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| (Photo: DEATHGAZE) |
James continues on with his list of the best 30 albums of the year. What will he pick? Was the year really that bad? Can you keep up with all of his left-field, unpredictable hipster picks? You already read the first two parts, mind as well finish...
*To read Part 1 (albums #30-21) click here*
* To read Part 2 (albums #20-11) click here*
In what seems to be a tradition with everything I touch related to this site, of course the final installment would run a bit late. I really have no excuse, given how little I have been doing, except that working with the new layout requires some adjusting time. But still, any gripes I have are quite easily rendered pointless when I stare at the beauty of the website now. Anyways, on to the final ten albums!
10. Across the blow/amber gris
Note: As with 12012 last year who released two mini-albums, I decided to only include one on the year end list.
amber gris made an interesting decision to do this year what 12012 did last year – release two mini-albums that put together would be the length of one full album. Across the blow is somewhat hard to describe, as nowhere is there a track like “bright or blind” (on 2013’s Around children) or “wishstar and sunlight and darkness” (on 2011’s pomander) that features soaring guitars and more of a mainstream rock sound merged with amber gris’s style. Or to put it more bluntly, none of the tracks sound like they could be singles. Not in terms of lacking quality, but in terms of not being the same isolated from the rest of the album.
Across the blow, while there isn’t a sort of lead-in to one track from another that unifies some other albums or a repeated motif, it is an album that I feel one would miss the point of if only listening to tracks individually. In true amber gris fashion, the album sounds incredibly distinct and unique, but only if taken as a whole. The variance between the tracks becomes apparent, and the range of sounds the band traverses in a small number of tracks is impressive as always, although this is focused on a far smaller range than their LPs, which thus makes sense for Across the blow to be a mini-album.
As usual with amber gris, I am not really going to endeavor to try and delineate their sound with words. It is truly in a league of its own, and this album, while certainly not their finest, is a brilliant example of how much amber gris can do. Specifically, this album demonstrates the bands talent for slower and softer compositions, and creates an atmosphere quite different than last year’s Around children.
KEY TRACKS: “different of stain”, “from mouth”, “the sad things”
OFFICIAL SITE: http://www.amber-gris.com/
YOUTUBE: YT Channel
9. XII/12012
12012’s indefinite hiatus was for me personally the hardest hitting visual-kei news of the year. In many ways, it feels like a confirmation of my worst fears – originality is increasingly unsupported by fans consuming visual-kei, and instead only the most well-financed rehashing of what has already been done five thousand times before is supported again. 12012 were always the odd one out, whether for their label PSC or the visual-kei scene in general. Their style and sound has been incredibly variable since their inception, and their abrupt changes, particularly what they debuted in 2012, have sometimes been met with resistance by those claiming to be their fans.
XII is another album from 12012 that could easily be misconstrued as a departure, when in fact, it is just another point on this band’s trajectory. As I remarked in 2012 when I chose their self-titled album as the best of the year, the band has never been anything but fluid, with regards to both their style and sound. This album in many ways feels like 12012 taking an overview of their career so far, as each track is quite different, but reasonably so; the album consists of five tracks, each one composed by a different member of the band. In general, this album is softer than anything they have done since 2010’s Seven, but this isn’t necessarily bad, as they pull it off just as well as their more aggressive side.
If you are a fan of Wataru singing more than screaming, this mini-album will likely please you, as most of the tracks contain no screaming or growling, with what is on the album concentrated the track he composed, “the red”. This track sees him at his most dynamic, alternating between growls and screams, and demonstrating his vocal range for singing. Wataru isn’t the only one who sounds the best on this album, as the band all sounds better than ever before. And despite each composition being from a different member, 12012’s style does shine through, even if there isn’t much unity between the tracks.
