Posts Tagged ‘ J-Rock ’

Album of the Week 37-2018: Atsushi Sakurai – Ai No Wakusei


With his amazing voice being the defining factor that it is in Buck-Tick, it is quite surprising that no one in the Japanese record industry pushed Atsushi Sakurai to release more solo albums than just ‘Ai No Wakusei’. It sold reasonably well, but it would be logical to assume that Buck-Tick took up most of his time, given that their second career peak started shortly after its release. With several of the song titles containing references to his contributors, it is likely that Sakurai was inspired by the people he worked with. That also explains the wide range of styles here.

A different songwriter and different musicians on every track sounds like the album could turn out quite messy and to be honest, it kind of is. After Wayne Hussey’s sublime gothic rock of opening track ‘Sacrifice’ and Raymond Watts’ heavy industrial rock with Arabic string interlude in ‘Yellow Pig’, the album is all over the place for a while. There’s electronic tracks (‘X-Lover’), sparse funk highly reminiscent of Prince (the surprisingly cool ‘Smell’) and J.D. Thirlwell – perhaps better known as Foetus – contributed the hyperactive, chaotic jazz of ‘I Hate You All’. That could throw you off, but it’s worth hanging on.

The album settles for a certain groove during its latter half, that groove being low-key rock with a distinct dark vibe. It is public knowledge that Buck-Tick guitarist Hisashi Imai was inspired to write a more gothic-leaning album (the incredible ‘Jusankai wa Gekko’) after hearing Sakurai’s solo performances in support of ‘Ai No Wakusei’. And with songs like the menacing ‘Hallelujah!’, the incredibly dynamic ‘Shingetsu’ and the brooding majesty of ‘Yokan’, a reworking of his excellent collaboration with Dutch electro-goths Clan of Xymox, it is clear why Imai heard the impact Sakurai could have in dark, gothic surroundings. His deep, emotional baritone is tailor-made for it.

However, that does not mean that ‘Ai No Wakusei’ is all dark all the time. ‘Taiji’ has an optimistic chorus with subtle guitar work and a gently purring hammond organ in the background, while as a whole, the track is simply a powerful, well-constructed pop rocker with several surprising climaxes. ‘Fantasy’ is an upbeat electro-based track and the semi-title track ‘Wakusei’ has a bit of a positive ring to it, despite being built upon crunchy power chords and reverb-drenched lead guitar parts. ‘Neko’, which I assume is a tribute to Sakurai’s cat, even closes the album in a surprisingly soothing manner.

Somehow, ‘Ai No Wakusei’ is one of those albums where you don’t know what to expect even after you have heard it. But that is part of its charm as well. What the first half of the album lacks in terms of flow, the album as a whole more than makes up for in the individual quality of the songs. It is also not quite as vocal-centric as one might expect from a solo release by a singer as characteristic as Sakurai. A decade later, Sakurai would team up with several ‘Ai No Wakusei’ contributors to form The Mortal, but in name, this is truly the only album where he could do whatever the hell he wanted and one thing is for sure: he ran with it.

Recommended tracks: ‘Sacrifice’, ‘Yokan’, ‘Smell’, ‘Taiji’, ‘Shingetsu’

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Album of the Week 35-2018: Acid Black Cherry – Black List


Solo projects are an odd phenomenon. Technically, they could highlight a vision someone is not allowed to display in their main band, but they are often a disjointed mess. Acid Black Cherry’s debut album ‘Black List’ has all the symptoms of the latter – a rotating cast of musicians, a wide range of styles – but ends up being much closer to the former. The strict direction of main man and sole songwriter yasu keeps the whole thing from spiraling out of control. Realizing the importance of the first strike, ‘Black List’ is a minor J-rock classic and likely yasu’s best work yet.

