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cjostrander · 7 years ago

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Sukekiyo: Adoratio

Hello everyone! Today i am going to do another promo review since nothing is really sparking an interest on my anniversary sheet. This is the second album by the Japanese band Sukekiyo. It is a supergroup that is notable for having members from the bands Rentrer en Soi, Kannivalism, 9Goats Black Out; and Dir en Grey. The singer Kyo from Dir en grey helms this project so if you are a fan of that group than this will add to your offerings from him. If you listened to their debut album Immortalis and follow up ep Vitium; then you should know that this band is very different from the member’s original projects. This is more artsy and operatic in theme that could be comparable to Radiohead in terms of experimentation. This album from what i’ve noticed is a lot more focused and cohesive than their prior work; since i believe the previous releases were more so intended as song collections rather than a proper album form. Hopefully you guys will find this interesting because it is definitely going to be a complex one.

Giji Necromancer: We begin with some electronic effects and the gloomy fade in of some tense yet soothingly melodic guitar riffs. The drums incorporate a nicely metallic texture into the mix while the bass infuses a nice rhythm to complement. The vocals are spaced out in a rather intriguing manner; which uses deeper and more rough backing vocals to give the song a very dark atmosphere which will do a fair job of garnering the listener’s curiousity. The guitars do a good job of incorporating some very experimentally complex riffs throughout this song. Eventually it shifts into some more aggressive instrumentals once Kyo begins incorporating aggressive vocals into the mix. It retains a nice pace to it and brings in a very impressive jazz style key instrumental into the mix. Strings support the background during this segment and the guitars begin to infuse some deeply layered solos; which are rather engaging in speed and technical originality. The jazz elements are a nice touch in this one that will help to keep its six minute run time feeling rather smooth and meaningful. This song’s ambitious format should do very well at appeasing fans of more thought provoking and attention invested music. 8.5/10

Gunya Ketsuron sohite chimanako: This four minute number begins on a soft but similarly dark note due to reserved yet melodic guitar riffs. The bass and drums work to infuse a dark roughness; which is combine with subtle electronic flair to elevate things smoothly. Kyo arrives smoothly with a very lively deliver; and infuses a sinister sense of catchiness that will show off nicely during a live performance. He makes heavier use of his high notes on this one than he did on the prior song; which allows for this song to display a little extra emotion for the listener to soak in. The guitars will continue to provide some very engaging riffs that will space things out rather effectively. Things get a little more aggressive towards the end and Kyo begins to utilize some of his demonic style vocals and this i’m sure will appeal heavily to fans of his more complex work with Dir en Grey. The catchiness of this one will actually help it to appeal heavily during live performances. I could also see the added benefit of it being a very easy one to dance along to as well. 9/10

Hidauta: Strings and classical sounding guitars or sitars begin this one on a rather blissful note before going to a very gloomy note. The electric riffs add in a very fitting sense of turmoil before utilizing a back and forth approach between peace and conflict tones to proceed. Kyo uses his more experimatal vocal style to fill in spaces while the instrumentals take the lead in developing the energy needed for the listener to retain a strong sense of engagement. This will showcases decently live and will help to fill the audience with a sense of chaotic energy and emotional doom. The subtle electronic elements are brought in when needed and help to further fill in the mix; even if it risks in making the song feel a bit bloated at times. This one can risk losing the listener at times due to its clunky progression at times but should still keep things moving at a decent pace for the album to avoid feeling like its dragging at this stage. I will give them props for the upgrade on the instrumentals for this album; since they have a better sense of strength and complexity to them verses their debut album. This in my opinion shows that the group is building a stronger sense of comfort with each other and has helped their writing to grow stronger as a result. 7/10

Jyunboku muku de arouga: Key begin this one on a very blissful note and the drums bring forth a nice sense of crunchy echoing into the background. The guitars do well to set the stage for Kyo to arrive on easy footing. His delivery is composed of a layered and melodic style. He relies heavily on his high notes during the chorus then breaks away for the electronics to take the lead. They develop careful trance elements that will do very well to actually get the listener up and dancing. This would of made it a decent choice for a single and definitely will make it a solid live picks due to its dance elements. Kyo’s vocals flow with a catchy flow to them and the guitars arrive over a complexly tense set of strings to deliver some rather entertaining riffs. It all takes a break for a moment before returning to the soothing key opening that this song began with. The vocals then proceed to close this one on a rather soothing note. This is a good one to pay attention to during your first listen. Definitely love the dark dance elements on this one. 9/10

