This is the super-cool looking new video from rock band Molice. I'm not sure there's really much going on in this plot-wise, but when it looks this good, that's probably not going to be a problem for most people.
We instead get a heaping helping of eye candy shot around what is presumably Tokyo. Each band member has a different sort of environment that they drift through while some pretty swanky type leads us through the songs lyrics in both English and Japanese. I've got to admit the I spent a lot of time looking at the type and had to watch the video a couple times to actually see what was going on. Then again graphic design and type is sort of what I do.
At any rate, this is easily the best looking video from Molice, so check it out and give your eyes something to be happy about.
Here's a video from Luminous Orange from the newest album Songs of Innocence. "Untold" sounds to me like it came right from the mid-'90s and I think the video fits into that era pretty well too. The song has a ton of swirly effects and jangly guitars and the video has a similar indie-rock, art-school feel. There are only a couple main ideas, but there's a lot going on, so that makes up for it. Overall it's an OK video for an OK song. Why do I feel like Kennedy needs to send us to commercial...?
09.08.10 Wed Seattle, WA @ Tractor Tavern 09.09.10 Thu Vancouver, B.C. @ Biltmore Cabaret w/ Jeff The Brotherhood 09.10.10 Fri Portland, OR @ Mississippi Studios 09.11.10 Sat Oakland, CA @ Uptown Night Club 09.12.10 Sun San Francisco, CA @ Bottom of the Hill 09.13.10 Mon San Diego, CA @ Casbah 09.14.10 Tue Los Angeles, CA @ Spaceland 09.17.10 Fri Austin, TX @ Red 7 09.18.10 Sat Dallas, TX @ The Loft w/ Lovies 09.19.10 Sun Kansas City, MO @ Record Bar w/ Grass Widow 09.20.10 Mon Northfield, MN @ The Cave 09.21.10 Tue Chicago, IL @ Schubas 09.22.10 Wed Kalamazoo, MI @ The Strutt w/ Grass Widow 09.23.10 Thu Cincinnati, OH @ Midpoint Music Festival 09.24.10 Fri Pittsburgh, PA @ 31st St. Pub 09.25.10 Sat New York, NY @ Asia Society Museum 09.26.10 Sun Washington, D.C. @ Rock and Roll Hotel w/ Grass Widow 09.28.10 Tue Brooklyn, NY @ Knitting Factory (Brooklyn) 09.30.10 Thu Montreal, QB @ Cabaret du Mile End 10.01.10 Fri Toronto, ON @ Horseshoe Tavern 10.02.10 Sat Buffalo, NY @ Mohawk Place
Mowmow Lulu Gyaban is a trio made up of two guys and a girl, playing fractured jazz pop and experimental new-wave electro-rock.
In a way, this wide range of styles makes it hard to really get into the band at first. All of what they do is high-quality, but the way styles jump around actually makes it a little tough to stick with the album as a whole. The jump from the frantic, playful chaos of "POP! Oolong-Hai" to the almost lounge-like feel of the much more serious "Contact" takes some work to follow. Then there's the old-school new-wave of "Kimi no Skirt o Mekuritai" that sounds as if it were pulled right out of the Plastics back-catalog. Well, if it wasn't for the total destruction the song undergoes several times. That's not to say there aren't music fans out there who can't appreciate sheer noise and solid song-writing at the same level. The somewhat unique mix of drums, bass and rhodes keyboard sounds goes a long way to keeping the disparate elements returning to a cohesive whole. If nothing else, there is no mistaking when you are listening to Mowmow Lulu Gyaban.
It's the band's live performances that really bring the songs to life. Seen in this context, everything starts to make perfect sense. While the songs on the album feature a more sonically diverse palette, their live presentation makes their crazier stuff much more digestible. Instead of being a zany, somewhat inscrutable collection of music, they become something almost like a normal rock band, sans-guitar. They keep their slightly arty-feel while pushing their harder rock sound to the fore.
Mowmow Lulu Gyaban is a band with many facets that seem to shift depending on the situation. From one song to the next, from live to in the studio, they present a new face at every turn. All of which makes the whole more understandable and providing a deeper level of appreciation. Mowmow Lulu Gyaban is no one-trick pony and it will be interesting to see how they develop.
