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BLOOD: Kaede (b), Kiwamu (g), Takeshi (v), & Taichi (g).
Image created for us exclusively by Kiwamu of BLOOD. Thank you! ^_^
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OCTOBER BIRTHDAYS
10/3 TETSU
[L'Arc~en~Ciel, bass]
10/4 CHISATO
[Penicillin, guitar]
10/6 TAKA
[La'cryma Christi, vocal]
10/7 HIMURO KYOSUKE
[Boowy/solo, vocal]
10/10 AKI
[Laputa, vocal]
10/10 TOSHI
[X Japan, vocal]
10/11 KAZ
[Oblivion Dust/Hide with Spread Beaver, guitar]
10/15 NATIN
[Siam Shade, bass]
10/17 JIRO
[Glay, bass]
10/19 TAKUI
[solo, vocal]
10/20 SHINOBU
[Zephyr, guitar]
10/20 SHION
[Syndrome, drums]
10/21 HISASHI
[Buck-Tick, guitar]
10/29 NIY
[Shazna, bass]
10/30 KA-NON
[Duel Jewel, bass]
10/30 KIYOHARU
[Kuroyume/SADS, vocal]
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THE JROCK FAMILY TREE
If you've ever wondered who was in what band with who and performed where with what, here it is. This is nowhere near complete and I'm sure that there are thousands of
little ties that we left out, but here are the main connections between people in the jrock world.
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Spotlight on recently released songs. This is a rotating mp3 list and will be changed regularly to make room for newer songs, so get 'em while you can!
[B'z]
Arakure
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Thursday, October 30, 2003
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AD.NET DOMAIN MOVE
Asrundream.net will most likely be down for the next 2 weeks or so. I am moving it to midnightrevolution.org because I could not resolve the bandwidth problem and it is coming up for renewal anyway.
I am currently in the process of uploading all the files to a new folder on mr.org. I will notify everyone when the site is up and running again. Everything will still be accessed with the domain name asrundream.net EXCEPT for the Takui and the Sweet Broken Hearted Machine sites.
This SHOULD solve our bandwidth problem. If the move goes well, I can actually start uploading mp3s and PVs again, which was the whole reason I bought ad.net in the first place, and we haven't been able to do that for a year and a half. And I was sick of the site taking 10 minutes to load.
- Gerald -
- Comment -
Yoshiki swallowed a pigeon at 12:22 a.m..
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Tuesday, October 28, 2003
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B'Z LIVE REPORTS
Keen of B'z Net Party has graciously compiled a lot of the live reports from B'z's West Coast tour in the US on her website. Go read some of the great live reports that people have written about the band's various stops. And if you've written one, let Keen know and have her add it to the page!
- Gerald -
- Comment -
Yoshiki swallowed a pigeon at 04:19 p.m..
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Saturday, October 25, 2003
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ALBUM: BIG MACHINE [B'Z]
Just a note before I get started: Pitas crashed last week and deleted all of our October entries. But I don't think there was anything too important there.
About a month late, but better late than never, here is my review of B'z's Oricon chart-topping (once again) album, BIG MACHINE. There was a special offer for a B'z special book or something that came with my CD, but I was too lazy to mail it out and by the time I got around to it, the deadline was past. Oh well.
[1] ARAKURE
A rockin', high-speed tune to begin this high-speed album. The beginning reminds me of the first tune on Loose, but the style quickly shifts to a more modern B'z. Everything about this song is driving, and I can tell it's a great song to play at lives. The melody isn't quite in a major key, but not quite in a minor key, and overall, this is one of my favorites on here.
[2] YASEI NO ENERGY (album version)
This says it's the album version, but I can't hear any difference from the single version. Someone correct me if I'm wrong...?
[3] WAKE UP, RIGHT NOW
I'm not sure if I like this song or not. It's definitely very B'z in style and execution, and an incredibly straightforward tune with a medium-tempo beat. The chorus is especially "bright" and pushes the sound of the song straight forward. For some reason it reminds me of a marching army >.>
[4] HAKANAI DAIYAMONDO
This is one heck of a tune. I think I am hard-pressed to name another B'z song (Love Phantom, perhaps? Hole in my Heart?) that combines such a flair for showmanship and rocking sassiness. The verses build until the amazing chorus, but that's not all - the chorus even continues to build until the end where Koshi shouts/sings "Hakanai daiyamond!" Great fun is had by all. Definitely a classic, and don't miss Tak's solo in here.
[5] I'M IN LOVE?
The first thing I thought of when I saw this title was, "They stole it from Glay!" The second thing I thought was, when I listened to it was that it sounded a lot like Blue Sunshine on "Green." This is one of the more laid-back songs on this album, with much of the happy summer feel that is "Green"'s trademark. I must admit that I am not too fond of the chorus where he goes I'M IN LOVE? but I'm not sure why. XD
[6] IT'S SHOWTIME! (album version)
This song's been out quite a while, so I won't waste your time going over it again. XD There's some minor changes to the arrangement on the album version, but otherwise it's the same song.