Mannerism na tsumetai souretsusya: Acoustic riffs start this on a rather calm note while drums and keys build up the energy gradually. It has a very relaxing and complex tone; which will do a very good job of spurring further interest from the listener. The vocals develop rather nicely with calm melodies and pleasant spacing. The instrumentals definitely do a good job at ensuring the flow is free from boredom and inactivity. The drums keep a steady presence which will do well to keep Kyo’s vocals from falling flat. I will give Kyo props for the vocal style he uses with this band because its different from his work with Dir en Grey and carries a higher sense of risk as a result. Especially since he serves more in a supportive role in the music. This helps to complement my comparisons of this group to Radiohead since Thom Yorke serves exactly the same role in his band’s music. Both are very skilled and stand out firmly in their music; but are clearly position as supportive tools in the song rather than being just the dominant focus. I actually give the instrumentals more dominance as a result due to their complexity and consistent diversity. 8.5/10

En: This middle track begins quickly with tense guitars before shifting into very beautifully thought provoking key segments. These keys will be very pleasing to the ears and are a perfect support for Kyo’s vocals. Kyo uses a familiar style on this one and allows for the keys and complementary guitar riffs to develop a really engaging sense of emotional bliss. This will help to give this one more of a ballad format on the album; as well as a better sense of melody to enjoy as the song progresses. The bass does well to keep an interesting sense of rhythm in the song and should elevate the potential for some romantic slow dancing if you are having a more culturally themed date night than normal. 10/10

Kubitsuri yuugu: Synths begin this one with a unique fairy tale atmosphere before the guitars and drums arrive with a very groovy jazz tone. It is going to be very interesting to dance along to and should work up a nice response during a live performance. The vocals take on a more electronic note which works out rather well for this one. It helps to give off a very authentic live feel and Kyo’s more energetically cheerful tone will help to make his vocals stick out very firmly on this one. This combined with the instrumentals is going to make this one very infectious to the listener and help to ensure that they have no choice but to get up and start moving once it starts. So far this one and the last song are easily coming across to be my favorites on this album and would easily recommend them as singles. I could only imagine how entertaining the music videos would of been for both songs. 10/10

Saredo michizure: Bass and electronic sounding drum beats begin this one with a Nine Inch Nails like tones before the keys arrive to give off a very layered background atmosphere. Kyo arrives with a very slow and calm vocal delivery. His style is definitely builds up a tense mood for the song while the instrumentals continue to develop their unconventional rhythm. The guitar riffs fill in gaps nicely with their simple flairs and the keys will help to add in a little extra energy as things venture further on. Because the rhythm maintains a steady tempo; it does feel a bit longer for a listen. The electronica eventually goes full Nine Inch Nails towards the end with a very intense yet brief breakdown to help it stick out to the listener. It then returns to the regular verses but with a louder instrumental presence to help push it to the finish line. This song is a prime example of the risky nature of Kyo’s chosen vocal style. It also showcases what can happen when his vocals with this group are given too much room to move around on their own. Still not a bad piece but it does show you how careful this group has to be to make their sound work. 7.5/10

Shiryou no ariana: The guitars and drums begin with a very tribal synth like structure which changes things up rather nicely. It builds rather fondly on their Nine Inch Nails tendencies while adding in a rather engaging sense of anger into the mix. The vocals return to their support role with low and rough yet successful vocals. He gradually grows more intense as the song progresses and infuses near shouts as the instrumentals take the lead for a soft refresh period; while still building up the tension and frustration in the room. This will do very well at getting the listener’s adrenaline moving during a live performance; and should nicely with the more aggressive elements of their previous material. This one vocally will definitely contain more familiarity with later era Dir en Grey work (especially Dum Spiro Spero to be precise). This will help it to give their Kyo centric followers something a bit more familiar to enjoy. 9/10

Naburi: This six and a half minute number begins on a eerie note before guitars arrive to infuse it with a very dark sense of acoustic horror. It is rather beautiful in tone and the drums do well to keep it flowing rather peacefully with their complex patterns. The vocals arrive slightly under everything to deliver thought provoking yet spacey high note melodies for the listener to relax to. It delivers a very enlightening tone to the listener that will serve as a perfect thinking song for the listener to ponder over current issues in their life with. This certainly is a big plus due to the strong complexity that this song thrives with and immediately brings images to me of a classic gentlemen sipping on scotch while rummaging through his bondage in front of his mistress lol. Yeah this one will bring the listener’s darker fantasies to mind and that’s definitely going to be a nice element to have on the album. Because of this theme; it actually reminds me rather heavily of William Control’s stronger work (Hate Culture and Noir; Havent heard Revelations yet but heard good things). 10/10

