boogieman Loops review
Walking in a new musical direction boogieman released two consecutive singles, Howling and monopolize to showcase the new vocalist Syu performance as well as this new path the band choosed as a whole.
Released in later July the band's newest mini album Loops not only contains the a-side songs of the two previous singles but also a bunch o new songs that will make even more clear the sound the band has chosen to develop in this new phase.
Founded in 2007 as a mystery session band Boogieman's line up consists of Yuana and Akira on guitars, Bansaku on bass, Youichiro on drums and Shu on microphone. Boogieman's discography is essentially composed by stoner rock songs, usually mixed with elements of other genres such as electronic or pop. As Shu became the band's voice the singles hinted to a cleaner sound and a easier to digest writing style for the a-sides.
Is Loops too twisted or a smooth curvature of awesome?
Loops
1.POLYGON
2.Howling
3.Monopolize
4.ラリユラ (rariyura)
5.シュレーディンガーの猫 (Schrödinger no neko)
6.PicaSSo
7.DECOY#3*
*Contains hidden track 故に、自壊 feat.Shu (yueni, jikai feat. Shu)
Although POLYGON starts in a similar way to Howling -a soft but fairly past paced rock song- turns out to be a song with the same base that has a couple twists that makes it different to the second track here and first single of the band with the new vocalist. The rythm is fastest and the guitar riffs are much more heavier and predominant. The guitar interacion wich is almost turn-structured is still one of the trademaks of the band and is present in the song.
But jumping into what this makes song different of anything the band released before: the track flows seamingless into a really good screamo segment that rolls right after to transform into rap. I have never been a big fan of gutural screaming but Shu gets it just right: instead of being a crazy bunch deep screams he sings while he is growling. The blend of the catchy melody and the wild vocal performance create a sound that will stick to your head, even if the melody it's simple and the segment is indeed short.
The rapping segment is not that good just decent. I has some merit to do a song that transforms so naturally but I don't think the rap segment adds nothing to the song at all. In fact I think it breaks to some noticeable degree the thrill of the screamo part towards the chorus, that comes right after the brief rap.
The chorus comes back to the song's "natural" state of fast ocassionally heavy rock with sticky vocal melody, this time backed by occasional screams that don't feel strange after their excelent and bold previous introduction.
A nice guitar solo courtesy of Yuana and a satisfying ending are also worth mentioning as things that I liked about this song. A part from the rap segments, other feature of the song I disliked though is how de drums are tuned. It sound really high and clip with the guitars at times. It does not ruin the song, but is really noticeable.
Overall POLYGON is a really strange son for boogieman to play. It's not original -some bands in the scene have included the same elements in songs recently- and on paper sounds like it does not suit the band at all. The actual take is remarcably good, surprisingly. Still feels a little weird but the execution is good enough to get over that an enjoy a cool song.
Since I also reviewed the singles, I already talked about the following songs, Howling and monopolize. I still will talk abou them here. They have really grown on me -specially monopolize- and I like them much more than when I wrote my first impressions.
As I said before Howling is a fast rock song wich a really nice vocal melody and some smart headbanging moments. The song is written to be a little different from the regular stoner boogieman song as it's more soft -but does not lack power. At the same time, as the I have listened it since I made de single review I noticed that it also tries to feel familiar to the veteran boogieman audicence, using the same chords than New World -the band's most popular act- and structuring de song's develpment on the strings in a similar fashion; I already mentioned this kind of turns that seems to be stablished between the guitarrists.
When it comes down to how much the son can entretain my appreciation is positive. The chorus and the ritmic and heavier headbang-ish moments that sound before, as the highly melodical solo make a good song that cames with a mature but energetic flavor.
The remaining a-side, monopolize, is a love ballad that has the kind of sound you espect from Kagerou. The ambience this song creates is really interesting: the bass during the interludes provides a really electric but sinister tone that contast with a chorus full of light and hope, elements that persists on the oldie-inspired guitar solo and the following moments that lead to a really intense and emotional song to end. And it's in that moment when I find the only thing I can complain about this song: the very ending. This song could be about anything, but is clear it's a love song when Shu fades away singing really cheesy lines lines in english... '" wanna give you all the love" "'I'm claiming all your love" and such.
Otherwise, a great work.
Ah, rariyura. By far my favorite track in the album. All of the tracks in this album made me say 'wow' at some point, but this one was a continuous eargasm. I will tell you why!
Aftter a surprising start with POLYGON, the next new song the band offer us goes back to the stoner rock that is boogieman's confort zone. But do not missunderstand; this song has been so well arranged that is something authentic and amazing.
Opening with an stellar bass slapping that sets the tone for a really funky sounding chorus that will get into your mind with ease and that set this song appart without interrupting the general trippy and crazy tone of the boogieman we all know and love. Also includes some vocal arrangements reminiscent of the disco setting of other songs such as ヒステリシス (hisuterishisu). Fast, funky and bold, one of the best boogieman songs ever.
