It was an important year for Visual-Kei
- international Visual-Kei, hiatuses, disbandments, and an array of great
albums. But, which ones were the best? Which albums will have effects on the
Visual-Kei scene? Join James as he looks back on the past year, and picks the
best albums of 2013, in three installments.
First off, I want to reiterate what I
said last year – I have excluded some albums from this list, even though they
are great. Visual-Kei is a largely indie genre, and as such, many bands get
little publicity and releases are overlooked. Of course we all know about
releases from storied artists like miyavi and the GazettE – and we also know
those releases are good. Here, I want to give a space to lesser-known artists
who also did a great job. In this list, I may include some well known artists’
albums, but because I see those releases as having an impact beyond simply
being a well-known artist’s new release. I hope you enjoy reading this list as
much as I enjoyed putting it together.
For Part 1 (#30-#21),
click here
For Part 2 (#20-#11), click here
For Part 2 (#20-#11), click here
10. R-Shitei – VISUAL IS DEAD
The joke
that R-Shitei played on fans with the revealing of a fake tracklist may have
been not just the best trolling of the year, but that I can remember in
Visual-Kei. For the unfamiliar, R-Shitei revealed a fake tracklist full of
happy, upbeat songs for their new album, only to release a teaser for the title
track of “VISUAL IS DEAD” and the real tracklist a few days later. Needless to
say, there was a significant difference in that “VISUAL IS DEAD” is a darker
album than the fake one.
The album
opens with the title track, which is the hardest I can ever remember hearing
R-Shitei. The album then switches into a more characteristic R-Shitei with a
sort of groovy melody and rock tone. The album hit its stride with the next track,
“Last Rain”, when R-Shitei’s rock side begins to show along with the complex
compositions that have won them fame. The album makes use of a variety of
instruments atypical to rock, namely keyboards, and everything from accordions
to traditional Japanese instruments. The album doesn’t necessarily flow as well
as some others on the list likely due to it being so single heavy and also it
doesn’t seem like the band even tried that much. The tracks here are all
excellent, however.
R-Shitei
perhaps had a more unified theme with “Nihonchinbotsu”, but they have a better
all around album here. This is the longest album on this year’s list, with a
whooping seventeen tracks. Almost all are good, even if there is some lack of
unity at times. R-Shitei experiments with sound throughout this album, and it
works.
KEY TRACKS: “VISUAL IS DEAD”, “Seishun wa Wrist-Cut”,
“Aikoku Revolution”, “飴玉”, “Slow Days”, “Closet Girl”, “Sekai no Owari”
9. DIV – ZERO ONE
One of my
biggest fears in life was not whether or not this album was going to be good (I
did worry about that a bit), but if there will come a time when people will no
longer remember the hilarity of Chisa’s eye contacts in the “Natsu no Yukue”
music video. Ultimately, I have some waiting to do on that one yet. DIV is
probably one of the better things to happen regarding xTRiPx in some years (the
main impetus for founding DIV was two members of xTRiPx branching off),
although it has quite a different sound, much like when kannivalism branched
off of baroque. This album takes a crack at combining DIV’s happy and upbeat
side (“Taste of Life”) with a more serious, heavier side (“VANISH”). For the
most part, it works swimmingly, and is one of the better albums of the years
that forgoes the truly heavy side of Visual-Kei.
The album
begins with “VANISH” which is perhaps the heaviest track you will have heard
from DIV yet when it comes on the speakers. The album then moves into “ZERO
ONE”, which sounds reminiscent of more standard DIV fare, but with a level of
polish absent prior. The guitars are layered on this track to create a very
nice atmosphere along with some programming. The album then moves into the
single, “Natsu no Yukue”, which just as when it came out a year ago, is a fun
number. The album then plays a number of tracks that are more of a departure
from before, using more experimental sounds for the bands such as heavier
reliance on programming or funkier bass (“ASTERIOS” is particularly different
and uses a lot of programming). This being said, the band never takes too many
risks, and the ones they do overwhelmingly pay off.
With the
seventh track, “Teddy”, the band showcases three of the best non-single tracks
on the album (“Teddy”, “Chocolate Prayer”, “Place”), which sound similar to the
level of polish on “ZERO ONE”, with a similar level of depth. These three
tracks have varied sounds, and stand apart from the rest of the album as a
particularly noteworthy stretch. Following this, the album closes with some
other solid tracks and the remaining singles.
