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The Brilliant Green: Tomoko (Tommy) on vocal, Ryo on guitar, Jun on
bass. TBG image courtesy of J*Star Gallery. Rainy Days
Never Stays released on 31.07.02.
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NOVEMBER BIRTHDAYS
11/4 PATA
[X Japan/Dope HEADz, guitar]
11/8 A.O.I.
[Shazna, guitar]
11/15 SHIINA RINGO
[solo, vocal]
11/16 TADASHI
[Plastic Tree, bass]
11/17 AIJI
[Pierrot, guitar]
11/17 HIRO
[Raphael, drums]
11/17 TOMOI
[Laputa, drums]
11/20 SAKURA
[L'Arc~en~Ciel/Zigzo, drums]
11/20 YOSHIKI
[X Japan, drums and piano]
11/21 SHUJI
[Janne da Arc, drums]
11/21 TETSU
[Merry, bass]
11/24 YUKIHIRO
[L'Arc~en~Ciel, drums]
11/28 KEN
[L'Arc~en~Ciel, guitar]
11/28 TOWA
[/\ucifer, bass]
11/29 REIKA
[Madeth Gray'll, drums]
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THE JROCK FAMILY TREE
If you've ever wondered who was in what band with who and performed where with what, here it is. This is nowhere near complete and I'm sure that there are thousands of little ties that we left out, but here are the main connections between people in the jrock world.
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Spotlight on recently released songs. This is a rotating mp3 list and will be changed regularly to make room for newer songs, so get 'em while you can!
[Glay]
We All Feel His Strength of Tender
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Thursday, November 7, 2002
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IN CASE YOU HAVEN'T HEARD...
I should have put this up a long time ago. Gackt is re-releasing his 12-Gatsu no Love Song for this Christmas holiday. Expected to come with an English version...are we scared now? ^^;; Go to CD Japan to preorder.
- Gerald -
- Comment -
It's 04:39 p.m., and Kaoru's still playing air guitar.
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Tuesday, November 5, 2002
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JANNE DA ARC NEWS
This is from b-chan:
Janne da Arc was featured in the first ever English version of Newtype magazine! It's out on stands and has an interview with them about their recent single Shining Ray. Go to Nippon Music Champ to see!
Also, as NM mentioned on the BBS, JDA is releasing a new single on 20 Nov.
- Gerald -
- Comment -
It's 07:00 p.m., and Kaoru's still playing air guitar.
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MUST HEAR SONGS: GACKT
We're proud to announce the beginning of a new column here on Shiroi Heya where YOU, the fans, have a say! Since we specialize in reviews, we figured that it was time we combined together a list of the "must hear" songs from each artist for people who would like to see recommendations. However, you read our opinions on jrock here every day, so it's no fun if we do it! Instead, we're asking fans to pick an artist and write up their own lists or must-hear songs.
So far, we've had an outstanding response, but there are still spots open! If you're interested, go to the BBS.
We're proud to present the first article in this column: Gackt. Our resident Gackt columnist, MCVarmazi, is going to introduce his songs in stages by genre.
Gackt songs: Chilling, Eerie, Strange
Ares - track 1 "Mars" / 4th... - track 1 "Rebirth" / Noah - track 1 "Moon"
~ Gackt has a pattern of having the first track of each of his cd set
the tone for the rest of the album, and each introductory track is a
departure from anything else he's done before. Unfortunately many fans
skip these tracks because they are so experimental, but if you give
these songs a good listen you can really appreciate Gackt's wide
stylistic range a lot more.
Dooms Day - Wasurenaikara single b-side, track 8 "Moon"
~ A little bit overplayed and tainted by the images from the Takanoyuri
CM (or enhanced, depending on your view), this is one of Gackt's most
fascinating songs to date. The lyrics are absolutely chilling and upon
close analysis the music works on many different levels, conveying deep
emotions and telling a tragic story at the same time.