[7] AI TO NIKUSHIMI NO HAJIMARI
The beginning of this song has a rhythmic synthesizer accompaniment going on that reminds me a lot of the railroad music in Final Fantasy 8. That quickly segues to Koshi in a minor key, which then changes to major key (a lot of B'z's songs tend to do that for some reason). The chorus of this song is especially catchy - a swinging, happy thing that reminds me of a nice drive in the countryside somewhere.
[8] BIG MACHINE
The title track, and the moment it starts, you can tell this one is going to be a keeper. Koshi and Tak deliver, and they deliver big. In the style of Hakanai Daiyamondo, but with the rhythm and beat of Ai to Nikushimi no Hajimari, this song seems to combine all the styles of the album songs into one incredibly driving explosive song. The instrumental bridge is especially great, featuring a lot of distortion and bass and synthesizer. As Koshi sings, it really is a "bakuhatsu" (explosion)!
[9] NIGHTBIRD
One of the only two slow songs on the album, which did disappoint me a little bit, because usually I expect more tempo variety on a B'z album. It is a very pretty song, and Koshi does wonderfully as always, and the piano and mournful wailing guitar in the background pull the track together to form a very tidy package. I personally feel it's a little too tidy - it's not as impressive as some of their other ballads, but still a good listen.
[10] BLUESY NA ASA
True to its title, this is quite a bluesy song. The drums here are probably the best part of the whole song. I usually don't listen to the drum line, but the different techniques used throughout this song caught me - mostly because the blues style owes a lot to the drummer.
[11] MABUSHII SIGN
Judging from the title, I expected something dark and maybe a little threatening, but the melody here is in actuality very cheerful and upbeat in an Easy Come, Easy Go! sort of way. This is one of those B'z songs that just make you feel good and get you up when you're down. Not my favorite on the album, but a great song nonetheless.
[12] CHANGE THE FUTURE
I'm not sure if I like this song or not. Starting off with electronic effects and synthesizers and then quickly expanding out into a harmony of guitars, the introduction reminds me of nothing other than the beginning of Gackt's song Seven. B'z's song is much less confusing, of course (and written in 4/4 time). The chorus is very strange harmonically, though it is written in the same grand style of songs like Kairaku no Heya. I think the style just doesn't agree with me.
[13] ROOTS
This is a beautiful song, and I almost forgive them for not having as many slow songs on this album. Written in a country-blues style similar to Kirei na Ai ja nakute mo on "Loose," Roots brings an uplifting conclusion to "Big Machine." It's not quite as ballad-ish as B'z is usually known for, but this incredible blend of piano, undistorted guitar, and Koshi's amazing voice just bring out the best in this band. "Nakanaide...itsuka aeru hi no tame ni."
My verdict? I still like "Green" better, but "Big Machine" is one heck of an album, and I expected nothing less from B'z, of course. There were more songs than normal on here that I didn't have much of an opinion on, which worried me at the beginning, because B'z is one of those bands that make music in such a way that the song forces you to have an opinion on it whether you expect to or not (if that makes any sense). But great songs like Hakanai Daiyamondo, Arakure, Roots, and of course the two great singles It's Showtime!! and Yasei no Energy are signs that B'z is still going strong.
ALBUM INFORMATION
BIG MACHINE
Release date: 09.17.03
Catalog: BMCV-8008
Price: 2913‰~
- Gerald -
- Comment -
Yoshiki swallowed a pigeon at 02:12 p.m..
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Sunday, September 28, 2003
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THE BRILLIANT GREEN ENGLISH INTERVIEW
Cha Cha Charming Magazine put out an interview with BuriGuri last month in English! It's a very nice interview - nothing very earthshattering, but I always like to keep my eyes peeled for English language interviews. You can check out the interview right here.
Thanks to Terra Firma for the link. Check out the BuriGuri fansite's new look! Very cool.
- Gerald -
- Comment -
Yoshiki swallowed a pigeon at 03:04 p.m..
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Saturday, September 27, 2003
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PIERROT
by NightMajik
It's about time I wrote up a review for Pierrot. I've been listening to this band for years now, off and on, and I could have written a comprehensive review of a few of their songs at any point in the past three years. However, it is only in the recent few months that I have truly become interested in the band and their music as a whole, discovering many fantastic songs, as opposed to finding only a few favorites.
The main issue which kept me from liking Pierrot too much in the beginning was their style of music. I am not the only fan to note that Pierrot's sound has changed over the years; this is most evident in their most recent two albums. Although they still have a sound that is distinctly and uniquely theirs, Pierrot's style has evolved. Furthermore, there doesn't seem to be a great deal of variation in a lot of their earlier work--many of their songs sound similar. This can work for some bands (for example, Creed, 3 Doors Down, Boston, and Lifehouse, to name a few English-speaking bands), but for Pierrot, it didn't make me an enthusiastic fan.
