Thursday, January 24, 2002

[warning! this is a long entry!] LEGENDARY BANDS Jrock bands come and go, and in this era of overnight jpop sensations, it's easy to see how the world of jrock, though a little more lasting than its transient jpop counterpart, is related to it in more ways that one. Yet there are those few bands that are regarded as giants of their time, whose names last long after they've faded away, who are called "legendary." How does a legendary band gain its status, and why are those particular bands worthy of such a name? Here I'm going to examine six bands that are regarded generally as "legendary" or near that by Western fans. A few might be lesser names than others, but all of these bands have, in one way or another, left their mark on the jrock industry for years and years to come. These are the bands that set the groundwork for the jrock scene as it exists today. These are the bands which started it all. 1. BOOWY The name Boowy might not be known to many Western jrock fans, yet it's impossible to talk about jrock without mentioning this band. Why are they so important? Boowy is generally regarded as the founding band of jrock. Sure, there were many jrock bands before Boowy, and definitely many bands after Boowy which were much more famous in many different ways. Yet the name Boowy sticks. Boowy fans are fiercely loyal, reminiscing about the "great band" which lasted for unfortunately so short a time. In the West, the status of greatest jrock band is usually given to X Japan, yet X Japan was nowhere near as influential as Boowy was in the music scene. Even today, almost 14 years after their disbanding, Boowy "best" albums and collections continue to be produced and to sell extremely well. Boowy was founded in 1981 by vocalist Himuro Kyosuke after he attended a live of one of the jrock bands popular at the time. The music of Boowy is definitely very 80's oriented in sound and rhythm, so modern fans today might be put off by that fact. Yet there is no doubt that Boowy was a band that loved their music, loved their fans, and wasn't afraid to show it. Songs like "No New York" and "Rain in My Heart" are straightforward melodic songs with a catchy beat and no pretense. After they disbanded in 1988, Himuro Kyosuke (vocal) and Hotei Tomoyasu (guitar) went on to found stunningly successful solo careers. The jrock band that has most continued on in the Boowy tradition today is probably Glay. 2. X JAPAN If you don't know this name, you must not have been a jrock fan for long. As I mentioned above, X Japan is usually regarded by Western fans as being the founding band of jrock, but they are definitely very popular in Japan as well. While Boowy was the spearhead band of the jrock movement, X Japan can be considered the founding visual kei band. Their wild hair, makeup, and costumes are all very reminiscent of American band Kiss, which was the favorite band of vocalist Toshi. X Japan was an example of a group of artists who all became incredible musicians in their own right, yet decided to come together to form something even greater. In all their years together (1982-1997), X Japan only released three albums, yet it was never the quantity of music that counted, but the quality. It is this fact that gives X Japan's music the edge over many similar visual kei bands: the ability to portray a wild, harsh image and an epic, romantic one at the same time, thus bringing an incredible depth and richness to their music. It can be said that X Japan redefined the meaning of the word "beauty" with their music. The band Dir en Grey, which was actually produced by X Japan drummer and leader Yoshiki at the start of their career, continues on the X Japan tradition today. 3. LUNA SEA Luna Sea seems to have a mixed reputation within the jrock fan community. Most of their music is hard-edged rock almost to the point of gothic, with no flounces or veils to hide the darkness. Yet there is something about the quality of the music that is irresistible, a polished, smooth, almost seductive sheen that almost sparkles, enhancing the hardness of the sound, making it float and soar. Luna Sea songs consistently feature long, sustained chords in both the instrumentals and the vocals, relying on overall sound instead of catchy melody or technical expertise to carry their songs, and they have very few songs that can be called "beautiful" in the traditional sense. I've found that people either like Luna Sea or they don't. There are very few in-betweeners. Unlike X Japan (for whom they were once a backup band), Luna Sea's members don't seem to have as much individual charisma and musical talent as they do as an entire unit. However, that only provides an opportunity for them to shine even more as they pool their collective talents into one. It is this that made them so great: the fact that the band, though made up of five people, seemed to function as one. It is impossible to mention the name of Ryuichi without thinking of Sugizo, Inoran, J, and Shinya at the same time. Luna Sea was never a "popular band" in the