Robyn Writes

J-Pop Sunday – World Order

Hello! It’s Kaito again! It’s time for another look at the weird and wonderful world of Japanese music. Today we’re meeting Genki Sudo and his group “World Order”: Proud owners of Japan’s smartest suits and smoothest moves.

Quick guide:
Act Name: World Order
Years Active: 2009 – Present
Genre: Electronic Pop
Notable Singles: “World Order” (2009) “Machine Civilization” (2011)
Suits Provided By: Aoyama Tailor (Since 1964)

You’ve got to love a man in a suit, haven’t you? Well, except from bankers. And politicians. But Japanese pop acts in suits? Yes please. Of course, a band can’t be judged on their appearance alone; it’s the group’s precision choreography and sound that has really caused people to take notice of the group. Curious about what I mean? Well take a look at the video for their debut single “World Order” and you’ll quickly understand why they’re worth taking note of:


The video for “World Order” shot in New York amidst an unsuspecting public.

World Order was founded by former Mixed Martial Arts fighter and kick-boxer Genki Sudo: He’s the bloke in the middle of the photo at the top of the article. (And no, you read that right, he used to face off in combat sport leagues such as the UFC and HERO’S.) Now he leads World Order, supported by the talented group of dancers he has assembled for the act. But he’s not just the main face of the group: Genki also writes the lyrics for the group’s songs, composes the music, and he choreographs the dance routines. Outside of the group Genki has appeared in several small acting roles for major films (including film adaptations for the popular Japanese superhero series “Kamen Rider”), started an amateur baseball team for people over 30 and also written 8 books, with titles such as “神はテーブルクロス” (“Kami wa Teeburu Kurosu”Or “God is The Tablecloth” in English) and “Let’s 猫” (“Let’s Neko” which translates to “Let’s Cat”). Who says there are no more polymaths in the world?

So far World Order has released two albums, two singles and four videos: 2010’s “World Order” was the group’s first album release. “World Order”, which also featured six songs, including the track “World Order” (So, that’s World Order, from the album World Order by World Order) along with “Boy Meets Girl” and “Mind Shift”. “Boy Meets Girl” and “Mind Shift” both had videos created to promote the tracks.


The video for “Mind Shift”

In 2011, shortly after the March Tohoku Earthquake and Tsunami disaster, World Order released a new single with a new video, “Machine Civilization”, in response to the incident. It’s a powerful track, and while the video retains the sense of playfulness previous videos have there is a sense of solidarity behind the group’s performance that reaches out to the viewer which is encapsulated perfectly by the message at the end of the video:


The video for “Machine Civilization” culminates in words of solidarity for a nation enduring a time of disaster.

2012 saw the release of “2012”. Six new tracks appeared on this release as well as “Machine Civilization”. (I say, while the music and choreography is exciting and original, the gang sure like to phone it in with album titles, don’t they?) Along with their latest release, the double A-side single “find the light/Permanent Revolution”.

By this point I’ve said all that needs to be said: The music is great, Genki Sudo himself is wicked cool, and the videos are impressive. As such I will leave you with a couple more videos from World Oder and this one last titbit of info that you can do whatever you like with: “World Order”, “2012” and “find the light/Permanent Revolution” are all available to buy in the UK via Amazon MP3 or iTunes.

Anyway, enjoy these last two videos! “Boy Meets Girl” is my personal favourite, both in terms of the video and the song itself.


The video for “Permanent Revolution” sees the gang visit Korea and solve world peace. (I think)


Meanwhile, the video “Boy Meets Girl” sees the lads on a night out, during which they encounter mysterious creatures known as “Girls”.

