Posts Tagged ‘ Rock ’

Album of the Week 30-2019: Audioslave – Revelations


It is truly unfortunate that Audioslave never got to record more than three albums. They started out like any other supergroup; as musicians struggling to find a way to combine their musical histories in a listenable manner, although the self-titled debut certainly already had its share of great moments. It helps that 75 percent of Audioslave came from the same band, but by the time ‘Revelations’ was released, the band had evolved beyond sounding like Rage Against The Machine with Chris Cornell singing. This is a powerful, at times surprisingly soulful alternative hardrock album that showcases some excellent songwrited and spirited musicianship.

Rage Against The Machine’s biggest strength, to me, was always their rhythm section, but ‘Revelations’ is the record on which drummer Brad Wilk and bassist Tim Commerford deliver their best performance yet. Their rhythms can still punch hard if they want to, but there is a strong soul and funk undercurrent on the album. As a result, guitarist Tom Morello is forced to tone down his noisy effects in favor of a more swinging rhythm guitar approach, ending up sounding something like Led Zeppelin being pushed through a Motown filter. An approach that fits Cornell’s wide, expressive range like a glove.

The opening title track briefly misleads the listener into thinking ‘Revelations’ will be a moody, downbeat album, but the song quickly transforms into a powerful swing ‘n’ stomp fest. And while ‘Revelations’ as a whole is a tad darker in tone than the first two Audioslave albums – to its benefit, if you ask me – it also has its notably celebratory moments. ‘Original Fire’, most notably, ironically sounds more upbeat than the early Seattle bands it is a tribute to. ‘One And The Same’ and the amazing funk rocker ‘Broken City’ manage to walk the tightrope of dark, dangerous and life-affirming effectively.

And yet, the most convincing moments on ‘Revelations’ are the most melancholic ones. ‘Wide Awake’ is easily my favorite non-Soundgarden song Cornell has ever sang on. It could be described as a sorrowful ballad, were it not for Commerford’s busily funky bass line and Wilk’s dynamic drum work. The yearning chorus and the climactic ending are pieces of art. Closing track ‘Moth’ is another gloomy masterpiece driven by a massive, almost Sabbathian riff and a haunting chorus. Elsewhere, the pounding ‘Shape Of Things To Come’ and the almost jazzy chord work of ‘Nothing Left To Say But Goodbye’ run a different way with the melancholy. ‘Jewel Of The Summertime’ is one of the heaviest funk tracks I ever heard.

‘Out Of Exile’ was a great album, but ‘Revelations’ is the Audioslave album I would recommend anyone to start with, as the specter of the members’ former bands was no longer looming over the band by this point. The backgrounds of the musicians are fairly obvious, but the blend of styles is rather unique. Audioslave had finally found its own sound on ‘Revelations’, which is why it is such a pity that it was their final album. Certainly one of the most organic-sounding big budget post-2000 rock releases and that is truly the finishing touch of this great album.

Recommended tracks: ‘Wide Awake’, ‘Moth’, ‘Broken City’, ‘One And The Same’

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Album of the Week 29-2019: Soundgarden – Superunknown


In hindsight, the title of Soundgarden’s fourth album ‘Superunknown’ is almost ironic, as the album – and its singles in particular – turned the Seattle-based band into a bestselling rock act. In a way, it shouldn’t have been a surprise. Soundgarden consisted of four great songwriters and in Chris Cornell, they had easily the greatest singer of the entire Seattle scene. On the other hand, the band’s fearless experimentalism, as well as their penchant for odd time signatures and dissonance made them the least likely huge rock act of the era. However, that is exactly what makes ‘Superunknown’ as successful artistically as it is commercially.

As tempting as it is to call ‘Superunknown’ a sellout record, the opposite is actually true. Sure, it is notably less metallic than ‘Badmotorfinger’, but instead, this is a textured, sonically rich record that explores all the extremes of rock music. From the punky bite of ‘Kickstand’ to the psychedelic leanings of ‘Head Down’ and the dark pop supremacy of ‘Black Hole Sun’, ‘Superunknown’ is Soundgarden’s ‘Physical Graffiti’. To do that without alienating your core audience is not an easy feat, but then again, Soundgarden never released the same kind of album twice in a row, so their fans knew they could expect something different.