Mimi zozo: Keys begin on a soft and gloomy note; while still infusing the song with a strong and highly engaging sense of melodic beauty. Jazz elements arrive right before Kyo enters and it develops a very engaging tempo. The quick speed makes for a very solid flow for this song and helps to ensure that this album is going to be a rather remarkable release when you choose to listen to it. The vocals are very strong and help to keep the energy in this song perfectly refined with its mix of dance crazed tense and classically complex melodies. The strings have a shining moment where they really envelope the song with a sense of fatal doom; while Kyo continues with his supportive verses. The guitars then deliver a nice set of instrumentals while Kyo helps to keep them feeling successfully propped up. This is easily another very nice treat to come across and is leaving things feeling very fresh even at this stage in the album. Normally with an album like this; i’d be feeling pretty exhausted by now and scraping the barrel; but they are doing a very good job of retaining freshness. 10/10

Aoguroi hysteria (single): This is the only album single and it begins with interesting synth loops before the drums arrive with a catchy dance beat to get Kyo moving. His vocals are rather soothing yet complex and will help to get the listener up an moving. This one plays with acoustic echoes very nicely and the guitars will help to get the listener into a hypnotic state of bliss before the chorus arrives. The chorus is rather energetic and feature Kyo delivering a cheerfully powerful set of high notes before returning to the more complex segments of the song. The high dance energy in this one makes a nice appearance towards the middle where the guitars really infuse a strong sense of chaotic fury into the mix without throwing anything out of sync. This sets the song up rather enthusiastically for the finale track. 9.5/10

Hakudaku: This finale track is easily my most listened to song on the album. It begins quickly with an energetic guitar/rhythm opening and the keys infuse it with an enthusiastic sense of melody. Kyo’s vocals infuse it with a demanding sense of complexity that builds a strong sense of farewell emotion for the listener to fall in love with. The vocals as a result dominate the listener’s focus for awhile till the strings enter. They infuse this song with a very complex sense of classical emotion and skill; which will grow in speed and tension as it progresses. It fits perfectly with the drums and and Kyo takes over smoothly to return it to the chorus. This string segment is a real nice surprise at this stage of the album and really sparked my interest in this album when i was shuffling through it the first time. 10/10

Overall album rating:9.1/10

Damn; this album was a really smart pick to do today. It takes a lot to score an A- on my reviews and this one really earned it. The band up’d their game tremendously with this release and has me looking forward to what else they come out with in the future. I’m glad now that they aren’t a one off project; even if it means a slow down in newer stuff from Dir en Grey. In honestly when i first heard this was coming out; i wasn’t very enthusiastic since their debut album was very hit or miss with bumpy flow to it. On this one they really developed their sound and put out what easily a contender for the best overall album for any of the band members career wise. I’m not sure about Kyo because Arche beat this one still by a margin of .1 but flow wise; this album does better at maintaining cohesiveness. I suggest checking this one out when you get the chance because it is going to be a shock when you first hear it and is one that deserves a lot more publicity out there. I hope you all enjoyed this one because i sure as hell did!

*Reviewer’s Pick*

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kyo-prophet · 8 years ago

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Sukekiyo Adoratio /hidauta

#kyo #sukekiyo #adoratio #deg #direngrey #my gif

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vnshkk · 7 years ago

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SUKEKIYO [2017.06.27 - Kyo and YUCHI interview part 2]

Explosive force , an inquisitive spirit and everything thereafter.

Part 2 of Kyo and YUCHI’s interview for spice.

“If its something I depend on, I wanna cling to it and have everything and anything I do be forgiven.” - Kyo

“But even saying that, in reality you’re the one that everyone clings to.” (haha) - YUCHI

SORRY IT TOOK SO LONG. Remind me to finish translating things BEFORE going to see Dir in future.

If it’s something I depend on, I wanna cling to it and have everything and anything I do be forgiven - Kyo

But even saying that, in reality you’re the one that everyone clings to (haha) - YUCHI

So, what was the intention behind titling the album with the latin word for ‘adoration’?