DIV has
crafted a very fine first album here.
They take a number of chances on new sounds, along with building upon what got
them fame up to this point. The album is like a deeper, more polished version
of the DIV we have been hearing, and if that has been working out for you, I
would encourage you to check out this album.
KEY TRACKS: “VANISH”, “ZERO ONE”, “Natsu no Yukue”, “Teddy”,
“Chocolate Prayer”, “Place”, “ANSWER”
8. D=OUT – Kabuki Disco
Perhaps PSC
feels a need to have a band that wears kimonos to some degree and mixes
Japanese instruments in with their music also on hand at any time. Or maybe,
D=OUT thought of this change entirely on themselves. Whatever the case, it was
unexpected, and even more surprisingly, it works. This album shows off the best
that the band has ever sounded with a winning concept.
The album
kicks off with the title track, an upbeat number that will likely get stuck in
your head for weeks. Like the title suggests, it has a certain dance vibe to
it, but stays firmly grounded in rock with the best bass playing that has ever
happened on a D=OUT record, and great guitar. The next track “Killer Tune” is
an aggressive track that mixes in the upbeat dance feel from “Kabuki Disco”.
This being said, the song is far more of a rock tune. The album returns to a
more dance feel, and definitely 1970-1980s inspired one for “Chuukyori Renai”.
Overall, the album follows a pace set by the first two tracks, which is to say
varying integration of upbeat dance feel, traditional Japanese instruments, and
a rock side of D=OUT.
This is
certainly the most upbeat album on the list, and D=OUT makes it work. The album
is filled with tracks more addictive than potato chips, and is D=OUT’s best
work. The album succeeds in many different levels, whether it is the usage of
traditional instruments, dance vibes from the disco floor, or the career-best
instrumentation and vocals. This album is the best of the year in terms of
having a theme, and basing every composition on the album off of it. Every
track flows into each other, and while every track on the album stands out, it
also works as a singular whole enormously well.
KEY TRACKS: “Kabuki Disco”, “Chuukyori Renai”, “High
Collar”, “T.S.G”
7. EAT YOU ALIVE – Apocalypsis
EAT YOU ALIVE, in some ways, singlehandedly showed us
Nagoya-Kei, and by that I mean what Kuroyume started in the 1990s, wasn’t dead.
They burst on to the scene with their first album, “The world is mine” in 2011
after a number of years underground, and having evolved out of the defunct band,
maveRICK. “The world is mine” was Nagoya-Kei in every sense – the band was
unabashedly based in Nagoya (unlike many others who migrate to Tokyo), and wore
clean, yet edgy style. The instrumentation was top-notch, and Hiro’s vocals
were equal parts half-rap, soaring during the choruses, and some of the best
screams and growls anyone has ever done in Visual-Kei. The band never had any
member changes or showed signs of stopping, until they announced they would be
disbanding early in 2013 out of the left-field. Yet, before bowing out, they
released “Apocalypsis”, and not their best release (which isn’t saying much
considering how phenomenal “The world is mine” and “Catedral” were), it is the
most impressive Nagoya-Kei album of the year, and will likely appear at the end
of this decade as one of the best Nagoya-Kei, and also in general Visual-Kei,
albums to be released.
The album is in many ways what you would expect from EYA –
polished beyond belief, and expertly executed violent moments. Just like “The
world is mine” and “Catedral” before it, “Apocalypsis” is full of tracks
different from each other, but that are sequenced and designed in a way that
they spill right into each other, and makes one want to listen to the entire
album upon listening to a single track. The album, more than any other on this
list, excels as a singular work of art, and is best taken in as a whole – not
that the tracks are weak individually. This album is also noteworthy in that it
shows an EYA more comfortable with their diverse range of sound, with a number of less-aggressive, rocking tracks
than previous albums. This does mean that potential listeners will need to be
prepared to hear an evolved EYA, and not the same one we heard on “Catedral”. A
number of slow tracks give this album a depth that “Catedral” lacked, although
the album lacks numbers as fast and unrelenting as ones such as “Coke in a
vein” and “MaveRick” from “The world is mine”. The album in general is well
rounded out, and contains great lyrics from Hiro as usual, and elegant
compositions from the band.