Unlike many albums of the era, the singles that were culled from the album actually fit the general atmosphere of the record well. First single ‘Spoonman’ is as unconventional rhythmically as anything the band released up until that point and the downbeat semi-ballad ‘Fell On Black Days’ is one of the greatest songs Soundgarden ever released. The way Cornell’s voice commands the dynamics of the song over that simple, but brutally effective guitar riff is nothing short of genius. ‘Let Me Drown’ is a powerful opening track and the subdued, yet forceful ‘Fresh Tendrils’ really deserves more appreciation than it tends to get.

Fortunately, the Black Sabbath-inspired doom metal riffing has not disappeared. While nothing is of ‘Slaves & Bulldozers’ proportions, there are no less than three songs that come close. ‘4th Of July’ is a sludgy, dissonant dirge on which Cornell’s understated vocals take a back seat to the riffs, which are right in front of the mix. The monstrous groove of ‘Mailman’ is evidence that Soundgarden shares a lot of influences with Alice In Chains and the riff work of ‘Limo Wreck’ is a clear tribute to Sabbath, while the chorus houses Cornell’s finest vocal performance on the record. Closing the record on a strong note, ‘Like Suidice’ feels like a blend of alternative rock and southern blues. It’s something which is not attempted often, but works very well.

So is ‘Superunknown’ better than ‘Badmotorfinger’? Of course it isn’t. ‘Badmotorfinger’ was a monumental release on which all the stars aligned ridiculously perfectly. ‘Superunknown’ is just about as good a follow-up anyone could wish for. The album shows a band refusing to compromise and surprisingly, that eventually gave them the audience they deserved. Soundgarden was always a band that defied genres or scenes and no record is better evidence of that than ‘Superunknown’. A rare example of a breakthrough record that does not pander to the masses. Not even a little.

Recommended tracks: ‘Fell On Black Days’, ‘Mailman’, ‘Limo Wreck’

In Memoriam Dr. John 1941-2019


Dr. John was a gateway artist to me. While discovering the musical traditions of New Orleans, Dr. John was just “rocky” enough to have any sort of appeal on the staunch hardrocker I was at the time. By mixing the New Orleans jazz tradition with the funk DNA of the town and some psychedelic rock grooves, Dr. John basically had something for fans of all genres. His sleazy voice and jumpy, slightly Carribean piano parts immediately recognizable, while the dangerous voodoo-inspired, vibe in some of his tracks is still as hypnotizing today as it was in the late sixties. Malcolm John Rebennack, as was his real name – “Mac” to his friends – died of a heart attack yesterday at the age of 77.

New Orleans royalty

As I’m quite sure was the case for many white rockers, my first time hearing Dr. John was his solo debut album ‘Gris-Gris’ from 1968. The album can be downright weird at times, but I was intrigued from the first notes right down until the last. The seductive grooves of ‘Mama Roux’ and the irresistible darkness of ‘I Walk On Guilded Splinters’ never wear off their welcome and I can’t be the only one who feels like that, as the latter is among one of the most covered non-traditional songs from Louisiana.

Before that album was released, however, Rebennack already made quite a career as a musician. Originally aspiring to be a professional guitar player, he was shot through the ring finger of his left hand in 1960 and eventually settled on the piano as his main instrument. His style was clearly influenced by another New Orleans legend, Professor Longhair, but he ran with it and sort of modernized the style without forsaking any of the swing and looseness that makes New Orleans jazz and funk so typical that it really can only be made in that particular area. He would appear on many records as a session musician before embarking on his solo ventures.

Throughout the seventies, Rebennack released one great record after the other. His 1973 album ‘In The Right Place’ in particular was a gathering of New Orleans royalty, with The Meters backing him and Allen Toussaint producing. The record, and the powerful single ‘Right Place Wrong Time’ in particular, was when he crossed over to the mainstream. It was hardly his only good song of the decade though; ‘Loop Garoo’, the lengthy ‘Angola Anthem’, ‘Wild Honey’ and ‘Qualified’ are just a few of the masterpieces he released that decade, while ‘Dr. John’s Gumbo’ (1972) is one of the most exuberant celebrations of New Orleans’ musical history ever released.

