Posts Tagged ‘ alternative rock ’

Album of the Week 11-2018: Buck-Tick – No. 0


With Buck-Tick on a surprisingly high second career peak from their 2005 masterpiece ‘Jusankai Wa Gekkou’ onward, a new album is always something to look forward to. Especially considering how good 2016’s ‘Atom Miraiha No. 9’ was. And while ‘No. 0’ isn’t quite as good as its predecessor was, there are a couple of new winners in Buck-Tick’s oeuvre to be heard here. The gothic-tinged first single ‘Babel’ is one of them, but ‘No. 0’ is anything but a return to the dark goth sound of ‘Jusankai Wa Gekkou’. Instead, it feels either like a logical continuation or an update of ‘Atom Miraiha No. 9’.

Compared to ‘Atom Miraiha No. 9’, the electronics and samples are a little more pronounced on ‘No. 0’. They are nowhere near as prominent as they were on Buck-Tick’s nineties albums, on which they tend to dominate the productions, but those looking for more of the live sound that could be heard on albums like ‘Tenshi No Revolver’ or ‘Memento Mori’ may scratch their heads in bewilderment. These days, the electronics are a part of the songwriting process rather than the production process and as a result, they hardly ever become overbearing. The electronic rocker ‘Gustave’ and the ballad ‘Moon Sayonara Wo Oshiete’ are borderline though.

‘No. 0’ has a couple of notable peaks. First of all, there is the triptych of the exciting electrorocker ‘Salome -femme fatale-‘, the beautifully dramatic ‘Ophelia’ and the driving “live Buck-Tick meets electronic Buck-Tick” of ‘Hikari No Teikoku’. The latter has a wonderful chorus opening up the climax of the track, while ‘Ophelia’ really profits from its supreme dynamics and Atsushi Sakurai’s unique emotional vocals. The album ends on a high note as well: the aforementioned ‘Babel’ is a sublime catchy gothic rock song, ‘Guernica No Yoru’ a gorgeous minimalistic ballad that leaves Sakurai plenty of space to excel and ‘Tainai Kaiki’ rounds off the album in an upbeat atmosphere.

Before, after and between those songs, Buck-Tick explores the possibilities of their sound. Guitarist and electronic enthusiast Hisashi Imai first and foremost. The aggressive cyberpunk sound of ‘Igniter’ is an obvious Imai contribution, while ‘Nostalgia -Vita Mechanicalis-‘ and opener ‘Reishiki 13 Gata Ai’ have a menacing vibe that is the trademark of the guitarist. ‘Bisshu Love’ features the type of defiant eroticism that Buck-Tick has become known for through the years. By contrast, the songs that guitarist Hidehiko Hoshino wrote are generally more traditional rock songs, though the synth-driven electronic rocker ‘Barairo Jujidan -Rosen Kreuzer-‘ is atypical for him.

Though Imai’s fascination with noise and electronics gives ‘No. 0’ a slightly more electronic edge than its predecessors, it is another typical Buck-Tick album compositionally. The songs may come across a little more chaotic than usual initially, but they feature some tight writing and some excellent hooks for Sakurai to work with. I will be the first to admit that his deep, heartfelt voice is one of the main reasons why Buck-Tick appeals to me, but they have been releasing great albums for quite some time now and ‘No. 0’ certainly fits that pattern. Highly recommended to open-minded fans of visual kei, J-rock, gothic rock and nineties U2.

Recommended tracks: ‘Babel’, ‘Ophelia’, ‘Salome -femme fatale-‘

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Album of the Week 44-2017: Marillion – Seasons End


When original singer Fish left Marillion, it was considered the end of an era. However, it was also the beginning of a new era. Steve Hogarth, who still fronts te band to this day, has an emotional depth to his voice that Fish just did not have, allowing the band to branch out even further away from the strongly Genesis-inspired neo-prog of their earliest work. Along its predecessor ‘Clutching At Straws’, ‘Seasons End’ can be seen as sort of a transitional phase. Not because of the singer change between the albums, but because it signals Marillion’s shift towards the most emotional progressive rock created to date.

Most of the music had already been written before Hogarth, himself a great composer, joined the band, so it’s not too surprising that ‘Seasons End’ is stylistically similar to ‘Clutching At Straws’. The record has a dark, passionate vibe, with occasional lighter or more upbeat moments keeping the darkness from becoming too overwhelming. The ‘Incommunicado’-rewrite ‘Hooks In You’ is the most obvious example of this, but the opening one-two punch of ‘The King Of Sunset Town’ and ‘Easter’ is remarkably positive as well, even though the lyrical contents – about the turmoils in China and Northern Ireland respectively – is at times quite bleak.

As usual though, Marillion shines brightest in their darkest moments. Especially the finales of the original vinyl sides are nothing short of incredible. The moving ‘Seasons End’ has been built upon a haunting clean guitar line by Steve Rothery – who still has the most beautiful clean guitar sound in the world – and features bone chilling performances by both Rothery himself and Hogarth. Closing the album is ‘The Space…’, Hogarth’s first major compositional contribution to Marillion along with ‘Easter’. This synth-driven masterpiece works its way through multiple climaxes and features some incredible vocal work.

Despite those closers being the undisputed highlights of the record, most of Marillion’s albums are remarkably consistent and ‘Seasons End’ is no exception. Each and every one of the seven other songs are worth hearing. ‘Berlin’ in particular is a bit of a beautiful suite of shifting moods and building intensity. ‘Holloway Girl’ and the surprisingly short ‘After Me’ both start out as moody ballads and gradually turn into something more bombastic, while there are excellent performances by everyone involved all around. Steve Rothery in particular truly delivers. He is easily one of the most tasteful and melodic lead guitarists in contemporary music.

Though the singer change would spark an endless “who’s better?” debate, it was exactly what Marillion needed around the time ‘Seasons End’ was released. The album was an essential step in refining their own sound and evolving from their neo-prog beginnings into a truly progressive rock sound that encompasses various influences from the alternative pop and rock field. And even more importantly, ‘Seasons End’ shows that Marillion consists of a group of excellent songwriters that can do more than just play their instruments really well. They can carry a memorable tune much better than many other bands in the genre.

Recommended tracks: ‘Seasons End’, ‘The Space…’, ‘Berlin’

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