Posts Tagged ‘ Visual Kei ’

Album of the Week 36-2017: Merry – M-Ology


‘M-Ology’ is the album I have been wanting Merry to make for about a decade. While I really liked ‘Nonsense Market’ (2014), everything about ‘M-Ology’ points at a total throwback to the days of ‘Modern Garde’ (2004). While such a “return to the roots” is a strained move for many bands, Merry never strayed from their original path too much. They just explored the heavier edges of their sound to a point where they sort of buried the retro aspects that made their sound so unique and appealing. Now that these are back at the forefront, Merry’s new album is a brilliant work of “retrock”.

Those who are unfamiliar with Merry are probably better off listening to their music than reading a description, as the quintet plays a fairly rich cocktail of styles. Genre-wise, this is definitely J-rock, but there are jazzy rhythms amplified by Nero’s hard-hitting drum style, afterbeat ska chords and rockabilly-ish themes on the guitar, a punky energy and a bunch of vaudevillian melodies that pop up now and then. If that sounds like an impossible combination: that’s what yours truly thought too, until he actually heard the music. Merry’s songs are busy and bristling with energy, but always recognizable and well-crafted.

Prior to the announcement of the album, the singles for ‘M-Ology’ already made me look forward to the album. ‘Happy Life’, released over two years ago, is an excellent upbeat rock song with a chorus filled with the hopeful melancholy that characterizes a lot of Merry’s best material. ‘Heijitsu No Onna’ balances on the line between ballad and light rock song, but it was ‘Kasa To Ame’ that won me over. Built upon a not too complicated, but brilliantly brooding bass line courtesy of Tetsu, this song displayed the Merry that stole my heart so many years ago. The song is also a masterclass in musical climaxes.

Album highlight ‘Inugata Shinsei Masochist’ is the song whichI thought would be the next single, due to its goosebumps inducing arena rock intro and marvellous chorus, but apparently, the band went for the title track, which after a delightfully chaotic intro develops into a song that evokes a feeling of nostalgia. Other notable tracks are the remarkably upbeat punk polka of ‘Black Flag Symptom’, the overwhelming weirdness of ‘Mass Control’ and ‘F.J.P’, a song that amplifies everything that makes Merry such a great band to begin with.

Where ‘Nonsense Market’ saw Merry reconnecting with their core sound a little, ‘M-Ology’ sees them diving head first into it. Gara’s screams, shouts and grunts can be great means to emphasize an angry passage of a song, I prefer the focus on catchy melodies he employs here. As always, Kenichi and Yuu are great at crafting guitar melodies that either dance around each other or build upon each other’s heaviness and Tetsu and Nero are among the best rhythm sections in Japan, with the latter having an intuitive, playful style which makes him my favorite Japanese drummer. This may sound like an exaggerated amount of praise, but since ‘M-Ology’ can rival ‘Modern Garde’ and ‘Peep Show’ as Merry’s best album, I think the praise is more than deserved.

P.S.: Included in the “B type” of the album is the best bonus dvd that ever came with a Merry album. Filmed at what looks like the same location as the first ‘Many Merry Days’ dvd’s and produced with a somewhat cinematic look, I am sort of sad that as a European, I cannot obtain the full show that comes with the fanclub edition of the album. Still, these five songs are performed incredibly.

Recommended tracks: ‘Inugata Shinsei Masochist’, ‘Kasa To Ame’, ‘M-Ology’, ‘Happy Life’

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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’

Album of the Week 22-2017: Onmyo-za – Karyo-Binga


Released hot on the heels of the impressive diptych of ‘Fuujin Kaikou’ and ‘Raijin Sousei’, it is something of a miracle that Onmyo-za still had enough inspiration left to write another excellent album. In fact, it is even better than the latter. ‘Karyo-Binga’ sounds manages to sound familiar and fresh at the same time, as its combination of traditional heavy metal and hard rock riffs, J-rock melodicism, prog rock adventurism and subtle hints of Japanese folk is exactly what we have come to expect from Onmyo-za, whilst simultaneously updating the band’s sound, resulting in one of their best albums yet.