Kyo: Whilst I was writing lyrics, I thought, “Would it be easier if I had something to cling to?”

Simply by looking at that ‘something’, that object, simply but believing in that alone, I wondered would I even need anything else? I found it kinda curious.

A story coiled with love, or rather those sentiments towards a person, the concept of “dependence” almost seems to naturally become a kind of running motif. Although, it is rather interesting to see something like that come from Kyo san, who gives the impression he doesn’t depend on anything.

Kyo: O..oh...I wonder if that's the case? Actually, if it's something that I depend on I want to cling to it. (haha)

YUCHI: Oh really?

Kyo: Yep! If it's something I depend on I want cling to it and live comfortably. I want everything and anything I do to be forgiven.

YUCHI: But even saying that, in reality you're the one that everyone clings to. (haha)

So in a sense it's possible to say that because you are unable to cling to yourself, you instead write about a kind of longing for people to cling to. By the way, in -Giji Necromancer- the word ‘admirer’ comes up doesn't it? Does this also have some correlation to the title ADORATIO?

Kyo: Yes. There was a discussion about having it as the first track and all the members agreed to it. Due to the dystocia of this song it ended up being the very last one we finished didn’t it?

YUCHI: That’s right. The original bass of the song was something Takumi san made years ago and after I had a mess around with it, I personally thought “I want this to be the first track”. But, during the time where the song wouldn't really become the shape we wanted, there was this other terrifically maniacal song that was a potential candidate for recording, so Kyo san suggested what if we were to combine the two tracks?

When we forcibly gave it a go and put the two together there was an excellent chemical reaction and I realised that actually, after all, the scent of sukekiyo really is the same no matter what the genre.

Kyo: The speed it seemed to go at until completion was amazing wasn't it? Pretty much as soon as Dir en grey's tour ended it was like “let’s just have a go at recording one song” and once we’d recorded it that was just stuck.

This beginning was something I thought we would hear through the songs as an end result, but contrary to my expectations, there has been a sudden almost chaotic evolution into this magnificent symphonic yet aggressive progressive rock.

Kyo: I guess it's kinda…hard to know what the genre is, isn’t it?

YUCHI: Even though this was the simpler version. (haha) This kind of song can very easily become scattered and disordered, so we shaved down more and more and made it easier to understand, in parts a synthetic bass was also used. Actually, in -Kubitsuri yuugu- and -Shiryou no ariana- we pretty much only used synthetic bass didn’t we?

So by adding and taking away digital components, the rhythm section becomes essential doesn’t it.

YUCHI: That’s correct. Once people listen to it whether or not it gives the feel of “digital music” really is something that depends on the size of the rhythm section and in a sense, personally myself, doing this gave me a feeling of being refreshed in a way. The shape of it is almost as if I’ve being allowed to go back to my roots; there was a sense of being released. Mika san too did a vast amount of recording using electronic drums; he would play them as is, without any editing and then the tone was step programmed. There are songs where in even if it sounds like regular drums they were actually step programmed.

Also, on disc 2 you achieved collaborations with many notorious artists however, as with previous collaborations, this time round too did Kyo san choose the artists?

Kyo. Yes. I was pushy about it and went ahead with asking my favourite artists if they would be so kind as to collaborate, so it was all for my own gain!

YUCHI: KONTA san (ex. BARBEE BOYS) was shock wasn’t it?

Kyo: It was a shock wasn’t it. I wondered to myself if it would be better to gather a group of different generations to whatever extent I could and just have them listen to the album. And so this time around, whilst trying to keep it as organised as possible, from that selection of listeners the one that was the most fun was STRAWBERRY FIELDS

Fukui san (STRAWBERRY FIELDS vo. Fukui yoshihito) Actually, the first concert I ever went to see was STRAWBERRY FIELDS. I explained all of that in a long letter and I very kindly received an offer from Fukui san saying, “I’ll give it a shot.” But be that as it may, Fukai san doesn't sing anymore and whilst wondering if there would be some kind of gap, I listened to the song he kindly did for me and it was to the level where I was like “Is he even in retirement?!” But I expected that from him to be honest. Which is why I’m sure Fukui san’s fans will be happy too. I think it’s interesting because I left the song choice up to the people doing the songs. So it was like “Oh! Fukui san is doing madara ningen!” or like “KONTA san is doing mimizozo?!”