EAT YOU ALIVE proved with their music that not everyone had
given up on Nagoya-Kei the way the founders of it had intended (and showed
again once Kuroyume returned in 2011) when they dropped “The world is mine”.
Perhaps my exaltation of that album above this one is based reminiscence of its
release at a time when it seemed very little quality Nagoya-Kei was being
released (if you can remember back to then, we were in the middle of the
Oshare-Kei world conquest, with SuG
reigning supreme), and the impact that release had on the first, and subsequent
hundreds of playthroughs. It is regrettable EYA went out with a poorly attended
first (and last) European tour this year, and with seemingly few news outlets
covering them towards the end, and little press for their final single. They
will be missed, but I am hopefully the members will resurface.
KEY TRACKS: “Sandy”, “Light come, light go.”, “Overcoming”,
“Sick”, “Lily”, and tracks 8-12 for your filling of the aggressive, hard side
of EYA
6. 六合 (Rikugo) -暁に産声、忘却の鼓動 (Akatsuki ni Ubuge Boukya Kuno Kodou)
You likely
overlooked albums this year, that’s okay. What’s not okay is how overlooked
this album was. This release comes completely out of the left field, even more
so than the unexpectedly great album by DISH. Rikugo has cruised undetected
from most everyone and every Visual-Kei outlet, and based off this release, for
little good reason. This album is indie perfection, and stands apart from other
albums and bands with a sound as unique as massive and brilliant.
The album
doesn’t really let on that this is a band no one has heard of – it starts of
with an epic sound, and doesn't let up for the entirety of the album.
Everything here is impressive, from the pounding drums, to the layers of
programming and keys on a number of tracks, to the sheer depth and variety of
the vocals. The guitars and bass are also expertly done on this album, both
from a technical standpoint and in terms of sound. The album has a unique sound
throughout, which becomes particularly evident when the third track roles
around, and an awesome half-minute bizarre percussion solo leads into one of
the best tracks of the album, complete with keyboard and guitar feedback going
through each headphone. In a way, this
is indicative of the entire album – not the specific structure of the song, but
the unexpected nature of each track. The album also makes use of traditional
sounds on tracks such as “薄暮へ”, showing yet another side of the band (they are from
Kyoto, which may account for some of this sound).
This album
is a masterpiece, and stands apart from other albums this year due to the
compositions on it. The tracks here are so impressive due to the fact that each
one is like its own adventure, a completely immersive soundscape. This album
packs more sound in each track that some entire bands’ careers. Don’t make the
mistake of passing Rikugo up as so many others have, they are one of the best
bands out there, and unfortunately, very few have heard of them.
KEY TRACKS: “共心”, “獅士、玉虫の背に”, “薄暮へ”, “荒霊”
OHP: http://rikugo.com
YouTube Video for “求世輝導 (Guzekidou)”: https://www.youtube.com/watch?v=Jqml5HuRIQs
Soundcloud (listen to a number of their tracks): https://soundcloud.com/rikugo
5. 12012 – THE SWAN
I derived enjoyment to
no end from watching people exclaim, “12012 is back!”, “OMG, Wataru isn’t
screaming!” type comments found on the trailer for the music video for the
title track of this album, and then the actual music video. People who don’t
understand 12012 and how dynamic the band is (and always has been) were then as
disappointed by this release as by last year’s “12012”. There seems to be some
horrible understanding of 12012 abound amongst Visual-Kei listeners (domestic
and abroad) that 12012 ever had a truly concrete style. I wrote about this last
year when discussing the band’s Nagoya-Kei masterpiece, “12012”. The band is
back this year with a new member in tow, and one of the softer tracks we have
heard from Wataru and company in some time, and an album, that much like last
year’s, blows your socks off.
This album is more
varied than last year’s outing (or their other mini-album from this year,
“DEICIDA OF SILENCE”), a fitting metaphor for their career. The first track,
“THE SWAN”, is slower than anything we have heard from this band since they
covered GLAY’s “Winter, again” back in 2011. Wataru’s voice is gorgeous on this
track, and the guitars drive it, likely an opportunity to show off their new
guitarist. After the first track, the band returns to the evolving style we
have been seeing since they put out last year’s self-titled album, except with
richer vocals, and not precisely the same instrumentation. Throughout the
album, Wataru’s vocals return to more of an early 12012 style – that is to say
use of echo and effects at times, coupled with more singing than screaming, and
plenty of groans and deep throat sounds. Wataru’s voice is the star of this
album, and the guitars come in a close second. If “12012” was too intense, too
violent for you, this album may be more to your liking, as it combines some
very aggressive sounds with more of Wataru singing and not screaming, and also
more noticeably varied compositions (not to say last year’s release wasn’t
varied, but apparently people thought all the tracks sounded the same because
of a unified style).