Essence

While the eighties were unkind to almost anybody not playing synth pop or metal, Rebennack kept on releasing music that though not as inspired as his seventies work was enjoyable enough. In the meantime, there were session gigs he gladly joined. His return to form came in 1992, however, with ‘Goin’ Back To New Orleans’. An effort comparable to ‘Dr. John’s Gumbo’ twenty years prior, the album focuses on what New Orleans has to offer musically, from the gorgeous classical roots of the Gottschalk tribute ‘Litanie Des Daints’ to the standards ‘Carless Love’ and ‘Goodnight Irene’, the latter in a surprisingly bombastic rendition. The title track, Rebennack’s interpretation of a Joe Liggins tune, is a horn-heavy masterpiece.

Since that album reconnected him to his essence, Rebennack kept frequently releasing records, some of which are nothing short of incredible. In fact, not too long ago, ‘Locked Down’ (2012) introduced him to a whole new audience by teaming up with The Black Keys’ frontman Dan Auerbach. The album is sort of an update of his seventies formula, including career highlights like ‘Big Shot’, ‘My Children, My Angels’ and the title track, with a big shot of psychedelic rock. Those who followed Rebennack’s career would not have been surprised though, as he had shared amazing albums like ‘Tribal’ (2010) and ‘The City That Care Forgot’ (2008) not too long before his Auerbach collaboration.

On Rebennack’s 73rd birthday, I was fortunate enough to see him live with his band. Not a perfect show by any means; the band was almost too loose and trombone player Sarah Morrow hogging the spotlight got on my nerves after a while. Also, it was obvious that the Doctor was not in the best physical shape anymore. His musical feeling did not suffer even the slightest bit, however, with especially his improvisational skills being impressive without being too ostentatious. Clearly a natural musician at work.

According to his own words, Dr. John leaves behind “a lot of children”. My condoleances go out to them. What he also left behind is an impressive body of work that deserves to be celebrated.

Album of the Week 20-2019: Amorphis – Elegy


Perfection is hard to come by in music. More often than not, I refer to a certain aspect of an album being as close to perfection as it gets. In case of Amorphis’ third album ‘Elegy’, its atmosphere is just about as perfect as it gets. ‘Elegy’ was the second album on which Amorphis showed a massive stylistic change and it would not be the last, but it does say something that the signature sound they currently have is not too far removed from what can be heard on ‘Elegy’. It is simply an excellent work of melancholic Finnish metal.

In a way, it is odd that ‘Elegy’ is my favorite Amorphis album, as the band would become much better later on. Current singer Tomi Joutsen is vastly superior to both the throaty grunts of rhythm guitarist Tomi Koivusaari and the Hetfield-esque cleans of Pasi Koskinen, Santeri Kallio has a significantly more melodic style than ‘Elegy’ keyboard player Kim Rantala… Basically the only band member who is already close to the massive heights he would soon reach is lead guitarist Esa Holopainen, one of the most tasteful guitarists in rock and metal. And yet, everything on ‘Elegy’ is as it should be.

First off, the lack of vocal prowess does not hurt the music at all. Koskinen is the right fit for the melancholy expressed in the lyrics – all English translations of the poems in the ‘Kanteletar’, a collection of traditional Finnish songs and poems – and Koivusaari is buried in the mix. Besides, if I had to estimate, less than 25 percent of the album actually has vocals. ‘Elegy’ is the record that most clearly displays the influence that their fellow countrymen Kingston Wall had on Amorphis: it’s extremely jam-heavy, giving Holopainen plenty of room to excel, and the band opts to let the ideas unfold slowly rather than cramming their songs full of them.

Additionally, the eastern mysticism in Kingston Wall’s music is prominent on some of the Holopainen-penned songs, the incredible opener ‘Better Unborn’ in particular. That song deserves an award anyway. It’s easy to come up with something self-pitying for that set of lyrics, but Amorphis made something extremely powerful out of it, kind of like a Scandinavian metal interpretation of Led Zeppelin’s later works. ‘Song Of The Troubled One’ has a similar vibe, though notably more northern European. The twin guitar harmony laden ‘Against Widows’ is more propulsive, as is ‘On Rich And Poor’, which contains some incredible rhythm guitar work. The surprisingly good instrumental ‘Relief’ brings all the elements together.