It certainly would be like that! However within this line up the biggest age gap must have been Gara san, he surely must have felt some pressures.

Kyo: It was a case of me doing some straight faced salesmanship and arm twisting of his feelings with me being like, “Do you understand what an honor it is for you to be in this line up?” (haha) But...meh..he’s sang countless times with sukekiyo at live shows anyway.

YUCHI: The fact I got to collaborate with the people whose CDs I would normally buy and listen to is something I am incredibly grateful for. It's such an amazingly weird feeling knowing we got to collaborate with overseas artists. I had to do a double take like “What?? Bauhaus?!”

Kyo: Yep! I was like “I want Bauhaus’ Daniel Ash to do a remix more than anything!”

But there are still artists who I wanted to collaborate with but they didn’t grant my wish….like female artists and that. Which is why this collaboration series will continue next time as well.

Considering you sing from a female’s perspective you would most certainly want to try a collaboration with female artists wouldn’t you! And so, moving on to talk about your visuals on the album, included is the performance in June and December of last year at a rare venue as well as the event with MERRY in March of this year that we talked about earlier. As well as the two music videos; -En- with its almost nostalgic scent and -Hidauta- where Kyo san’s eccentric dance leaves a lasting impression of extreme chaos, yet again a juxtaposition of song choices.

Kyo: I was torn between choosing -En- or -Hakudaku- but in the end I went with -en-. And then, I wanted something that was the complete opposite in vibe so I went with -Hidauta- . The video shooting was pretty tough.

YUCHI: The director (mika) barely sat down did he? He pretty much only sat down when he was playing the drums. (haha)

Kyo: Yep. He’d record, set up, play the drums, go back again, and check. He proper didn’t sit down at all!

Wow. You really have to tip your hat to mika for being so multi-talented, playing the drums whilst directing.

So you guys brought this album to the June shows at Tokyo and Kyoto -Rakka suru getsumen- and performed it at at the halls but where did this tour title come from?

Kyo: Whilst working on the album, there was this overwhelming surge and this kind of image came forwards of what if it were as if a crater were drawing near? An idea that something beautiful were to slowly became more and more terrifying…..I thought like if it were almost like a kind of skin wouldn't that be creepy? And with that in mind we came up with the title. The tour titles up until this point have always been pretty long but this time we aimed to make it short and to the point.

A case of if something beautiful draws close, the reality can be terrifying, a singular truth and yet it gives the impression that it flows with the world view that Kyo san paints.

Kyo: Ohh, that's possibly true. Simply, by having a pre-release sale at the actual venue, those three lives became like a kind of warm up exercise, there was that sort of feeling. Calisthenics so to speak (haha). There aren’t really many instances where you go to the live before you’ve even heard the album, and so personally I want people to first see the live without having heard the album and that way be able to enjoy and focus intently on the next live they go to.

YUCHI: Personally I think Sukekiyo’s “mode” so to speak, is something you can really understand when you see a live. Even if we do past songs, even if we put out the same sound, the atmosphere is always completely different and that's what is most interesting.

In that respect, if these 3 performances are warm up exercises for a long jump, surely there'll be a sudden dash in the form of a live will there not?

YUCHI: I’d love to do a nationwide Japan tour. Up until now, our longest tour has been abroad.

Kyo: Yeah that's right. Going to different districts means the venue will be different too, and although there may many parts that are unclear, in February we had a go at going to different live houses and that worked out pretty well. I don’t know what shape it’s going to take, but I do know that I’d like to work on more things.

#Sukekiyo #kyo #yuchi #spice #interview #translation #thanks to merrilymemory for proof reading my shit english

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drkreviews · 8 years ago

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Need of God

“Kamisama ga hoshii”

“I need God”

Here I am with the first review of July in “Let’s Listen to”! Today’s subject is the latest work by the visual kei superband Sukekiyo, the second album, or better defined, music and video collection, named Adoratio and released on 22nd June 2017. It features two discs, where the first one is the proper new work (the one we will review) and the second one is made of old songs sung in collaboration with other musicians (as they did in their past works). The concept of this release comes from the title, a Latin word meaning “worship”, usually for a superior entity, seen as ultimate goal for the protagonist, who will find his sense of life in his need of God (as suggested from the opening lines, coming from the first track). And now... let’s review!

