LIVE: D "VAMPIRE SAGA in Europe ~Path of the Rose~" in London 2011

I wasn't sure about a single bit of this gig. Hell, I didn't even get remotely excited for it until a couple of hours before. Truth being that until their most recent album VAMPIRE SAGA in January I simply had no interest in them, I was simply going along to keep a friend company. I knew a couple of songs outside the album, I had read a couple of interviews and comments with the band, tentatively watched a few PVs, but that was the extent of my gig preparation. Sometimes, having no expectations is good: that way, when something is bad, you're not super-disappointed; however, when something is good, you can be totally blown away.

And D, live, are good.

I don't have a definite setlist so here, have the PV for Der König der Dunkelheit. This was the look sported by the band onstage during the gig.




Being part of visual kei I will say that the band retained their character onstage, none so much as vocalist Asagi. It has to be said, the man knows how to work a cape! He effortlessly made eye contact with every single person in that venue, and was a somehow a very talented leader of his audience, teaching us all furi (with either special D flags or with - in his words - our "beautiful hands") and leading everyone in slow headbanging in heavier songs. He is indeed very charismatic. The whole band are in fact!

With all of their visual mystique I never expected the band to be so upfront and enthusiastic, and being only two rows in front of guitarist Ruiza it was impossible to miss how he spent the entire show grinning manically, occassionally dipping his head forward and allowing people to ruffle his hair before stepping back again and laughing (and, at one point, falling flat on his ass).

But more striking than the band's character and enthusiasm was their talent, which they had by the bucketload. Guitar solos were more than liberally scattered throughout the show and all were played spot-on, and often cranked up bass meant that we could appreciate Tsunehito's surprisingly elaborate basslines too. Meanwhile, the instrumental 太古の牙 (taiko no kiba) gave drummer Hiroki a chance to shine (and shine he did! Never again will I overlook that man!). Real props however do go to Asagi on vocals, as he truly was absolutely flawless.

During a signing session afterwards the gentlmen were a lot of fun too, and they really succeeded in making an impact on everyone. Overall I'd say that their music is still not quite my thing, but what they do they do it damn well. I didn't mean to enjoy this show half as much as I did, and if they come back I'm definitely off to see them again!


★★★★☆

REVIEW: Sadie - COLD BLOOD (2011)

Sadie - COLD BLOOD (Regular edition)
30/03/2011

Sadie are devils. I couldn't tell you how easy it is to confuse title tracks because the singles they release tend to be painfully generic, and the accompanying PVs are bland at best, uncomfortable at worst. The trick, however, is that their B-sides and album tracks are more often than not actually really good. Diamonds in the rough if you will. And this is why, after shunning the last four singles, I bought in their new album to see what else they could provide. Good move, Break, good move.

慟哭 (doukoku) is an interesting and effective way to open an album, slow and quite deep, strong and positive words in a dark composition. It is very promising, and it somehow helps to take the over-familiar edge off Juggernaut that follows. Originally released in December 2010 this carries the aforementioned samey Sadie feel, but thrown so early into the mix, after the epic intro track, I can actually forgive it. A deep breath and a mini-Mao-roar brings us into LOOSING MY WAY OF THE PROUD, which is a short and fast-paced flashback to something they might have released as a B-side several years ago. Good times indeed.

砂漠のシンドローム (sabaku no syndrome) is somewhat weaker but carries some great melody in the pre-choruses, but isn't enough to distract us from the irritating familiarity of 棘-toge-, another single released last November. Maybe it's Mao's voice, maybe it's the more upbeat and happy tunes, I don't know, I just don't have patience for their title tracks anymore. deathtopia REALLY reminds me of a previous B-side - in a good way - and sounds more like a track from their 2006 THE SUICIDE MACHINE, but only succeeds in restoring the mind from the previous track as much as a zombie succeeds in dragging a crushed and mangled foot - slow, heavy, dragging along dead weight. Its efforts are crushed again by another single track, this time April 2010's ドレス (dress), whose opening piano notes try to tell you that it's going to be something different when really it's not. However, this just preludes a final run of greatness.



Graceful Angel is where the album-zombie finally stops dragging it's useless ex-limb and just hacks it off at the nearest useable joint, not outstanding per sé but good preparation for the sheer brilliance that is 霞に消える華 (kasumi ni kieru hana) - you've gotta love any song that opens with its own chorus. Despite not being the biggest fan of Mao's voice I really do like how his highs work in this song, and how the vocal melody tumbles along with very straight-forward yet very effective guitars - this song is a great example of when Sadie don't overtry, when their guitars aren't layered, when they have no bass or drum interludes and when the vocals are contained and not overplayed, they really really work. This piece of fantasticness rolls into the completely different GIMMICK which does briefly threaten to sound like Everything Else Ever but then rescues itself with a catchy chorus that must be amazing as part of a live set.

クライモア (Cry more) rounds off our Run Of Brilliance, and this is where I bow my head in apology as this is one of the much-disapproved-of title tracks, released last September. But I'm not going to deny, with the exclusion of a very standard chorus, it is a good song. It stays in your head, everything from the floaty pre-chorus to the fantastically catchy little crash-cymbal trios, and the call-response breakdown half way through really makes the song stand out.