Even when the band adopts a more laid-back approach, it sounds amazing. The climactic title track and the unbelievably gorgeous album highlight ‘My Kantele’ have some prominent Pink Floyd-isms, albeit with much more powerful rhythm guitar work. But really, only those who prefer Amorphis as a full-on death metal band might not find anything to like on ‘Elegy’, but I sincerely doubt if they ever were. The consistently melancholic tone is what largely makes ‘Elegy’ so amazing, but the unusually large amount of jamming helps too, plus the fact that Holopainen and Koivusaari hardly ever play in unison. A fairly unique album, even within Amorphis’ discography, that still sounds as fresh today as when I first heard it.

Recommended tracks: ‘Better Unborn’, ‘My Kantele’, ‘On Rich And Poor’, ‘Relief’

Album of the Week 19-2019: Rammstein – Reise, Reise


Rammstein is probably the most popular rock band that doesn’t sing in English. And yet, they are also one of the most misunderstood bands in the world. Not alone is the at times hilarious word play in their lyrics lost on people who don’t speak German, but their music is also often perceived as much more aggressive than it actually is. Sure, subtlety was never the band’s strongest feat – something which is even more evident in their massive live shows – but albums like ‘Reise, Reise’ should not be taken at face value. There is more to this record than one might first assume.

In a way, ‘Reise, Reise’ is a logical follow-up to the band’s definitive international breakthrough album ‘Mutter’, which saw the band improving their arrangements significantly. There is still very little complexity in Rammstein’s songwriting, as two or three riffs are the norm for the band, but the productions and orchestrations became notably more sophisticated on those records. In addition, Till Lindemann’s voice really came into its own on ‘Mutter’, and his operatic vocals in particular. These are featured prominently alongside his rawer performances on ‘Reise, Reise’. Put those two together and you end up with a brutally effective album.

Also not unlike ‘Mutter’ is the fact that Rammstein kicks off ‘Reise, Reise’ with a relatively adventurous track in the shape of its title track. The riffs are massive, the chorus larger than live and the nautical theme of the song is captured perfectly by the almost symphonic quality of the arrangement. The fact that I love how the accordion, an instrument I hate with every fiber of my being, is incorporated into the apotheosis says enough. ‘Morgenstern’ employs a similar sound with a particularly dramatic chorus and some delightfully aggressive start-stop riffing, while the brilliantly constructed and particularly intense ‘Keine Lust’ is probably my favorite single of the band to date.

That may just be why ‘Reise, Reise’ is my favorite Rammstein album. It is not radically different from earlier work, the highlights are just a tad better than on every album. Especially ‘Dalai Lama’, which is probably their most flawlessly crafted song to date. The modern interpretation of Goethe’s ‘Erlkönig’ is perfectly expressed by Lindemann’s vocal delivery and Christian ‘Flake’ Lorenz’ keyboards form a perfect melodic contrast with the palm muted precision of guitarists Richard Z. Kruspe and Paul Landers. ‘Amour’ and especially ‘Ohne Dich’ are the band’s first successful attempts at honest power ballads, which makes them the perfect follow-ups to the gruesome moodswings of the excellent ‘Stein Um Stein’.

Sure, ‘Reise, Reise’ is full of simple, metallic downtuned guitar riffs and Christoph Schneider’s at times drum computer-like rhythms never go overboard on tempo and virtuosity, but the music is very clevery and carefully crafted. That was always what lifted Rammstein above their followers in the Neue Deutsche Härte scene and other types of industrial rock music. They have always made their own rules as they went along. How else could you explain something like ‘Los’, which sounds as heavy as the average Rammstein song, only acoustically? ‘Reise, Reise’ is equal amounts recognizable and experimental, which is better than what most successful bands can hope for.