11th May South of the Border, Old Street, London 12th May Flowerpot, Camden, London 13th May The Dublin Castle, Camden, London 14th May The Jam Clubnight, The Great Escape, Brighton 15th May Basement, The Great Escape, Brighton 19th May Windmill, Brixton, London 20th May Leaf Cafe, Liverpool Sound City, Liverpool 22th May Bumper, Liverpool Sound City, Liverpool
Psysalia Psysalis Psyche is an arty, brooding grunge band formed around 2005, though simply calling them a grunge band is selling them woefully short. Like their alliterative name might suggest, they blend styles and sounds from all over the map with loud guitars and sloppily screamed lyrics just one set of paints on their palette. For every jangly song there is an equally soft and shoegazy counterpart, a slightly psychedelic swirl behind the driving rhythms.
While songs like "Take Me Out" and "Midunburi" seem haunted by Kobain's ghost, others like "Lonesome Valley" and the stunning "Narrow" show a much more modern, almost post-punk aesthetic. There are also more sparse and dreary moments like "Act I Scene II Tremolo," and it's follow-up "Tea For Two," both of which seem pulled from an angst-filled film soundtrack.
Whatever they attempt, Psysalia Psysalis Psyche manage to ride the fine-line between obsessive attention to detail and sloppy rage. They have enough coffee-house flair to grab the beard-wearing, iPhone obsessed art-students, while still waving a middle finger in the air. With only a few small releases and one solid album under their belts, it'll be interesting to see what course this young group chooses to blaze.
03/04/10 The Blue Lamp,Phoenix 03/05/10 Bootleg Theater,Los Angeles 03/06/10 The Casbah,San Diego 03/07/10 Muddy Waters Coffee House,Santa Barbara 03/08/10 The Blue Lamp,Sacramento 03/09/10 Bottom Of The Hill,San Francisco 03/11/10 Dante's,Portland 03/12/10 Chop Suey,Seattle
On first listen, 6eyes sounds like a band fronted by a stumbling drunk with a mouth full of marbles. Upon further listening, that's not an opinion that's likely to change, at least not entirely. But the method to their madness becomes a bit clearer and things start to make a bit more sense.
6eyes formed around 2002. Since then they've released three albums featuring their particular brand of lethally tight, dirty, post-punk indie rock. Their early sound (that being from 2002 to 2007) is open to exploring brighter and more upbeat ideas. "I'm So Free" could very easily be mistaken for an early Supercar song, for instance. But these occasional forays into indie-pop territory are quickly beaten back by their insistence on returning to the dark and dingy sounds over and over. In either case, the band never wastes a single note in dressing up the songs or making them in any way ornate. "Efficient" comes to mind.
More recently the band has distilled its sound down into a razor sharp post-punk laser, while at the same time they've managed to highlight their simple yet infectious melodies. Blank in Black sheds the fuzzed-out guitar rock in favor of focusing on the raw and tight sounds. The songs are also more rhythmic, almost dance oriented, which makes them all the more irresistible, albeit quite dark. Almost goth-like at times. Think The Police meets Bauhaus (or maybe Molice meets Plasticzooms if you want to keep it Japanese)...fronted by a stumbling drunk with a mouth full of marbles.
Karen is a five piece band whose two guitar players are Art-School members (front man/guitarist Riki Kinoshita and guitarist Masafumi Todaka) and whose rhythm section is made up of two former Downy members. Singer Achiko provides the contrast to all that arty/indie testosterone with her mild, crooning vocal style.
Obviously something of a side-project due to the fact that Art-School is still quite active, the band nevertheless manages to produce solid releases with a sound independent from that of its Frankenstein's Monster origins. Sure, some of the guitar tones and playing can echo that of Art-School's dreamy, indie, emo-rock sound and Riki's occasional backing vocals only serve to amplify that echo, but Karen's overall vibe is much more suave and contemporary. It's obvious that the band knows how to pound out a song, but in Karen they all fall back a bit, instead simply keeping things very tight and stripped down. Given the chance, the band does toss in some tricky rhythms and the production is generally louder and more raw than on any regular AAA release. You can lead a horse to water and all that...
They also mix things up with a few lines of saxophone, oboe and other instruments rarely seen in your typical rock set-up. The atmosphere is extremely hazy and reverbed-out, a nod to the heavily effected shoegazy sounds of early '90s groups like Mazzy Star and The Sundays. The songs themselves follow suit, being generally slow and subtle. Achiko often lets her voice ring out for what seems like ages, with nary a waver or wobble in her crystalline tone.