The Manix – Neighbourhood Wildlife

The words “pop punk” hold a different meaning to modern music than they did ten or fifteen years ago. Nowadays, when you hear those two fateful words, the images that spring to mind are screaming youngsters, pouting singers, and hooks almost as bouncy as band members’ various hairstyles. The old guard of what some may refer to as “proper” or, God-forbid, “real” pop punk seem to have left us. Bands like Green Day and Blink-182 have grown up and started writing straight-up rock anthems, while Sum 41 are, in all honesty, past their best. Only the heroes of New Found Glory stand proud and declare pop punk “not dead”, and as wonderful as they are, they can’t go on forever. However, just as the future of the genre seems set, The Manix step forward, a band determined to continue NFG’s empowering message.

From the opening drumbeat of “Fingers Crossed”, it’s clear that this album is not your average, middle-of-the-road bouncing pop punk half-hour. The thick bassline and power-chord guitars instantly bring to mind early Sum 41 work, while the gruff vocals of frontman Corey Ayd position this band firmly in the ‘punk’ side of the pop punk camp. Ayd is no stranger to the world of punk, having previously been a part of Banner Pilot, and his experience in the genre shows through as you begin to roll through the tracks. “Where Do We Go?” is a simple but effective bang-along tune, while the intriguingly titled “What’s Myage Again?” (no, not a typo) provides the first big highlight of the album, with a great instant-vocal opening and scream-along chorus providing the basis for what would undoubtedly be a beloved anthem in a live setting.

Fifth track, “A Quiet Wry Anger”, provides another highlight for the simple reason that it’s something a little different. Just as the album begins to feel somewhat formulaic, the slightly more rhythmical guitar and longer instrumental sections provide a welcome relief. However, sadly, this track is an exception, not a rule. The band’s reliance on the punk genre starts as a strength, but soon develops into a negative on the album – to put it brutally honestly, much of this album sounds the same. There are a couple of stand out tracks – the aforementioned couple, plus the absolutely superb closer “This Old House”, which is certainly an example of saving the best for last – but overall, not many of the albums’ tracks sound any different from the others. While some bands (yes, Mumfords, I’m looking at you) have made a career out of playing the same song twelve times and calling it an album, one leaves this particular record feeling plenty entertained, but perhaps lacking a sense of inventiveness. If The Manix don’t find that element, then sadly they may be destined to just stay in the pile in future, yet another punk band trying to drag themselves out of obscurity. But if they pull it out of the bag, then based on the raw talent displayed on this record, the music world could have something huge on their hands.

Three out of five high fives!

Monolith – A Votive Offering [EP]

A Votive Offering is the latest E.P from young metal purveyors Monolith.  Kindly given away free by the band, the twelve minute track, divided into four parts, should be avoided by those with a weak disposition or anyone who doesn’t posses an overt fondness for pulverizing, unforgiving beatdowns or caustic, intensely aggravated vocals.

For anyone unfamiliar with Monolith, the band specialises in a brand of devilishly heavy hardcore, incorporating off-kilter riffs delivered with an unrestrained anger Vinnie Jones could only dream of.  Their debut E.P- I, Misanthrope was an exercise in sheer aural brutality, but with their latest release the band have upped their game across the board, although any wholehearted concept of subtlety remains defiantly absent.  What’s instantly palpable is that the Meshuggah influence has been dragged to the forefront, with riffs eschewing Fredrik Thordendal’s enduring legacy of convoluted mathematically precise metal, which rains down relentlessly.  The constant terror allows little breathing space for the listener in lieu of an unremittingly intense listening experience.  The opening wall of foreboding feedback and the scene setting sample provide one of the few respites from the bludgeoning assault, providing a sinister backdrop to the fierce cacophony from which there appears to be no salvation.  Techy as it may be, the band are well aware of the power that simplicity can provide.  Several times they drop into more straightforward but no less aggressive moments of brutality to keep those with a penchant for hurling themselves round the pit satisfied.  Some highly inventive drum work fires off complex poly-rhythmic blasts, using every inch of the kit whilst remaining impeccably tight.  Vocals growl unremittingly and it is an object of wonder as to how the vocalists throat can withstand such a battering without being torn apart by the sheer force with which every line of lyrics are delivered.