In essence, the music on ‘Black List’ is not as far removed from yasu’s former band Janne Da Arc as one might expect. The differences are almost cosmetic rather than fundamental. On ‘Black List’, Acid Black Cherry is somewhat heavier and considerably more theatrical than Janne was, but the focus is still mainly on highly melodic rock songs with instantly hummable choruses, energetic but not too complicated riff work and a strategic use of light-and-shade workings. The approach is not too dissimilar to what Gackt has been doing for the last decade, but notably less predictable and therefore better.

While it would be easy to blame the immense artistic value of ‘Black List’ on the contributions of big names in J-rock – including Luna Sea’s Sugizo, La’cryma Christi’s Shuse and Siam Shade’s Daita and Jun-ji – the truth is that yasu’s songwriting and arrangements are simply really good. Arrangements are worth mentioning, because it’s exactly the fantastic use of keyboards and strings that adds some class to the surprisingly dark, menacing nature of the fanatastic opener ‘Sins’ and the bass and horn arrangements that lend an authentic jazzy edge to the manic ‘Black Cherry’, as wildly as it rocks most of the time.

On ‘Black List’, the genre-hopping is its forte rather than its flaw. The dark, dangerous vibe that made me love ‘Sins’ so much is revived on ‘Murder License’, while ‘Bit Stupid’ is an infectious, breezy and funky pop rocker. ‘Fuyu No Maboroshi’ is a particularly theatrical ballad, while ‘Shojo No Inori’ is a fun melodic hardrocker that would not have sounded out of place on one of Janne Da Arc’s later albums. Occasionally yasu’s particularly light and thin voice is a little grating, but overall, it’s remarkable how well it works on the harder rocking tracks on ‘Black List’.

Despite releasing more quality material throughout the years, Acid Black Cherry would never again release an album as good as ‘Black List’. Some serious overproduction drags most of their albums down, though none of the original albums is less than enjoyable. Though a lot of effort has gone into the production and arrangements of ‘Black List’, this album truly is enhanced by the effort. There is a bit of a risk that western rock fans might find yasu’s voice a little off-putting, but the fact remains that ‘Black List’ is a fantastic album. It even sounds like one rather than a loose collection of songs. That alone is already rather impressive within the J-rock realm.

Recommended tracks: ‘Sins’, ‘Shojo No Inori’, ‘Murder License’

Interview: Loudness and the Japanese hardrock scene


Loudness was one of the first Japanese bands that also had some success in Europe and North America. Partially due to the MTV success of ‘Crazy Night’ and Akira Takasaki’s status as a guitar hero, but according to singer Minoru Niihara, Loudness also was lucky enough to be at the right place at the right time. We spoke with Niihara prior to the concert in Alkmaar, at which Loudness promoted its 27th studio album ‘Rise To Glory’.

After the previous album ‘The Sun Will Rise Again’, we had to wait over three and a half years for ‘Rise To Glory’. And that is quite surprising, as the band has been releasing new albums just about every year since the original lineup of Niihara, Takasaki, bassist Masayoshi Yamashita and drummer Munetaka Higuchi reunited around the turn of the century. Even after Higuchi passed away in 2008, there were hardly any delays in their release schedule. “We needed the extra time“, Niihara confesses. “In addition, we needed to look for a new record label, because our previous contract expired. In the meantime, Akira kept on writing new songs. Because of that, we could select the best material.

For his lyrics, Niihara employs a rather unconventional approach: “I think of a theme and write down my thoughts about that, just some ideas and lines in Japanese. After that, three friends of mine help me turn it into a complete set of lyrics. They have been raised bilingual in California and live in Japan these days. They speak perfect Japanese and because of that, they know the weaknesses of Japanese people speaking English. You could say they fix it. Many Japanese people need someone to tell them what is wrong with their English. There hardly is any need to speak or write English when you live in Japan. Even at the universities, classes are in Japanese.

Timing

When Loudness was founded in 1981, there were no heavy metal bands in Japan. “Before us, you only had Bow Wow from Tokyo and Murasaki from Okinawa“, Niihara confirms. “And those bands weren’t really heavy metal, because we didn’t know that back then. They were hardrock bands. I’m from Osaka, where a lot of young British hardrock bands performed. I was in a school band with which we played covers of Deep Purple and Led Zeppelin. But professional hardrock bands? We didn’t have those in the seventies. There were lots of people who listened to western hardrock, but no one played the music themselves. I don’t actually know why either.