Of course, the update is minimal, as the sound of Onmyo-za is still strongly centered around the equally melodic voices of Kuroneko and band leader Matatabi, as well as the strong, but never busy riff work and passionate leads of Maneki and Karukan. However, it is quite obvious that the band was hungry to try out new things this time around, most notably downtuned guitars and a bigger emphasis on keyboards. That does not mean that we are dealing with a watered-down, pseudo-heavy version of Onmyo-za here though. Neither dominate the record and therefore, ‘Karyo-Binga’ feels like nothing more or less than a contemporary Onmyo-za record.

Like the other highlights in Onmyo-za’s discography, ‘Karyo-Binga’ has a very pleasant flow. This flow is somewhat reminiscent of its two predecessors, because ‘Karyo-Binga’ also starts with a relatively calm track which – despite its six minutes of length and song-oriented structure – feels like an overture (the title track) before moving into a powerful, but not too propulsive melodic heavy metal track (‘Ran’). The band is clever enough to keep itself from falling victim to an auto-pilot formula though, so among moments of familiarity, the band has strategically placed a few slightly surprising track to keep you attentive.

The relatively light, yet still powerfully rocking ‘Omae No Hitomi Ni Hajirai No Suna’ is one of them. Due to the subtle Hammond organ, the song has a bit of a seventies rock vibe, but Kuroneko – who, again, outdoes herself here – keeps it firmly within the Japanese rock realm. ‘Ningyo No Ori’ starts out sounding like it could be the big sweeping ballad of the album – which in fact ‘Jorougumo’ come closest to – before developing into a relatively concise epic with a dark, heavy middle section. ‘Susanoo’ and ‘Nijuunihikime Wa Dokuhami’ are the clearest examples of downtuned riffing without forsaking the melody and ‘Hyouga Ninpouchou’ is a passionate heavy metal track with amazing lead guitar work reminiscent of ‘Yue Ni Sono Toki Koto Kaze No Gotoku’ from ‘Fuujin Kaikou’.

Onmyo-za’s music is a melting pot of many different influences, as is the case with a large number of Japanese rock and metal bands. But where many Japanese bands end up sounding busy and at times disjointed, Onmyo-za found a way of combining all these influences into an irresistible, powerful sound that is remarkably pleasant to listen to. ‘Karyo-Binga’ is the latest and most contemporary sounding installment, but the consistency of the band’s discography is truly amazing. The record is well worth listening to if you are interested in any of the genres represented in the band’s sound.

Recommended tracks: ‘Hyouga Ninpouchou’, ‘Omae No Hitomi Ni Hajirai No Suna’, ‘Ran’, ‘Ningyo No Ori’

Album of the Week 21-2017: Seikima-II – Living Legend


According to Seikima-II’s own mythology, the band had to disband one second before the end of the 20th century. Luckily, they did not do so before releasing one more brilliant heavy metal album. Despite their reputation as an excellent heavy metal band, this was still a little surprising, because throughout the nineties, Seikima-II was all over the map stylistically. While they did release one amazing heavy metal album in the shape of ‘Mephistopheles No Shouzou’ during that decade, there were plenty of pop influenced experiments for ‘Living Legend’ to be a pleasant surprise. And one with some excellent songwriting to boot.

Though the break-up after the release of ‘Living Legend’ had already been planned, it does not sound like Seikima-II was running out of ideas here. Sure, there is a fairly large amount of filler tracks on here – there is a flawless 50 minute album hidden in this great 70 minute record – but even the majority of those are quite enjoyable. While songs like the modern, highly rhythmic ’20 Seiki Kyoushikyoku’, the glossy ‘From Here To Eternity’ or the simple, anthemic ‘Rock ‘n Renaissance’ are nowhere near “best of” status, they are pleasant enough to stay away from the skip button. In fact, only the overlong ‘This World Is Hell’ is skipworthy.

Many of the other songs are essential Seikima-II material, with the odd song even reaching masterpiece status. The brilliantly structured ‘Go Ahead!’ is definitely one of those. The song moves from a bombastic intro to relatively subdued verses and a straight up progressive metal middle section. It is the perfect closing statement to a farewell record and somewhat reminiscent of Queen’s more epic songs. Opening track ‘Heavy Metal Is Dead’ is another classic, doing everything in its power to disprove its title with its memorable main riff and powerful chorus.