12012’s concept since the beginning has been “madness inside a human”, and this mini-album shows them exploring the concept it in yet another way. While this is not the precise, ferocious sonic assault that their last LP, 12012, was, it is a very fine mini-album. It also seems more exploratory than anything they have released in a while, perhaps since the near directionless Mar Maroon in 2009. In the end though, it isn’t how I would like to see them bow out. This album isn’t the haunting portrait of madness that 12012 was, nor is it atmospheric in the way that even their past two mini-albums, DECIDIA OF SILENCE (2013) and The Swan (2013), were. Instead, whilst a collection of great tracks, it is a collection of disjointed tracks.
12012, whether you like their sound or not, was a band unafraid to take chances, and it saddens me that bands like 12012 seem to be slowly disappearing from the scene. Hopefully the band will return, and hopefully it will be a return that produces an album as excellent as their near complete silence during the period between Seven (2010) and 12012 (2012).
KEY TRACKS: “Vicious of Absolution”, “story of a different dimension”, “the red”
OFFICIAL SITE: http://www.12012.jp/
YOUTUBE: 12012official
8. 蝶と独白と残黒(Chou to Dokuhaku to Zankoku)/DISH
DISH has had a good year, in the sense that a band who normally had rather sporadic releases has followed up last year’s full-length album with a new mini-album, and they also appeared on the SADS tribute compilation, M, with a cover of “Third Eyes Trial”. DISH finally seems to be gaining some fans, a long overdue development. Chou to Dokuhaku to Zankoku is DISH at their best, and while not as sincerely haunting and menacing due to the shortened length of the mini-album, it is still quite a trip.
Instead of opening this year’s album with a noir-style phone call in which seemingly neither side can hear each other, DISH open’s with a utterly menacing version of “London Bridge is Falling Down”, before launching into “UNDERGROUND” with their merged shoegaze and rock sound, fine-tuned even more than last year. In short, that can summarize the album; a mini-album demonstrating this band realizes their own potential and is growing to meet it.
The album features DISH having a more synthesized sound, not in the sense of using a synthesizer but merging what previously were separate numbers – rock and shoegaze – and putting them together. This leads to nothing but success. As before, the vocals are drenched in emotion, and the guitar and bass are top-notch. Everything in this mini-album draws on DISH’s previous releases and picks the best and combines, leading to quite an experience.
If I were to think of a single gripe with this album, it is that it doesn’t truly get under your skin and stay with you in the way that their release last year does. Last year’s release gave the space to each instrument needed to have each individual one draw the listener further in. The unified aesthetic of last year’s LP (the continual playing of rain), allowed for the album to be that much more stunning. It should say something if DISH can come this high a year-end list without releasing the best album of their career, and I highly encourage ever to listen to them, if you aren’t already.
KEY TRACKS: “UNDERGROUND”, “リストカットベイビィズ”, “ワールドセオリー”
OFFICIAL SITE: http://dish.nobody.jp/
YOUTUBE: YT Channel
7. 暁歌水月 (Kyouka Suigetsu)/己龍 (Kiryu)
After a year where they released no album, one of the scene’s most unique bands is back, and in full force. Kiryu is a stylistic powerhouse, having an aesthetic all of their own, merging traditional ghost stories, samurai, kimonos, and hundreds of other facets of traditional Japanese culture with visual-kei. Previous albums have seen the band grow, but none have showcased growth on this level, in an effort that is clearly the band’s best album to date.
The album, as per the band’s modus operandi, merges horror aesthetics with traditional Japanese culture, and then visual-kei. The fact that one can glean the horror influence from just the sound of the tracks speaks to the talent of the band, as the album has a haunting atmosphere lingering throughout. In this album, the band exudes confidence, with many new songs taking new directions for the band, but all of it working splendidly. The band is also in top form, with the best sounding instrumentation and vocals of their career.
Kyouka Suigetsu also mixes in traditional Japanese instruments such as the kodo and shamisen in a way that their previous albums did too, but this time on nearly every track, and to the benefit of each track. The difference between Kiryu and many other bands that have come before them or have cropped up in recent memory is their expert deployment of traditional instruments.