We were lucky. Around the time we released our debut album (‘The Birthday Eve’, 1981), the new wave of British heavy metal became really popular in Japan. Bands like Iron Maiden and Saxon were very popular. That made people curious about our music, because we were a Japanese band that also made this type of music. Our timing turned out to be perfect. Young rockers loved us and Akira became a guitar hero. He actually already was when he played with Lazy. That was a pop group, but his playing was amazing. When he was seventeen, he was already known as a great guitar player.

Sold out

Before I joined Loudness, I have talked to some people who worked for record labels. When they heard I wanted to play hardrock, all of them said: that’s old, no one will buy that. After we received a gold record for the first Loudness album, the same people suddenly told us that they knew our music would become big. Bullshit! Some of these guys even literally said we would never go anywhere.

Things went differently. Loudness became a big success in Japan. “Every place we played was sold out“, says Niihara. “And then we’re talking about two to three thousand capacity venues. While we only had one album out. After that, more and more bands that kind of sounded like Loudness popped up. Every record company tried to sign its own Loudness. The positive thing about that is that many Japanese hardrock bands got the chance to release an album. Two or three years after our debut album, Japanese metal was very popular.

San Francisco

After a while, the scene slowed down a little. Our sound engineer and friend Daniel McClendon, who is from San Francisco, asked us why we wouldn’t just go to the States for a couple of shows someday. In Japan, we had achieved just about everything we could achieve. In 1983 we went to California for a couple of concerts, just to see what the possibilities were for us. We did four shows in San Francisco and two in Los Angeles.

The audience in San Francisco was insane. There was a very active, hardcore underground heavy metal scene there. We met bands like Metallica and Slayer there when they weren’t much more than local bands. That kind of surprised me, because the image I had of music from San Francisco couldn’t be more different. I thought of relaxed rock music like The Doobie Brothers and the Eagles. Our shows were attended by young guys who were looking for new heavy metal, however. We didn’t even know how all these people knew about us, because we hadn’t released a single album in the States yet.

Later on, we found out that they traded tapes with each other. Metallica’s drummer Lars Ulrich was one of those fanatic tape traders. He also already knew Bow Wow, for instance. There was even a record store in San Francisco that imported our lp’s. Their owner really helped us simply by playing our music to people who might be interested in us. That way, Loudness could already build an audience before we ever played in the States.”

Identity crisis

Thanks to the presence of an A&R manager of the big Atlantic Records label, Loudness became the first Japanese metal band that signed with a major label in America. Initially, that was fruitful: ‘Crazy Nights’ and the accompanying album ‘Thunder In The East’ (1985) became a big success. When it turned out difficult to retain that success, friction developed within the band, which eventually lead to Niihara’s departure. A couple of years later, Yamashita left as well.

In the nineties, Loudness underwent a sizeable identity crisis. With the American singer Mike Vescera, the band recorded two albums that were obviously aimed toward the Californian glam metal scene, only to follow that up with the incredibly heavy ‘Loudness’ (1992) with singer Masaki Yamada (ex-EZO) and Taiji Sawada, who had just left X Japan at the time. After that, Loudness appeared to follow the alternative metal trend, though without Sawada. In the meantime, Niihara was occupied with bands like Ded Chaplin, Sly and X.Y.Z.→A.

Mature

The turning point arrived around the turn of the century, when Loudness’ classic line-up reunited, allegedly on the recommendation of Masaki Yamada. “Akira says that’s what happened“, Niihara says. “I think Akira had the idea to bring the original guys back together again himself as well. Around that time, Masaki told him the time was right for a reunion. Maybe it just had to happen. Our twentieth anniversary was upcoming and Akira wanted to do something special for that occasion.