sense of pop culture, but their works are definitely some of the most respected and famous of all jrock bands. When they disbanded in 2000, the band Siam Shade continued where they left off. 4. B'Z B'z is another band that seems to be less popular in the Western world, but as of today, they are the most popular jrock band in Japan. The image they portray is a very "retro," almost grungy look, with their music having definite influence from jazz, big band jazz, blues, and traditional Asian compositions and folk songs. B'z is at once glamorous and down-to-earth, dirt-and-dust without getting too sentimental, not too romantic but at the same time not too dark. With songs backed by almost every instrument under the sun, B'z is definitely a band that is eager to experiment. It's almost a certainty that you can't go wrong with B'z. The band itself consists of only two main members: Koushi Inaba on vocal and Tak Matsumoto on guitar, but those two names are literally world-renowned (In 1999, Tak was named the first Asian Gibson Signature artist). B'z offers the common jrock fan a look at the past of jrock and perhaps an alternate look at the very definition of the word "jrock." They've kept going strong since 1988 and with 13 albums and more than 20 chart-topping singles, show no signs of stopping anytime soon. 5. L'ARC~EN~CIEL Like their name, "rainbow," L'Arc~en~Ciel has had almost every kind of image since the start of the band in 1991, but that doesn't stop them from changing again and again. Like a chameleon, they shift from style to style almost effortlessly, bringing to each song the same vibrant sound, tinted with just a hint of Asian and French influence. With their pop-rock tradition and comfortable yet high-class style, L'Arc~en~Ciel is definitely one-of-a-kind. They are romantic with just the right hint of sarcasm and cynicism, and irreverant but never past the point of pure fun. Not quite pop but not all the way sunk into the jrock traditions, they make their own paths through their uniqueness. The interaction between the members reinforces the ties between them as not just a "band," but as one tightly knit single unit. Like X Japan and B'z, each of the members is also marvellously talented, but like Luna Sea, up until recently they've always been thought of as just "L'Arc~en~Ciel," with no strings attached. With the recent launch of three of the four members' solo careers, the end of the rainbow seems in sight, but there's no arguing that L'Arc~en~Ciel is not a name easily forgotten nor replaced. When they disappear, there will never be a band quite like them. 6. GLAY The one you've all been waiting for. People who love jrock have heard of Glay. People who hate jrock have heard of Glay. People who love jpop have heard of Glay. People who know nothing at all about Japanese music have even heard of Glay. Probably the band with the most far-reaching influence today around the globe, Glay is ironically one of the few bands that has not attempted to showcase their popularity outside Asia. Perhaps this has preserved the image that everyone loves, hates, or simply ignores, but Glay is a name that won't simply go away. All arguments about Glay as a jpop or jrock band aside, Glay's success can be summed up in five simple words: Not Afraid To Be Happy. Glay's music and lyrics teach a message of hope, happiness, joy, and the art of just enjoying life in an age where most artists are preaching the opposite. Glay's honesty and joy for music have won over many, both in Asia and around the world. The epitome of a group that isn't bonded together so much by talent as by common purpose, Glay doesn't exist to show the world fancy guitar riffs or superior quality singing or stellar melody and lyrics. Instead, they embark on each phase of their careers with a message, whether it be "Pure Soul," "Global Communication," or "One Love." There's a Glay poster with the slogan "We gotta go find the real love," and that really sums up their viewpoint and message in one simple statement. Glay isn't just looking for the generic "love" that all other musicians seem to be seeking, but they're looking for something that's attainable, that can be found. They acknowledge that there might be roadblocks and trials along the way, but sooner or later, we'll all come out all right. That is the power of Glay's music. And with eight albums and counting, they seem to have gotten through to the world while keeping their eyes on the dream. And those are the six legendary bands of jrock who have supported and carried on the legacy for so many years. There are others that I have not mentioned (Unicorn, Kuroyume, Buck-Tick, Siam Shade) that have come close to this mark, but only these six have seemed to most inspire musicians and fans alike. Sadly, the era of all of these bands seems to be coming to an end, and it remains to be seen if they will ever be replaced. But even if they are not, their music and the power of their presence will still remain. - Gerald - Jiro: "OH! It's 06:13 p.m., and Teru just broke another window!"

