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Here I am with the third part of August’s themed week in “Focusing on”! Today’s subject is a Japanese pop artist, who breaks the canon of the genre with simpleness and energy. We’re talking about Kenshi Yonezu, born on 10th March 1991 in the rural area of Tokushima. His first approach to music occurred on 2006, when he created a band with a friend of his, named Late Rabbit Edda, which didn’t get much success. Then, between 2008 and 2009, he started to release Vocaloid tracks on Nico Nico Douga under the stage name Hachi and sometime later he moved to Osaka, where he published other Vocaloid tracks, which became quite popular. On 2009 he officially appeared in a Exit Tunes compilation and in other Vocaloid compilations, boosting his popularity even more, arriving to release two albums of his own, Hanataba to suisou (Bouquets and sea burials) and Official Orange. On 2011 he officially debuted in a major laber as Kenshi Yonezu and since then he built up the concept we got to know, mainly artistic and naturalistic, as he is also a drawer, whose works, inspired by Edward Gorey’s art, are featured in his videoclips and release covers. His genre is an alternative pop-rock, pretty unusual for the canon, where there’s an alternance between upbeat and nostalgical themes, with each song cured by Kenshi himself, in each aspect. His official debut occurred on May 2012, with the release of the first major album Diorama (reviewed here).

One of the lead-tracks, named Go go yuureisen (Go go ghost ship), sees an extremely positive sound, articulated by good electronic notes and charismatic vocals; the song is about the beginning of a revolution, synonym of a new chapter of Kenshi’s musical path. It has been followed by the singles Santa Maria and Mad Head Love/Popping Apathy, the second album Yankee (reviewed here) and the single Flowerwall.

The title-track has clearer notes, building up an upbeat melody, with a relevant rhythm and Kenshi’s light vocals; the song is about trying to live in happiness and harmony. It has been followed by the single Unbelievers, the third album Bremen and the single Loser/Number Nine.

The first title-track mixes pretty well rock and dance pop, in a catchy sound, driven by energetic vocals and a positive melody; the song is about the bad luck and the defeat in everyday life. It has been followed by the singles Orion and Peace Sign, the fourth album Bootleg and the single Lemon.

The title-track, featured as theme for the tv series Unnatural, has an intense atmosphere and a nice rock vibe, provided by a good melody and well kept up by Kenshi’s mature vocals (the videoclip has over 600 million views, making it the most viewed musical video in Japan); the song is about loving the life with someone else, even in bad moments. It has been followed by the singles Suna no wakusei (Sand planet), made in duet with Hatsune Miku, Flamingo/Teenage Riot, Umi no yuurei (Spirits of the sea), Uma to shika (Horse and deer) and Paprika.

The Japanese pop scene is incredibly wide and features a lot of acts, some better than others, but mostly calibrated in a certain common direction musically talking. Kenshi Yonezu has been able to subvert any expectation, since he came from the Vocaloid scene and brought a new and refreshing way of doing pop music. Catchy and upbeat themes, alternated to experimentations and melancholic melodies, accompained by Kenshi’s versatile and suggestive vocals, singing really peculiar lyrics, made of nature and feelings; this is how his music can be summarized, redefining the way most people is watching at Japan in terms of music. The presence of his songs in anime themes, dramas and TV spots boosted more his popularity, reaching even oversea audience, thanks to a simpleness which hides something more complex and deeper than expected. Surely Kenshi’s works don’t go unnoticed and that’s a surprising thing, since he relies on mature concepts and a characteristic art behind each his composition, and recently he stepped the game with his newest work, the fifth album Stray Sheep, one of the most awaited releases of this Summer and a really good companion for these troubled times.

Who might enjoy: who is looking for an unusual and riveting pop artist, whose style goes between nature, emotions and nostalgia.

Recommended tracks (as Hachi): World’s End Umbrella, Rinne and Matoryoshka.

Recommended tracks (as Kenshi Yonezu): Go go yuureisen, Vivi, Santa Maria, Flowerwall, Peace Sign, Loser and Lemon.

That’s all folks! See you on the final part of August’s themed week in “Lyrical Love”!