One final note. While the name Karen could be thought of as the Japanese word "かれん" pronounced "kah-ren," looking at their almost exclusively English song and album names, it would seem to be more likely that it is simply meant to be pronounced as "care-en." Though that could be incorrect and any insight would be appreciated.
Formed by Number Girl frontman Mukai Shutoku and drummer Inazawa Ahito after that band split in 2002, Zazen Boys takes Number Girl's loud and abrasive garage rock assault and turns it on its ear. With even more complex arrangements and a much more improvisational feel, Zazen Boys blends all sorts of genres like rap, dub, garage rock and electro into one continuously evolving mass. Inazawa has since left Zazen Boys to form his own band Vola and the Oriental Machine.
Their improv and free-form approach to performance is the most obvious driving factor to all of their releases. They've produced many live albums as well, further accentuating their interest in letting their music live and breathe on its own. That's not to say they're just making it all up as they go. Their songs usually revolve one or two complex grooves while Mukai rants and raves over the top. His vocal style is perhaps best described as aggressive rap, sometimes devolving into tight fragments of words and sound stuttered and spit out like a machine-gun. But the music is usually far from hip-hop, bring more like fractured post-rock or math-rock, just smoothed out a little.
As much as the band loves to play around in this jagged world, they also toss out the occasional curve-ball. Their latest work features songs that are very synths heavy, with a dark club vibe an disco beats. Yet even those songs have a raw and somewhat lethal sounding edge to them, like a late night drive through a glitzy, yet dangerous part of the big city. Never one to settle down, Zazen Boys are truly one of the you'll-hear-something-new-each-time-you-listen sorts of bands.
Little is known about the mysterious trio that goes by the name of Mouse on the Keys. Even their official website is just a simple re-direct to their sparsely populated MySpace page. We know their names, Akira Kawasaki (drums, keyboards, piano and of Nine Days Wonder) Atsushi Kiyota (keyboard, piano) and Daisuke Niitome (keybord, piano). We know that they are part of the Toe founded record label Machupicchu Industrias (again, another site that simply re-directs to MySpace). In fact they are the only other band, aside from Toe, on the label.
All we really have to go one is their music, and fair enough. Except that they only have a single four song release, titled Sezession, out at the moment, though there is a full-length just over the horizon. Regardless, what we do have are four songs of instrumental drum and piano, sometimes jazzy, sometimes almost classical, other times sounding like a soundtrack to a rainy drive through the heart of a city. Whatever they do, it's a dark and grim journey.
"Saigo no Bansan" is easily the stand out track from the trio. In fact Sezession feels more like a "Saigo no Bansan" single with a few tacked-on supporting tracks than a solid EP. The song is a lethal serpent strike to the spine, starting in near silence before launching into a furious battle between the drums and pianos. The three following tracks are much jazzier and improvisational in tone, with some saxophone and effected keyboard sounds augmenting the regular piano tones.
Of course it's far to early to pass any sort of meaningful judgment on such a young band with so little material. Yet it's tough not to get excited by what Mouse on the Keys has let us in on thus far. If they can reign in their more abstract tendencies and bring their more muscular A-game, then their first proper album could be something great indeed.
Don't let the outrageous name fool you. If you could distill unassuming, twee feelings into sonic form, you might have something closely resembling Ogre You Asshole.
Formed around 2004, the gentle indie rock foursome has released a slew of equally modest singles, mini-albums and just-barely-full-length efforts. These are all full of the band's extremely muted and flat sonic treatments. They are the opposite end of the spectrum from, say, Ling Tosite Sigure's frenetic production or Boris' wall of sound.
This isn't to say that their songs lack punch or sparkle. In fact many OYA songs have a habit of sneaking up on the listener. Of lulling them into a quiet reverie just before launching into a more cacophonous chorus or boisterous bridge. They keep their music just a bit on the raw side, something that sets them apart for a much more average, nice and safe rock band. Manabu Deto's light and gentle voice is able to shift effortlessly into something more aggressive and plaintive, just as their music makes subtle shifts and movements.
It's this clever credibility that proves Ogre You Asshole has a large cache of talent to draw upon, and something that allows them to release consistently great indie rock gems.