-Giji Necromancer (Pseudo necromancer): the album starts with a dark and ethereal theme, adding creepy electronic effects and a powerful drumming, building up the melody; Kyo’s voice is dark and piercing, alternated with a deep and complex bass playing, and it features lighter tones; then the melody changes, becoming more aggressive, adding powerful guitar riffs and screamed vocals, with a bit of gothic atmosphere. ---> 9/10

-Gunyaketsuron soshite chimanako. (Flabby conclusion and the bloodshot eyes): a vibrant guitar opens this song, with a more engaging rhythm and a dark melody, enriched by sumptuous guitar riffs, the best element of the sound; the vocals are intense and a bit macabre, for a really fascinating track. ---> 9.5/10

-Hidauta (Folded song): the first lead-track of the album is introduced by a melancholic guitar, suddenly becoming more energetic and aggressive, building a melody with many shades, from the clearer to the darker, where even Kyo’s voice, with his various tones, fits and adapts itself, for a really complex song. ---> 9.5/10

-Jyunboku, muku de arouga (Pure, but it may be innocent): a rapid and clear piano opens this song, with a fast drumming and a sound, whose tones are definitely more limpid than expected; Kyo’s voice is clear and intense, with some falsetto, accompained by relevant electronic beats, which make a little hint to an obscure vibe, making this song another awesome work. ---> 9.5/10

-Mannerism na tsumetai souretsuya (Cold ammunitions of mannerism): a steady classical guitar opens this song, in a slower theme; Kyo’s intense voice creates a balanced and perfect harmony with the drums and the guitar, whose work is incredibly gorgeous, where the vocal interpretation goes from higher to lower notes, as only Kyo can do. ---> 9/10

-En (Brightness): the second lead-track of this album is unexpectedly introduced by a clear melody, with nostalgical and living touches and a warm guitar playing and a tender piano; the vocals are clear and intense, building up a quite unusual song for Sukekiyo, surprising in each part. ---> 9.5/10

-Kubitsuri yuugu (Hanging toys): a symphonic and a bit peculiar melody opens the song, featuring a strong electronic beat and a cheerful guitar; the vocals are electronic and quite creepy, building up a peculiar song, where the experimentation is spread all over. ---> 9.5/10

-Saredo michizure (Travel fellow in any case): a piercing bass opens a song with a relevant beat and a macabre melody; Kyo’s vocals are like whispered, accompained by exotic touches of guitar, becoming more extreme, with heavier riffs and powerful vocals, with the sound which becomes more intense. ---> 9/10

-Shiryou no Ariana (Ariana’s ghost): a steady melody opens the shortest track of the release, with strong beats and peculiarly extreme vocals, for a fast and heavily electronic sounding theme. ---> 8.5/10

-Naburi (Rough): a dim introduction opens this song, with a dark guitar and a fast beat, building up a creepy atmosphere, well rendered by fleble vocals, with a bit of falsetto; then slowly Kyo uses heavier tones, even staying in the suffused vibe, with a more articulated beat, for a fast and enjoyable theme. ---> 9/10

-Mimi zozo (Stupid ear): an obscure piano opens this song, released as live-limited track, with a drumming kicking off a soft rhythm and a really melancholic sound, featuring an eccentric guitar, which builds the melody, and piercing vocals, for a good tune. ---> 9/10

-Aoguroi hysteria (Blue-ish hysteria): another live-limited song, opened by a strident sound, made by the koto, leading up to a powerful beat inside a balanced melody; the vocals are fast and well driven by a vibrant guitar and a good rhythm. ---> 9/10

-Hakudaku (Cloudy): the album ends with a track where a constant drumming opens a soft and flowing rock theme, with suadent vocals and a melting melody, driven by a powerful violin and a deep guitar, ending a really compelling and complex release. ---> 9.5/10

Final Vote ---> 9/10

In almost four years, Sukekiyo continued to redefine their own canons with each new release, being unpredictable and compelling at any time, an element which made them one of the best projects of contemporary visual kei, probably given from the sumptuous line-up behind this name. After the long and impactful Immortalis, the short and blasting Vitium and the dark single Anima, Sukekiyo released a majestical piece of music, defined not by case “music and video collection”, where the newest half is an allegory of experimentation and unexpected melodies, where each element is well cured and the instrumental work is refined, as the vocal interpretation by Kyo. Surely Adoratio will make you surprised by what Sukekiyo can really do, between unexpected experimentations and complex musical works, for one of the best releases of the year. An album for who wants to go on with Sukekiyo’s unique world, between electronic beats and lighter tunes, inside the macabre and definitive sound of this great band.

