Posts Tagged ‘ Buck-Tick ’

Album of the Week 19-2018: The Mortal – I Am Mortal


Atsushi Sakurai was born to sing gothic rock. His deep, emotional baritone belongs in the genre. But somehow, despite their gothic masterpiece ‘Jusankai Wa Gekko’, his main band Buck-Tick does not want to make the full leap into the genre. As a result, he needs to set up projects like The Mortal every once in a while. In a way, ‘I Am Mortal’ is a logical continuation of Sakurai’s solo debut ‘Ai No Wakusei’, but the album leans far more to the goth side of things and because of that, this dark monster of an album feels a lot more consistent.

On the ‘Spirit’ EP released a month prior to ‘I Am Mortal’, The Mortal was already quite clear about its influences. Sakurai has never made a secret of his love for Bauhaus and the fact that he covered them – alongside The Damned and Souxsie And The Banshees – on that EP should already give a clear hint of what The Mortal sounds like. The Mission is a clear influence as well, especially in ‘Mortal’. At times, the band explores the noisier end of the post-punk spectrum, however, resulting in intense, aggressive moments such as ‘Barbaric Man’ and ‘Pain Drop -It Rains Cats & Dogs’.

While those explosions of energy certainly contribute to the varied nature of ‘I Am Mortal’, the album is best when introspective. ‘Yume – Deep Dream’ has the huge eighties goth production, but in essence feels like a really dark love song. Closing track ‘Sayonara Waltz’ keeps things considerably smaller, being rooted in just Sakurai’s vocals and the classical guitar of Jake Cloudchair, but is no less atmospheric. The album starts in quite a dark, introspective manner with as well with ‘Tenshi’, which is a really good taster to set the horror-like mood of the rest of the album.

The calmer moments are not the only highlights of ‘I Am Mortal’ though. ‘Tsuki’ is the opposite end of the spectrum, with its propulsive, straightforward punk beat and intensely repetitive chorus. The rhythmically unpredictable ‘Grotesque’, ‘Guignol’, ‘Dead Can Dance’ and the spectacular ‘Fantômas – Tenrankai No Otoko’ are masterpieces of creepy goth and horror punk and the aforementioned ‘Mortal’, probably the most traditional gothic rock track on here, is simply too catchy and emotional to be ignored. It should be noted that the atmospheric memorability of the choruses is the rule rather than the exception here. Even if you are not adept at Japanese, these melodies will stick. Trust me, I should know.

‘I Am Mortal’ was followed by the impressive live dvd ‘Immortal’, but as of this writing, no new The Mortal plans have been announced. I truly hope there will be a sequel to the album though, because the album shows Atsushi Sakurai doing what he does best: singing dark, emotionally laden gothic rock songs. His love for the genre oozes out of the album’s pores. Also, Sakurai and his band mates appear to have a very strong connection musically, so it would be a pity to not hear more of this. Even the classic goth bands cannot quite reach these heights anymore.

Recommended tracks: ‘Fantômas – Tenrankai No Otoko’, ‘Mortal’, ‘Sayonara Waltz’, ‘Tsuki’

Advertisements

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-‘

Album of the Week 09-2018: Buck-Tick – Atom Miraiha No. 9


With the release of the new Buck-Tick album ‘No. 0’ less than two weeks away, let us focus on why there is a reason to get excited about that. Unlike most other visual kei pioneers, Buck-Tick is still relevant today. In fact, they have been experiencing a second youth of sorts, which I personally prefer to their original youth. Their last album ‘Atom Miraiha No. 9’ even feels like an anthology of the band’s career, despite containing new material exclusively. How they achieved that is quite simple: they focused on their biggest strengths rather than aiming for a certain sound or aesthetic.

Prior to ‘Atom Miraiha No. 9’, Buck-Tick has been pursuing a more live sound after a decade of being strongly influenced by industrial rock and electronic music. Understandable, because while they did release a couple of great songs in those years, the electronics and samples were often too prominent and distracting. They have obviously learned from that experience, as ‘Atom Miraiha No. 9’ incorporates those influences into Buck-Tick’s music in a manner that is much more pleasant to listen to. No longer do the electronics bury the songs, they are a much more sutble and integral part of the compositions this time around.

The songs themselves are excellent. They retain the rocking energy of albums like ‘Memento Mori’ and ‘Tenshi No Revolver’, but the use of samples and synths gives the material a slightly more atmospheric edge. This is especially apparent in the more subdued songs, such as the ‘Manjusaka’, which starts out sounding like an electro track, but quickly develops into a passionate J-rock ballad with superior dynamics and – as usual – a breathtaking vocal performance by Atsushi Sakurai. ‘Ai No Soretsu’ is even more beautiful, with Sakurai getting all the room to shine and the emotional chorus being the perfect apotheosis.

