• Dear readers,

    The month of April has brought us some stunning new releases by veteran bands but has been lacking in terms of promising new material by exciting newcomers. Nevertheless, I have once more managed to compile ten truly strong songs that should be entertaining from start to finish. This playlist includes artists and bands from Denmark, Finland, Italy, Japan, Mexico, Russia, the United Kingdom and the United States of America. The covered genres are blackened folk metal, country rock, folkloristic power metal, gothic metal, heavy metal, melodic black metal, progressive doom metal and thrash metal. Click on the following link to enjoy fifty-one minutes of hopefully splendid entertainment and don't forget to follow and like me on Spotify if you feel like it: https://open.spotify.com/playlist/5l32w3XPs1sWzCBVX3RuVG

    1. Over Kill - Scorched

    2. Metallica - Too Far Gone?

    3. Cradle of Filth - Demon Prince Regent

    4. Khemmis - Sigil

    5. Arkona - Kob

    6. Anthem - Master of Disaster

    7. Elvenking - The Cursed Cavalier

    8. Hamada Mari - Tomorrow Never Dies

    9. Sonic Metaphors featuring Blaze Bayley - The Monster You Made

    10. The 69 Eyes featuring Kat von D - This Murder Takes Two

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  • Batoru Rowaiaru / Battle Royale (2000) - An Essay to Disprove Exaggerated Popular Acclaim - 8/10

    Battle Royale (2000)

    As a big fan of contemporary Eastern Asian cinema, this film was introduced to me as a classic and when it finally saw its North American uncut release, I didn't hesitate to try this film out just to realize that this movie isn't as good as its reputation. The film revolves around a dystopian Japanese dictatorship that sends delinquent students onto an isolated island where they are supposed to murder one another until only one person survives.

    The general idea of an isolated island that becomes the exotic location of a killing spree is nothing new but the competition factor between the students could have been rather gripping with a few intriguing characters. Sadly, most of the characters happen to be as thin and exchangeable as the simple story line turns out to be. Only the exchange students and the most pitiless female student as well as the weird conflicted antagonistic teacher happen to be intriguing enough to carry this film. The characters that have been chosen as the leads are though not very profound and one isn't really concerned about their fates in the end.

    The movie starts with a lot of tension and explains an interesting short background story. In fact, this flick is filled with a few flashbacks but it would have needed more of this to gain some depth. After a while, the story gets predictable and redundant. One surely gets a few spectacular but also introspective killing scenes. However, most characters die quite quickly and in rather similar conditions after the introductary phase. It would have been more interesting to include less characters in this film to focus on their character development and to invent more diversified killing scenes as well.

    Another letdown is the end of the movie. It has a little twist that isn't that exciting but what disturbs me the most is that one of the evil characters that is shot to death suddenly gets up again, speaks a few senseless lines and finally dies in peace. In fact, many scenes in this movie feel somewhat exaggerated and surreal and keep this movie from being brutally intense. These moments simply lack credibility and don't fit with the rest of the movie that desperately tries to appear as realistic as possible.

    Nevertheless, the film is entertaining despite its flaws and it clearly has inspired books and flicks such as The Hunger Games more recently. For die-hard fans of Japanese flicks as myself, this movie is worth out a try but apart of that there are way better contemporary Japanese movies than this one here.

    Batoru Rowaiaru II: Chinkonka / Battle Royale II: Requiem (2003) - An Essay to Disprove Exaggerated Popular Backlash - 8/10

    Battle Royale II: Requiem (2003)

    While the original movie Battle Royale is considered a classic that I happen to find slightly overrated, its sequel Battle Royale II: Requiem is actually quite the opposite since it has been heavily criticized by fans and experts alike but turns out to be a very decent to great film. The story takes place three years after the original film when the survivors of the previous deadly tournament have formed a terroristic group aiming to overthrow Japan's dystopian dictatorship. The group calls itself Wild Seven, is led by Nanahara Shuya, the male protagonist of the first movie, and has found refuge on an isolated island. A new group of forty-two dangerous and difficult students is kidnapped by the restrictive government and forced to attack the island's hideout with the goal to murder Nanahara Shuya. As the students get to communicate with the charismatic leader, they however rather decide to support the rebels and overthrow the decadent government. The Japanese government then sends in the military to destroy the hideout and kill every single teenager, child and baby on the island. In addition to this, the United States of America menace Japan to intervene in order to annihilate the terroristic group for once and for all.

    This movie has convinced me on numerous occasions. The introduction creates a swift connection between the first film and its sequel that doesn't bore viewers with any unnecessary lengths. It's even possible to enjoy this movie without having watched the first film at all as the few important events from the first film are shown in poignant and short flashbacks.