That’s all folks! See you tomorrow for the weekly time-travel in “Throwback Thursday”!

Thanks for the reading!

#sukekiyo #jrock #visual kei #album #music collection #adoratio #worship #god #need #experimentation #electronic #let's listen to

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yridenergyridenergy · 2 years ago

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HD scan of this powerful aristocratic look for the release of ANIMA.

#because god #京 #Kyo #sukekiyo #scan #scans #aristocrat #pamphlet #Dir en grey #hidauta #the buzzcut on the sides!

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officialjrocksupportblog · 7 years ago

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Daily Song Recommendations - August 1st 2017

Sukekiyo - Hidauta

Grieva - Liar

Razor - Yokoshima Kuzure

Darrell - Scarred Die

Vercia - Kyoushinja

Yusai - Katsubou

Xaa Xaa - Toumei Ningen

Lack-Co - Ari To Kirigirisu

Codomo Dragon - Suisou

Archemi - Jigoku Gokuraku Kannonbiraki

Cali Gari - Hidamari Honoo

Aion - For Dear Life

Tokinokito - Aizouonshuugeki

Gekijou Tenor - For The Cast

Rosenfeld - Creatures of the Night

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vinidra · 6 years ago

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nareszcie miałem okazję siąść na spokojnie do promocyjnych wersji dwóch nowych utworów sukekiyo, które znajdą się na “infinitum”. i co o nich lUźNo myślę?

“waizatsu” to jeden z tych dziwnych utworów w stylu “the daemon’s cutlery”, “vandal”, “dunes”, 'hidauta" czy “shiryou no ariana“, jednak brzmiący naprawdę ciężko za sprawą tłustej linii basu, niskiego stroju gitar i chyba pomocy miksu/masteringu, ale - tak szczerze - przyznam, że za chuja nie znoszę linii perkusyjnych, jak na przykład tej z 0:20-0:28. po prostu są on dla mnie cringe’owe. no ciężko mi to wyjaśnić :/ a chórki i elektronika? sztos!

“tada, mada, watashi.” wydaje mi się być taką agresywniejszą wersją utworów pokroju “zephyr”, “focus”, “animy” czy “en” (wszystkich nie znoszę - z wyjątkiem “en”). super jest między innymi motyw przed refrenem ulokowany w czasie 1:00-1:13.

mimo tego “tada, mada, watashi.” to po prostu - moim zdaniem - dobry utwór w stylu sukekiyo. to coś, jakby jakiś zespół tworzył ciągle w jednym gatunku i raz napisałby coś ok, a raz coś złego.

póki co mam myśl w głowie, że “infinitum” będzie czymś pomiędzy “immortalis” a “adoratio”. albo może będzie to po prostu najcięższy album sukekiyo?

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kyotakumrau · 4 years ago

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2021.06.11 sukekiyo 奇行少女・kikou syoujo -jet black ceremony- at Nakano SUNPLAZA

SE destrudo intro

01 aftermath

02 focus

03 celeste

04 グニャ結論。そして血眼。・gunya ketsuron

05 襞謳・hidauta

06 死霊のアリアナ・Ariana

07 嬲り・naburi

08 接触・sesshoku

09 首吊り遊具・kubitsuri

10 白濁・hakudaku

~ventilation break・windchime~

~session~

11 夢見ドロ・yumemidoro

12 愛した心臓・aishita shizo

13 Valentina

14 濡羽色・nurebairo

15 鵠・kugui

16 anima

~anima piano session~

17 ただ、まだ、私。・tada, mada, watashi.

report under the cut↓

I arrived at the venue early to make sure I can get the demo tape times two (but they actually had a good number of the cassette tapes, it was other items like the long sleeve tee that got sold out, the tee by ~75th person?).

I arrived at my seat a bit before 6 (start was 6:30), this time I was on the right side of the audience around 10th row. I really liked how the side rows were angled towards the stage, the view was very good and chairs were comfortable😆

There was the usual curtain/seethrough screen in front of the stage, but no back screen. They had usual sukekiyo setting for the members' equipment placement, utA on the left, Mika's drums back left, surrounded by plexiglass screen to block the sound between drums and Kyo's stand. Takumi's kingdom was back right, with all his keyboards and guitars. And then Yuchi front right, with his bass, upright bass and chaos pad etc.

