Album Review: Detroit7 Detroit7

The hard rockin' trio that is Detroit7 will be embarking on a world tour this month, hitting up SXSW and the Japan Nite tour in American, then stomping over to the rest of the world in April. Their appearance in the States is being heralded with the release of their self-titled album on the Daruma label.

Along with a host of mini albums and EPs, it's the band's third full-length album and shows the band in top form. They blast through their 10 songs in 30 minutes. From the starting shot of "In the Sunshine" to the head thumping closer "Lovers Fight," it's a solid block of swaggering guitars, raw drumming and Tomomi Nabana's signature smokey, gruff and non-nonsense vocal assault. While she's got the delivery of a biker-chick looking for a fight, she also sounds like she's smiling the entire time.

That's not to say they are an abrasive, middle-finger-wagging punk band. They've got a heart the pumps the blues, filtering it through their fuzzed out amps. The do take a breather on both "Down Beat" and "Torch Song," though it's a bit relative. They still bring their wall of sonic mayhem along, but they manage to keep it in check, at least for a few minutes. "Zelda" ramps things back up, providing the fuel for a long distance road trip through a sweltering desert.

For anyone looking for a handy tool to explode a massive sound system through sheer rock and roll mayhem, they need look to further than Detroit7. Look for it at their shows, buy it at Amazon, or at any record shop with an ounce of credibility and common sense.

Check out some videos of their previous US tour after the jump.

Maruosa / Deathstorm

There's a fine line between noise and art. On the one hand, it's easy to just plug some things into a distortion pedal and make noise. On the other, turning that noise into something more obviously crafted is something else. When do the blasts of micro drum loops become a song? When do the single note guitar beats form something coherent?

These are the lines that Maruosa walks. On the surface, he's just some beastman rolling around on stage and shouting into a microphone while these washes of lethal sonic daggers shoot out of the speakers. Look a little deeper (if your ears can handle it) and you'll realize that this is all very carefully planned. Sure, the songs sound like Alec Empire and Venetian Snares run at fast forward, but it is all pre-planned and very finely crafted. While it's impossible to tell if there are any real words being formed in this storm, Maruosa's message is pretty clear: there is no message. Everything is destroyed and razed to the ground, pummeled into a fine dust through rage and sound. The end result is a bit like the Maldoror project from Merzbow and Mike Patton, only much less abstract.

Maruosa also provides the voice for the Deathstorm project, with Bong-Ra of the Netherlands being the second half of that equation. With Deathstorm, the songs become even more highly edited, with the occasional syth texture added to the otherwise exclusively drum-based pallet. If Maruosa's solo work seems a little too stark, then Deathstorm is the slightly more "deep" alternative, though no less challenging.

Maruosa has made a bit of a name for himself overseas, playing gigs all over the world, through all of Europe, Australia and the US. With a host of new albums planned, the world might want to keep an eye open and watch their backs for more Maruosa live gigs.

BUY MARUOSA RELEASES ON ITUNES!

Muscle Spark



Official Site
MySpace
Deathstorm MySpace

Albums:
Exercise and Hell 2007

Deathstorm - "We Are Deathstorm"


Live


Hell-O Everyone!!! (Live)

Dark Phoenix

There's a particular brand of metal reserved just for Japanese soil. It's a kind of electro-metal, defined by very synthetic strings, organs and drums, along with (usually) real guitars and the occasional fleshly singer. With the advent of the singer in a box Vocaloid software, the need for real people to sing along to these bedroom metal masterpieces has shrunk to almost nill, though this has also had the added effect of sapping the last bastion of originality out of the genre. Much more common are completely instrumental songs.

Take, for instance, the music of Dark Phoenix. The duo of 姫川紫音 and ゆう blend very melodic and symphonic instrumentation with elegant piano breaks and downplayed guitars. While obviously coming from a metal world, the songs are more like the sort of watered down rock songs you'd hear playing in the background of a classic video games like Contra or Doom, or, in this case, various doujin games. Sonically, they sound like glorified Casio and Roland keyboard demos with added guitars which are so heavily processed as to make them indistinguishable to their synthetic counterparts. It's a good thing that the quality and originally of the sonic pallet isn't what fans of the genre are looking for. Rather, it's that very sense of artificiality that's appealing, that feel as if the listener is in the middle of some fantastical boss fight near the end of a classic RPG.

Dark Phoenix hits that mark dead center and with considerable style and substance. While their two albums Arrow Rain and Arrow Revolver, released almost back to back in 2008, are virtually interchangeable, they would also be an almost perfect fit in any of the mid-numbered Final Fantasy games. In fact, they even give the metalized Black Mages a run for their money, at least in the epic rock-out category. Most of their songs are speedy and grand, focusing far more on the organs and synths than the guitars, adding to the video game feel. Their songs put on a virtuoso display of frantic pianos and strings, complimented by the fuzzed out guitars and complex drum parts. While they never really hit on very memorable themes, they nevertheless fill the void for anyone looking for their specific brand of ornate and flowery cyber metal.