Schrödinger no neko or Schrödinger's cat if you want is an interesting ballad with a not clear structure in the interludes between the (highly climatic) choruses and a long looong guitar solo. The chorus is good and the lyrics are, as most of the track don't fall into repetition. This makes a song difficoult to follow but emotional and enjoyable. It seems to be the favorite of the audience so far but it did not stands out for me particulary. It's well done interesting, surprising a nice to listen. It has a dep emotional tone that transcends well to the audience an some unespected Samishen lines... All the qualities are appealing but I don't find this song as motivating. An ok Kagerou-ish ballad with interesting development, good solo, and sentimental vocal performance... that don't keep my attention too much. It may grow on me, I gess.
With a fast emotional hard rock that pulls the sentimental trigger on the chorus PicaSSo is other of the coolest songs in the CD. With a crazy and countinuous bass support guitars set asolid backing for the vocals. The most remarcable segment of this track is the guitar solo, argebly the best boogieman has ever pulled of. Technical but aware of the melody that the song demands I found it impressive. It's the shortest track but it's content leaves you wanteing more, even if this song could be described as the 'standard' style for a hard rock visual kei band.
DECOY#3 is the third chapter of tracks that are used as disguise for re-recorded old songs featuring the new vocalist. With a disco sound with a retro vive the electronic song is actually ok. Thankfully the band did not commit the same mistake as with the other decoy tracks and this one lasts much less and is way less boring.
After barely more than two minutes the hidden track shows. Yueni Jikai is a really obscure and expressive ballad with a simple backing that explodes into a sensational and emotive chorus . I was really surprised to find out this was the chosen song to be featured. I honestly thought this was one of the songs Shu could never cover as good as fomer vocalist Junno. But, well, I got owned.
Not only the song suit Shu perfectly, it covers it on only as good as Junno, much better, just like he did with d.CHILD. His singing skills really inprove the song and none of the expresiveness of the original is missing. The same dispair, sadness and hope are retained in this cover, only with a much better technical performance. Great work.
I approached the vocalist change with deception and scepticism, only able to credit the instumentation and sonwriting inner quality and recognise the band's new lineup had potential. I did not realiced how big that potential was until now. Even with the variety the songs in Loops are, this is a much more coehesive release. This songs in general are closer to Kagerou than to old boogieman, but they still retain the stoned, trippy and adult themed ambience. They added a new layer of contrast with a more sober and soft melody writing. Maybe being the spiritual successior of Kagerou won't turn boogieman today into the legend that Kagerou was yesterday. But with their embracement of new sounds the band has show to be capable of doing in this album, without loosing a distinctive sound proves they carn earn more credit for they music.
The first definitive evidence of a band that had a proper evolution that can lead to even greater things.
Heyt score: 7,7 out of 10
Released in later July the band's newest mini album Loops not only contains the a-side songs of the two previous singles but also a bunch o new songs that will make even more clear the sound the band has chosen to develop in this new phase.
Founded in 2007 as a mystery session band Boogieman's line up consists of Yuana and Akira on guitars, Bansaku on bass, Youichiro on drums and Shu on microphone. Boogieman's discography is essentially composed by stoner rock songs, usually mixed with elements of other genres such as electronic or pop. As Shu became the band's voice the singles hinted to a cleaner sound and a easier to digest writing style for the a-sides.
Is Loops too twisted or a smooth curvature of awesome?
Loops
1.POLYGON
2.Howling
3.Monopolize
4.ラリユラ (rariyura)
5.シュレーディンガーの猫 (Schrödinger no neko)
6.PicaSSo
7.DECOY#3*
*Contains hidden track 故に、自壊 feat.Shu (yueni, jikai feat. Shu)
Although POLYGON starts in a similar way to Howling -a soft but fairly past paced rock song- turns out to be a song with the same base that has a couple twists that makes it different to the second track here and first single of the band with the new vocalist. The rythm is fastest and the guitar riffs are much more heavier and predominant. The guitar interacion wich is almost turn-structured is still one of the trademaks of the band and is present in the song.
But jumping into what this makes song different of anything the band released before: the track flows seamingless into a really good screamo segment that rolls right after to transform into rap. I have never been a big fan of gutural screaming but Shu gets it just right: instead of being a crazy bunch deep screams he sings while he is growling. The blend of the catchy melody and the wild vocal performance create a sound that will stick to your head, even if the melody it's simple and the segment is indeed short.
The rapping segment is not that good just decent. I has some merit to do a song that transforms so naturally but I don't think the rap segment adds nothing to the song at all. In fact I think it breaks to some noticeable degree the thrill of the screamo part towards the chorus, that comes right after the brief rap.