Recommended tracks: ‘Dalai Lama’, ‘Keine Lust’, ‘Morgenstern’, ‘Reise, Reise’

Album of the Week 18-2019: Korol I Shut – Bunt Na Korable


Korol I Shut is widely recognized as one of Russia’s best punk bands. And yet, labelling them punk is seriously selling them short. Sure, the songs are generally short and very energetic, but Korol I Shut’s music is too experimental and melodic to be considered “just” punk. Taking their inspiration from horror punk, but replacing zombies by monsters from Slavic mythology and folklore, they took their music into every possible direction, from folky touches to borderline metal. ‘Bunt Na Korable’ is closer to the latter in its hardcore approach, but Korol I Shut refuses to give up its melodic memorability in the process.

Since Korol I Shut adopts a different approach on just about every album, their records may differ in appeal, but they are hardly effer short of interesting. ‘Bunt Na Korable’ takes two parts hardcore, two parts alternative rock, one part metal and lead guitar melodies that have a strong vibe and combines that into a admirably lumpless blend. Combined with the surprisingly theatrical vocal duo – Andrey Knyazev and the sometimes semi-gothic sounding Mikhail Gorshenyov – and some really strong riff work, ‘Bunt Na Korable’ rates as one of the band’s most consistent releases, along with its considerably more melodic follow-up ‘Prodavets Koshmarov’.

‘Hardkor Po-Russki’ serves as a bit if a mission statement for ‘Bunt Na Korable’. It’s not just the title of this opening track, the hard-hitting riffs and the measured aggression of Aleksandr Tsigolev’s drumming also show that this is going to be a relatively propulsive album immediately. The track that best embodies this philosophy, however, is ‘Ispoved Vampira’, which has the fastest palm-muted riffs on the record. Guitarists Aleksandr Leontyev and Yakov Tsvirkunov have an enviable precision that almost pushes the song into thrash metal territory. ‘Inkvisitor’ is even further into it and highly recommended to fans of that particular genre.

When the band goes into a more melodic direction, they are just as convincing. ‘Mest Garri’ was wisely chosen as the single for the album, as it is no less driven than the other tracks, but carried by a handful of strong, slightly melancholic melodies and the rhythms of Tsigolev and bassist Aleksandr Balunov are definitely more roomy than on the faster tracks. ‘Idol’ mixes the two approaches together, while ‘Zvonok’ is almost the Slavic forest version of Kyuss’ more straightforward songs. ‘Severny Flot’, on the other hand, is a downright excellent alternative rock track with reverberating clean guitars and massive chord and melody structures.

A couple of weeks ago, I wrote about the issues of mislabeling a band. Korol I Shut sort of fell victim to that as well. That’s not too say that they are not a punk band at the core, but they have so much more to offer than that. Even ‘Bunt Na Korable’, that not unlike their self-titled album stays relatively close to that punk core, displays some of the most inventive songwriting I have ever heard within the context of a band whose songwriting is not all that complicated.

Recommended tracks: ‘Severny Flot’, ‘Ispoved Vampira’, ‘Mest Garri’, ‘Inkvisitor’

Differences on Buck-Tick’s ‘Koroshi No Shirabe: This Is Not Greatest Hits’


This is an article that exists solely because I wish I had something similar in order to find out if Buck-Tick’s first compilation ‘Koroshi No Shirabe: This Is Not Greatest Hits’ would be worth purchasing. While that may seem like an odd question for a compilation, this is not any ordinary compilation, as its title already subtly suggests. All of the songs have been reworked to varying degrees, which means that some of the songs have been altered significantly. If for whatever reason – mine were both biological and topgraphical – you are also a latecomer to the popular J-rock band, my hope is that this article will help you decide whether or not to purchase ‘Koroshi No Shirabe: This Is Not Greatest Hits’.

While I have decided not to shy away from mentioning my opinion when I feel it is warranted, my aim was to be as descriptive as possible in order to let facts rather than my opinion shape your decision. If you feel that I have not succeeded in this goal, please feel free to let me know. In case I agree, it is only little trouble to alter the article.

1. Iconoclasm

Out of all the re-arranged tracks on ‘Koroshi No Shirabe: This Is Not Greatest Hits’, ‘Iconoclasm’ is the one that most sounds like it was prepared for the strong industrial leanings of the era that followed the release. This is not only obvious from the electronic samples and noises that have been added to the beginning of the track, but also from Atsushi Sakurai’s heavily processed vocals. If anything, they sound like they have been recorded through a distorted megaphone. Personally, I think this significantly hurts the – admittedly limited – melodic qualities of the original version, but if there is one song that lends itself well for such an approach, it would be ‘Iconoclasm’. Best listened to on speakers, because it’s a little trebly and abrasive on headphones.