However, when ‘Atom Miraiha No. 9’ rocks, it is just as good. ‘Pinoa Icchio -Odoru Atom-‘ is driven and aggressive, ‘Bi Neo Universe’ is remarkable in the way the synths and the guitars interact and ‘Future Song -Mirai Ga Toru-‘ is a propulsive duet between Sakurai and guitarist Hisashi Imai. The album’s best song is neither of the extremes though. Despite starting out with the line “aishiteru” (“I love you”), opening track ‘cum uh sol nu -Fresco No Besshu-‘ is dark and menacing, possessing an almost tribal feel. It never quite explodes as it seems to suggest, but that is its charm.

Just about every song on ‘Atom Miraiha No. 9’ is excellent. That alone should be worth getting the album. The only minor downside is that the deep basses of the synths and electronics occasionally push Yutaka Higuchi’s bass lines to the background, but he makes sure his expert work is heard when it needs to be. Also, at a little under an hour, ‘Atom Miraiha No. 9’ has the advantage that it is one of the few Buck-Tick albums that does not outstay its welcome. Even the incredible ‘Jusankai Wa Gekko’ – my favorite Buck-Tick album – did not manage to do that. All of this makes me very hopeful about ‘No. o’.

Recommended tracks: ‘cum uh sol nu -Fresco No Besshu-‘, ‘Ai No Soretsu’, ‘Manjusaka’

Album of the Week 28-2017: Buck-Tick – Juusankai Wa Gekkou


Buck-Tick is one of the most influential bands from the Japanese visual kei scene. Singer Atsushi Sakurai has one of the most distinctive, appealing voices of that scene and yet, their classic material never appealed to me much. Their earliest work was a bit too upbeat for my taste, while most of their nineties output has strong electronic overtones that I find somewhat abrasive. ‘Juusankai Wa Gekkou’ solves both of these issues by being a dark, gothic monster of an album with a pleasant, organic production. It turned out to be a unique entry in Buck-Tick’s discography, both stylistically and quality-wise.

While the gothic label ‘Juusankai Wa Gekkou’ often gets is not entirely inaccurate, especially regarding its lyrical themes and horror-like imagery, the sound of the album is better characterized as a relatively dark post-punk band discovering how lively their songs can sound with a more organic sonic approach. As such, the album really plays to Buck-Tick’s strengths. Always the band’s main attraction, Sakurai’s voice is front and center and he obviously knows his way with the album’s atmosphere. However, the “less is more and every note counts” approach of guitarists Hisashi Imai and Hidehiko Hoshino deserves a lot of praise as well.

Those who are used to the virtuoso approach that even more accessible J-rock bands like Luna Sea and L’Arc-en-Ciel employ might be surprised at how the musicianship takes a back seat to the songs and the atmosphere here. The songs are pretty low-key and even the climactic outbursts are not very bombastic. As a result, ‘Juusankai Wa Gekkou’ is a slow burner and in order to enjoy the record, it is imperative that the atmosphere absorbs you. That does not mean the musicianship is not important. The amazing ‘Doll’, for instance, is characterized by a brilliant, teasing guitar line as much as by the atmosphere and Sakurai’s performance.

Remains of the band’s electronic approach can be found in the spooky ‘Muma – The Nightmare’, which – despite the fact that it’s followed by two more tracks – sounds like the climax of the record. The electronics are just a bit less “busy” than on the material they released in the decade prior to ‘Juusankai Wa Gekkou’. The impeccably arranged ‘Alive’ is another standout track, due its memorable and strategically placed chorus. ‘Passion’ is one of the darkest, most horror soundtrack-inspired moments of the record and therefore, is best not listened to in the dark. It does capture the creepy mood exceptionally well though.

‘Juusankai Wa Gekkou’ is by no means a perfect record. At 78 minutes, some fat could have been trimmed, especially from the intros, outros and interludes, while ‘Seraphim’ and the vaudevillian ‘Diabolo -Lucifer-‘ stand out like a sore thumb due to their relatively upbeat atmosphere. Their main purpose seems to be to emphasize the darkness of ‘Muma – The Nightmare’. Despite those minor complaints, ‘Juusankai Wa Gekkou’ has a consistency that some of the most popular Buck-Tick albums lack. It is easy to sit this one out, as this is one of those albums that refuses to let you go once it gets a hold of you.

Recommended tracks: ‘Alive’, ‘Doll’, ‘Muma – The Nightmare’

Advertisements