Other great songs include the classy, elegant heavy metal of ‘Century Of The Raising Arms’ – which would not have sounded out of place on ‘Mephistopheles No Shouzou’ – and the simple, rocking fun of ‘Revolution Has Come’. ‘Silence Or Violence?’ brings Loudness’ classic ‘Soldier Of Fortune’ to mind and is every bit as enjoyable, while ‘Gloria Gloria’ is a successful attempt at the big, sweeping midtempo epic that ‘This World Is Hell’ sadly fails to be. The production on ‘Living Legend’ is relatively dry, but it is hardly bothersome, especially because it serves as a perfect juxtaposition to the overproduced nature of its predecessor ‘Move’.

Calling your final studio album ‘Living Legend’ and saying that heavy metal is dead after you call it quits may come across as shameless megalomania, but personally, I have always assumed there was something decidedly tongue-in-cheeky about Seikima-II’s over the top and at times ridiculous mythology. Also, releasing records like these does give a band some credit to make claims like these. Over the last decade and a half, the band frequently reunited for live shows and compilations of re-recordings, but a new album remains to be written. And maybe that is for the best, because ‘Living Legend’ is a fitting farewell, as it is a legacy to two decades of excellent hard rock and heavy metal.

Recommended tracks: ‘Go Ahead!’, ‘Heavy Metal Is Dead’, ‘Century Of The Raising Arms’

Album of the Week 17-2017: The Gazette – Dogma


The Gazette is one of the most popular Japanese rock bands even outside of their native country. Save for a couple of songs, they never appealed to me much until they released their most recent studio album ‘Dogma’. For this dark monster of an album, the goth factor in the band’s familiar alternative metal sound is turned up considerably, resulting in an immersive atmosphere that works surprisingly well alongside the downtuned riff work. Despite being recognizable as an album by The Gazette, ‘Dogma’ is – thus far – a unique entry in their discography and truly takes their sound to a new level.

People who like The Gazette less than I do are prone to dismiss them as a Dir En Grey clone. And while they share a dark aesthetic as well as a preference for the downtuned mayhem of the American nu metal scene of the mid-ninties, The Gazette has always had a sound closer to J-Rock, though on ‘Dogma’, the J-Rock sound is mainly limited to Ruki’s baritone. The electronic experiments of recent albums are still there, but less prominent in the mix. This is a good thing: while the electronics made The Gazette stand out, they feel much more like an integral part of the sound here.

‘Dogma’ definitely excels most during its more atmospheric moments. Sure, the extremely heavy riff work by Uruha and Aoi – as well as their massive, crushing guitar sound – makes for pleasant headbanging on tracks like ‘Rage’, ‘Deux’ and ‘Incubus’, but if it wasn’t for the darker material, I may have taken a pass on the album. The fittingly titled closing track ‘Ominous’ has a subdued, brooding character that doesn’t really sound like anything the band has attempted before. The transitions are a little sudden, but it works remarkably well. Its finale is excellent.

Even better is ‘Deracine’. The guitar interaction in the verses – a pronounced riff with background atmospherics – is incredible, Ruki’s vocal melodies are fantastic and its atmosphere, which at times feels like a relatively heavy J-metal band covering Killing Joke, is impossible to escape. Another highlight is ‘Wasteland’, which brings together all the extremes of The Gazette’s sound. The guitar layering is extremely tasteful and the song flows very pleasantly. ‘Lucy’ is a little more straightforward and probably would not have stood out as much on a different album, but its effective main riff and huge chorus are great. The title track serves as a perfect introduction with its dark, gothic verses.

Before ‘Dogma’, I probably wouldn’t have bothered with an album by The Gazette altogether, but the fact is that it’s a strong, well-rounded album that doesn’t easily let its listener go. It also sounds less like a band trying to emulate its American influences than some of their early works, opting for a sound of its own instead. This is a development that I can only applaud and as a result, ‘Dogma’ is definitely worth hearing if you like your music heavy, dark and atmospheric. I’ll be honest: I never knew they had it in them.