    The opening scenes recall many elements from the first film and should therefore excite franchise and genre fans very much. The kidnapping of the students is mysterious, their arrival in the security area is gloomy and the speech by their teacher is intensely delivered by brilliant veteran actor Takeuchi Riki who has been among the cast of films such as Dead or Alive. This villainous character remains intriguing throughout the movie as viewers slowly discover his tragical background, his mental issues and his progressive change of mind.

    The first battle of this movie convinces on a most brutal note reminding of several excellent war films such as Saving Private Ryan. The realism of these scenes is quite astonishing and half of the students die gruesome deaths in the first third of the film. From this perspective, this movie is even more brutal, intense and pitiless than its controversial prequel. This film certainly isn't for faint-hearted audiences to say the least.

    Once the main location of the isolated island is reached, this movie shows some great battle scenes reminding of guerilla warfare. The students attempt to take cover, advance stealthily and infiltrate the hideout while the members of Wild Seven try to locate, slow down and assassinate their unexpected opponents.

    The middle section of this film is also its emotional heart piece. The surviving students meet the surviving rebels and talk things out. After initial confrontation, frustration and hesitation, the two sides ultimately discover that they have more things in common than they would have thought. They decide to unite their forces to challenge their dictatorial government. In the process, the characters that are introduced rather quickly in the introduction get more depth. This includes antagonistic characters like the villainous teacher or Japan's Prime Minister but also protagonists like transfer student Kitano Shiori played by an outstanding Maeda Ai and rebel leader Nanahara Shuya.

    The movie's ending certainly offers a few surprises and features some social commentary that was on the pulse of time at the time of its release. Imperialistic invasions, abject poverty and childhood traumas are themes brought up time and again throughout the movie and lead to an unexpected climax in the closing shots. This surprising, experimental and controversial ending certainly leaves room for discussions and thought.

    However, this movie isn't without its flaws to be fair. One of the most promising female characters, both stylistically and socially, the leader of the delinquent girls called Fukuda Kazumi who is played by charismatic actress Aja, is killed before the first battle even starts which aborts some truly promising development right from the start. Up next, several characters are poorly fleshed out from the start. Several students who behave intriguingly in the school yard, on the bus or in the military facility are killed before viewers can even empathize with them. The developmental passages occur only midway through the movie and severely lack in the introduction.

    One element that is often mentioned as flaw but should be analyzed in the context of its release is the anti-American sentiment presented throughout the movie. What might seem to be exaggerated, hostile and even slightly racist had a different intention upon release. The United States of America had just declared the exaggerated witch hunt of the War on Terrorism and had started its invasion of Iraq without any specific evidence for the existence of weapons of mass destruction. Both decisions were heavily criticized around the world and led to much political commentary. Some of the comments made throughout the movie are inspired by those circumstances and can at least be understood with this historic background information.

    At the end of the day, Battle Royale II: Requiem is a very good dystopian action-thriller with twisted plot, intriguing characters and wonderful action scenes that is much better than its negative reputation and deserves to be revisited. In my opinion, this film chooses an interesting different approach from the first movie, completes it wonderfully and stands its ground as a creation that equals the original release. For anyone who hasn't watched this movie yet because of the numerous negative reviews, don't hesitate to give this film an open-minded try on a rainy evening as you will almost certainly not feel like your time will have been wasted and might even be in for a very positive surprise.

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  • Dir en Grey - Phalaris (2022)

    Japanese quintet Dir en Grey is a band that is extremely challenging to describe even though the group has been around for twenty-five years and counting as it is. This band combines genres that seem incompatible on paper. Elements of classical music and cinematic soundtracks collide with Japanese pop music that is intertwined with alternative rock stylistics and death metal outbursts. While such a band would have trouble achieving anything more than getting some attention in the niche of contemporary avant-garde music abroad, the five members are considered rock stars in Japan and regularly play sold out shows in front of thousands of enthusiastic fans of all ages. The country's open-mindedness to appreciate particularly eclectic artists is splendidly exemplified by the ongoing success story of Dir en Grey.

    Phalaris is the band's eleventh regular studio output and if you have never listened to this band, then the new album is a good starting point to explore the band's unique soundscapes. A look on the cover artwork already indicates that this group is out of the ordinary. What we see here is a bull breathing out fumes. What we don't see here are the name of the band, the title of the album or any information about the songs on this record. While this might be surprising to new listeners, it's exactly what fans have come to expect from Dir en Grey.