The album closes with 瞼の憂鬱 (mabuta no yuuutsu) which I will admit feels a little extraneous. It fits the mold of a closing track and that is all that can be said really. There's nothing wrong with it but it doesn't stand out - it fulfils its role. The regular edition of the album also feaures an unplugged version of ドレス (dress), band leaders Mao and Aki producing quite a sweet version of the song with only vocals and piano, and while it is nicely done it is no competition for the wonderful unplugged 陽炎 (kagerou) from 2009.

Despite weaker moments, the production in this album is brilliant. The order of tracks really works, and I mean really works, and at just over an hour long in total there is a lot to listen to. Something I really do like about Sadie is that you always know where all band members are in any given track - guitars never get lost in sloppy riffs, the bass is never lost behind other instruments - and this is maintained throughout the whole release. Knowing that they can produce good quality stuff like this definitely rewards the endurance of very samey singles and often cringeworthy PVs. Good work, boys, good work.

★★★★☆

LIVE: girugamesh "Here we go!!" in London 2011

It was the kind of crowd I'm used to and love best, the kind of crowd that lacks the courtesy of smaller gigs and the restraint of other European shows I've seen in the past. We managed to find ourselves bundled together initially only four or five rows from the front and in front of Ni, and as the live progressed we found ourselves mysteriously further forward until I was just at the bar with two shorter girls on each side. Throughout the whole show I was surrounded with a whole troupe of some of my best friends, and with the exception of maybe two songs I remained hand-in-hand with someone we never thought we'd have the fortune to meet again, and all of this plus the amazing gig made the whole night outstanding for me.

Here we go!! 20110318 @ O2 Academy Islington, London
Setlist:
00. (NOW) intro
01. bit crash
02. NO MUSIC NO REASON
03. Endless wing
04. Vision
05. BEAST
06. driving time
07. 睡蓮 (suiren)
08. DIRTY STORY
09. BORDER
10. Dance Rock Night
11. I think I can fly
12. shining
13. destiny
14. MISSION CODE
15. Never ending story
Encore:
16. Break Down
17. evolution
18. イノチノキ (inochi no ki)

Everything was right from the word "Go" (excuse the pun), as the intro for NOW kicked in instead of the opening track on Go, and bit crash is an absolutely great track to keep the audience jumping and joining in. That's the thing with girugamesh gigs, they're so interactive; there's always lines to be singing, or rhythms to be clapping, there's always something to be doing in virtually every song, a point perfectly highlighted when they reeled into BEAST with the refrain "Alright everybody clap your hands, alright together right now, alright hey make a noise aloud". Make noise we did, clapping our hands against those of our friends, tied up in the crowd or above everyone's heads, singing back lyrics at the crazy boys onstage.

Speaking of our crazy boys, they really were boys to be proud of. Lit up onstage with such fire and energy, they were perfectly reminiscent of the DIRTY STORY PV, aggressively throwing their all against the crowd at every opportunity. Nii has come to life as of late, possibly leeching some life from Shuu who has become slightly more taciturn on the other side of the stage. Together however they still make a stupid duo, meeting and grinning in front of Ryo who never ever seems to stop grinning behind his drumkit. Finally, Satoshi never let us down, a ferocity and power that only ever seems to grow leading him to the very front of the stage, challenging us to sing for him and to jump for him. He really is a vocalist whose transformation you can see over time.

Saying that Dance Rock Night was welcomed would be a massive understatement, as they disappointingly didn't play it earlier in Munich. I swear I will never get bored of that bassline and that Break Time Sa-wa-ge!.
Now the amusing breakdown happened between I think I can fly (a welcomed angstier addition) and shining, when Shuu decided that it was time to have a natter with us. However, after the standard greetings and catching up, the nattering descended into a call-and-response! So with Ryo keeping a drum beat, and Satoshi and Nii clapping in time, Shuu led us with our replies!

"Woah-woah-oh!" sang Shuu,
"Woah-woah-oh!" we replied.

"Woah-woah-oh-oh!" sang Shuu,
"Woah-woah-oh-oh!" we replied.

"Fish-and-chips!" chanted Shuu,
and we mostly laughed.

But it continued. Together we went from woah-ohs to "Fish and chips!", and then to "Na-ri-ta-ke!" which had me delighting. And from Naritake we went to "Pray for Japan!", ending finally with the loudest and most resolute "Ganbare Nippon!". Music changes things, guys, and I won't forget those voices.

A member-call now happens in MISSION CODE, which is just as great live as I expected it to be. This led into Never ending story, which is a great high-energy song to finish a main set on.

Rather than shouts of en-co-re! the words fish-and-chips! filled the air until their return, and it is only during an encore I can really appreciate the joy of Break Down. evolution became even more joyful when Nii donned a pair of plastic flashing sunglasses, and proceeded to hover right beside Satoshi until he looked twice and laughed. Ryo stood and danced throughout behind him drumkit. Good times for all.

The set ended as it has throughout the tour with イノチノキ, but not before Satoshi stepped forward, Shh'd us all a couple of times, and read out his lines concerning the events in Japan. The band were already in Europe on tour when the earthquake struck on the 11th, and since the disaster they have been collecting donations on tour. The strength, pride and majesty of this band never fails me, and when a very good friend of mine told me after the show that I can't afford to give up on them, the words "You're right" just weren't enough. Despite my thoughts on their newer releases, these boys really are something special live, and I hope I never throw away another chance to see them again.



★★★★☆