A Votive Offering is a record that hovers eagerly on musical boundaries, facing uncharted waters which the band has more than demonstrated they have the ability to explore and warp to their own twisted liking.  The sheer level of musical competency and progressive intuitions belies the band’s short lifespan as well as the young age of the members themselves.  If, with only their second release, Monolith are making music so tantalizingly complex and powerful, then at this point their potential knows no bounds.

4.5 out of 5 high fives!

J-Pop Sunday – The High-Lows

Something a bit different for your reading pleasure! The first in series of semi-regular features that dives head first into the weird and wonderful world of Japanese music. I’m Kaito and I’m the one who will be pushing you off the end of the aforementioned diving board. However, there’s no need to worry! I’ll ease you in gently for our first foray; we’ll start on the familiar punk rock ground TBO readers are accustomed to as we get to know a group known as The High-Lows.

Quick guide
Act Name: The High-Lows (ザ・ハイロウズ)
Years Active: 1995- 2005
Genre: Punk Rock
Notable Singles: “Missile Man (ミサイルマン)” – 1995, “Seishun (青春)” – 2000, “Thunder Road (サンダーロード)” – 2005
Album Title that Amused Me the Most: “Tigermobile” – 1996

The High-Lows formed in the summer of 1995. Born from the ashes of The Blue Hearts (ザ・ブルーハーツ), former band of lead singer Hiroto Koumoto, guitarist Masatoshi Mashima and keyboard player Mikio Shirai, the trio partnered with bassist Sakito Shirabe and drummer Kenji Oshima to form The High Lows. Riding on the popularity of The Blue Hearts, October saw the band release their debut album “The High-Lows” – Which reached a respectable No.5 in Japan’s Oricon charts – along with their first single “Missle Man (ミサイルマン)”. The band’s upbeat punk rock style helped keep the band in the public eye and a steady stream of singles followed over the next few years.


– a live performance of Missle Man

1996 was a busy year for The High-Lows: The year saw the release of the band’s second album “Tigermobile” which reached No.6 in the charts and also saw the band make its first major nationwide tour, with 36 dates in 34 cities. The band also managed to nab a gig performing as the opening act at the renowned Nippon Budokan venue in Tokyo for some English band called “The Sex Pistols.” (Nope, I’ve never heard of them either…)

Time passed, and new albums and singles flowed: 1998 saw their third album “lobster” released followed by “baumkuchen (バームクーヘン” in ’99, both of which broke the top ten in the charts, but 2000 was the year that the band had their most successful single: “Seishun(青春)”


– The band performs their biggest hit “Seishun” live

Reaching number 8 in the Oricon charts, Seishun (or “Youth” in English) was the band’s bestselling single and it’s clear to see why: It’s hard not to like it; it’s cheerful but powerful and optimistic all at once: Its release in late May cemented it as a perfect anthem for the upcoming summer. Or maybe it has something to do with the fact that it was used as the theme song to the comedy drama serial “Densetsu no kyoshi (伝説の教師)” (“Legendary Teacher”). Probably the latter. Either way, it’s an enjoyable song, don’t you think?

After Seishun the band continued strongly, releasing three more albums over the next three years and continued their energetic live performances, however in 2003 keyboardist Mikio left the band in 2003 to pursue solo projects, but that didn’t hold the remaining members of The High-Lows back: Hiroto and the crew kept rocking across the country and producing hits for another two years. Activities during this time included a slot at the 2004 Fuji Rock Festival; performing alongside big name international acts such as The Killers, Snow Patrol, Franz Ferdinand and… erm… Dizzie Rascal.

However, after 10 years performing as The High-Lows it was time to take a break: 2005 saw the release of the band’s final single: “Thunder Road (サンダーロード)” on the 18th of May and 5 days later The High-Lows played their final show in Naha, Okinawa, as a part of their “The ★ MUSTANG 04-05” nationwide tour.