Fragrance - Another World single b-side, track 6 "Moon"
~ Exotic, beautiful, and almost a complete departure from the
Gackt-norm, this song made buying the Another World single a
justifiable
purchase (that is until the MOON cd was released). This piece is
simply
unlike anything Gackt had ever done before. If you haven't heard this
song yet you are missing out on one of his best works, a fan-favorite
for good reason.
freesia op 2 - track 7 "Mars"
~ The second part instrumental piece consisting mainly of a piano,
violin and cello trio. The pure sweeping emotion in this song is
really
haunting and rather ethereal.
Illness Illusion - track 8 "Mars"
~ A creepy waltz with some strange vocal elements erupts into a
fully-orchestrated chorus with very strong vocals and curious guitar
lines. Whispers, laughter, conversation clips all mesh together with
the music into a piece that makes you sit and wonder.
uncertain memory - track 17 "Mars"
~ Gackt creates a wonderfully uneasy ambience in this song with the
sound effects, piano, and orchestral arrangement, and his rock-solid
vocal performance is icing on the cake.
uncontrol - track 4 "Rebirth"
~ The electronic elements with rock guitar makes a fantastic
combination, and the distortion both in the instruments and on vocals
makes this a powerful and disturbing song. Flawlessly and effectively
Gackt pulls off a change from minor to major key for the bridge, adding
another dimension to this complex, fantastic song.
- Gerald and MCVarmazi -
- Comment -
It's 04:54 p.m., and Kaoru's still playing air guitar.
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REVIEW: SPIKY ON THE WAY [SPIKY]
[EDITED: 2002.11.05]
Just a bit of background for those of you who didn't know. SPIKY is Masa (v, g), dai (g), YAMACHI (g), MATCHY (b), Tomo (b), Toshi (dr), and Matsukichi (dr). Yes, this is the same Masa and Toshi of Gacktjob. Interestingly enough, both Gackt and Spiky are on tour this season so Masa and Toshi have to juggle both. Spiky has a new single coming out December 1 and an album next year. But anyway. On to the review.
[01] Final Disgusted [2:23]
Starts off with a bass-drum dance beat. There's a little distortion that gets worse when the guitars come in- almost like they forgot to pay attention to the sound level while recording. The drums sound like they're banging on upside-down coffee cans. It seems like a live recording until Masa's voice starts. The background instruments stay muddy the entire song. I don't know if this was intentional or what but considering the sound quality on Masa is fine it just thows everything off.
The song is quick, before you have time to process what's really going on, it ends. There's a verse, the main chorus, then a spoken/rapped bridge part, ending with an extended version of the chorus.
The main thing that bothers me about this song is the quality. I can't help thinking it would sound so much better with a full bass backup and cleaner sound.
[02] Wishes [4:36]
A mellower song. Kicks off with strumming guitar accented by this video-gamey flute-sound effect thing (it reminds me of any character theme on Street Fighter II). Verses and refrain are both minor soaring up to a major chorus. Very pretty melody line ending with the flute effect the first time, a really nice vocal bridge the second time. The instrumental bridge has this 70's keyboard riff running under the guitars making it sound very retro. The refrain kicks in again and then the chorus which sounds fuller this time around. The song ends with the vocal bridge, slowing down as the instruments ease off, leaving Masa until the end.
I like the construction of this song- it's a lot more solid than the first and the melody lines on the chorus and vocal bridge really carry it through.
[03] Little by Little [3:58]
Back to the loud and fast. Again, instruments are a little distorted but it's not as bad as "Final Disgusted." I really want to see Spiky add a full bass complement to these songs- drum and bass guitar. The lyrics are in English- though you can't really understand the verses. Not necessarily because of the pronounciation, there's a deliberate echo/vocal distortion effect adding to the confusion as well. The chorus is much clearer and actually gets fun to listen to after a while.