Here I am with a new band review in “Focusing on”! Today’s subject is a Japanese metal band, which mixes their heavy style with an high electronic concentration of electronic music. We’re talking about Crossfaith, formed on 2006 and composed by Koie Kenta (vo.), Kazuki (gt.), Teru (prog. & visuals), Hiroki (ba.) and Tatsuya (dr.). The band name comes from the literal union between the words “cross” and “faith”, meaning a variety of styles, genres, thoughts and backgrounds which converge in a one and individual shape, which is the band. Their genre is an heavy metal with a strong and relevant electronic component, taken by the inspiration from the Western electro-dance bands, adding even something from punk and industrial and brilliantly exalted by Koie’s versatile vocals. Their debut occurred on April 2009 with the first album The Artificial Theory for the Dramatic Beauty.

One of the lead-tracks, named Fiction in Hope, shows out the typical sound of the band, with a strong and noisy metal melody, along with an interesting rhythm and aggressive vocals; the song is about an hope revealed to be fake and vain. It has been followed by the second album The Dream The Space and the first mini-album Zion.

One of the lead-tracks, titled Monolith, sees the electronic dominating a compelling metal melody, with a strong rhythm and energetic notes; the song is about the impossibility of changing the past. It has been followed by the second album Apocalyze, the single Madness and the third album Xeno.

The lead-track, named Devil’s Party, is an adrenalinic track, with an unpredictable style, characterized by a mix of metal and electronic sound; the song is about drowning in the pain and despair. It has been followed by the singles New Age Warriors, Freedom and Wipeout and the fourth album Ex_Machina.

The lead-track, titled Catastrophe, features a strong but incredibly balanced metal sound, with a versatile vocal perfomance, fitting the refined structure of the song; the song is about the hatred leading up to a circle of endless violence. It has been followed by the singles Soul Seeker, Endorphin and Digital Parasites.

Crossfaith is a band which demonstrated how metal and electronic can couple in a balanced way, without appearing too forced. Thanks to this efficient mixing, the band achieved to be incredibly popular, especially overseas, touring with several Western bands and confirming themselves among the representers of Japanese metal scene. Maybe their sound can be a bit hard to follow up, especially for who is not accustomed to electro-metal bands, but with time Crossfaith’s music becomes even easier to listen, as they even brought up flowing and simpler metal themes, making them fit for mostly any kind of listener. I suggest you to catch up with them, as their sound will grow more and more on you, if you already hadn’t done it. You can surely hear more of them, thanks to their newest EP, Species, came out two days ago, bringing out the perfect soundtrack for these troubled times, in a mix of metal, EDM and rap.

Who might enjoy: who loves the mix between metal and electronic notes and needs a bit of energy and adrenaline inside an album.

Recommended songs: Fiction in Hope, Omen (Prodigy cover), Monolith, Jägerbomb, We Are The Future, Devil’s Party and Catastrophe.

That’s all folks! See you tomorrow for the monthly chart in “Best of... May 2020″!

Here I am with our week-end special in “Focusing on”! Today’s subject is a really appreciated visual kei band, whose path is unfortunately going to end very soon. We’re talking about Dadaroma, formed on 2014 and composed by Yoshiatsu (vo.), former singer of Crazy☆Shampoo, Takashi (gt.), from Naine, Tomo (ba.), from LucaRia, and Ryohei (dr.), from The Black Swan, who replaced Yusuke, former member of Naine on 2018. The band name is the literal combination between the words “dad” and “aroma”, which don’t have a proper meaning, an element which leads to their concept. Their image is inspired by the artistical movement known as Dadaism, born on the first part of 20th century, whose focus was the union between things which don’t relate at all, giving them an artistical shape and a basis for critics against the society. Their genre is mainly heavy metal, with a creepy and heavy vibe, including even other elements, such as piano and synths, putting up a retrò atmosphere. Their debut occurred on October 2014 with the first single Oboreru sakana (Drowning fishes).

The title-track brings up a powerful sound, surrounded by a dark atmosphere, intense vocals and a really relevant technique; the song is about the mankind which drown in their own sins (read here the analysis of the song). It has been followed by the first mini-album Dadaism #1 (reviewed here) and the singles Ame no waltz (Rain waltz), reviewed here, and Saishuudensha (Last train), reviewed here.

