Robyn Writes

J-Pop Sunday: The Mirraz

Time for another J-Pop Sunday! No, wait! Don’t run away, avid TBO reader! These guys are all punk rock-y and that means that this column might actually fit in with the rest of the site for once! That’s right cool kids and kidettes, I can be cool! Check out “The Mirraz”!

…You can’t see it, but right now I’m doing a super-cool double hand finger guns thing to show how cool I am. Oh yes.


Nah, the camera’s over here, lads.

Quick Guide:
Act Name: The Mirraz
Line-up:
Shohei Hatakeyama (畠山 承平) – Vocals/Guitar
Masahika Sato (畠山 承平) – Guitar/Vocals
Keizo Nakajima (中島 ケイゾ) – Bass/Vocals
Rui Sekiguchi (関口 塁) – Drums (Former member, left June 2013)
Years Active: 2006 – Present
Genre: Indie Punk/Rock
Kaito’s Choice Tracks: TOP OF THE FUCK’N WORLD (2010), ハッピーアイスクリーム (Happy Ice Cream)(2010), 真夏の屯田兵　～yeah! yeah! yeah!～ (Colonizers of Midsummer ~ yeah! yeah! yeah! ~)(2013)

So, The Mirraz! I’ll be brief: The band formed in the September of 2006, got their name from the mistaken belief that “Mirra” was Portuguese for “Mummy” – as in those chaps in Egyptian Tombs – and were influenced primarily by British band “The Arctic Monkeys”.

…And that’s all I’ve got. I’m sorry! I literally only found out about these guys yesterday after buying their third album in a game of “J-Band Album Roulette Chance”. English language information about the band seems to be scarce and my Japanese is just awful. However, I do feel as though I hit the jackpot with my little shopping game and after checking out their music, I’m sure you will feel the same.

Title and opening track from the album I mentioned a moment ago, ‘TOP OF THE FUCK’N WORLD’ oozes a delightful blend of tough and cool which builds to suggest that we’re in for a treat with the rest of the album, yet it doesn’t fall into the trap of being an “intro track”. It’s strong enough to stand on its own feet, even without the album behind it.


How many different Tokyo landmarks can YOU name in the video for “Happy Ice Cream”?

You could argue that Happy Ice Cream is generic and/or repetitive, especially in the guitar riffs, but, it’s still a nice song to chill or drive out to. And it makes me smile.


“Colonizers of Midsummer ~ yeah! yeah! yeah! ~” appears on the band’s latest release.

Another upbeat track, “Colonizers of Midsummer” feels free-spirited while invoking the spirit of classic punk in its’ music. Which, y’know, it’s pretty neat. Those guitar riffs in particular make me think so.

See, cool punk people, Japanese music can be hip too. Sadly, I’ll never be “with it.” Until next time!

More of The Mirraz:
Official Website: http://the-mirraz.com
Twitter: https://twitter.com/the_mirraz
Facebook: https://www.facebook.com/TheMirraz

Review: Scouts – Why Do My Friends Have To Live Around Here

From the title, you’d think that Why Do My Friends Have To Live Around Here would be an extremely self-deprecating snark fest. However, Scouts have come up with a much better idea, and instead, WDMYFTLAH is a gloriously life-affirming punk rock singalong with plenty of heart and mind.

Alright, it’s a tiny bit self-deprecating. ‘Please Don’t Take Me Back To North Shore’ is a little bit snarky, but it’s layered in punchy rhythms, strong and commanding vocals from Bobby Pook and Paul Barrow and puts them in the same kind of league as Latterman or Small Brown Bike with the kind of melody they’re just throwing at you. Although even with comparisons to said American stalwarts, it’s definitely a localised EP – if you’re from the North West, you might just recognise a few scenes. Scouts are decent storytellers and it’s easy to get swept away in the picture they’re painting – but with guitars and really gruff vocals, not actual paint, yeah? ‘Every Day In A New Way’ covers the bleakness of a town that’s just not getting any better, and it makes you want to shout along with it, no matter where you’re from. ‘Superstoker’ is reminiscent of Polar Bear Club’s first (and best) album, but with a keener, more British edge – and better drums. ‘Kensington Streets’ is a slow burner, but it’s infectious and even though the EP ends on a slightly melancholy note, the atmosphere built up in the final few minute is not only testament to the band’s fantastic talent, but to their ability to leave you feeling completely uplifted despite the tone of the track.

