recently relocated their performance schedule to Tokyo after getting their start in Nagoya. They’re also close to a ton of talent on the production side, with musical contributions from members of Kishidan (the band that inspired C-Style) and Mad Capsule Markets.
And, relevant to the point of this whole site, they have their eye on international markets.
I have to think that they have a chance. As mentioned, the music is on point, but the members really do make it happen. Rira is quite good on her own, but the real talent shines when she and Yuhi are working together. And I hate to celebrate one member over others in a group so small, but it’s worth pointing out that Yuhi (at 15!), given a chance to really show her chops with a power ballad …
If you’re having a hard time picking her out, you are crazy, because this is a solo song.
… she gets up there with the Nakamotos and Azumas and … the Ends (?) of the world.
At this point, having pumped out three quality singles and a full album in a little over two years together, and having relocated operations to the center of the idolverse in Tokyo, and being loaded with talent, the future for THE SPUNKY is a bright one.
What they sound like
Their base sound is a rough amalgam of Bay-area punk, with the brightness of the Bouncing Souls tempered with just a bit of an edge, but they’re legitimately “rock ‘n’ roll idols” with some true rockers in their repertoire. They may be idols, but the rock is real. And also the idol. They do that, too.
You’ll like them if
You’ve always wanted Hot Topic to come to life, or you still go to the Warped Tour every year even though it’s a caricature of itself and you know enough idol to think, “You know what this second stage needs right now? Idols doing punk that’s roughly 80 percent better than that terrible band that acted like a Jane’s Addiction cover band but sounded more like the sound that Dave Navarro’s liver makes in the morning.”
Entries on the Ultimate Homicidol Playlist
THE SPUNKY, make more YouTube-able videos of your best stuff. I can’t make things happen with Soundcloud! Nonetheless, “Rock ‘n’ Roll and Idol and I” and “Thunderbolt” are both there. “Kanjo VOLTAGE” would be if you had a non-live video for it; nonetheless, enjoy the crap out of this very good song.
“Kanjo VOLTAGE” (single)
“Rock ‘n’ Roll and Idol and I” (single)