Kyouka Suigetsu firmly establishes Kiryu as one of the most important bands in visual-kei. Few bands are able to manifest their style in everything they do, and also in such elaborate ways. Kiryu’s productions are so extravagant and audacious, yet they always work. Kyouka Suigetsu takes their showmanship to new heights and is a masterpiece of merging musical styles and achievement of a completely unified album.
KEY TRACKS: “靂霹ノ天青”, “暁歌水月”, “愛怨忌焔”
OFFICIAL SITE: http://www.kiryu-web.net/
TWITTER: @kiryu_official
6. echo/Plastic Tree
In many ways, echo feels like the return of an old friend. At one point, Plastic Tree held concerts with “Shoegazer” in the title, yet increasingly moved away from that sound. While in no way do I mean to suggest that echo is some sort of regression to a past sound for the band, it is indeed far more reminiscent of a shoegaze record than many plastic tree releases have been since the band was truly in a shoegaze phase. While their image and the aesthetic of the cover art and music videos is largely unchanged in terms of direction from 2012’s Ink, this record has a lot more feedback.
echo, while certainly more shoegaze-sounding than Ink, merges the feedback with the more alternative rock sound that Plastic Tree has embraced. In this sense, a number of tracks are upbeat, but laden with harshness from the amplifier. However, a number of tracks on the record embrace a somewhat contemplative tone, although perhaps not as much as Ink, which is somewhat sad given how amazing that record was. Perhaps echo succeeds though, because it has something for every Plastic Tree fan on it. Sounds from throughout their career are represented (with perhaps the exception of them at their most aggressive and heaviest).
echo is somewhat of a paradox, as it is incredibly crisp at moments, yet filled with unfettered feedback at the next moment. Plastic Tree have been together longer than most bands, and have continued to experiment far more than many other bands do. This mini-album, while not their best (perhaps partially due to being short), is yet another step in Plastic Tree fusing styles.
KEY TRACKS: “木霊”, “雨音”, “影絵”
OFFICIAL SITE: http://www.plastic-tree.com/
FACEBOOK: PlasticTreeOfficial
TWITTER: @Pla_Staff
5. 賑やかな食卓 (Nigiyakana Shokutaku)/the god and death stars
Last year’s dawn of the god from this band, their first LP since formation in 2006, took number four on the year-end list, and now, we find them even higher. Few bands have as unique of a sound as the god and death stars; few bands can record any song and have it be indisputably their song. Somehow, this band has managed to improve even more since last year, or if not improve, assemble an even better album.
From the beginning of Nigiyakana, you are the god and death stars’ world. The album is a total hypnotic atmosphere, with the instruments creating a dark atmosphere, and aie’s voice guiding the listener through. The mastery with which creates the guitar parts on this disc is something to behold. aie is able to use the a combination of pedals and feedback to create the sound he wishes, which is beyond impressive, as listening to this record, you come away with a feeling that aie truly does control every second of feedback. Of course, kazu’s bass is instantly recognizable also, and is mesmerizing to listen to. On one playthrough of a track, I found myself simply imaging his fingers go up and down the neck of the bass; his basslines are intricate and flowing, and something to behold.
The songs on Nigiyakana are expertly written, and per the god and death star’s style, an amalgamation of minimalism and rock. However, even more than last year’s dawn, Nigiyakana has the band slow to nearly playing nothing and pick up again, a complete demonstration of their style. The album in this sense is haunting in that it does so much with so little. The songs flow together, and yet are distinct both due to stylistic changes, and the band’s continuing implementation of space and layering.
Nigiyakana is one of the most impressive albums of the year, and one that unfortunately has gotten very little attention. the god and death stars remain one of the most talented bands in visual-kei, and unfortunately, very few people are listening to them.
KEY TRACKS: “出来事と偶然の為の媒体“, “風邪のライオン“, “告発“
OFFICIAL SITE: http://davidskullnorecords.com/
YOUTUBE: YT Channel
TWITTER: @THE_GOD_TALK
4. Qualia/HOLLOWGRAM
The end of 9GOATS BLACK OUT was bittersweet for me, as while I dearly loved them, much of their late work failed to touch on the utter brilliance of their earlier releases, at least for me. So, I approached the disbanment with trepidation – perhaps the members would go on to better bands, or perhaps it could end up like deadman or the studs – members scattering and never heard from again. Luckily, at least 9GOATS vocalist, ryo, has resurfaced in HOLLOWGRAM. And to say this band has the force, if not more, of an early 9GOATS would be quite accurate.