While this album is
brilliant, it is not last year’s “12012”. The bass and drums are not as
impressive here as on tracks such as “SUICIDE” or “BAAL-ZEBUL”, for one. Even
typing that, I feel a bit unfair, as those two tracks are some of the best
Nagoya-Kei tracks ever recorded, but still. Perhaps the rather grueling pace
the band was running at this year (and they have been going at it since coming
out of what was basically a hiatus the year before that) meant some loss of
quality. That isn’t to say this album is weak though – 12012 accomplishes more
in five tracks than a lot of bands do in their entire careers. The album is
aggressive, and shows, just like last year, one of the most dynamic bands in
not just Visual-Kei, but any genre.
KEY TRACKS: Obviously
“THE SWAN”, and also “BLACK RAIN”, but the entire album really. The songs all
have a unique character, and there are only five, after all.
4. TIE the god and
death stars and amber gris
the god and the death
stars – dawn of the god
Much like DISH, this
band has escaped the notice of many, yet the have certainly accrued more
notoriety in the underground scene. The band’s members (including those that
have now left) have been a host of some of the greatest Visual-Kei bands of the
past two decades – deadman, Plastic Tree, kein, 9GOATS BLACK OUT, and the list goes
on. This is the god and death stars’ first album, but one would not necessarily
guess it, as it is near flawless.
The album - as one
would expect from a band with roots in others such as kein and deadman – is
dark, moody, and beautiful. Despite being underground, the band’s playing and
vocals could hold their own against any major Visual-Kei band. This being said,
the album is far more adventurous in terms of its sound than many major
Visual-Kei bands. The band achieves a nice flow throughout due to their style
and the similar atmosphere across the tracks, which is also pulled together by
a sort of minimalist, yet layered sound.
There isn’t much I can
accomplish, especially in this short of a space, so I am not going to aim to
try – the album is brilliance, and masterfully executed. If you somehow
overlooked this release, I would heavily suggest you find time to listen to it.
KEY TRACKS: , “brother
mustang”, “半分人”, “ガシガスガソ”, “emmny”
Twitter: http://twitter.com/THE_GOD_TALK
amber gris – AROUND CHILDREN
amber gris
has one of the most unique sounds in Visual-Kei, now more than ever with the
departure of 9GOATS BLACK OUT from the scene (who were also touring buddies of
amber gris). amber gris maintains a sort of decadent, opulent (in a subversive
way) style in all of their concerts, looks, and videos, and this new album is
no exception. This album showcases the beautiful vocals, lyrics, and
instrumentation one has come to expect from amber gris, however, in perhaps a
different manner than before.
Temari
(vocals) is the centerpiece, as usual, here. His lyrics and singing are near
peerless, with the rich imagery of nature employed in this album as before.
Lyrics are too subjective to measure an improvement of quality in, however the
instrumentation on this album is better than an earlier amber gris. The bass,
in particular, stands out on this album far more than their first, “pomander”,
along with the drums. The guitar work as per usual is some of the best around,
with some of the best layering and melodies of the year, in particular.
Discussing
tracks individually is difficult, as the album seems to seek a unity, and in
this sense, it is far more a single piece of work than “pomander”. Overall, this album forgoes faster and
harsher tracks than what was found on the second half of “pomander” for a
selection of softer tracks. This works in its own way, and gives the album an
emphasis more on beauty, and seemingly fragility, than “pomander” before it.
The album has a very different feel than “pomander”, even if it is dripping
with amber gris’s signature sound.
KEY TRACKS: “Fragile”, “hermit”, “bright or blind”, “for
crying out loud”
3. TIE – DISH and
Umbrella
I frequently let
anyone who cares to know (and those who don’t) that the world needs more
Shoegaze-Kei (I am the only one calling it that). Usually, there is a supreme
dearth of Shoegaze-Kei each year, or Visual-Kei making use of Shoegaze sounds,
however, this year was a bit different. Whether it was yazzmad’s first full or
these two discs, everyone that loved Shoegaze had something to love this year
in Visual-Kei.