Recommended tracks: ‘Deracine’, ‘Wasteland’, ‘Ominous’

Interview: Tomoyasu Hotei wants to create something extraordinary

Recently, I’ve been given the opportunity to interview legendary Japanese guitarist Tomoyasu Hotei. What follows is a translation of the article I have written in Dutch for The Sushi Times. Should you be proficient at Dutch, I would strongly recommend you to read the original arctile.

In Japan, Tomoyasu Hotei reached a legendary status at quite a young age due to his work with the massively popular Boøwy. After that band split up in the late eighties, he worked with superstars like Iggy Pop, Rammstein guitarist Richard Z. Kruspe and his hero David Bowie and recently, he decided to pursue his international ambitions by relocating to London. In April, he will tour through Europe.

Since I moved to London, I learned why Japan is described as ‘the Far East’“, the 55 year old guitarist says. “Japan is very well organized, very safe and the food is great, but everything is executed within the country. People tend to look only inward. I have dreamt to explore the outside world, but one day I realized that you have to be based outside of Japan to seize that opportunity. Luck will not come to you; you have to approach it. You may have some access to the outside world through the internet, but if you are looking for a more authentic experience, you have to live and breathe on the same ground that you want to approach. I feel convinced that I have made the right decision.
Hotei has already taken note of the conveniences of living in the west. “If you want to fly from Japan to the Netherlands, it takes twelve hours“, he states. “But from London, it only takes two hours. That itself makes me feel that I’m closer to the rest of the world. Also, it’s the best way to learn a language; way better than learning it at school. True, it is very cold and miserable during the winter, but summer is heaven! If I had stayed in Japan, I may not have had this opportunity to play to Dutch people.

Visual consciousness

In the early eighties, Boøwy stood out due to their approach that was influenced – both musically and aesthetically – by new wave, glamrock and post-punk. “Even before the term “visual kei” was created, I was always conscious about visuals“, he explains. “Perhaps we were the original visual kei band? X Japan, Buck-Tick and Miyavi weren’t yet established back then. Back in those days, I had spiky hair with heavy make-up, guaranteed to catch people’s attention in the streets!
I am a huge fan of David Bowie and have been influenced by his music throughout my career. But he was inspired by kabuki. He used visual techniques to create unusual atmospheres on stage. I too wanted to created something extraordinary and by wearing make-up, I felt like I had another identity. I thought by adding some fantasy to rock music, it would create more depth in the music.
My visual consciousness hasn’t changed and I still care about artwork and stage plots. However, because I have now ‘matured’, I can’t do anything too crazy anymore; I am nervous that my daughter won’t talk to me anymore if I did, haha!

Trust

Japan seems to have a bigger market for “strange” bands. Hotei seems to notice this as well. “You can’t find a band like Babymetal in Europe“, he thinks aloud. “And the music market in Japan is dominated by domestic bands who make up something like ninety percent of the total market. Perhaps it is more competitive there; people have to be experimental and make it original. In Europe, I think there are distinctive genres of music. Therefore, my impression of the music audience there is something like jazz fans who will not be interested in rock and metal fans who are not interested in techno.
My audience in Japan is very special. There’s a level of trust we have built over the years. To those who are not familiar with my audience and see 10,000 people singing and dancing along with my performance, it is almost like a cult group. That makes me a preacher! The size of my crowds in Europe and the USA is relatively small, but I genuinely enjoy playing in such an intimate setting. It is so raw; it reminded me of when I started thirty five years ago. I can feel the grip on the people as they are up on their feet and that means I’m doing something right. Also, it’s great to see Japanese people in the audience; it makes me feel at home, away from home.
I think this is still a trial period, but those people who may not be familiar with me, trust me, you will get your money’s worth! I am always eager to share my music with people who have no clue who I am or have never heard my music before. I want to show my ability to entertain them with a danceable guitar sound and performance. I am confident that my live performance is the most effective way to describe myself. Once you see my performance, people will see how unique I am.

