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REVIEWS
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Tobira
CHAINSAW
Kaze No Slave
Doumyaku
Fuefaki Douji
Mujin No Tokai
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Suicide Ali
Sarau Fue to Yakusoku
Darkest Labyrinth
Posted: Thursday, October 23, 2008
By: Amy Mauk
Flash Animator / Motion Graphics Slave
By: Amy Mauk
Flash Animator / Motion Graphics Slave
Suicide Ali has moments of brilliance sandwiched between craziness and Skid Row guitar solos.
J-Rock can be a very strange bird. It's nearly impossible to point at it and say "These people have no talent," but it's also as difficult to point at it and say "Wow, they really nailed this." It's as though J-Rock's whole schtick is to be all over the place, playing a billion notes, and sounding vaguely like Cradle of Filth-lite meets Ministry's Psalm 69. It's fun to watch, but would anyone really want to listen to it on purpose? In the case of Suicide Ali's Sarau Fue to Yakusoku, the answer - to quote Little Britain character Vicky Pollard - is "no, but yeah, but no."
"Tobira" seems a bit home produced, with vocals buried in the mix and drums that can get a little sloppy when they speed up. Guitarist Yuu has mad skills, but seems a little too eager to show them off, noodling around and bringing to mind hair bands and nü-metal. It's interesting to hear Suicide Ali go, but it's so dramatic that it's hard to take "Tobira" seriously. "CHAINSAW" has some fun quasi-robot vocals, but it also has a weird combination of nü-metal guitars and synths. The song comes off sounding like a bunch of "edgy" things all glued together haphazardly. Things take a turn for the better with "Kaze No Slave." Vocals seem to have a direction, and there's even a recognizable and memorable chorus. "Doumyaku" also seems to have a sense of purpose. The song builds into craziness and the metal-style guitars work. They still sound a little like Skid Row, but they come off sounding fun rather than like a caricature of metal. "Fuefuki Douji" is also entertaining with a fast beat and a synth line that sounds like pan flute master Zamfir on speed. "Mujin No Tokai" is basically a long and ultimately forgettable outro of mellow repetition. Sarau Fue to Yakusoku has its moments, but Suicide Ali may have difficulty finding an audience outside of the anime crowd.
"Tobira" seems a bit home produced, with vocals buried in the mix and drums that can get a little sloppy when they speed up. Guitarist Yuu has mad skills, but seems a little too eager to show them off, noodling around and bringing to mind hair bands and nü-metal. It's interesting to hear Suicide Ali go, but it's so dramatic that it's hard to take "Tobira" seriously. "CHAINSAW" has some fun quasi-robot vocals, but it also has a weird combination of nü-metal guitars and synths. The song comes off sounding like a bunch of "edgy" things all glued together haphazardly. Things take a turn for the better with "Kaze No Slave." Vocals seem to have a direction, and there's even a recognizable and memorable chorus. "Doumyaku" also seems to have a sense of purpose. The song builds into craziness and the metal-style guitars work. They still sound a little like Skid Row, but they come off sounding fun rather than like a caricature of metal. "Fuefuki Douji" is also entertaining with a fast beat and a synth line that sounds like pan flute master Zamfir on speed. "Mujin No Tokai" is basically a long and ultimately forgettable outro of mellow repetition. Sarau Fue to Yakusoku has its moments, but Suicide Ali may have difficulty finding an audience outside of the anime crowd.
