D’espairsRay Live in NYC: Human-clad Monsters

Acey Slade and The Dark Party took their bow, in a manner of speaking, and with a word to prep us for the madness to come, left the stage. A slight hum returned to the crowd as everyone lingered in that strange twilight zone of neither relaxing and just chilling, nor spazzing out totally (aka shrieking their heads off every time a sound guy appeared on stage. This audience, unlike others I have experienced, actually seemed to be able to recognize the band members themselves…well, that is, aside from when Tsukasa came out to check his drum set and everyone was murmuring “is that Tsukasa? I don’t know…what do you think? Is it?” Just for the record, yes, it was.). The crew bopped on and off stage, taping down set-lists, testing mics, drums, etc. At this point the adorable girl standing directly behind me leaned over my shoulder and said, “I’m trying not to let the people behind me crush you, but when D’espairsRay comes out, I’m not sure I’ll be able to do anything. I might fall on you.” A pretty apt foresight of the show, really.

I’m not sure how long exactly we waited between acts, but it wasn’t terrible. Considering everything we, and especially the band, had done to arrive at this point in time, this place, in this city, time was absolutely irrelevant (another way of putting it would be that I didn’t check my watch). That is, it was until the lights flickered, dimmed out, and the shadowy AA-Pass-wearing ninja faded from the stage, and a group of figures–or rather, a cloud of pulsating charisma– emerged from the back. And damn, it was about to get funky in there. As soon as the members appeared, it was like the entire audience, which had merely hovered during the opening act, became instantly vacuum-packed. The entire crowd surged in toward the stage, and suddenly there was totally no space to move, barely enough to breathe. Everyone was magnetically pulled as close to that rough wooden stage as possible, drawn by the gravitational pull of D’espairsRay.

They sauntered out, suited up, Tsukasa settling at his kit at the back, Karyu moving off to the right, and Zero Monster assuming the bassist’s place about 15″ from where I was standing. The audience flipped out. Did HIZUMI say something then? I can’t remember. Whatever slurred Engrish welcome he may have given us was lost in a roar of general insanity from the audience.

And then the drums rolled, Karyu started shredding, and Zero’s fingers began flying. With HIZUMI howling hoarsely into his mic, DEATH POINT opened the show.  Although the song is fresh off the press, the crowd was extremely receptive, with everyone chanting along to des poin des poin des poin…by the end of the first song were our throats already totally dry and hoarse? Why yes, how did you know. The only let down to the opening masterpiece was that there were no mics kicked over, and no water sprayed. Karyu did not suddenly grow claws and start transforming into some kind of horrific Pokemon about to jump into the mosh-pit and devour an innocent fangirl. He had cool contact lenses, though.

DEATH POINT was followed by a flood of thrashing epicness. The energy of the band, the excellent set-list, the hectic drive of the crowd, HIZUMI’s MCs (I almost wish he had just spoken Japanese, then I may have understood him) all fused together into one nuke of an experience. In a way, it almost became difficult to separate where one aspect of the show ended and another began. Being that close was incredibly intense; it was like the venue condensed into one circular pulse of…well, insanity. Although fan-service and activity was generally mild, and the band’s behavior was relatively reserved (surprisingly, I thought), they had this incredible, perceivable, dark aura that showered down over us.

The first ¼ or so of the performance, the crowd was pretty mild. Some crazy headbanging was carrying on, but the moshing wasn’t horrible. About halfway in, though, as songs like Devil’s Parade, Garnet, Dope and Sixty + Nine started cycling through, it became quite rowdy. The second row seemed like a tough place to be, as it felt, physically, like the entire audience was trying to close the distance between the third row and the stage. I was crushed between everyone around me so tightly, I probably could have completely lifted my feet off the ground and been totally supported. Doing my best to keep the danger of a broken nose at bay, however, I didn’t give that a try. It’s been a while since I’ve been in a mosh-pit like that, and although the adrenaline rush was intense, it was wicked fun.

By ¾ into the performance, the claustrophobia and heat started to take its toll on me. My arms ached from the furi, my ears were throbbing from being directly under the left speaker, my neck hurt, and I would have killed for a bottle of water. But instead of the velocity abating at all, it steadily increased. Now that D’espa had warmed up a bit, they started pulling out the really heavy stuff, the classics. HIZUMI was screaming – everyone was screaming. A crowd at a show like this is like a force of nature; a body of water. It has ebbs and flows that are dictated by the music and the energy of the band in the same way the tide is orchestrated by the gravitational pull of the moon. The instant you start to resist that flow, you get sucked under and you drown. The best thing you can do is just relax as much as possible and match that flow, go with it, and know that at the end of every Jrock live, there is water. I somehow remained psychologically sound enough to remember this.