The title-track is characterized by a more retrò sound, in a strong and seducing theme, empowered by instruments and vocals; the song is about a train which passes by as a symbol of an opportunity which won’t come back anymore. It has been followed by the single Happy Halloween, the second mini-album Dadaism #2 (reviewed here), the single Neji (Screw), the first album Stanczyk, the singles Yume tarareba (Dream of a cod’s liver), reviewed here, and Zouka to Kalashinikov (Artificial flowers and kalashinikov), the third mini-album Dadaism #3 (reviewed here) and the single Pornograph.

The title-track features a strong rhythm, energetic guitar notes and pleasant vocals, building up a paced and clearer metal theme; the song is about the material and physical aspect of love. It has been followed by the single Ii kusuri, warui kusuri (Good medicine, bad medicine), the fourth mini-album This is “Live” and the single Boku wa android (I am android). On 2018 the drummer Yusuke departed from the band, which went on hiatus for some month, before coming back with Ryohei as drummer and the fifth mini-album Dadaism #4, followed by the single Dendrobium and the sixth mini-album Dadaism #5.

The lead-track, named  「Day By Day」 , sees a change in their style, where the sound is energetic and lighter than expected, for a catchy song even for them; the song is about living day after day, waiting for a change.

Dadaroma has been appreciated since their debut, thanks to an effective and energetic music, accompained by a bizarre image and unpredictable style changes. Throughout the years the band always moved in a distinctive way, bringing up fresh songs for the most of time, surviving to a change of drummer, and even reaching the Western audience in their gig on France at Japan Expo 2019. But it seems something has changed, as the band will disband on May, ending Dadaroma’s adventure in a premature way, since they were extending their range to more people. Hopefully we can have the chance to see the members going on with new projects, worth of their talent, and meanwhile we can say goodbye to them with their final work, the single Mr. Terrorman, which ends their path, even if not completely.

Who might enjoy: who needs a dark visual kei band, with unpredictable themes and bizarre experimentations.

Recommended songs: Oboreru sakana, Ame no waltz, Saishuudensha, Lucid Dream, Pornograph and「Day By Day」.

That’s all folks! See you on Tuesday for the final part of this month’s themed week in “Lyrical Love”!

Thanks for the reading!

Here I am with the first part of May’s themed week in “Focusing on”! Today’s subject is a singer which has come out quite recently in the scene, whose style has roots even in West. We’re talking about milet, half Japanese, half Canadian, whose birth date and place is currently unknown. She spent most of her life in Canada, then moved at Tokyo and on 2017 approached herself to music. Her genre is pop, compelling and various, driven by her husky and intense voice and inspired by artists like Sigur Rós, Björk, Boom Boom Satellites and Adele (the musical similiarity with the British singer earned her the nickname “Japanese Adele”). Her first official appearance occurred on 2018, when she has been chosen as performer for the Yves Saint Laurent Beauty Hotel in Tokyo, but her musical career started on March 2019 with the first EP Inside you.

The title-track, used as opening theme for the drama Sukyandaru Senmon Bengoshi Queen, sees a soft and rhythmed melody, driven by milet’s penetrating voice; the song is about knowing all the thoughts and feelings of the loved one. It has been followed by the second EP Wonderland.

One of the lead-tracks, named Runway, has a more electronic and simpler sound, with good vocals and a catchy melody; the song is about opening the mind to freedom and possibility. It has been followed by the third EP Us and the fourth EP Drown/You & I.

The first lead-track, used as ending theme for the anime Vinland Saga, exalts more the melodic component of milet’s sound, in a warm and flowing theme, driven by nice vocals; the song is about drowning in love and loneliness. It has been followed by the fifth EP Prover/Tell me.

The first lead-track, used as ending them for the anime Fate/Grand Order: Babylonia, is a melodic pop ballad, driven by milet’s suadent voice and nice electronic notes; the song is about showing that love can last forever.