2. Aku No Hana

The alterations made to the justified classic ‘Aku No Hana’ are subtle enough to fool the casual listener into thinking that they were minor, but some of the changes were rather substantial. The overall sound mix is considerably brighter and more balanced than the mildly murky production of the album with the same name. While I’m not quite sure if the instruments were re-recorded or just remixed, Sakurai’s vocals went through some notable changes. Not only does his voice sound a tad deeper than on the original, some parts have been changed, like the whispers that end every other line of the verses. Overall an improvement over the original, though cutting out the vocals of the characteristic “I’m falling down” bit near the end was a bad idea.

3. Do The “I Love You”

A minute and a half longer than the original and that’s not because of an extended break or something similar. The song is substantially changed from its hyperactive, punky original incarnation into a new wave track with a more seductive groove. This version would not have sounded out of place on an INXS album. Hisashi Imai’s guitar solo remains surprisingly faithful to the original, it may actually be lifted directly from the original ‘Sexual XXXXX!’ recording. The accompanying parts are more streamlined, with especially the absence of the sudden crazy noises being notable.

4. Victims Of Love

Another track that is much longer than its previous version. Nearly twice as long in this case. For a more than significant part, this is due to its much slower tempo, which fits the dangerously seductive atmosphere Buck-Tick were going for much, much better. They would nail it completely on the ‘Climax Together’ live video recorded the same year, but this studio version is an excellent attempt as well. It is surprising to see how much Sakurai’s voice has developed in the less than four years since the original release. His somewhat deeper tone completely tosses the almost innocent quality of the original vocals out of the window, finally allowing him to make his vocal sound like they were probably intended. The abrupt ending is a bit of a downer ending though.

5. M.A.D

Easily the most recent song by the time the album was released – along with ‘Speed’ and ‘Jupiter’ – and therefore, it is kind of strange to see how much they changed it. The highly cinematic intro – think film music meets electro or maybe Enigma without choirs – made me hopeful about the outcome, but the rest of the track left me disappointed. Instead of a quirky, uncomplicated, Talking Heads-ish new wave track with some cool vocal harmonies, the re-arranged version of ‘M.A.D’ is high on electronic rhythms, sudden explosions of synth and aggressive vocals reverberating in the distance. As much as I would like to commend Buck-Tick for their creativity here, I don’t think the result is listenable enough.

6. Oriental Love Story

In its original version on ‘Seventh Heaven’, I have always thought ‘Oriental Love Story’ was promising, but also suffered from productional limitations. The new arrangement definitely improves upon that, though in a different way than I was expecting. When I saw the song was on this album, I expected Buck-Tick to further emphasize the “new romantic” atmosphere of the original and they certainly do in the first couple of minutes, but the song develops into something considerably more propulsive when the full band kicks in. Whether or not that is a good thing depends on how you prefer the song. Personally, I would not have minded a dreamy, romantic track, but the song works very well as an optimistic new wave rocker.

7. Speed

Right off the bat, the most notable change here are the sound effects carried over from the cross-fade of ‘Oriental Love Story’. That also means Imai’s lead-in measure has been sacrificed, but apart from that, the differences with the original version are quite minimal and superficial. The mix is certainly a lot brighter and it seems like Imai has added a lot of extra effects to his guitars, he may even have re-recorded his rhythm guitar in the middle section to make it sound a bit more funky. Also, some vocal textures have been added, though it is entirely possible that they were there already, they have just been made more audible in the mixing process this time around.

8. Love Me

If you don’t like Hawaiian style slide guitar work, avoid this version of ‘Love Me’ like the plague. That also counts if you found Sakurai’s vocals on the original version on the verge of being too schmaltzy, because this arrangement pushes the rest of the track into that territory as well. No longer do Imai and Hidehiko Hoshino deliver chorus laden chords that sound like a mix of late seventies punk and early gothic rock; instead the guitars are calm, shimmering and drenched in reverb. As you may have already understood, it’s also quite a bit slower than its original version. To be honest, I personally am not a big fan of either version, but if I had to choose, I would certainly go for the more energetic original.