フラワリングナイト



Official Site

Members:
姫川紫音
ゆう

Albums:
Arrow Rain - 2008
Arrow Revolver - 2008



神々が恋した幻想郷


運命のダークサイド


天狗が見ている

De De Mouse (デデマウス)

Taking a quick look at his influences, everything from Lizst to Brahms to Morricone to Venetian Snares to Audry Hepburn to YMCK and then taking into account that he's currently signed to Japan's massive Avex label after only a few years in operation, one begins to get an image of the very unique artist that is De De Mouse (aka Daisuke Endo). Indeed, the music that this one-man electro symphony creates is at once very musical and complex, yet extremely childish and innocent, bright and catchy.

While firmly planted in the cyber-soil of today's modern music making software and techniques, something about De De Mouse's '70 and '80 throwbacks make his music seem almost outside of our time. While nothing like Boards of Canada's muzzy, kaleidoscopic walks down memory lane, Endo does seem to be traveling in the same direction. From his excellent (not to mention colorful) album covers featuring young kids dancing with animals in dreamlike landscapes, to his signature use of cut-up falsetto lyrics in a beguiling non-language, the elements of his songs all work to create an idyllic world. Others have described his lyrics as "vocoded," but they aren't. They are actually more along the lines of those found in some of Nobukazu Takemura's work, or that of the popular Vocaloid software that spawned the omnipresent Hatsune Miku. They are totally synthetic, generated, cut up and manipulated through pitch bending software. This is yet another layer of twinkling magic added to the already thick and gauzy blanket of shimmering sounds.

While rather repetitive, the songs do slowly evolve, though not very far. They bounce along on their punchy-yet-pleasing beats, never glitchy or broken in any way (though Endo's first album is a bit more abrasive.) The clockwork synths run from one chord to the next, shifting the entire songs along with them in a rather robotic, auto-harp fashion. The vocals are more like a child singing their own traditional tribal anthems than actual words.

De De Mouse manages to ride that fine line between totally self indulgent trainspotting synth programmers and overly processed dance-pop idols. It's definitely art-house stuff, but its presentation and flat out jubilant, wide eyed innocence makes it instantly accessible to anyone looking for a quick shot of pure bliss.

BUY DE DE MOUSE RELEASES HERE

Baby's Star Jam




Official Site
MySpace

Releases:
Tide of Stars 2007
East End Girl 2007
Sunset Girls 2008

East End Girl


Baby's Star Jam (with live vocals!)


Live


Live

Aioria

Vis-kei bands are a dime a dozen, so it's no surprise that some of them only last for a short time before dissolving. Formed in 2001 by guitarists Michiru and Misa, Aioria seems to have trouble finding their footing in that turbulent chaos. They managed to release only a handful of singles and one album before calling it quits just one year after forming. However, that single album is better than what many other bands, some that have been around for far too long, could ever hope to produce.

Instead of over the top theatrics and melodramatic interludes, Aioria keeps things focused with catchy songs and driving beats. While synth-heavy at times, the signature speedy harpsichord sounds are kept to a minimum in favor of metal guitar riffs and straightforward Castlevania rock. The backing synthetics simply flesh out the soundscape, adding the appropriately gloomy atmosphere.

Aioria also managed to stay away from the over-the-top vampiric balladry that is (rather unfortunately) so common among lesser visual bands. Obviously they had the "shocking" visual look, but that angle was downplayed in favor of straight-up rock and metal, tempered by romantic overtones. They certainly didn't break a lot of new ground, but they did manage to avoid the many pitfalls that other bands fall into all too easily. They skip the "happy goth" vibe entirely and instead work things back into fast and furious ground before it can veer too far off track.

All of the members have continued to make music since their break-up late in 2002. Drummer Hiroki moved on to play in another vis-kei band D. Perhaps most notable was mastermind Misa moving on to join Babylon, a band that sounds much like a heavier version Aioria. While it's always sad to see a promising young band like Aioria break up so soon after forming, it's reassuring to know that the legacy continues to live on, albeit in a slightly different skin.

Matataki




Members
Sarino - Vocals
Misa – Guitar, Programming, Backing Vocals
Michiru - Guitar
Hiroki - Drums
REN - Bass

Releases
Kirameyuku Shunkan - 2002

Kousai no Children


Fantagia


Rurichou

Die!!Die!!Color!!!

From the ashes of Atari Teenage Riot and Digital Hardcore Recordings comes Japan's Die!!Die!!Color!!! Equal parts hardcore noise and chirpy pop, DDC manages to combine gritty DIY gabber with accessible melodies and sing-along choruses. That doesn't mean they're totally user friendly and easily digestible though. Citing influences like Nine Inch Nails, Aphex Twin, Bjork and Prodigy, as well as Japanese bands Coaltar of the Deepers, Cornelius, Da Pump and M-Flow, they certainly have a diverse musical background, and it shows.