Of course, I shouldn’t
simply say that there was Shoegaze-Kei this year, rather, it was really darn
good Shoegaze-Kei. Umbrella and DISH both delivered discs that exist in a realm
above even the really good music we heard from yazzmad this year. I placed these two releases as a tie because
they are both excellent, and both different varieties of Shoegaze and
Visual-Kei.
Umbrella - モノクローム (Monochrome)
Umbrella has been
doing pretty well as of late, having gone and played at an American convention
and all. They still don’t have the notoriety of some other bands that have
played similar conventions (Awoi, Mixx Speakers), but, what they lack in
popularity, they make up for in sound. This album contains the most beautiful
sound we have gotten from Umbrella yet, and it mixes in some softness with
moments of Umbrella’s characteristic feedback and unrelenting bass.
This album starts off
with “セカイノオワルヲト”, a beautiful, four-minute opening track with no vocals. It shows growth
on Umbrella’s part, as it holds back some of their more aggressive sounds, and
instead becomes an airy track very characteristic of the Shoegaze style. The
second track moves into a far more aggressive Umbrella, and sounds much like
what we have heard from them before, but with additional depth, and the
instrumentation simply sounds cleaner and more precise than some of their other
releases. The third track continues the deployment of sounds from the usual
Umbrella repertoire, before moving into the title track. “モノクローム” is perhaps the best
track on this album, as it showcases an Umbrella that has developed
significantly, cognizant of their own style, and how to tinker with it enough
to come out with a song that listeners will recognize as distinctly them while
still exploring new sounds. The sound makes use of lo-fi recording of the bass,
and despite being the most aggressive and driven track on the album, has a
significant amount of emotion and feeling imbued in it.
The next two tracks
return to a more typical Umbrella style and eschew the harsh, lo-fi bass of “モノクローム”. The sixth track, “微熱”, slows everything down a
bit, and adds in the best guitar work of the album, with beautiful layering
during the solo. The final track, “LoV”, is emotional, reserved, and quiet
during the verses, before picking up during the chorus. Again, the track has a
sort of flow of its own, unique from the album’s, by the feedback from the
guitars (heavily controlled by pedals), and the vocals (which are at their
greatest on this track).
Umbrella has grown as
a band greatly and this album exists as evidence. The biggest piece of this is
that the album has a great flow, with each track seeming to spill over into the
next. As per my usual complaint with mini-albums of newer bands, I wish we had
a full album to really sink our teeth into, but this serves as a great
demonstration of why Umbrella has experienced the success they have, and why
they are going to be on my radar for 2014.
KEY TRACKS: “風穴”, “モノクローム”, “微熱”, “LoV”
DISH – 春と訣別と咲乱 (Haru to Ketsubetu to
Sakuran)
Speaking of bands that
are on peoples’ radars, here is a band on nobody’s radar. A band so
underground, probably only hipster burrowing animals know of them (no, I don’t
mean that, I have talked to hipsters and they don’t have this good of taste in
music). DISH has been around since 2007, yet escaped most everyone’s notice,
and this is their first substantial release. The album is a dark, atmospheric
masterpiece of Shoegaze and Visual-Kei on a level few records I have ever heard
use Shoegaze sounds in Visual-Kei are.
The album is rich in
sound, whether through usage of feedback loops hidden in the background, to the
guitar that drives the album. Hirofumi’s vocals are also excellent throughout
this album, and drive the dark atmosphere the band creates. The main
attraction, however, is the guitar, which suprises the listener on every track
with a variety of pedals, different ways of using feedback, and different
methods of layering the lead and rhythm guitar. The album alternates between
slow and soft, fast and harsh, and pulls both off with equal race. Every
instrument, including Hirofumi’s voice, is completely dynamic on this album,
changing to fit each and every song while retaining a unique, dark sound. There
is a raw sound that coexists with very polished playing throughout the album,
giving it a rough yet atmospheric edge, even on tracks like the ballad, “49”.
The back end of this
record is where the flow of the tracks and style at a level of perfection that
very few other bands achieved this year, and that few every do, with repetition
of the ominous opening track used, to some of the most spacious and haunting
compositions on this or any record from this year.