In April, Hotei will tour through Europe for about a week and a half. During this tour, he will play in the Netherlands twice and in Belgium once. “I love Amsterdam“, he states enthusiastically. “I thoroughly enjoy my last year’s visit. For those who were there last year, I can guarantee this year’s show will be even better. I have a slightly different band this year, bringing my longstanding drummer from New York, Zac Alford, who some may know from his work with Bowie, and my keyboard player Okuno from Tokyo, as well as my old friend and musical collaborator Noko. It’s a truly international band!

Recognize

I’ve released over twenty studio albums as a solo artist“, Hotei says. “Which is a lot! I know now for a fact that the Japanese market is very quick to move from one album to the next. In Japan, you release an album followed by fifty plus shows each time. It was actually my routine. My international debut ‘Strangers’ was released in October 2015 and I have just started writing for my second international album in February. ‘Strangers’ is a great album, but I’m committed to making a “greater” album.
My inspiration is based on my guitar. It is an endless journey; the potential is infinite. That’s the beauty of the guitar, I think. I have always been persistent to create guitar sounds that people will recognize as my sound. I’m now discovering digital technology and have been using a digital amp lately. But ultimately, I think it’s not the equipment that makes my sound so unique, I think it is coming from my playing style.

The list of artists that Hotei has worked with is enormous. Are there any people left on his wishlist? “I consider myself against the luckiest in the world to have performed with David Bowie, The Rolling Stones and Roxy Music“, he smiles. “Also, it was a great honor to collaborate with Iggy Pop, Brian Setzer and Zucchero from Italy. If I may blow my own horn, I was able to grab these great collaboration opportunities because I am a very skilfull guitarist. I am very flexible and I enjoy making singers feel very comfortable.
My door is always open to more opportunities. Not just with legendary artists, but also talented upcoming new artists. My guitar riffs are very catchy, so perhaps I can collaborate with hiphop artists too. I’d love to have the chance to play with Beyoncé! I’m very interested in St. Vincent’s music too. What about a great artist from the Netherlands? Maybe you can introduce me!

Interview: Versailles’ frontier defying spirit


B7 Klan offered me the opportunity to interview Versailles and of course I took that opportunity. What follows here is a translation of the article I have written in Dutch for The Sushi Times. If you can read Dutch, I would strongly recommend you to read the original article right here.

With their bombastic power metal sound and their almost fairytale-like appearance, Versailles grew to be one of the most important players in 21st century visual kei. In late 2012, the band took a break, but as of last year, the band is active again. After a few one-offs in Japan, the band’s first tour will follow and just like in their early days, it will remarkably take place in Europe. “The time was right for Versailles again“, says guitarist Hizaki.

In the intervening years, the band fully committed itself to other projects. Singer Kamijo went solo and all of the other members formed the excellent power metal band Jupiter, which will remain active alongside Versailles. “I compose imagining the person who will sing the song“, states Hizaki, who also released his instrumental solo album ‘Rosario’ earlier this year. “The melodies I write will always be a reflection of the singer’s personality. I do like the fact that I can now show in Versailles the skills that I have developed in my personal activities.
Kamijo also doesn’t rule out the opportunity that his solo adventure will get a sequal. “I’m sharing my feelings with different audiences“, he describes the differences. “In both cases, we are playing my melodies, but the reasons why I’m writing each project’s songs are different. In 2017, Versailles celebrates its tenth anniversary, so you can imagine that there will be some new projects.“”On February 14th, we will release our new album“, guitarist Teru already spills. As for the rest, the band still keeps their plans strictly secret, but bassist Masashi calls on the fans to keep an eye on their website and social media: “We have many projects planned.