It was supposed to be a reunion for maybe one or two years, but after our new album (‘Spiritual Canoe’, 2001) and the tour, the fans begged us to continue with the same line-up. We got together to talk about it and nobody actually wanted to quit. Everyone was curious to see where else we could go. And we wanted to play in Europe again, so we just tried it. And we’re still here! We’ve been around longer now than we were together in the eighties.

Niihara does have an explanation for that. “We are older and wiser“, he laughs. “We sometimes think back to those days and realize we were a bunch of idiots. We drank too much and we were acting really stupid sometimes. These days, we have families and children. We have become a lot more mature.

The singer did not listen to the albums he did not sing on until after the reunion. “In the nineties, I was too busy with my own music“, he explains. “And besides, I was trying to leave Loudness behind me. They kicked me out, after all. After the reunion, we had to play some songs from the albums recorded with Mike and Masaki. It wasn’t until then that I started listening to the material from those days. And I was really impressed! Mike Vescera sings great on those two records!

Recovery

During this tour, the drum stool is occupied by Ryuichi ‘Ryu’ Nishida, who worked as a session drummer with the likes of Gackt and Marty Friedman and is a part of the instrumental rock band Ra:IN with X Japan guitarist Pata. Earlier this year, Masayuki ‘Ampan’ Suzuki, who replaced Higuchi after his death, was hit by a stroke. “He is working hard on his recovery“, Niihara reassures. “There are some problems with the right side of his body. He has trouble talking and holding his drum sticks.

We are just happy that he’s still there. There are so many people who die from the same conditions. We hope he can play a couple of songs with us by the end of the year. More than a couple of songs is really too much for him at this point. We told him: please take your time, don’t rush. When he’s ready, we will go for it again. We are fortunate enough to have a fantastic drummer like Nishida helping us out.

A Dutch version of this interview can be read at The Sushi Times.

Album of the Week 28-2018: NoGoD – V


Within the visual kei realm, NoGoD is a bit of an anomaly. With a sound that is a lumpless blend of modern hard rock and heavy metal, they don’t really fit any of the trends that exist in their genre and because they are not a cast full of pretty boys – they are fronted by the clownesque Dancho – their fan base is largely male. With that different take on Japanese rock music, NoGoD is certainly a band to check out for those who are usually discouraged by the visual approach. And there hardly is any better place to start than ‘V’.

Though NoGoD is mainly known for energetic, riffy songs with rather upbeat choruses, ‘V’ is notably darker in tone than any of their other albums. It is also slightly more metallic than their other works, though the catchy bits are almost all arena-worthy in their sing-along glory. The first half of ‘IV – Tasha / Philosophia’, the fourth part of a suite that stretches out over four albums, has a stomping 5/4 beat that many of their peers would not dare to attempt and the awesome ‘Sabbath’ is probably the darkest NoGoD song yet. Coincidentally, it is also one of their very best.

In more familiar territory, ‘V’ also shines just a little bit brighter than the rest of NoGoD’s discography. While earlier albums had masterpieces like ‘Kamikaze’, ‘World Ender’ and ‘Kakusei’, ‘V’ just rolls on without ever losing steam. Sure, the more punky, upbeat songs ‘Kane wo Narase’ and ‘Pandora’ feel a little odd atmosphere-wise, but that is easy to accept on an album that also has fist pumpers like the anthemic ‘Stand Up!’ and ‘Zetsubo Bye Bye’. The album is even bookended by two tracks that are surprisingly riffy; the guitar work in opener ‘Utsushiyo Horror Show’ and closer ‘Tosohonno’ is almost speed metal in nature.

Dancho’s voice is the thing that seems to spark most debate amongst people who are not sure if they like NoGoD. While that is understandable – the fact that he is almost exclusively in full-on passionate mode does not account for a lot of dynamics – Dancho is probably the factor that makes NoGoD stand out in a scene full of Kamijo and Gackt soundalikes. I like him a lot. Dynamics and subtlety are built by the tastefully layered interaction between guitarists Kyrie and Shinno. Kyrie even has one of his many acoustic solo pieces here in the shame of ‘Yume No Awa’. A perfect little break between intense songs.