Here is hoping to
increased recognition of DISH’s work (and even existence, because their
presence is really not noticed it seems) and hopefully more of it, in this
coming year. The band currently only has Hirofumi on vocals, and Kouhei on
bass, with TSUTOMU (ex CANNON the CIGARETTE, now in bastard), so it would be
great if TSUTOMO became a regular member and the band could secure some
guitars. Don't make the incredibly common mistake of overlooking DISH – they
are some of the most promising talent in Visual-Kei.
KEY TRACKS: “箱船”, “DISCO BEAT EMOTION”,
“SNOW EMOTION”, “49”, “ナミダレイン”, “メロウイエロウ”
OHP - http://dish.nobody.jp/
2. DIAURA – FOCUS
When DIAURA
announced they had an album coming out this year, I figured it would be one of
the best and I wasn’t disappointed. DIAURA has burst on the scene with a
ferocity rivaled by few bands, and a sound that is completely their own. Visual
Kei Heaven reviewer Jeff has already discussed how DIAURA has a completely
unique style and method of composing songs that stand out from the crowd, and
this is the rule not the exception, again with “FOCUS”.
This album
is far more impressive than DIAURA’s first full-length outing, “GENESIS”, due
to both better songs and their obvious growth as a band. From track one on, it
becomes clear that DIAURA has grown, with better instrumentation and vocals
than we have heard from them before. The album reflects this throughout, with a
slew of songs that are indicative of DIAURA’s signature style – varied,
unpredictable, and beautiful.
This album
doesn’t let up from start to finish in terms of excellence, which is what I had been hoping for from these guys
after a string of brilliant singles. The songs here are like the recent tracks,
“Lily” and “SIRIUS” – full of changes and a variety of sounds. This
unpredictable nature united by a very clearly matured style of the band lends
itself to creating one of the best albums of the year. Here is hoping DIAURA
keeps up their relentless pace and treats us to even more in 2014.
KEY TRACKS: “TABOO”, “SIRIUS”, “Sleeping beauty”,
“Innocent”, “TRIGGER”
1. SCREW – SCREW
SCREW has
been the butt of a fair number of jokes on the Visual Kei Heaven Countdown, and
I would imagine other places as well. Before and after the release of “DEEP
SIX”, it seemed like the band was up to little at all except sticking around to
perpetually appear on their monthly Nico Nico program for devout fans. By all
accounts, it seemed like SCREW was down for the count, and headed down
disbandment road, especially going off of how much “DEEP SIX” stuck in
everyone’s collective memory. When the band announced that they would be
releasing a new self-titled album, the Visual Kei Heaven staff chatted about it
amongst ourselves, and the consensus was that nobody was really anticipating it
or expecting much. Then they released the music video for “RED THREAD”, and
suddenly everyone was all-eyes-on-SCREW.
The album
begins with the slow, almost menacingly slow “微笑みを亡くした愛と自由”. The track then lapses
into moments of Byou sounding the roughest he has in a while, followed by some
stellar guitar work. And then as the track slowly dies off, the album launches
into “RED THREAD”, which is a difficult track to describe. I say difficult
because it is probably the single most perfect track put out by a Visual-Kei
band this year. The instrumentation is the best SCREW has ever laid down on a
record, and the entire track is sublime. This sets the pace for the rest of the
album – amazing instrumentation, vocals, and an aggressive side of SCREW I was
pretty sure was gone a long time ago. The album is far more aggressive than the
lead up singles of “XANADU” and “Teardrop” let on, and the pace continues
pretty much throughout, while letting up for some softer tracks such as “death
candle”, and different spaces in the various tracks. This harder side of SCREW
never really outlives its welcome, and instead creates the best atmosphere on
an album of the year, with SCREW seeming to have more of a style here than
throughout their entire career. The tracks flow straight into one and other,
creating a great sense of unity.
Much like
12012’s self-titled masterpiece of 2012, this album came completely out of the
left field, and from a band a lot of people weren’t expecting much at all from.
After hearing SCREW’s newest single following the album, “CAVALCADE”, it
appears the new and improved SCREW was no hoax.
KEY TRACKS: “RED THREAD”, “XANADU”, “death candle”,
“EVERYTHING’S A LITTLE CRAZY RIGHT NOW”, “Get You Back”, “Teardrop”
Ummm why does DIV's ZERO ONE appear twice?
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