Although far more serious than Pook’s usual band, Me Vs Hero, the new Scouts EP is far deeper and far more involving, and therein lies the greater reward. If you like your punk rock to be smart, involving and inventive, then Scouts might just become your new favourite band.

4.5 out of 5 high fives!

Review: Tyler Daniel Bean – Everything You Do Scares Me [7″]

Huzzah! Tyler Daniel Bean returns with a two track 7” of his tender and introspective emo stylings. Hot on the heels of 2012’s stunning LP Longing, a record that no doubt swooned so many fragile hearts, Everything You Do Scares Me continues Tyler’s commentary on his inner turmoil, where sorrow is clearly engrained in every trembling vocal line and overtly minor key chord progression.

Subject matter of death and the shockwaves it sends through the psyches of loves ones may seem foreboding and somewhat morbid, but Tyler’s sublimely striking musicianship and narratives endowed with plain-speaking humility proves alluring to the ear. His incredibly personal lyrics, detailing his inability to cry after the death of a friend, suggest shame – his incapacity to react and convey his grief through means deemed as customary obviously tearing at his soul. He turns to self-deprecation- mocking himself as an “asshole” for his apparent emotional shortcomings. Such world-weary maturity fits the ‘old head on young shoulders’ archetype down to a tee, Tyler’s sensitive and acute observations on the process of grief and sadness belying his relative youth.

Side A, ‘Year Of The Snake’, is held together by sulkily strummed minor chords and a chiming lead guitar reminiscent of American Football’s melancholic and mellow emo digressions. Allusions to Brand New are cemented through a sublime dynamism, Tyler masterfully taking the song to an exultant crescendo where he frees himself of much of the measured restraint, his vocal delivery growing in intensity until it begins to break and fragment. A painfully simple four-note riff brings the track to a dignified and sullen conclusion.

‘I Was Wrong’ employs a more driving rhythmic urgency yet sacrifices none of the subtly invoked gloom that lurks over both of these tracks, inflicting every melody and vocal nuance with a forlorn bleakness and the feeling of omnipresent grey skies . The weaker of the two songs, the track is no less affecting in its conveyance of emotion but remains less aurally intriguing than the A-side.

Everything You Do Scares Me is a beautiful continuation of Tyler’s growing body of work, his playing branching out and becoming more refined. Anyone with a love for American Football’s seminal self-titled album or indeed the sombre emo of the 90’s will surely fall for Tyler’s inviting croon and sumptuous instrumental arrangements. A perfect soundtrack to accentuate bouts of melancholy.

4 out of 5 high fives!

J-Pop Sunday – Super Update Special!

Hello all! Welcome to a slightly different edition of J-Pop Sunday! Today, rather than introduce you to a new artist, we’re instead going to have a quick look back to some of the artists we’ve covered over the past six months and check out what they’ve been up to since they were featured. I swear, this is totally not like when the writing team of a sitcom have run out of ideas and decide to do a clip show episode. Honestly. And the editor lady said it was ok.

First up, remember Kyary Pamyu Pamyu? Of course you do, we mentioned her back in February. The young fashionista has continued her campaign towards global domination by hosting live performances around the world – including here in the UK –appearing in adverts for literally anything back home in Japan – including KFC, Suzuki, and most recently a part time work recruitment agency – and of course she’s still releasing music. A new album “Nanda Collection” was released in June and two singles from the album have also appeared. “Invader Invader” (which – I’ll be honest – I thought was a bit pants) and “Ninjyaribanban” which mixes together Kyary’s familiar style with an old timey Japan theme.