Choreography
For a Japanese band, Versailles has always been surprisingly internationally oriented. Before the band even went on its first full tour through Japan, their first European tour with Matenrou Opera was already a fact. Later on, the band came back to Europe twice, so it’s not a complete surprise that the band once again aims for Europe after a couple of one-offs in Japan. “I can’t wait to come back to Europe“, Hizaki agrees. “Since we can’t meet our fans out there often, I want to enjoy them as much as possible. It seems to be even harder to bring our music overseas to America, but I would like to make it back there as well someday.“”I notice that European audiences want to show their power in a different way“, says Kamijo. “In some countries, they shout. In Japan, they synchronize their choreography.
It’s beautiful to see the different reactions in each country“, Masashi confirms. Teru agrees: “When I play overseas, I truly realize that the reaction in Japan is really original.
And yet, it’s remarkable that Versailles is one of the very few bands that tours Europe somewhat regularly. “I don’t know exactly how we did that“, says drummer Yuki. “But I am really proud of Versailles’ music. We only stick to our own convictions.
I guess some bands get too discouraged by certain details“, Teru thinks aloud. “It’s important to make music with a spirit that transcends frontiers and nationalities.
And the band rehearses for that with full determination. “As usual, I’m practicing by playing a lot“, Yuki says. “Besides that, I listen to good music and I imagine myself playing it, drum acting. And because I’m trying to be more familiar with the English language, I also watch some movies.
I record myself in ProTools and then check the results of my playing“, Teru shares. But, Hizaki emphasizes: “You who will be at our live shows must be ready too.

Dreams
Versailles’ music contains quite dense arrangements. Besides the five band members, a vast amount of choral and orchestral samples deliver a significant amount of bombast. However, the spectacular guitar work of Hizaki and Teru always remains prominent. “There is always an orchestra in my head“, the latter smiles. “It’s important to listen to all of the band members’ sounds. I always try to think of all the elements when I’m playing. Concerning my guitar sound, I try to reduce the gain and keep the peak in the middle and high frequencies.
When we practice the songs, we always make it“, Hizaki adds. “The synthesizer parts always tend to be gathering into midi arrangements, so I try to be attentive of those in terms of my phrasing.
An additional problem for many Japanese bands is that they can’t take all of their equipment with them to Europe. Amplifiers are rented, but every member at least takes his own instrument with him. “And I’m taking my sticks and pedals with me. And my love for Versailles“, Yuki states. “I’m considering taking a Fractal Audio system with me“, Hizaki thinks aloud.
When asked if they would ever like to play with an actual orchestra, everyone answers affirmatively. “Of course“, Yuki continues. “It’s one of my biggest dreams.” “Please organize it!“, Hizaki begs.

Connected
One can’t think of contemporary visual kei without thinking of Versailles. At least as much attention as they put into their music will also go into their flamboyant clothing, hairdos and album covers. “What do you like more?“, Kamijo asks. “A wonderful movie without images or a beautiful movie with images?
The music and the visual aspect are inseparably connected to each other“, agrees Teru, himself a graphic designer. “The artistic value of the music can be increased by this combination. I am proud of visual kei, but I don’t want to be too occupied with trying to fit that genre or category. I only go forward with what I like and what I think is beautiful.
And there’s another mission for Versailles: bringing the visual kei audiences and the metal audiences together. “There is a barrier between them higher than the highest frontier“, Kamijo states. “We are there to destroy this barrier.
The band is not interested in ever making music without the visual aspect. “Impossible“, they collectively say. “My spirit is always in heavy metal“, Hizaki continues. “But I can’t feel any attraction towards artists who neglect their appearance.
Only Yuki leaves the door slightly ajar. “I think we and our audience would still like our music“, he says. “Otherwise we would have never started doing this. But I do think that it adds an element with which you can tell the listener more than with just the music.
And how do the guys stay fresh and inspired after playing together for so long? “By stimulating each other to become better“, Kamijo resolutely says. Masashi agrees: “We all evolve together with the other members.” “It’s simply interesting to work with the music of other people than myself“, Hizaki concludes.

Versailles’ ‘Renaissance’ tour travels to the following venues in early 2017:

January 26th: Teatr Club, Moscow, Russia
January 27th: Gloria, Helsinki, Finland
January 29th: O2 Islingron Academy, London, England
February 1st: Zeche, Bochum, Germany
February 2nd: Hybrydy, Warszaw, Poland
February 4th: Salamandra 1, Madrid, Spain
February 5th: La Machine du Moulin Rouge, Paris, France