Does it seem like a lot of Japanese band's bios start off with "Formed by childhood friends..." I know that every band I've been in has been started with/by friends, but I find it amazing that anyone can from a band at a young age, with other young friends, and manage to not only stick together, playing the same music for over twenty years, but also consistently produce amazing music. That's some hardcore dedication, and Eastern Youth has a hell of a lot of it.
Their musical style falls into the emo/screamo category, but with none of the limp, sniveling, pantie waist, fake trendiness of most emo bands. Eastern Youth is the real deal. Singer/guitarist Hisashi Yoshino's is constantly at risk of having his head to explode from the force of his vocal delivery. On the other hand, they have a sort of quiet earnestness that leads extra weight to their more restrained tracks. These guys mean business and they sound desperate to get the word out to everyone within range.
They don't fool around to fancy production or special sonic sound palettes. The Eastern Youth sound is guitar, bass, drums and vocals with no added ingredients or effects. This is something else that helps paint their landscape with bombed out buildings, run down cities and a rugged countryside. It's music of the people and for the people. They seem to embody the underground indie vibe, making it hard to imagine their music bring played anywhere but the smallest, sweatiest and beer-stained club full of rabid fans.
Hohaba to Taiyou, their new album in 2009, marks their 21st year together.
Albums: East End Land - 1989 Time Is Running - 1990 For Skins and Punks EP - 1991 Eastern Youth - 1993 Kuchibue Yofuke-ni-Hibiku - 1995 Koritsumuen no Hana - 1997 Tabiji ni Kisetsu ga Moeochiru - 1998 Kumo Inuke Koe - 1999 Kanjusei Outouseyo - 2001 8 Teeth to Eat You - 2002 What Can You See From Your Place - 2003 Don Quijote - 2004 365歩のBlues - 2006 Blowing from the Other Side of the Earth - 2007 Hohaba to Taiyou - 2009
Beat Crusaders have been making their own brand of power-grunge/indie-rock since the late '90s. While their overarching style is quite simple, three chord rock, they manage to mix things up with lo-fi syths and some clever cover songs. Their love of UK and US rock is obvious, echos of which reverberate in several of their songs.
In general, they are very upbeat and catchy. Like early Green Day mixed with a bit of early Weezer and the Rentals. In typical punk style their songs rarely extend beyond the three minute mark. They hop in, play their super catchy tune and hop right on out again. Yet they're not overly fast or raw. They stick to the pop side of punk, a proclivity evident in the names of their more recent albums, all of which contain the word "pop" in one way or another. On the other hand, they aren't super saccharine or kitschy either. They manage to find a nice middle ground and hold it.
Around 2003, the entire band abandoned ship, leaving founder Toru Hidaka all to his lonesome. Ironically enough, right after this is when the newly staffed band released one of their biggest hits, the appropriately titled "Hit in the USA." The single appeared in the popular anime series Beck, a show about an Japanese indie band. Beat Crusaders went on to release several other songs to anime series, including the massive Bleach franchise.
Of course the band's visual projection also needs to be noted. Since its very beginning, each member of the band has kept their identities hidden behind old-school dot-matrix printouts of their faces. These paper "masks" are then stuck on, even during live gigs. It shows a strong dedication to an idea, something with is equally reflected in the band's unwavering adherence to its own musical style over the years.
Albums: HOWLING SYMPHONY OF...- 1999 ALL YOU CAN EAT - 2000 FORESIGHTS - 2001 SEXCITE - 2002 A PopCALYPSE NOW ~ jigoku no POP shiroku ~ - 2005 P.O.A.~POP ON ARRIVAL~ - 2005 EpopMAKING ~ Pop tono sogu ~ - 2007 popdod - 2008
It's not often that a band becomes more popular outside of its home country before they are equally well known at home, but it would seem as though Lite, an instrumental post-rock progressive band from Japan, has done just that.
They've played shows around the world, hitting up the UK and Ireland several times, as well as New York. They've released two live albums, one from Ireland and one from their recent 2009 trip to New York. They are even signed to a European record label, Cargo Records, along with the likes of The White Stripes.
The music that the band makes is, as mentioned, all instrumental. They are a bit like Downy in their overall sense of darkness, but Lite isn't nearly as arty or experimental. They are also not as light and precious as Miaou, nor as harsh as sgt. In some way Lite lives up to their name in that, while intense and intricate, little of what they do is overly heavy. This leaves them a bit more accessible to a wider audience who might be turned off by noodly math rock or way too spaced-out jams. They are smart without letting it get in the way.