Thursday, January 24, 2002

HYDE NEWS "A Drop of Colour" (slated for release on Hyde's upcoming solo album), has been selected as the theme song for the film, DRESSER-KEWAISHI which opens in Japan on February 9th. Check out KEWAISHI or Hydeist for details. Rumors also abound that Hyde is planning a solo live later this year. - MS - Jiro: "OH! It's 10:25 a.m., and Teru just broke another window!"

Monday, January 21, 2002

SIAM SHADE "BEST" ALBUMS Following the announcement of their breakup, Siam Shade will be releasing two more albums and their Budokan Concert DVD before they actually disband in March. Here are the albums: Siam Shade VIII: "B-side Collection," or complete single c/w tracks collection. Release date January 30, 2002 Siam Shade IX: "A-side Collection," or complete singles collection. Release date March 6, 2002 I've heard they're going to release a true "best of" album too, but I haven't found any official information on that. For track listings of these albums, go to As It Is. I'll probably be talking about this more as the time for their final concert draws near, but Siam Shade was a driving force in the jrock community and I, at least, will sorely miss them. - Gerald - Jiro: "OH! It's 09:33 p.m., and Teru just broke another window!"

Monday, January 21, 2002

ARTIST: DIR EN GREY The stage is dark. Skulls of varying shapes and sizes are scattered here and there amidst wires and bulky sound equipment. The audience is silent, watching, waiting. Without warning, the lights flash. The fans scream. The vocalist explodes onto the stage screeching, the lights reflecting off the metal spikes, studs, and pins stuck to various parts of his face. To his right is the lead guitarist- one of the only creatures alive who manages to look menacing while sporting a shock of spiky bright pink hair. Behind him is the bassist- the epitome of tall, dark, and handsome in a dress. To their left is the other guitarist- a redhead bouncing around with a happy grin. Finally, in the back, a seemingly frail-looking feminine figure bashes away on the drums making any previous assumptions regarding his strength disappear as the very venue reverberates with his furious pounding. This is Dir en grey. Formerly of the band La:Sadies; KYO, KAORU, DIE, and SHINYA recruited TOSHIYA in 1997 thus completing the current lineup. They released one indies album, MISSA, and several singles, including I'll, which made it to #7 on the Oricon charts, the highest position ever attained by an independent release at the time. In late 1998, they were signed onto a major label with the help of X Japan's YOSHIKI who continued to produce their next set of singles and their first major album, Gauze. As with Malice Mizer, Dir en grey explores the darker, heavier, and gothier side of jrock. Band leader, KAORU, composes most of the tracks, particularly the more experimental ones like "mazohyst of decadence" and "MACABRE." DIE's compositions are catchier, more rhythm/melody-oriented. He was responsible for Yokan, one of the 'poppier' singles off the Gauze album. TOSHIYA and SHINYA have contributed a few tracks each, and the band collaborates on the rest of the songs. Vocalist KYO is responsible for all of the lyrics. His truly one-of-a-kind voice is part of what makes a Dir en grey song almost instantly recognizable. Whether crooning, singing, whispering, rapping, or screaming, he manages to keep up with the myriad of styles the others come up with. Most, but certainly not all, fans are initially drawn to Dir en grey because of their look and shock value. Their sound is mostly hard-edged, the lyrics- controversial. Some tracks from both Gauze and their sophomore album, Macabre, were banned from radio airplay because of content. All that aside, what gives this band staying power is their music. They're not afraid to experiment with new sounds and styles. Each member is monumentally talented in his own right, each contributing something unique to the band’s vision. This, combined with their sometimes outlandish and eccentric costumes, is what makes Dir en grey one of the, if not the, most successful visual kei bands in the scene today. And with a new album and tour lined up, I don't see them slowing down any time soon. Recommended Songs: ain't afraid to die – A haunting, beautiful ballad. Hydra – Lyric snippet: “I wanna be an anarchist” ‘nuff said. Much headbanging to be had by all. Cage – One of my faves. Showcases Toshiya's awesome bass talents. ZAN – Hard, fast, and manic; complete with demented laughter and freaky gasping noises. I'll – A fun, catchy thing. Still one of the best. - MS - Jiro: "OH! It's 07:32 p.m., and Teru just broke another window!"

Saturday, January 19, 2002

PREVIEW: WAY OF DIFFERENCE [GLAY] I was going to wait until closer to the release date to review this but... I've had the thing repeating for the last half hour and it's compelling me to write something so here I am. *L* Either I or Ger will probably do a more "formal review" later on if more needs to be said. Please note that I'm not sure if the version I have is a radio edit/demo/whatever so details regarding the music are subject to change when the single is released. "Way of Difference" begins rather abruptly with a jumbled mix of Teru's and (probably Takuro's) voices backed by guitar, all of which, quickly resolve into the chorus of the song. Best way to describe it- combine the a capella beginning of "Be With You" with the melody from "However," add more voices, the guitars, and speed the whole thing up. A lot. The tempo itself isn't particularly fast but the lyrics spill out so quickly- you barely acknowledge them and there's more streaming by in a blur. The introduction fades into some bell-like sounds and the guitars take over again, paving the way for Teru's vocals. He sounds even more hoarse in this; his normally edgy voice has more of a breathy tone. It works for the harmonization but makes him sound like he's running out of air the rest of the time. The verses are vaguely reminiscent of the ones on "Hitohira no Jiyuu," but again speeded up. The melody is quite catchy and enticingly singable but I know my tongue is going to be tripping all over itself trying to keep up with the flow. Jiro's bass lends some foundation during the second part of the verse and the chorus comes back in, backed by drums and a fuller rock sound. The rest is more of the same with Teru crooning gently between verses. The obligatory instrumental follows and Hisashi turns up the volume right before the bridge, introducing his guitar solo with a squealing high-pitched note. Keyboards and more bell-like things accompany Teru during the bridge and the whole thing swells again into the driving chorus. More crooning over guitars and bass and it fades out from there. The song seems to be made up of contradictory elements. The overall tone is calm but the lyrics are fast-paced. In some parts, particularly in the chorus, it pushes forward, then pulls the brakes towards the end. It has a rawer, less-polished feel to it- that may just be my copy though- yet there is an interesting mix of instruments that combine to create this "simple" sounding song. Even "Be With You" sounded more contrived compared to this. Everything worked well together though creating a piece that leaves a smile on your face after the last bell-tone thing has faded. Bottom line, "Way of Difference" is pure Glay. Neither black nor white, pop or rock, just a mishmash of everything in between. There's nothing I can really pinpoint to make it more notable than say, "Global Communication" or even "Stay Tuned" but it's a solid piece that stands on its own. Definately worth a listen for those of us who can enjoy the lighter side of rock, more if you consider yourself a Glay fan. ^_^ - MS - Jiro: "OH! It's 03:20 a.m., and Teru just broke another window!"