Ahhhh, LiSA. Gosh, she’s still pretty. She’s also released a new single since we last saw her. It’s called “Träumerei” (which translates from German as “Dreaming”) and yet again it’s being used to plug an anime series. Come on LiSA, you don’t need to do this anymore! You’re more than good enough to stand on your own two feet! All it leads to are weird NicoNico (a Japanese video sharing site; it’s like YouTube but full of Miku Hatsune videos) and YouTube comments…

Most surprisingly, BABYMETAL still exist. I wasn’t originally planning on including them in this update round-up…thing, but their newest single “Megitsune” (Female Fox) is actually pretty awesome. They also performed at Japan’s “Summer Sonic” rock festival earlier this month.

90’s throwbacks Access (or AXS if you prefer) have a new single and are on tour once again. Sadly, I haven’t been able to find the video for “JOY TRAIN” – yes ,that really is the name of the single – so we’re going to have to make do with the advert for it which – according to TBO Editor-in-Chief, Robyn – is “like the 80s vomited rainbows onto YouTube”.

In very slightly more sane news POLYSICS and the telephones join forces next month to embark on a joint European tour! (Get hype, people!) The bands will visit France, The Netherlands, Switzerland, Belgium and the UK this September. POLYSICS’ official English language site had all the info for dates and venues. Under normal circumstances I would be very excited at the prospect of seeing my favourite band performing live, but, as current plans go, I will be out of the country when they are in the UK. This makes me rather angry at myself and at one git who is currently in Canada. As such I think we should leave it there for now.

I need a cup of tea to calm myself down. UNTIL NEXT TIME, PEOPLE! There will be new content. I swear.

Review: Pariso – Consanguinity

Holy shit! Where did this record come from? Consanguinity emerges with no hype, no prior announcement or any of those irritating “teaser” videos that are now standard industry exponents – in doing so casting a refreshing air of mysticism over the release instead of a formulaic and monotonous build-up. Consanguinity sees Pariso shed much of their penchant for brevity and insistence on getting to the point in the most intense possible way whilst maintaining the ridiculous levels of beats-per-minute to which they apply their terrifying hardcore fare.

Comprised of Pariso’s trademark pulverising grind, the soundtrack to many a violent and sweaty pit, Consanguinity exudes a more spacious quality than much of their previous claustrophobic hellfire yet compromises absolutely none of their impossible heaviness. A decidedly amped up production courtesy of Ranch Studios- the go-to studio for the UK underground heavy contingent, aides the bands newfound eye for expanse. It ensures moments of pure brutality arrive like a bludgeon to the face whereas sparse moments of relative introspection convey affecting atmospherics.

Instances of blurred intensity are decidedly more sporadic than their earlier output, the guitarists are now discovering the mischievous glee of penning riffs that crush and pulverise. Whilst sections such as the opening grind of opener ‘The Separation’ and the unstoppable driving force of ‘Pigs’ exude familiar levels of devastations: guitar and drums united in chaotic flurry, the sonic palette they eschew is capacious. Influences emerge from the murkier corners of the heavy rock diaspora, spreading their tendrils towards the unorthodox and toying with some ideas that exist decidedly outside of the box. There is even a occurrence of *gasp* sung vocals, somewhat of a faux-pas for many bands in Pariso’s field and a device seemingly at odds with the band’s feral and brutal disposition. Yet, in the context of ‘Tower of Genus’, a track modelled on a post-hardcore mould engrained with melodic inflictions that nod toward Deftones heavy/lush juxtaposition, the ‘clean’ vocals soar, contrasting the caustic grain of Mario’s defiantly English-accented screams.

The tired cliché of “heavy yet more melodic” can be applied here with upmost validity, the band awakening to the impact that a wider dynamic field can yield. This is a band who surely have yet to reach their creative peak, a myriad of potential pathways lay before the group. For Pariso, brutality knows no bounds, they are evidently still intent on penning the most uncompromisingly intense music their bodies and psyches can withstand. Thankfully, their curiosity to toy with moments of oddity and the unexpected leaves Pariso as an ever-evolving entity whose artistry can surely only proliferate.

4.5 out of 5 high fives!