Masa's vocals in this are interesting, lots of fruit and attitude, especially in the chorus. It might take some getting used to but the song gets addicting if you listen to it long enough. There's just something about it. Or maybe it's just me. *L* Moving on.
[04] Moon Beam Story [3:37]
Ballad. Very pretty, very soothing, but Masa's voice isn't made for this. He's flat throughout most of it and the entire thing just sounds off. ^^ No complaints on the instruments really. It sounds like a lullabye or some such thing and if you're not too picky about notes, it's probably a nice song. Just... not... for me. ^^;;
[05] Together with [5:03]
Ahhh. Now this. THIS song. This track makes this debut. Everything works to good effect. There is finally a decent bass complement, the highs are there, the guitars hold everything together. The slight echo effect on Masa's voice enhances it during the verses. The chorus just soars- gorgeous melody, strong bassline, I think there are even some background vocals adding to it. Masa hits some pretty high notes ending the second chorus and he does so almost perfectly. Instrumental bridge then back to the chorus. Fades to the end.
Excellent way to end the single. If I recommend one song off this release, it would be this one, hands down.
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Final verdict: Not bad for a debut but Spiky has a long way to go. Several of the tracks need polishing and again, that sound/mixing problem really gets on my nerves. Masa's voice is raw and in its early stages still but may improve with training and practice. Most of the tracks seem rushed, thrown together.
Recommended for die-hard Gacktjob/Masa fans or anyone curious about what Masa sounds like. "Together with" shows they have the potential. Hopefully the next releases will showcase more of the maturity and cohesion present in that song.
Maxi-Single Information:
Spiky on the way
Release date: 2002.09.25
SSCM-0001 [1,500 yen]
(( Thanks to MCVarmazi for the Toshi tip. ^_^ ))
- MS -
- Comment -
It's 05:53 p.m., and Kaoru's still playing air guitar.
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SIAM SHADE NEWS
Most of this is from As It Is.
[DAITA]
Movie "Kazankoh" Original Soundtrack "Volcano High"
Composed by Daita
Contains theme song Rebirth composed by Daita, sung by Seomoon Tak, a Korean singer
Release date: 4 December 2002 by SME Records
Preorder it at CD Japan
[KAZUMA]
First solo live "Going My Way"
Was held on 16 Oct at Shibuya-AX. Junji was there as the drummer. (wouldn't that make it a 2/5 Siam Shade live then? ^^;;)
[JUNJI]
Junji is holding a drum clinic with Shinya from Luna Sea (who he worships ^_~):
"SHINYA & JUNJI Pearl Drums Exciting Seminar"
Date: Saturday 16 November 2002
Place: ESP Musical Academy, Main Building Hall
Time: Open --- 17:00 / Start --- 18:00
Ticket Price: 2,000yen (Tax included)
Second solo live:
Date: Tuesday 26 November 2002
Place: Shinjuku LIQUID ROOM
Time: Open --- 18:00 / Start --- 19:00
Ticket Price: 4,200yen (Tax included)
- Gerald -
- Comment -
It's 07:22 p.m., and Kaoru's still playing air guitar.
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Saturday, November 2, 2002
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ALBUM: SWANKY GOD POP [TAKUI]
Guest review by NightMajik
[1] BABY, GO FOR IT
I love the opening riff of this song, it's a good choice for the first half-minute of a 'rock' album. The classic-sounding, solid electric guitar turns into an upbeat and optimistic rhythm that carries the rest of the song. The chorus is catchy, and it's a very "fun" song. Nothing dramatic and heavy here--just optimism as far as I can tell. A light and happy but strong beginning.