    This record opens with a song of ten minutes with a German title. Again, this is the kind of stunt the band regularly pulls off. Describing said song is quite a challenge. It starts like a smooth soundtrack with a few classical elements. Clean vocals kick in and transform the song into a relaxed pop song. At a certain point, the band quickens up the pace and enters alternative rock territories. Ultimately, the band members let off some steam and steamroll listeners with progressive death metal stylistics including ferocious vocals, distorted guitar sounds, bumblebee bass guitar passages and blistering blast beats. Opening tune ''Schadenfreude'' exemplifies everything Dir en Grey is about. This is a voyage rather than a coherent song. This unique listening experience should also give you a very good idea whether you dig this unusual band or not. If you like it, you are in for an adventurous rollercoaster ride. If you hate it, don't bother to listen to the rest of the record or any other album of the band. This song represents exactly what you can expect from this band.

    To be fair, not all songs are as extreme as this vibrant opener that breaks any barriers, limitations and rules. Some songs can actually be appreciated right from the start and won't need numerous spins to open up and make sense to the listeners. My recommendations for curious listeners would be catchy pop rock song ''Utsutsu, Bouga wo Kurau'' that could appeal to a wide audience, death metal outburst ''Eddie'' that takes no prisoners and gets to the point in less than three minutes and grandiose finale ''Kamuy'' that hearkens back to the opening song in length while employing a more digestible symphonic rock soundscape.

    As you can read, Dir en Grey's fourteenth studio album Phalaris combines diversified genres such as classical music, pop music, symphonic rock, alternative rock and extreme metal in eclectic songs varying between digestible two and a half minutes to epic lengths of up to ten minutes. The band's unusual trademark style needs some time to be fully understood, processed and appreciated and might be an overwhelming challenge at first contact. Patient listeners and seasoned fans will however discover one of the most unique bands from Japan whose members are seen as rock stars back home while being considered weird artists in most places abroad. No matter whether you are going to be intrigued or repelled by what you're hearing, there is one thing everyone should be able to agree on: Dir en Grey is most certainly a very entertaining band and you won't get bored throughout the eleven songs and running time of fifty-four minutes on Phalaris. Give this record a chance and discover something completely unique!

    Final rating: 70%

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  • The 69 Eyes - Death of Darkness (2023)

    The 69 Eyes were one of the first gothic rock bands I discovered as a teenager along with other Scandinavian groups such as HIM and The Rasmus. The band's most famous song ''Lost Boys'', a tribute to the quirky horror movie with the same title from the late eighties, got massive airplay on radio and the music video was regularly shown on MTV when I was fifteen years old. A friend of mine made me discover the associated studio record Devils as well as a few classics from the past. Later on, my father and I attended a gothic festival where the band played an excellent concert and left a remarkable impression as the festival's greatest band.

    Fast forward seventeen years later and my father and I are going to be attending another gothic festival this summer that is going to be headlined by The 69 Eyes. The Finnish quintet has just released its fourteenth studio record Death of Darkness that has been preceded by numerous singles released over the past few months. It was a logical choice to give this record a spin in order to prepare myself for the concert in two months that I'm already looking forward to.

    Death of Darkness is a very consistent gothic rock record that entertains from start to finish with ten songs and a compact running time of forty minutes. The band's timeless gothic rock flirts at times with traditional American country music and titles such as ''California'', ''Sundown'' and ''Outlaws'' also show that the lyrical concept is much inspired by American culture.

    People who are misguided by prejudice or who simply have a lack of knowledge often think that gothic rock sounds depressive, evil and suicidal. The 69 Eyes actually offer the exact opposite on Death of Darkness. The production sounds organic, smooth and vintage. The songs are harmonious, mid-paced and rhythmic. The rhythm section with drums and bass invites to dance along rather than bang your head. The guitar riffs are melodic and find the right balance between traditional country music in the key of the fifties and sixties and early gothic rock inspired by the seventies and eighties. Lead singer Jyrki has a low, relaxing and warm voice that sounds absolutely timeless. You couldn't tell whether he is thirty, fifty or seventy years old. These are also the reasons why The 69 Eyes could appeal to a vast group of listeners. If you are unfamiliar with the band yet, go ahead and give them a chance with this output.

    Many songs on this album have longing, romantic and thoughtful vibes with much depth. The duet with singer Kat von D on ''This Murder Takes Two'' is a perfect ballad for any gothic couple looking for a song to be played at their wedding that suits their taste without alienating conservative invitees. ''Dying in the Night'' invites to dream yourself far away on a rainy summer night as the rhythmic bass guitar, harmoniously distorted simple guitar play and emotional vocals recall the works of David Bowie in the seventies. ''Sundown'' is a great song for a smooth road trip through the desert and oozes with a positive atmosphere that will put a smile upon your face. Album closer ''Outlaw'' is a gothic ballad with country rock influences that summarizes and concludes this album perfectly and makes you want to spin the entire record time and again.

