There is an elitist collection of albums out there that invoke a sensation in the listener of utter and total badassness. That really make you feel like a monster. That, if there’s a Visualist in you, will lure it out of hiding and inject it into your veins, giving you crazy swagger and that gloomy aura of a Jrocker. D’espairsRay‘s 2010 release, the album MONSTERS, is one of these albums.
First of all, the artwork is quite awesome. The textures and colors are cool, I approve of the unusual and striking font, and I totally dig the main image. The ‘human-clad monster’ with her skeletal claw, zippered back, and sub-Aztec enigmatic tattoo that looks like something Dan Brown would write another controversial book about all combine into graphics that are neither too simplistic, nor too cluttered. The alternate cover is also cool, just the Dan Brown symbol on a taupe papyrus-like background.
After Final Call and LOVE IS DEAD were so-so (the latter raising all kinds of panic due to the fact that it sounded suspiciously like a certain song we don’t mention anymore, and because we don’t need all Visual Kei vet bands to suddenly go soft and start doing the disco on stage under a strobe-light while their newest, plagiarized techno song blares from an iPhone), I, at least, wasn’t sure what to expect from D’espairs with their latest collaboration with mixing genius producer Kishi Toshiyuki.
However, after the PV for their MONSTERS track Death Point was released last month, I think the VK community started relaxing a bit. Here was not the spandexy mush and glitter-dusted House music we lived in fear of. This was Visual Kei – sleek, stylish, grungy as a dark intercity alleyway at midnight, and rampagingly badass. Death Point was, after months of laconically losing hope for the lethargic Visual Kei world at large, an electric surge. It at least blew a bit of the collected dust off the VK industry, and set high hopes for the rest of the mysterious MONSTERS.
I approve of the vuvuzela.
Human-Clad Monsters opens the album with some really legit layering courtesy of Kishi. The guitar-work is worthy of expletives, and the vocal line felt very true to D’espairs, and that familiarity paired with the fresh-feeling synth sounds and instrumentation came together for one smasher of an opener. The production of the song is flawless. Really.
Next up, the Promoted Video, their, according to them, super-ultra-mega-incredible-over-9,000 aggressive song of, uh, ever. Death Point is a masterpiece of throaty petulance, prevented from being obnoxious by its overall air of devil may care debonair and cranky majesty. Here I’ll branch off into a slight aside, inspired by the devilish and repeated chanting of des point des point des point in my ear. One of the things I appreciate most about D’espairs is how they use screaming and death vocals. They use them often, but they have a terrific sense of when and how to utilize this ornamentation– they realize that it is ornamentation, and not something that should occupy 90% of vocal time. There’s just enough that when HIZUMI does his thing you want him to scream his brains out, and just the right amount that you never get to the point of ‘okay, now shut up’.
Assuming you don’t need a break already to rest your ears and get a throat-lozenge after growling yourself hoarse chanting des point des point des point along with the second track, we move right along to track three, aptly named…13-Thirteen-. Something went wrong in that equation, just not sure where yet. I would like it if this song could play every time I walk into a building…or just whenever I walk anywhere, period. The marching rhythm, monochrome instrumentation, and interesting vocals make this easily one of my favorite tracks on the whole album. Although it’s one of the less busy songs, I find it to actually be one of the more striking.
Okay, here we are, the moment of truth… I disliked Love Is Dead very much less than I did when it first came out. I’ve been wavering back and forth with this one for a while. At first I thought it was kind of…you know. And then I thought it was like….yeah. And now I think I’ve been able to suck it up, get over it…and admit that, even though it sounds like that song, it actually sounds way better on the album, cushioned by the phenomenal other tracks, than it did as a standalone. Despite its many fundamental faults (stylistically), the song is still powerful, and the crescendo vocal bridge is actually really cool- frankly, a surprisingly brilliant moment. There, I said it.
Devil’s Parade is another great piece with a lot of character. The lilting vocals and funky lyrics are the highlight, with a good, well-detailed scream part, and some interesting compositional moments.
Sixth track is Dope. No, that was not a ghetto moment. It’s called Dope. Although it was a tough call between this one and track three, 13-Thirteen-, I think Dope is my favorite MONSTERS track. First of all, the steady, standard heavy metal instrumentation is excellent. Secondly, the vocal melody is one of the most interesting I’ve heard in a while. Thirdly, the lyrics were extremely well penned; I respect any Visual Kei artist who can sing the days of the week and still sound like a demon from the 6th level of hell. The sing-song of the melody made an incredibly badass moment of the album also funky. Oh, and those sound effects mixed in the middle of the song that strike a chord of Arabian Nights, The Mysterious Orient, and sultry Asiana were totally unexpected, and highly appreciated.
Falling was a good break in the theme of the album so far. A good blend of mellow and heavy, it’s another of those impeccable D’espairs songs that confuses you as to whether it’s a ballad or a thrasher. The soaring vocals are great, and the thick, strummy bass-line layered beneath them gave a nice grainy dimension to the elements of the song.
Progress had a lot of cool parts, such as the whispery vocal opening, and the sometimes-raspy and continuously- deep-diving chord-progressions.
Final Call is still never going to be my favorite song by them, but then, once I realize that the possibility didn’t even exist to begin with, I can appreciate it for what it is– another great piece of music. However, I somehow can’t get used to hearing HIZUMI sing the word “baby”. I doubt he would ever call anyone “baby”. In fact, let’s stop talking about it before I become disturbed.
And then we’re…already at the end? The finale, Abyss, was, in my personal opinion, not worthy of its position on the album. The tracklist so far has been so brilliant that it really needs to ‘go out with a bang’. Well, that doesn’t really happen. They take a slightly different tack. Instead of finishing off by just scooping out our brains and eating them while we watch, this slow-ish, sub-happy rock’n’rolly-poly piece comes on. Don’t get me wrong, I like it as well as the others. The opening is cool, and it really sounds like the track that would play as the band takes its final bow and exits the stage one by one, leaving a pack of drained Visualists straggling towards merch stand and refreshing night air, having just had the time of their lives.
And really, if I had to describe the experience of hearing MONSTERS in one line, that would be it.
This isn’t a nice album. It’s grungy, it’s gloomy, it’s rebellious, and it’s rough and ready. Seriously wicked, and madly headbang-able, it’s a well-balanced collection of awesome tracks, each of which are striking, individual, and of incredibly good stock. I think I can safely say this from a completely unbiased place; I was surprised and impressed by the entire production, from composition to mixing to compilation, and frankly, this album totally rocks. This has renewed my faith in Visual Kei, and I am highly anticipating seeing D’espairs tear off their human skin and go MONSTERS on us next weekend. Thank you, D’espairsRay, for what is, I believe, one of the best albums of the year.
secret garden 