[2] (IT'S GONNA BE) OK
When I listened to the song samples at Takui.com, I immediately got the impression that this would be my favorite song. That isn't quite true, but it runs a close second. This song isn't upbeat and optimistic in the way that "Baby, Go For It" is, but it still gives a very positive feel. Again, the chorus is catchy (but isn't that always true?). Overall, this song is kind of basic Takui: not too rock, not too soft. Simple and elegant--classic, if you will. The one criticism I have is Takui's English (or Engrish, shall I call it? ^_~). According to Takui, I do believe it's gonna be "wou-kay"... But honestly, I think that just makes me like the song more. =p
[3] DRIVE MY LIMO
This song begins with a short, seventeen second intro of background, echoing noises. The guitar work kicks in quickly, and Takui's voice catches up with the rest half a minute into it. The first time I heard this song, I wasn't sure what to think, considering the choice of title and prominent surf guitar. But the more I hear it, the more I like it. It's bouncy and incredibly catchy (and it's just hard to *not* sing along to the "drive my car, drive my limo" part of the chorus). There are quite a few parts, during instrumentals or just between verse and chorus, where Takui does any number of things which add to the 'fun', such as yelling, whooping, rolling his r's, and pretending he's Elvis. The fact that the last minute of the song is characterized by background noises, Takui distantly talking or half-singing, surf guitar, and an organ-ish sound doesn't even detract (normally this would bother me ^_~). Overall, incredibly fun.
[4] SHINING DAYS
Here the album slows down. This song doesn't come across as one of Takui's typical ballads, but it is a ballad nevertheless. Although the style is somewhat different from his usual slow songs, it's very beautiful and soothing. The music is very symphonic sounding, and there is a simple acoustic guitar accompanying throughout the song. The lyrics to the song aren't exactly extensive, but Takui still manages to invest quite a bit of emotion into the song with merely his voice (hitting some very nice falsetto notes, I might add). I particularly like the repetition of the chorus near the end with the addition of harmony. Very beautiful song.
[5] WORKING CLASS HI-SCHOOL
This is probably my least favorite song on the album, but that's merely a matter of personal taste. This is an interesting song, and as I'm not familiar with quite all of Takui's early works, I'm not sure if it's comparable in style to anything he's done before. The beginning of the song is characterized by voice-distortions and voices shouting in the background, along with a quick, fast beat and a screaming-type noise. A minute and a half into the song, after the chorus, the guitar disappears for a few moments, and the voice distortion returns. Overall, the song has a very interesting feel, and instead of being soothing, sad, optimistic, or anything related, it seems to just keep one off-beat and unsure of what to expect. The tone of the song seems almost experimental, combining multiple, somewhat random effects, but Takui did not do a poor job with this. It's an interesting song, and again, merely not my taste.
[6] OH MY DARLING
And we're back to cheerful and catchy. There's nothing quite outstanding in this song--not that I can discern--but that doesn't mean it can't be a great song. It seems to be standard-Takui in the way that "(It's gonna be) OK" is--but then again, even the typical Takui song is excellent. This song is pretty straight-forward and just a very solid song in terms of music and vocals. Takui saying "oh my darling" is probably some of the best English I致e heard him use, so if you'll listen for no other reason, listen for that. ^_~
[7] NEVER FADES AWAY
In my opinion, this is by far the best song on the album. A soothing, gorgeous, emotional end to an album that started solidly and with bold optimism. This song is most comparable to "Stay Together" from Chunky God Pop, carrying the same tone and emotion, although the music is a bit lighter. Although Takui's voice often carries a great deal of passion, there seems to be an even greater expression of emotion in this song. There is nothing about this song that isn't beautiful, and being the type of fan that I am, I have to add that Takui once again has some very impressive falsetto in here. For me, it would be worth buying the entire album just for this song (luckily, however, the other songs make it even more worth it). This song is a perfect, moving conclusion to a short but more-than-satisfactory album.
Album Information
SWANKY GOD POP
Release date: 2002.10.23
COCP-31986 [2100 yen]
If you liked NM's review, be sure to leave a message on the Shiroi BBS! =P
- Gerald -
- Comment -
It's 08:03 p.m., and Kaoru's still playing air guitar.
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