Although the criticism that the visual rock scene is full of bands that blindly copy each other in terms of musical style and appearance is justified, once in a while a band pops up that can truly deliver in terms of originality and playing. While NoGoD doesn’t really do anything new, the band doesn’t really sound like any other band inside of Japan and outisde. And they still don’t, despite the fact that their recent albums lean towards modern rock a little too much. If you like great riffs, passionate vocals and a tight rhythm section with a thick bottom end, NoGoD should be right up your alley.

Reccomended tracks: ‘Sabbath’, ‘IV – Tasha / Philosophy’, ‘Stand Up!’

Album of the Week 23-2018: Onmyo-za – Hado Myoo


Heavy, dark, but without forsaking their trademark streamlined melodicism. How they do it is a mystery to me, but Onmyo-za manages to upgrade the formula of their already impressive latter day sound on ‘Hado Myoo’ without the help of a potentially alienating stylistic shift. Despite its fairly heavy use of seven string guitars, its predecessor ‘Karyo-Binga’ had its lighter moments. ‘Hado Myoo’ has not, except for maybe the relatively accessible first single ‘Oka Ninpocho’. And that is a great thing, as this powerful, relatively riff-driven monster of an album truly confirms Onmyo-za’s relevance in the year before its twentieth anniversary.

Being quite a short album by Onmyo-za standards, ‘Hado Myoo’ wastes no time setting the scene and drags the listener into an unsettling, yokai-infested underworld by means of its massive opening track ‘Hao’. The song truly plays to all of the band’s strengths, with especially the contrast between the crushing sections sung by bassist and bandleader Matatabi and the more melancholic introspection of the parts lead by his wife Kuroneko being nothing short of genius. ‘Hao’ is more than a mind-blowing opener though. It is a warning that ‘Hado Myoo’ is not going to be for the faint of heart and it delivers on that promise.

‘Shimobe’ follows a similar structure, albeit on a higher tempo, with its fierce riffing unveiling a distinct melodic death metal influence. The 7/8 intro is vicious and it is quite remarkable how many new things happen in the latter three minutes of the song. Easily the heaviest Onmyo-za song in quite some time. But while the aforementioned songs are peaks in intensity, ‘Hado Myoo’ does not let go until it is over. The songs vary in heaviness – ‘Haja no Fuin’ brings some of that delicious NWOBHM-inspired twin riffing to the fore, while ‘Ippondara’ is a grinding midtempo stomper with a cool bass solo – but none of them will be relegated to background music. Fortunately.

Elsewhere, ‘Tesso No Aza’ teaches many European and American bands a lesson or two on how to do epic heavy metal and ‘Oka Ninpocho’ and ‘Fushoko No O’ feature some tasteful Japanese folk elements as part of their arrangements. ‘Izuna Otoshi’ and ‘Itsumade’ are the typical melodic heavy metal we have come to expect from Onmyo-za, though the latter does feature some borderline thrash riffs. Even the closing track is very powerful. Onmyo-za usually reserves that spot for lighter, upbeat rock tracks, but while ‘Bureiko’ does have a more “rocky” feel than the rest of the album, it is still very much rooted in pounding riff work.

As far as my expectations for ‘Hado Myoo’ went, this was not what I was expecting. Not many metal bands can say that their fourteenth album is one of their heaviest thus far, but Onmyo-za can proudly declare that. It never sounds forced, however. ‘Hado Myoo’ is clearly the work of a band doing something they feel comfortable doing. It is a sonic triumph as well, with the guitars of Maneki and Karukan having the perfect amount of grit and Matatabi’s bass rumbling underneath slightly more prominently than usual. Yours truly for one was stunned and unless you listen to Onmyo-za for their ballads – there aren’t any – most of their fans will too.

Recommended tracks: ‘Shimobe’, ‘Hao’, ‘Haja No Fuin’, ‘Tesso No Aza’

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 ‘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’

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