Qualia is an album that stuns with its creativity, and the dynamic sound of the band showcased on the disc. After finishing the album, I was rather shocked that this could be a band’s first release, as it is the level of skill that bands usually go out on. The album sees HOLLOWGRAM trying out a variety of sounds, from a groovy, softer “butterfly in her dreams” to the aggressive and almost haunting or menacing “Stand the devil’s like”. All of the songs are pulled off with equal skill, and no track feels particularly weaker than the rest.
HOLLOWGRAM lays to rest fears of them simply being an imitation of 9GOATS on this album, as they reveal they are an entirely different breed of band. The songs on this album are all uniquely mesmerizing in a way that few bands can make songs. The band quickly establishes that they have a unique style with Qualia, with ryo’s vocals playing a key part, just as in 9GOATS. His vocals are particularly powerful, and it is rather refreshing to hear him doing harsh sounds again.
With Qualia, I can’t really think of anything negative to say, and I can really only offer that I wait for HOLLOWGRAM’S next release with anticipation. In the short span of their career they have given me no reason to do otherwise with such a fantastic debut.
KEY TRACKS: “ideologue”, “Stand the devil’s like”, “Don’t cry for the knell”
OFFICIAL SITE: http://www.hollowgram.net/
TWITTER: @HOLLOWGRAM_info
3. dark/Moran
For a band that is already, well, quite unique, hearing that they are going to release a concept mini-album came as a surprise. Perhaps it shouldn’t have, as Moran has forged their own path since the beginning. For a band that has such star talent, they haven’t accumulated a ton of popularity, but they do maintain a loyal following. Perhaps being out of the mainstream and noted as unique emboldened them to experiment with this album, but whatever encouraged them to release this, I can only hope they find the inspiration again. Moran have crafted with dark one of the most amazing albums of the year, an experience completely on its own level.
More than any other album on this list, dark maintains an atmosphere throughout, and an unbelievably beautiful one. I am hard-pressed to think of when I have ever thought of a visual-kei album as this breathtakingly beautiful, and I may never have. The album seems to merge the contemplative sound that Moran has demonstrated before, but with a level of grace and skill that they haven't. The album toys with spacing between sounds in a way that is even more successful, albeit different, than the god and death stars or DISH. This truly is an album that you want to listen to in a silent room though, as the assemblage of a variety of small and delicate sounds is what makes this album such a triumph.
dark makes use of strings and keyboard in addition to the usual instruments, and on “Negai to Uta”, there is even a guest vocalist. This album is truly a new path, even for Moran. Instrumentation is bridged frequently with Hitomi’s voice almost serving as a guide. With his range, he can simply float from piece to piece, and it is quite stunning. Acoustic guitar is also central to this album, with the track “Fairy Tale” having no electric guitar. Yet, even without pedals or feedback, the band is album to get an amazing range of sound from their guitars, and demonstrates phenomenal playing.
It is hard to describe this album, as it is completely unlike anything else on this list; a sound atypical both for this band and for visual-kei in general. I can only help this sound doesn’t remain a “concept” for Moran, and that they continue to explore it.
KEY TRACKS: “The Hermit”, “ネガイトウタ (Negai to Uta)”, “以降、白紙のクロニクル (Ikou, Shirakami no Chronicle)”
OFFICIAL SITE: http://www.moran-web.net/
YOUTUBE: MoranHolicCH
TWITTER: @Moran_info
2. VICTIM/dieS
Writing an opening for this album is somewhat difficult as I want to reference the band’s last album, ANGEL JESUS dieS in EDEN (released in 2007, reprinted in 2011), but the chances of anyone having heard it, or even knowing that it exists are pretty slim. When this album first came out, I foresaw only DISH outdoing this band in terms of how unknown they are to VKH readers, but then DISH covered SADS’s “Third Eyes Trial” on the tribute album, M. The fact that ANGEL JESUS dieS in EDEN came out in 2007, nobody listened to that, and now nobody is listening to VICTIM, is deeply upsetting. Because dieS is phenomenal.