In a time where each scene is getting influences from everywhere, milet seems to bring something new and refreshing in Japanese pop scene, where, apart from few notable examples, the offer is quite dull. Made by Western shades and a firm Japanese spirit, milet shows that is second to none, despite her not so huge repertory. Her sound is catchy and flowing, within everyone’s reach, even oversea, but what stands out the most is her unusual and chilling voice, reaching interesting shades and making each performance more interesting than the other. This style, popular and mature at the same time, let her to be featured in the soundtracks of anime and dramas, bringing even a closer approach to her audience, which is growing more and more. And as crowning of her crescent success, she marks this year with her first full album, Eyes, which, after several delays, will come out on 3rd June, opening the Japanese musical summer in a really appealing way.

Who might enjoy: who is looking for something new and appealing in Japanese pop scene and loves mature female singers.

Recommended songs: Inside you, Again and again, Runway, Us, Drown, Prover and Tell me.

That’s all folks! See you on Tuesday for the second part of the themed week in “Lyrical Love”!

Here I am with a new band review in “Focusing on”! Today’s subject is a visual kei band, which always distinguished by a great mix of colors and sound. We’re talking about the Raid., formed on 2011 and composed by Sena (vo.), Bo-ya (gt.), Yuuha (gt.), former member of NeXuS and lilt, who replaced Yuta on 2012, Tenshi (ba.), former member of Plus Magic, who replaced Iori on 2016 and Kazhi (dr.). Their band name has not a precise meaning, but the word is a synonym of attack, where each song is like a challenge, making them not having a definite concept. Their genre is rock, with really energetic notes and roots from oshare kei, without neglecting maturer compositions. Their debut occurred on October 2011 with the first single Starry Heaven.

The lead-track, named Zero ~0~, features an energetic and really electronic sound, with pleasant vocals and a catchy rhythm; the song is about overcoming any limit, at any cost. It has been followed by the singles My Dear/Blue and Tsubasa (Wings), the first mini-album Feathers, the singles Ketsuraku Lover (Missing lover), Snow pledge, Judgement and Moment.

The title-track sees a more positive and melodic sound, along with electronic notes and a paced rhythm; the song is about stopping our lives to a meaningful moment. It has been followed by the second mini-album Alice. and the singles Raison d’etre, Period and Rebellion.

The title-track exalts more the extreme component of their sound, even with screamed parts, without changing it completely; the song is about a dream of revolution and change. It has been followed by the first album Ray, the singles Junketsu Piranha (Pure-blood piranha), Kurobara rondo (Black rose rondo), Shirayuki no saku koro ni (When the white lilies bloom), Yowamushi Monster (Wimp monster) and Mercari (reviewed here), the compilation Coupling Best -Yuuha and Bo-ya side-, the singles Yanderu kimi ni okuru uta (Song for you sick) and Re:born, the third mini-album Mikan (Unfinished), the singles Dead Xmas Party, Gomennasai (Sorry), Urameshiya (I curse you) and Seisan curry (Hydrocyanic acid curry), the fourth mini-album Omen, the singles Go Diva (False diva), Kagiana (Keyhole), Kago onna uta (Song of woman in cage), Otogiri kusa (Younger brother cuts the grass), Boku wa kaibutsu (I am a monster), Anomaly, Kabukichou rainy, Kamisama nande!? (Why God!?), Watashi kirei? (Am I beautiful?), Koroshitaru naru hodo dareka o aishita koto wa arimasu ka? (Have you loved someone enough to kill you?) and One night kareshi (Boyfriend for one night).

The title-track has a nostalgical style, fitting with the cheerful melody and the simple rhythm, for a quite pleasant ballad; the song is about a love-story lasting only one night.

In the visual kei scene most bands rely on the positive vibes and the strong colors, and the Raid. joins this group, even if they get something unpredictable along with them. Each song carries up a new side of them, going from extreme to light in a single hit, adding electronic notes for making the melody more flowing and listenable to everybody and nice vocals, not fearing to be heavier when needed. the Raid. is the kind of band which you don’t hear much about, but they are still a relevant presence in the visual kei scene, making it even less boring, thanks to wide choice of songs in their repertory. If you are a fan of their world, you will look forward for their next work, the single Kimipuri (You prince), coming out this July, which makes this summer even more colorful than expected.

Who might enjoy: who loves colorful and energetic bands, made of fun and positive vibes.