To briefly describe their music: Pierrot has been a solid J-rock band since the beginning--their music has never fully deviated into the realm of pop. And although they are not the most visual band out there, they definitely fall into the category of visual kei. I find it difficult to describe their type of music--all I can call it is rock with a darker, alternative edge; every so often their songs have an electronic feel due to synthesized or otherwise created effects.
It's difficult to describe the way in which Pierrot's sound has changed. Kirito's singing style itself has evolved--when I listen to pre-2002 songs, it sounds as if he sang more often in his low range, whereas lately, he better utilizes his high range. When listening to some of those early songs, I also get the distinct impression that Kirito's singing is on the very edge of being flat. Although he's not flat, he does sound more in tune in Pierrot's later works.
The only thing I can say about Pierrot's overall change in sound is that they seem to have gotten 'lighter'. Going into more depth on their change would be impossible, because I am not very familiar with much of their early work.
All of that said, I'll now present a brief list of song recommendations, in which I'll try to cover the range of Pierrot's work. Keep in mind that I am far more knowledgeable about Pierrot's works beginning around the release of their Heaven album in 2002 than I am about many of their earlier songs, and I am biased toward the newer sound. For a more comprehensive review of their older work, you may have to look elsewhere.
+ Pierrot Recs +
Screen [Single]
1998.04.22 / Re-issued: 2001.12.19
Torikago
This is a song I randomly discovered, downloading it because I thought it was one of the tracks from the ID Attack album--obviously, I was quite mistaken. I grew quite fond of "Torikago" after only a few listens. This is a good example of one of their more toned-down, older works.
Finale [Album]
1999.07.07 / Re-issued: 2001.12.19
Haruka...
Last Letter
Sacred
I only know half of the songs from Pierrot's Finale album well, and out of that half, these three are my favorites. "Haruka..." is a song that easily gets stuck in my head; it starts off with the upbeat chorus, and the verses are low-key, leading up to the chorus each time. "Last Letter" is a slower, calmer song--I would almost call it muted--which showcases Kirito's voice extremely well; I overlooked this song until recently, when I saw a clip of Pierrot performing it live on Music Station. "Sacred" is by far my favorite song on this album--it represents the closest song to a ballad that you'll find from Pierrot. It's a softer song, slow, but with a lighter feel to it than "Last Letter"; although Kirito's singing is emotional and gorgeous, what makes this song complete is the chorus of female vocals in the last fifty seconds. "Sacred" is one of my all-time favorite Pierrot songs.
Private Enemy [Album]
2000.11.22 / Re-issued: 2001.12.19
Powder Snow
Follower
I know only one-third of the songs from Private Enemy, but I have a feeling that even if I heard the entire album, "Powder Snow" would still be my favorite. "Powder Snow" is another one of Pierrot's slower songs, although it's less of a ballad than "Sacred". The song relaxes me, and once again, displays Kirito's unique, amazing vocals very well. "Follower", on the other hand, is a better example of Pierrot's heavier, more alternative sound that I mentioned earlier.
Cocoon [Single]
2001.11.21
Makkana Hana
I loved this song from the first time I heard it. The music is nothing out of the ordinary--in fact, the guitars and the beat of this sound are very typical of Pierrot. There's just something about Kirito's singing here that draws me to this song.
Heaven ~ The Customized Landscape [Album]
2002.04.24
Home Sick
Heaven
Birthday
This album represents when Pierrot's sound began taking an overall lighter turn. Although they always had slower, softer songs, this is when the not-slow, not-soft songs become lighter--the instruments and vocals span a greater range, the overall sound is more upbeat, and there is greater variation among the songs. "Home Sick" and "Heaven" are comparable to each other, both of them being favorites of mine, and both having a similar sound; they are upbeat and catchy, combining elements of Pierrot's old sound with their new. "Birthday" is a song from Heaven which I only recently paid attention to, and I'm glad I did--it's in the same vein as "Home Sick" and "Heaven", neither too hard nor too soft, but with an orchestral twist. This song has a crescendo-ing, uplifting feel to it, provided by the string instruments present in the background for much of the song.
ID Attack [Album]
2003.07.23
Answer
Acid Rain
Upper Flower
Neo Grotesque
Yuuyami Suicide
It was difficult for me to choose only a few songs from this, Pierrot's most recent album; I am extraordinarily fond of many of the tracks on this album. The ones that I chose basically cover the range of styles present on ID Attack. "Answer" and "Acid Rain" are both among the slowest songs on the album, although "Answer" has a softer feel to it than "Acid Rain". "Upper Flower" is an addictive song, with a sound that I can only describe as happy--and I'm not used to Pierrot songs having a particularly happy feel to them. "Neo Grotesque", on the other hand, goes back to Pierrot's darker roots, with harder guitars, some screaming effects, and harsher singing on Kirito's part. "Yuuyami Suicide", on the other hand, is a song that I simply can't compare to anything Pierrot has done before, although it's oddly catchy. The first time I heard it, I was thrown off because of the brass instruments prominent in the background music; but even with this different sound thrown in, the song is undeniably Pierrot.
- Gerald -
- Comment -
Yoshiki swallowed a pigeon at 10:40 a.m..
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