So, that’s the story of The High-Lows. But what happened to these guys? Well, in 2006 lead singer Hiroto Komoto and guitarist Masatoshi Mashima set up yet another band together: The Cro-Magnons (ザ・クロマニヨンズ). I guess you can’t keep an old rocker down because The Cro-Magnons are still rocking their way across Japan. Their latest single “Totsugeki Rock (突撃ロック)” (“Assault Rock”) was even used as the opening theme song to the popular ninja themed action anime series “Naruto Shippuden”. Meanwhile, keyboardist Mikio Shirai’s solo projects didn’t work out for him, however in 2005 he re-united with another former member of The Blue Hearts, Tetsuya Kajiwara, to form a new band called The Big Hip (ザ・ビッグ・ヒップ) sadly, the hip wasn’t big enough and the duo only lasted for three years before collapsing. Alas, drummer Kenji Oshima and bassist Sakito Shirabe seem to have fallen off the radar since The High-Lows put down their instruments. I like to pretend that they’ve both got nice jobs at a record company somewhere or that they also found new bandmates to carry on playing with and that they’re not sweeping the streets somewhere in Shinjuku…

Ten years, eight albums, twenty six singles, two spin-off bands and a heck of a lot of music are only part of the legacy The High-Lows have left to this world. Join us again next time for another glimpse into the wonderfully obscure world of Japanese Pop here at TwoBeatsOff. For now, I will leave you with one last track from The High-Lows: Their 1998 single “Rolling Jet Thunder (ローリング・ジェット・サンダー)”. Feel free to sing along!

Oh! Oh! Hang on! Wasn’t a “The Sex Pistols” song used in one of those Tony Hawk skateboarding games? Number 4 I think. On the PS2! Ehh, doesn’t matter…

Streetside Vinyl – If There’s A Hope

Streetside Vinyl hail from Bakersfield, California, and it’s impossible to deny the influence of California’s sweeping musical heritage in their debut album. Even at just seven tracks long, If There’s A Hope is a daring and individual effort, jam-packed with laid back pop rhythms and storming rock anthems.

While the album begins with a brilliant classic rock style riff in ‘I Have My Reasons’, it takes it a short while to really get going. The vocals falter slightly in that opening track and it takes the chorus a little bit to build up into a fantastically sarcastic ‘la la la la’, but as the track goes on, it bolsters in confidence and brings forth a great outro. ‘Promises and Rings’ is a nice, chilled out affair and very reminiscent of that early 2000s Decaydance scene, but the real gem in Streetside Vinyl’s crown is ‘Enough With The Tricks’. With a bit of anger behind the vocals, the track really hits its stride. The guitar work is absolutely incredible, the bass is entrancing and there’s no doubt that Streetside Vinyl is filled with very talented musicians. Building to an outstanding crescendo, this is the track that will cement Streetside Vinyl’s reputation as keen and intelligent songwriters.

It’s not to say that it’s all downhill from there either; absolutely far from it. The band experiment a little more with their sound in ‘Still Searching’, adding some sweet piano riffs throughout and ‘His Name Is Chaos’ utilises a dual-vocal approach for maximum intensity. The record is produced to a very high standard, and a lot of the tracks lead into each other perfectly, leading to a very fluid and well constructed sound. As well as high-octane rock hits, Streetside Vinyl aren’t too shabby at ballads either. ‘Castles and Crossroads’ is a beautiful slow burner of a track, and although the lyrics are a little bit cheesy, they’re quick to sink into your cortex, leaving you singing along for days. The album ends on ‘Escape’, an optimistic ode to the road. The journey certainly begins here – almost all of the tracks on If There’s A Hope have that huge arena potential, perfect for a summer festival, and it’s only a matter of time before Streetside Vinyl hit it huge.

4 out of 5 high fives!