Their instrumentality also makes them much easier to get in front of international audiences, something that has been a considerable help to other instrumental groups like Mono. Plus, they're just damn good at what they do, which is something attractive in any language (or lack thereof.)
Formed in 2003, the band has kicked and screamed their way through life. While on the whole their sound isn't all that confrontational, there lies a sleeping tiger at its heart. Unleashed on songs like "Through Your Reality" or "Relation," it's a forced not to be trifled with. Yet they more often than not keep things reigned in tight, proving to be more of a run of the mill, though decidedly raw, indie rock band.
They also seemed to have mellowed out just a bit over their three albums, with singer Naruto Ishii talking more time to actually sing, or at least try. It's obviously that he has a voice better suited for screaming or speaking his lyrics. Sure, being broken and wobbly is all a part of the genre, and there are times when his high voice manages to work its way around the gentler tones, but on the whole Ishii's singing voice isn't the best. Yet the band does mange to deliver on the fractured pop songs just as often as on the more in-your-face tracks. Qomolangma Tomato certainly has a lot of tricks up its sleeve and a lot to ofter a listener with an open mind and a little patience.
The unrelenting powerhouse that is Ling Tosite Sigure is not only sonically challenging, but a bit slippery to pin down in the information department as well. First off, their name. While it is written on their official website as "Ling Tosite Sigure," the Roman translation of their name, "凛として時雨," is read as Rin Toshite Shigure, or "cold rain."
Following along with their distorted nomenclature, their music is equally twisted. While they are essentially a very abrasive indie-rock band, they seem to intentionally push their music to the breaking point. Specifically their vocals. Hopping between the dual male and female leads, their singing style is unique to say the least. Both TK (male) and 345 (female) seem to intentionally sing an octave or two beyond their natural range, resulting in almost uniformly missed notes and cracking voices. Not exactly screaming, nor artfully bended tones, they both seem hell-bent to turn off as many prudish listeners as possible with their call and response cacophony.
On the flip side, their music is masterfully played. Ranging from very frenetic and complex structures to tranced out, simplified drones, it's obvious that all three members can play the hell out of their instruments on many levels. Case in point, the opening guitar riff for "Telecastic Fake Show" would make many metal masters start to sweat. The fact that they then break into a straight forward garage rock beat shows their confidence and, perhaps surprisingly, restraint. The song goes through many other stylistic changes, from disco rock to something blistering into the realm of some of 9mm Parabellum Bullet's more complex material, and then into almost calming U2 territory, only to ramp it all back up again. Of course all of this is accompanied by the signature vocal screech. And this is only a single song.
Formed in 2002, Ling Tosite Sigure already has an impressive and more importantly consistently amazing body of work. They've released several singles and albums in their seven years together. Front man Toru Kitajima is the dynamo spinning and churning in the center of the Ling Tosite Sigure machine. He writes all of the music and lyrics, and he also spends time behind the mixing board as the band's producer, recording and mixing their albums. That the band has an author with such attention to detail and possessive command of the band's trajectory comes as no surprise. At times their music seems to be more the mad ravings of a single screaming force than that of a collective group.
Much like Midori, if they don't burn themselves out in a shot time, I predict, and certainly hope to see, great things for these guys.
After releasing a slew of demo EPs, the two year old band Molice released their first full-length album unto the world in late 2008. Written entirely by the band's front woman and co-guitarist Rinko, Doctor Ray is both a solid and bold first step.
The album opens with the 1-2 punch of "White Vertigo" and "Headphone." Both establish the band's upbeat, dreamy and slightly retro-rock moods. "Headphone" is an easy candidate for the album's hit single, with a constant groove that's sure to bring down the house at any live gigs.
Headphone
Hit the jump for the rest!
White Vertigo
A batch of slower, dark songs follow. "Dear Change" brings an air of something slinky and dangerous laying in wait just underneath its smoky atmosphere. "Love Song" is indeed more sunny and charming, with a soft melody and muted drums.
Love Song
"Pop" is another big crowd pleaser, with "Yeah yeah pop!" repeated over a brash surf-rock guitar solos and slightly distorted drums. The album really takes off from there, with more echos of other raw yet melodic indie rockers like Noodles or Toddle. "Superb Space," "Bili-Bili" and "Hole!" are a trifecta of infectiously poppy choruses and irresistible hooks.