Recommended songs: Zero ~0~, Tsubasa, Moment, Period, Rebellion, Mercari and One night kareshi.

That’s all folks! See you on Wednesday for a new review in “Let’s Listen to”!

Here I am with the final part of July’s themed week in “Focusing on”! Today’s subject is a band whose style hangs between power metal and anime world. We’re talking about Unlucky Morpheus, known also as Ankimo, formed on 2008 and composed by Tenge “Fuki” Fuyuki (vo.), singer of famous Japanese metal bands, such Light Bringer, Doll$Boxx and Dragon Guardian, and also leader of the project Fuki Commune, Shiren (gt./vo./prog.), former member of Yousei Teikoku, Undead Corporation and Babymetal, Jinya (gt.), member of Undead Corporation, Ogawa Hiroyuki (ba.), Fumiya (dr.), former member of Galneryus and also part of Hizaki Grace Project, Jill (vio.), former member of Rose Noire and Denshirenji Tsuyoshi (vo.). The band name’s meaning is not known at the moment, while their concept is an evident mix between gothic atmosphere and the world of anime and manga, as they started as a doujin circle. Their genre is a melodious and technical metal, brought up by the experience of each member, and their discography sees an interesting division between touhou re-arranged works, covering most of their repertory, and their original works,which they started to release in latest years. Their debut occurred on October 2008, with the first mini-album Hypothetical Box, followed by the first album Rebirth, the second album So that a star shines at the night sky, the third album Amazement Park!!, the fourth album Jealousy, the fifth album Unbeatable Accomplice, the sixth album Hypothetical Box Act 2 (reviewed here), the seventh album Byougin kishou (Demon cat), the eighth album Heavy Metal Be-Bop, the compilation U&I Eurobeat Remix, the ninth album Faith and Warfare, the tenth album Parallelism -α & β-, the compilation Best of Dramatic Melody, the second mini-album Miseria Kills Slaughterously, the eleventh album Affected (release which started their original phase), the third mini-album Vampir and the singles Wings, Black Pentagram (read the song analysis here) and Cadaver/Revadac.

The two title-tracks are literally one the opposite of the other, both in title and music, where the former is a paced and techincally rich metal theme, driven by charismatic vocals, while the latter sees a more epic approach, with a major emphasis on guitars; the songs talk about the link between destiny and rebirth and getting back for fixing things respectively. It has been followed by the twelfth album Change of Generation.

The lead-track, named Knight of Sword, is driven by Fuki’s unique voice, which keeps up a powerful melody, enriched by a great instrumental work; the song is about life as a continuous fight, featuring a medieval concept. It has been followed by the thirteenth album Heikou jikuu no ongakkai (Parallel space-time concert), belonging to touhou series, and the original single Takiyasha Hime.

The title-track sees an energetic metal melody, with an interesting folk experimentation, which works quite well, especially with the vocal duet between Fuki and Shiren; the song is based on the Japanese legend of the princess Takiyasha. It has been followed by the fourteenth album Hypothetical Box Act 3, part of the touhou series.

In Japanese musical scene the border between touhou and the other genres has become thinner, allowing more artists linked to a more electronic and animesque world to experiment even with the proper music. Unlucky Morpheus is one of the most notable exemples of this collision, because their work is mainly based on the touhou compositions, reworked in metal notes and giving them a regeneration, allowing the touhou world to become more and more popular. Their talent, given also by the outstanding line-up they built up in the years, led them to compose works of their own and the results has been really good, filled by virtuosism and charisma and improving their status in the Japanese metal scene significantly. In twelve years of career Unlucky Morpheus have grown up a lot, experimenting, going beyond their limits and entertaining a always bigger audience and they won’t stop doing it, as they are still hitting thanks to their latest effort, the fifteenth album Unfinished, fifth full work of originals, came out last month, where their energy and potency is compelling and definitely worth of a listen, as you can read in this review.

Who might enjoy: who is looking for a metal band, whose style lives between touhou and energetic themes.

Recommended songs: Danzai wa amaneku ningen no gen ni, Black Pentagram, Cadaver, Revadac, Knight of Sword, Kizasi and Takiyasha hime.

That’s all folks! See you with the first part of August’s themed week in “Let’s Listen to”!