After the announcement with the performance rules, the theater buzzer sounded and they slowly walked on the stage, starting with Yuchi, Takumi, Mika, utA and then Kyo.

Yuchi came on the stage wearing a black coat/jacket but he took it off later on, he had a white shirt with a small black print, fitted black pants and platforms.

Takumi had a ponytail and a jacket.

Mika, I could see him the least, his hair is quite short now, wore black shirt?

utA had a colorful jacket a bit like sukajan? floaty black pants and some silver chains. His hair is between chin and shoulder length now.

Kyo wore I think the same outfit as in January, long, oversized black coat, white shirt, black shorts, pink (red?) tabi boots. Gold accessories like rings, chain and pearl earrings. All MADARA except for the boots.

Takumi was so right in his message on twitter - the feeling like a flashlight of their 7 years of playing - when they started with destrudo/aftermath/focus/celeste I felt like I was suddenly back in 2014~15! But there were some rearranged bits, different guitars, different drum sound here and there etc. And the stage was so bright compared to their early years😂 but it still really brought me back.

The front screen was showing lyrics and various visuals, commenting that Mika is a genius is mandatory each time♡

During Celeste Kyo started to dance a bit and opening his coat more, which continued even more into Gunya Ketsuron, dancing and moving with the lyrics.

Yuchi is always so interesting to watch, drumming the chaos pad or playing wildly on his bass. He's rarely standing still!

For Shiryo no Ariana Kyo turned to his stand and sang while using effectors there, his face was projected on the front screen in black and white, but not real time feed all the time, there was a really nice looping effect used.

I love love love Naburi's madness🖤 every each time I want to start dancing, be it on the train, on the street or at sukekiyo's seated concert. The latter the only one when in the end I endure sitting still...mostly.

Video for sesshoku changed, but the marching sound stayed very strong. A big DOPE appeared on the front screen several times. Kyo had his arm up as in a salute.

And more dancing (on the stage and in my heart) during Kubitsuri Yuugu. Kyo also pointed at the audience when singing.

And hakudaku next! Woah!

it felt like Kyo sang that last 愛してる instead of the usual おやすみ when soon after he turned softly and walked off the stage, followed by the rest of the band.

Not sure how other people felt then, but for a brief moment I froze in panic - I knew it's too early to finish the show, so why were they leaving???

But then the message appeared on the screen

'We will be taking about 5min break to ventilate the venue. The buzzer will sound when the show will be about to restart'.

And I love how the band utilized the ventilation break to create two different parts of the show, I felt the mood following the break was quite different. During the break we could hear soft wind chimes.

Then they came back and started with a session. Holy moly, that session!! Kyo was using the PIPE (a mouth controlled synthesizer), I loved the bass there! Kyo also used the mic at his stand from about halfway through.

夢見ドロ is such a soft song, not a heartbreaking one like some suke songs can be, but softly vulnerable. 'There's no sin in love, please love this me, please love the free/unrestricted me.'

And then the live premiere of 愛した心臓・aishita shinzo (heart that loved). It's a soft sensual song with retro pop elements. 'one finger, two fingers, tongue. One love, two bodies. [cute my babe] Don't let me sleep'. Kyo was singing dancing softly as the lyrics appeared on the screen. '男も愛せる貴方を愛してる罪。愛彩'

Valentina meant more dancing from Kyo, the video on the screen was the retro racing game (if I'm not mixing it up). Nurebairo connected so well with the lyrics, it all was creating a story of longing, grasping. Kugui after was so beautiful, I think it's been a while we got to hear it live🖤

anima was followed by the session of piano and singing, it's something they usually do but you're never quite ready for. Very raw, each time. 'the broken heart, memories become pain, falling into a night hoping you love me'..

tada, mada, watashi at the end was amazing until the last note. The end credits were shown on the left side of the screen. Kyo finished with his hand stretched out then just softly turned and walked off the stage, we could hear his careful footsteps.

We started clapping, the piano version of Zephyr was played then. utA put his fist few times on his heart looking at the audience before leaving. Yuchi put his hands together in thanks. Takumi waved and nodded when leaving. Mika stood up at his set and waved his arms.

When leaving the venue we received picture tickets 🖤

#sukekiyo #奇行少女 #kikou syoujo #setlist #attempt at live report #中野サンプラザ

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