    Some readers might wonder whether this album also includes some more steady rock songs. As a matter of fact, this is one of the calmest releases in the extensive discography of the band but there are a few decent rock songs to be found nonetheless. ''Drive'' respects the record's cool, melodic and smooth sound but comes around with some hard rock guitar riffs and energetic backing vocals that indeed make you want to hit the road and head down the highway at full speed. ''Call Me Snake'' has some more sinister guitar sounds, rougher vocals and even a few explicit lyrics recalling at times the classic material of Billy Idol.

    At the end of the day, fourteenth studio album Death of Darkness by The 69 Eyes is an organic, smooth and vintage gothic rock album with a few country rock influences. The final product recalls artists and bands such as David Bowie, Johnny Cash, Bob Dylan, Billy Idol and The Sisters of Mercy but it most importantly features all the trademarks The 69 Eyes have established since their formation all the way back in 1989 in Helsinki. Death of Darkness sounds timeless and should appeal to a wide audience. The only things that are missing on this very good new album are some heavier tracks as well as truly memorable single candidates. If you are however looking for forty minutes of relaxed gothic rock music for a road trip, then you can't choose a more appropriate record than this one.

    Final rating: 75%

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  • Babymetal - The Other One (2023)

    Japanese kawaii metal sensation Babymetal has been going through massive changes since the release of its previous studio record Metal Galaxy. The band had to cancel numerous concerts due regional crises and the ongoing pandemic. The group released its first compilation in ten different versions. Babymetal then published a cryptic message and took a prolonged break, leaving fans scratching their heads and wondering whether this was just a hiatus or the end for the most unique metal band of the past decade.

    As things have turned out, Babymetal has come back with a bang, presenting a new conceptual record with ten songs and a total running time of forty-one minutes. This release was accompanied by numerous teasers, music videos and concert announcements throughout the world. Things continue to evolve even beyond the release of the new record since regular collaborator Okazaki Momoko has now become the official third member of the band.

    New album The Other One is a significant step in the right direction after chaotic predecessor Metal Galaxy that turned out to be a double-album overloaded with numerous guest appearances. This new album showcases a coherent industrial metal style focused on Nakamoto Suzuka's much-matured lead vocals and Kikuchi Moa's more melodic backing vocals. This record's mixture of dynamic contemporary metal sounds and catchy danceable passages recalls several contemporary female-fronted metal bands from all around the world such as Metalite, Beast in Black and Battle Beast to only name a few. Gone are weird lyrical topics about eating chocolate. There are no more unchained screams by female teenagers. We also have a lack of extreme metal grunts from the backing band. There are no noteworthy guest vocalists or musicians. Weird genre changes from idol pop to power metal over hip hop to melodic death metal within four minutes are a thing of the past. Babymetal have grown up like most of their fans have throughout the past decade.

    Once you are open to discover the band's new style, identity and genre, you are going to explore a good to very good record that is much better than Metal Galaxy without hitting the high marks of Metal Resistance and the eponymous Babymetal. Highlights include epic, melodic and playful opener ''Metal Kingdom'' that sounds much shorter than its running time of six minutes. First single ''Divine Attack (Shingeki)'' finds the perfect balance between the band's catchy, danceable and melodious contemporary trance pop side and the group's dynamic, energetic and rhythmic industrial metal soundscapes. ''Metalizm'' invites listeners let off some steam on the dance floor with its infectious beats and robotic vocals that meet some well-dosed Middle Eastern folk sounds and a perfectly interwoven playful heavy metal guitar solo. ''Light and Darkness'' is the greatest unapologetic pop song on this album that showcases Nakamoto Suzuka's angelic vocals best and should appeal to a wide audience. ''The Legend'' makes the best use of new wave and trance sounds that sound equally nostalgic as they hearken back to pop sounds from the eighties that have recently been popularized by television series Stranger Things and futuristic as the song has a wonderfully enigmatic, eerie and explorative vibe where even a saxophone solo blends in perfectly.

    As you can read, this album has numerous benefits. The coherent genre mixture of trance pop and industrial metal makes for the band's most coherent release to date. The airy, organic and timeless production blends in wonderfully. The record's focus is on lead singer Nakamoto Suzuka's skillful performance and Kikuchi Moa's matured backing chants.

    This album however isn't without its flaws to be perfectly honest. The vocals sound unnecessarily processed and use too much auto-tune. The songwriting fails to deliver a unique song that truly stands out and could heroically stand the test of time. The different songs furthermore sound a little bit too similar to one another and this release certainly needs a few spins to grow.

    At the end of the day, fans of old and new date should give Babymetal's The Other One the time it deserves to grow on them. This album convinces with a brave new stylistic direction combining trance pop and industrial metal. The record focuses on the strengths of the two singers and avoids unnecessary guest musicians and vocalists. The final result represents a group that has matured and found its very own identity which should represent the majority of its millions of fans from all around the world. This album could be the start of an exciting new era as Babymetal sounds fearless, focused and fresh.

    Final rating: 75%

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