9. Jupiter

‘Jupiter’ was an excellent ballad to begin with – Buck-Tick has quite a lot of those in their catalogue – so my guess is that they wanted to alter the track for this release just to include it. There is a lengthy Gregorian-style choir chant opening this version, but the rest of the track has just been embellished slightly. The vocal harmonies appear to have been redone, as their execution sounds better than on the original, Yutaka Higuchi added some cool, subtle fretless bass flourishes in the calmest sections and Imai reinterpreted his guitar solo. Some of the choir singers return on the background in the final chorus, but overall, ‘Jupiter’ feels like the original version with an intro tacked on.

10. …In Heaven…

On the surface, the reimagined version of ‘…In Heaven…’ does not sound that different from the version on ‘Seventh Heaven’, except for the grateful use Buck-Tick makes of the technological progress that has been made in the intervening years. New vocal textures have been added to the chorus and Imai explores the pleasures of harmonizing in the lead guitar parts, but overall, it is still pretty much the same song. And yet, it sounds so much more powerful than the already impressive original. The much clearer mix is definitely a part of the reason why. Yagami Toll’s drum especially sound massively improved in this version, but I also think Higuchi’s bass has more balls this time around. Whatever the reason, this is the definitive version of this delightful pop rocker, even though it still does not fix the awkward English. Oh well…

11. Moon Light

‘Moon Light’ more or less becomes the second part of a diptych with ‘…In Heaven…’ for this release. It kind of makes sense too; both songs have a similar upbeat “in love for the first time” vibe. In order to optimize the transition, I think ‘Moon Light’ has been adapted to fit alongside ‘…In Heaven…’ more than the other way around. The song has been slowed down slightly and the bright, clear guitar sound definitely sounds fitting to the ‘Seventh Heaven’ sound. This is still largely the same song as on ‘Hurry Up Mode’ though. The structure is largely the same and so are the melodies, though I think Sakurai has come a long way since the band’s debut album. Imai’s guitar solo on this version is beefed up and really cool here as well.

12. Just One More Kiss

If you want to appreciate what a good rhythm guitarist Hoshino is, by all means check out this version. This is something that stands out most when you listen to it on headphones and you can really make out all the subtleties of his picking hand. ‘Just One More Kiss’ on this release actually focuses slightly more on clean guitars as far as Hoshino is concerned than it did on ‘Taboo’. Apart from that, differences are relatively minor, though the shift from slightly distorted to clean might throw avid fans of the original off. Too bad that the only flaw in this furthermore more than decent song – the large amount of repetition in the last three minutes – is still there in the remake.

13. Taboo

‘Taboo’ is the reason why I considered buying ‘Koroshi No Shirabe: This Is Not Greatest Hits’ in the first place. The original is a masterful, goosebumps-inducing new wave track full of seductive grooves and vocals that really only could have been made in the eighties and – along ‘Tokyo’ – the highlight of the eponymous album. But what that song does not have is this incredible bass line courtesy of Higuchi. Here, ‘Taboo’ is completely reimagined. Whilst retaining the general melodies of the original, the guitars are much more sparse and the track is more oriented on almost jazzy grooves, though Yagami is too much of a hard hitter to go full jazz. The result: instead of one, Buck-Tick now has two utterly amazing tracks named ‘Taboo’ with the same lyrics and vocal melodies, but surprisingly little in common with the original version otherwise.

14. Hyper Love

Another track that is seamlessly connected to the previous one – Buck-Tick seemed to be in the mood for that when they sequenced the album. Not unlike ‘Victims Of Love’, the subsequent ‘Climax Together’ live recording is more powerful than the studio version, but I’m still on the fence about this one. Yes, Sakurai’s vocals are better than on the original and the chorus, while maybe a tad silly, is an improvement, but I’m a little conflicted about the choruses. They have a powerful, almost tribal feel, but they also kind of lack the mysterious menace of the original. That sounds like the album ends disappointingly for me, but admittedly, it works really well in terms of flow here.

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