Alright, I can’t put it off any longer. Here’s the tally: Touched HIZUMI once during the actual performance. He mostly stayed toward the middle of the stage, and only moved over, at least to our side, once or twice. Karyu mostly stayed off to the right, as well, although he did wander over two or three times to dangle his ratty blond locks into wriggling droves of grasping fingers. Touched him twice. Also got to touch both his and HIZUMI’s hands when they were…at risk of sounding strangely awkward, touching hands before leaving the stage. ZERO was so close the entire show, and spent half the time standing right at the very edge of the stage, looking down on us with this sultry smile, I got to touch him so many times, had it been off-stage, it would probably have been considered unseemly groping and I would have been lynched by a 250 pound Russian bodyguard. Just telling it like it is. Dedicated a handful of ZERO to @kimber_leigh.

Set-lists never catalog themselves properly into my brain. However, along with the aforementioned songs, they played, among others, Human-clad Monsters, 13-Thirteen-, Mirror, Falling (not positive about this, though). Not too surprisingly, LOVE IS DEAD was easily one of the most memorable songs of the night. The instant the disco track started up, the entire audience began moving. HIZUMI’s hoarse Shall we dance hissed over the audience, and some rambunctious movement broke into intense moshing and dancing. The energy was terrific,  from the audience as well as the band.

Just as I anticipated, Abyss closed the show. The minute I heard it on the album I figured it would. The sense of melancholy mixed with triumph that floods those chord-progressions and choruses were too perfectly suited to the emotional rise and fall of a show’s climax and close.

At the end of the show, Zero (designated fan-servicer) opened a couple of bottles of water and spat most of it on us. After getting two healthy facefuls of Zero’s spit, I felt satisfactorily baptised.

After we stood there for a few minutes, ears ringing, drenched in sweat, Zero’s spit, and the tingling energetic residue of a mind-blowingly rockin’ show, we realized, with some resignation mingled with relief, that the band wouldn’t be coming out for a second encore. The lights went on (kind of), and the crowd began shifting toward the back of the venue where the merch stand was. As we moved away from the stage, a whitie venue staffer came on the speakers and announced that we weren’t to go far, as the band would be coming out to sign posters. I stopped by the merch stand for a poster, hoodie, postcard set, and the Askew magazine special live-tour edition and a few packs of buttons. They also had about three designs of t-shirt, a folding fan, and live-limited guitar picks signed by Zero and Karyu. I think that was everything. The merch stand was hustlin’, but both people who gave me my stuff were friendly.

After we got the goods, everyone was instructed to organize into lines to get to the table where the signing would happen. If there are two words that fall on deaf ears in a Jrock live show venue, they are organize and line. Needless to say, everyone sort of organized into a great blob full of random people without posters (I don’t even want to know what they asked to have signed), half of whom seemed to weirdly disappear after a few minutes. The band came out, flanked by security and some venue staff, and took their place at the long table near the entrance. Despite the lack of order in the club, people filtered through quickly (a thoughtful staff member instructed, via loudspeakers, that no one was to tell them their life-story, and it seemed like people obeyed). In a way, it almost went way too fast. When it was my turn, faced by this row of quiet, suddenly very-Japanese-seeming guys who had just completely demolished us musically, those careful sentences I figured I should have said went right out of my head. Each member was patient, and seemed a little shy. They signed my poster, shook my hand, and thanked me for coming (in English). I managed to say something to each of them in Japanese without completely mangling their language, as far as I could tell, and then some Japanese woman rolled up my poster and it was over.

As Kaxxina put it right after the show, “That was violent in so many ways.”

Out of All These ONE Must Shock Us!

Back before Zero was a creep

It looks like the second round of summer releases have been announced. Have I ever mentioned before how stressful I find it that Jrockers all release their stuff on exactly the same day? There are like two dates in a given month when they’re allowed to release material. For June you can expect to go bankrupt on the 2nd and 23rd, so get ready, guys.


D’espairsRay // “Dead or Alive Complete Covers Album” // July, ’10 (Album)

For the first time ever, a Jrock band will feature nothing but covers of the one band probably everyone is perfectly happy going the rest of their life without ever hearing!
Just kidding. It’s true, I’m being uncharacteristically vindictive (I’m not usually vindictive, right?). I mean seriously. The actual news is that they will, in fact, be releasing a brand new album right in time for adding songs to the set-list for their world tour, which will kick off in the US sometime in August. But, y’know, please don’t let us know what the dates are UNTIL THE DAY OF.

Out of all this second round, I think this is the most exciting news. Although all we know at this point is that it will be released sometime in late July.  Love is Dead itched the darker aspects of my dementia, but I thought b-side Medicine (I haven’t figured out how to make backwards N’s yet) was a really cool song. It was congruous with the single, but also got heavy and angry to counter the dancey thing that preceded it.

Exist Trace // “Knife” // 6.2.10

I always look forward to these bad-ass babes. I’m sure they aren’t going to release a techno song.

Inaba Koshi // “Okay” // 6.23.10 (2 types)

A barely-optimistic title, but surely a single that won’t disappoint from B’z frontman Inaba Koshi.

Nightmare (ナイトメア)// “a:fantasia” // 6.23.10 (2 types)

What the hell was with them releasing an entire album with ONLY ONE SONG ON IT. That’s what they invented the “repeat” button for, hello Nightmare?