VICTIM is an improvement on ANGEL JESUS dieS in EDEN in many ways, namely, that dieS manage to create an even more sublime, dark, feel throughout the album. Much like the god and death stars’ use of minimalism to create a uniquely dark vibe, dieS uses distorted guitars and vocals with spaced out instrumentation and moments of no distortion to build a unique style. Dai’s voice manages to only add to the effect, as even without any effects, his voice is incredibly distinct.
The album starts off with “the night”, which while a stand-out track, seems to only build straight into the next track “SA.VA.GE-night slave-“. This second track is where dieS’ style truly appears with precise guitar playing coupled with feedback and Dai’s massive voice to create a dominating sound. The subsequent track, “innocent taboo”, encapsulates the entire album in a rather stellar fashion – it jumps between aggressive moments, to slow building of the dark atmosphere, and even moments of funk influence.
More than any other album on this list, this one is incredibly hard to describe, as I know the vast majority of readers will have never heard dieS. The album is an experience, just like their first album. It is filled with track after track of excellence, and reminiscent of bands like 9GOATS BLACK OUT in terms of just how mesmerizing of an experience this is. The album is relentless, with hard driving guitar and bass on numerous tracks, and really, you don’t want to stop being in its throes until it is over. With VICTIM, dieS build their own world once again and invite you in, and just like last time, it is something that shouldn't be missed, but this time, even more so. VICTIM speaks both to the band’s growth and also their range, as tracks such as “blinddance” and “dry” show entirely sides of dieS than what we have heard before. I highly encourage everyone to seek out this album and support this band in hopes of not waiting another seven years to hear their next LP.
KEY TRACKS: “VICTIM”, “blinddance”, “dry”, “太陽”
OFFICIAL SITE: http://www.die-s.com/
YOUTUBE: YT Channel
1. ENIGMA/DEATHGAZE
It is ironic and sad in a sense, that VKH Press author Jeff and myself joked early this year as DEATHGAZE’s tenth anniversary plans were unveiled that they might disband or something, since that is what all Nagoya-kei bands seemed to be doing, and DEATHGAZE was certainly one of our favorites. Granted, they are just going on indefinite hiatus, but that certainly wasn’t a welcome announcement. DEATHGAZE has had massive line-up changes in the past, and now with a consistent four members for the past several years, they have released one last album before going out, and it is quite spectacular.
DEATHGAZE has never sounded quite as fierce as on this album, with the title track serving as a great example. The band is certainly at the highest level of brilliance we have ever seen, with all the tracks containing stellar vocals and instrumentation. A number of the tracks show DEATHGAZE branching out into trying new styles. “SEVENTH HEAVEN” showcases the band experimenting with a funkier vibe, yet merging their heavier Nagoya sound. A number of tracks also mix the band’s heavy style with more singing from Ai than on other records. Yet, the album also has a strong balance between incredibly heavy tracks laden with screams and growls, and more melodic tracks featuring Ai’s voice.
All in all, this is one of the best Nagoya-kei albums of the past few years, really, it is probably the best Nagoya-kei album since 12012’s self-titled album from 2012. It is a pity that both DEATHGAZE and 12012 have gone out on such phenomenal records this year, as it is going to leave a void in the Nagoya-kei scene that I am not sure anyone can fill. DEATHGAZE is one of the few band’s whose sheer emotion came straight through the speaker, and it is a shame they are leaving, but they couldn’t have left on a better record.
KEY TRACKS: “DEAD BLAZE”, “ALLURE”, “SEVENTH HEAVEN”, “BREATH”, “READY GO”
OFFICIAL SITE: http://www.deathgaze.jp/
TWITTER: @DEATHGAZE_Info
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