Bili-Bili
Hole! (Live)
The album ends with more muzzy, melancholy pop, perfect for a dingy underground club on a rainy night. Both "Pretty Sound" and "IN the Light" are stripped down to post-punk, almost goth levels of urgent guitar playing over some pretty sounds indeed.
Pretty Sound
Doctor Ray is a solid debut album from a very promising new band. It has a few of the hallmarks of a scrapped together first project, but also sounds absolutely pro where it counts most, namely the songwriting. All of the songs are catchy without being overly poppy, fun while still maintaining a dark air. It will be great to see what Molice does next.
It's not often you see people using the words "shoegaze" "death metal" and "techno," all to describe the same band in the same sentence, but when it comes to Coaltar of the Deepers, genre is the first thing to go out the window. Formed in 1991, the band has deftly switched genres almost as much as they have switched members. The core duo of Narasaki and Kanno has seen around ten members come and go over the years.
While the band has taken a few breaks, they've managed to maintain a prolific output, releasing twenty albums and EPs in as many years . For the most part, CotD stick to the washed out, dream-like, grungy, indie-shoegaze sound that they started playing in the early '90s, though they've never been a particularly quiet or brooding band. You'll also get songs like "Giant" that start out with the light female vocals of Ichimaki (who has since left the band), singing a fast pop rock song, only to have it suddenly drop way down into a metal scream fest, then kick into some post-punk/disco sort of beat. "Hyper Velocity" also falls into the above formula of spaced out synths with a very fast beat and dreamy vocals, which then totally falls off the rails into a cookie-monster voiced electro-hell.
Their many EPs seem to be used as isolated playgrounds for the band to test the limits of various sounds.Their Yukari Telepath album takes a much more electronic path, fusing rock with simplistic yet organic synths and drum machines. Much like Supercar's Highvision, it's a fantastic example of dark yet non-gimmicky electro rock. Just about everything CotD does will make you wonder what's coming next with an eager anticipation. Let's just hope there's another twenty years of material on the way.
May 22 2009 - UK Liverpool Sound City @ Bumper - Liverpool, Northwest May 23 2009 - UK London Meat Raffle at Catch - Shoreditch May 26 2009 - UK London Cool For Cats SINGLE LAUNCH at Old Blue Last - Shoreditch, London and South East May 30 2009 - UK Brighton Moshi Moshi open-air festival - Brighton Jun 12 2009 - UK Bangers and Mash at Proud Gallery - London
J-Pop and J-Rock are only the beginning. The modern Japanese music scene is just as vibrant and varied as any other music scene in the world. I'm Zac Bentz, writer, musician, designer and all around Japanese music fanatic. Here I hope to share with you a comprehensive (!!) list of Japanese artists and bands (with a strong focus on underground and indie acts) that you may or may not have heard of, in the hopes of expanding our mutual awareness of Japanese music.
I don't mean to suggest that everything I listen to is great. Quite the contrary, I hope that you will take the time to recommend your own favorite artists in the comments so that we can all learn a bit more about the huge range of Japanese music that's out there.
"The best Japanese music blog in the world." - Door Slam "Definitely a must-visit for J-pop and J-rock fans!" -The Otaku "Zac Bentz loves music. A lot." -Japanator "Very cool!" -J-ENT "...one of the foremost blogs and information centers on all J-pop and J-rock...the top source for tour information on Japanese bands in the US..." -YankeeOtaku "Wer mehr darüber wissen will, der sollte sich mal hier umschauen, ein sehr gutes J-Music Blog übrigens." -CommandSheep "...very well-written, and there’s an excellent range of artists...a useful resource." -International Wota "не плохая энциклопедия японских исполнителей/групп" -Diary.ru "Great resource for Japanese music fans who want to explore today's J-rhythms beyond Johnny's Entertainment bishonen music and anime music. XD" -Kaishi "If you are a J-Rock fan, [ZB's A-Z] is a must see." -Crunchyroll community "Otaku USA magazine finally got wise and hired Zac Bentz as a J-music contributing editor."-Radicalpatriot "Reviews practically every Asian band that has ever created a recording."- Zallie "Gewährt spannende Einblicke in die japanische Musikszene." -Laut.de