Ayabie // “Irodori – Tour Final Live @ ZEPP Tokyo” [title subject to change] // 7.14.10 (Live DVD)

To be honest, I haven’t really followed these guys since I got irrevocably bored with their Rikkaboshi +A album.

Rin //”As if Forever Exists” // 6.2.10 (3 types)

Kisaki’s new band.

Phantasmagoria // “Diamond Dust in Truth” (live DVD) // 6.23.10

Kisaki’s old band.


**Pick ’em up here**

For anyone who forgot:

Sadie just released some new stuff yesterday (4/28); a Singles Collection, and a maxi-single (which hopefully isn’t included on the singles collection…) called DRESS. The PV is pretty cool, and the song is awesome.
If you haven’t heard it yet, check it out:

D’espairsRay album release source: CDJapan

Video: shuujiHysteria

Summer Single Shortlist

Let's see some summer shockers, please...

Hiroto’s (front right center) expression in this picture basically sums up how I’ve felt about most of the new stuff I’ve heard the past couple of months. For example, at first D’espairsRay‘s Love is Dead sounded passably cool until Jrockers net-wide reached the unanimous decision that it sounds too much like You Spin Me Round to actually make it casually listenable. Usually I try not to listen overly much to any Visual Kei that makes me think of Adam Sandler in the ’90s. It’s not that the single is bad or anything, because it’s not bad, it’s just that I, and I’m not sure about anybody else, have started feeling a bit lethargic about the recent releases. There have been quite a few “best-of” collections and “nyeh” status singles released lately, I need a real stunner lest I should go catatonic.

And before any devoted and emotional fans start frothing at the mouth– I do concede that there are some releases that I know would be unfair to include in this generalization.

I don’t usually organize release information like this, but since there are so many awesome bands releasing summer singles in the next few months, I thought it would be worth compiling instead of doing a million one-liner posts announcing them (which I pretty much never do).

Summer Releases (they had better be good..)

Alice Nine // “Untitled” 8.04.10

Their latest release was a best-of in late ’09. Now that the boys are off duty for a few minutes (in regards to touring) they can actually write some new music. Hana was a pretty good single before the best-of, and although it wasn’t particularly ground-breaking, even the B-side Cross Game was pretty cool.

Creature Creature // “Untitled” (album) 6.16.10

I didn’t buy the first album, because I’m afraid that I’ll wake up one night and find Morrie standing over my bed….But DEAD END rocks, and Tetsuya rocks. Not that that means that CC rocks. I always got a real kick out of the caption on an upload of their “Paradise” PV: “Tetsu is at it again, with his creepy looking band and creepier lead singer”. –BanhBaoX That all being said, I thought the song Kaze no Tou rocked. It was reminiscent of L’arc, but on an even deeper tier of emoism.

D // “Untitled” 6.30.10

After warming up considerably to their brand new album 7th Rose, I feel slightly more lenient with the goths.

GACKT // “Untitled” 6.16.10

He likes to keep everyone guessing.

girugamesh //”Untitled” ??.??.??

First real venture after everyone declared them sucking because of NOW. After NOW became one of my frequently listened-to albums, I realized that I don’t give a damn what the rest of the Jrock community says; you can bash giru all you like, and I will still buy their music. Just make the A-side feel like an A-side

MUCC // “Yakusoku” 6.09.10

I’m slightly give-or-take about MUCC on the best of days, but I feel like this one sounds like the anime theme song it was made to be (seriously).

VAMPS // “Devil Side” 5.12.10

When I saw the cover art for this in the sidebar of my blog, I thought “Who put this ero pic in my sidebar?!” I was appalled. Naked girls with devil-tails don’t appear there unless I say they do.

+ VAMPS // “Live 2009” (DVD) 5.12.10

I want a Region 2 encoded DVD player.  I seriously think my computer will take drastic action if I try and set it up to handle R2 DVDs.

+VAMPS // “Untitled” (single) 6.09.10

I hope nobody reports me for indecent imagery in the sidebar .

Tetsuya // “Roulette” 5.19.10

In contrast to Hyde becoming very vagabond, Tetsuya remains as well behaved as ever. Still, you can’t resist bass lines like that, nor can you really say no to his happy-go-luckiness, even though, if you’re anything like me, you’re a jaded, macabre, and demented Visualist.

The GazettE // Film Bug II (DVD) 8.04.10

Only seasoned Jrockers can call things “I” and “II” without actually presenting evidence as to a chronological system. Where is Film Bug I?

+The GazettE // NEXT SCENE 7.21.10

I hope I can redeem the shame of not even remembering the last thing they released by pre-ordering this one!

**Pick ’em up at my favorite spot**

Note: titles subject to change prior to release date. “Untitled” is pending the release of complete information.

D’espairsRay Showers Us With Optimism this Spring with LOVE IS DEAD

New D’espairsRay single, LOVE IS DEAD, to be released April 14th. The single will feature, apparently, a “danceable electro” track (which sounds unbearably sketchy coming from a leading Vis Kei band, except…) which is produced by turn-table genius Kishi Toshiyuki of abingdon boys school and TKO solo renown.  This will be Kishi’s second collaboration with the band, following their FINAL CALL single in late ’09.