Most of their songs are pop tunes turned up to eleven and shot through a jet engine. With huge distorted kicks and incomprehensible vocals screamed through the storm, it's easy to think they're just another bunch of punks making cast-off tracks in their basement. A closer, longer look shows actual attention to detail and some very nice tunes built around the jagged metal structure. Like many great punk bands, they know the value of a catchy sing-along to catch your attention and drive the point home.

Buy Die!!Die!!Color!!! releases here! | Listen to Die!!Die!!Color!!! here!

Trust




Official Site
MySapce

Members:
Takenaka: Vocal, Programing, Guitar
Anna: Vocal
Shinbo: Guitar
shige666: Keyboards, Noise

Nebula (Live)


Beauty Shadow (Live)


Nu-kegara (Live)


DayBreak (Live)

Drum:Kan

(aka Drumkan, Drum Kan)

Is there such a think as "epic grunge?" If not, I claim it for my own. Well, maybe Drum:Kan can claim it, because that's what they are. They are very melodic, hence the "epic", and very gritty, hence the "grunge." The Nirvana influence is obvious, but they also fall into emo territory from time to time. Singer Satoshi Tsugahara has the tortured scream down pat, and the simple yet powerful guitars and drums keep things quick and to the point. The group has spent a lot of time in the States both playing and recording. This has caused a lot of stress within the band and some members have come and gone as a result. Nevertheless, Drum:Kan has kept it together and are currently on tour.

Downy

Dark. Art. Rock. That's the best way I can think to describe Downy. At first, one might think of Radiohead, but then the massive, complex, looping rhythms tell you that this isn't any ordinary shoegazing group of guys. They are gloom machines churning out huge falling blocks of rusted metal and dusty empty rooms. Their fractured structures are as relentless as they are fragile, with Robin Aoki's desperate, thin voice piercing through it all. Their albums are all untitled, each one more distorted and angry than the last. The only light they use on stage comes from a single video projector that bathes the stage with its imagery. Unfortunately for us all, Downy broke up after releasing their fifth (live) album. At least they left behind some amazing albums, and some equally amazing videos.

The Do-Nuts

The Do-Nuts seem to fill the gap somewhere between Puffy (Ami-Yumi) and Halcali. While they don't exactly rap like Halcali, they don't exactly rock like Puffy. Regardless, they are two cute girls who sound almost exactly alike and who move around in motions that some might consider dance-like. Much like Puffy were formed by Andy Sturmer, and Halcali by Rip Slyme, The Do-Nuts were formed by Orange Range's label Spice Records. It's obvious that they are an industry creation, but don't let that dissuade you from checking them out.

Dokaka

I'll just get this out in the open right now, I think Dokaka is insane. In a very good way. If you've played "We Love Katamari", then you are very familliar with his style, as he did the a capella version of the main theme. And it's incredible. Strictly speaking, he's a beat-boxer, but like none that you have ever heard before. He doesn't really do the whole "beat" thing so much as make all kinds of crazy noise with his mouth. Usually rather high pitched noise. Fast high pitched noise. He's very experimental and influenced by various heavy metal groups like Iron Maiden, Slayer and Black Sabbath instead of a bunch of hip-hop. He also did some work with Bjork on her Vespertine album along with the likes of Mike Patton and Rahzel. You can hear a ton of his work on his site, and there are more than a few super crazy videos (make sure to watch that one all the way to the end) out there too.

Dizzy Joghurt (ディジー・ヨーグルト)

These guys are a lot like the Automatics. Let's see what I had to say about them:

"Fun, fun, and then maybe a little more fun. That’s the best way I can describe [Dizzy Joghurt]. They seem to be influenced by a lot of early pop rock, being stripped of fancy production or electronic tricks. [The female lead vocalist] has a rather squeaky and nasal voice, yet it works perfectly with the up-tempo, clean guitar rock and numerous vocal harmonies. Unfortunately their discography is rather slim and their performances few and far between. I guess it just makes them that more iconic. And fun!"

Yep, seems to work quite well. Just like the Automatics, their music is very hard to track down. The only video or audio clip I could find was this very short video of a rather lousy hacky-sacker. Ah well, it's oddly fitting.

Denki Groove

One part Pet Shop Boys, one part German trance, all parts Japanese. Denki Groove is a dj/producer duo (currently Fumitoshi Ishino and Masanori Taki) that has become popular in the UK and Gremany, and their music has morphed over the years to follow suit. They cover a lot of ground from electro-pop to tranced out rave-tastic anthems. A former member, Yoshinori Sunahara, produced some of the music on Supercar's very electronic influenced High Vision album.