The chorus comes back to the song's "natural" state of fast ocassionally heavy rock with sticky vocal melody, this time backed by occasional screams that don't feel strange after their excelent and bold previous introduction.
A nice guitar solo courtesy of Yuana and a satisfying ending are also worth mentioning as things that I liked about this song. A part from the rap segments, other feature of the song I disliked though is how de drums are tuned. It sound really high and clip with the guitars at times. It does not ruin the song, but is really noticeable.
Overall POLYGON is a really strange son for boogieman to play. It's not original -some bands in the scene have included the same elements in songs recently- and on paper sounds like it does not suit the band at all. The actual take is remarcably good, surprisingly. Still feels a little weird but the execution is good enough to get over that an enjoy a cool song.
Since I also reviewed the singles, I already talked about the following songs, Howling and monopolize. I still will talk abou them here. They have really grown on me -specially monopolize- and I like them much more than when I wrote my first impressions.
As I said before Howling is a fast rock song wich a really nice vocal melody and some smart headbanging moments. The song is written to be a little different from the regular stoner boogieman song as it's more soft -but does not lack power. At the same time, as the I have listened it since I made de single review I noticed that it also tries to feel familiar to the veteran boogieman audicence, using the same chords than New World -the band's most popular act- and structuring de song's develpment on the strings in a similar fashion; I already mentioned this kind of turns that seems to be stablished between the guitarrists.
When it comes down to how much the son can entretain my appreciation is positive. The chorus and the ritmic and heavier headbang-ish moments that sound before, as the highly melodical solo make a good song that cames with a mature but energetic flavor.
The remaining a-side, monopolize, is a love ballad that has the kind of sound you espect from Kagerou. The ambience this song creates is really interesting: the bass during the interludes provides a really electric but sinister tone that contast with a chorus full of light and hope, elements that persists on the oldie-inspired guitar solo and the following moments that lead to a really intense and emotional song to end. And it's in that moment when I find the only thing I can complain about this song: the very ending. This song could be about anything, but is clear it's a love song when Shu fades away singing really cheesy lines lines in english... '" wanna give you all the love" "'I'm claiming all your love" and such.
Otherwise, a great work.
Ah, rariyura. By far my favorite track in the album. All of the tracks in this album made me say 'wow' at some point, but this one was a continuous eargasm. I will tell you why!
Aftter a surprising start with POLYGON, the next new song the band offer us goes back to the stoner rock that is boogieman's confort zone. But do not missunderstand; this song has been so well arranged that is something authentic and amazing.
Opening with an stellar bass slapping that sets the tone for a really funky sounding chorus that will get into your mind with ease and that set this song appart without interrupting the general trippy and crazy tone of the boogieman we all know and love. Also includes some vocal arrangements reminiscent of the disco setting of other songs such as ヒステリシス (hisuterishisu). Fast, funky and bold, one of the best boogieman songs ever.
Schrödinger no neko or Schrödinger's cat if you want is an interesting ballad with a not clear structure in the interludes between the (highly climatic) choruses and a long looong guitar solo. The chorus is good and the lyrics are, as most of the track don't fall into repetition. This makes a song difficoult to follow but emotional and enjoyable. It seems to be the favorite of the audience so far but it did not stands out for me particulary. It's well done interesting, surprising a nice to listen. It has a dep emotional tone that transcends well to the audience an some unespected Samishen lines... All the qualities are appealing but I don't find this song as motivating. An ok Kagerou-ish ballad with interesting development, good solo, and sentimental vocal performance... that don't keep my attention too much. It may grow on me, I gess.
With a fast emotional hard rock that pulls the sentimental trigger on the chorus PicaSSo is other of the coolest songs in the CD. With a crazy and countinuous bass support guitars set asolid backing for the vocals. The most remarcable segment of this track is the guitar solo, argebly the best boogieman has ever pulled of. Technical but aware of the melody that the song demands I found it impressive. It's the shortest track but it's content leaves you wanteing more, even if this song could be described as the 'standard' style for a hard rock visual kei band.
DECOY#3 is the third chapter of tracks that are used as disguise for re-recorded old songs featuring the new vocalist. With a disco sound with a retro vive the electronic song is actually ok. Thankfully the band did not commit the same mistake as with the other decoy tracks and this one lasts much less and is way less boring.
After barely more than two minutes the hidden track shows. Yueni Jikai is a really obscure and expressive ballad with a simple backing that explodes into a sensational and emotive chorus . I was really surprised to find out this was the chosen song to be featured. I honestly thought this was one of the songs Shu could never cover as good as fomer vocalist Junno. But, well, I got owned.
Not only the song suit Shu perfectly, it covers it on only as good as Junno, much better, just like he did with d.CHILD. His singing skills really inprove the song and none of the expresiveness of the original is missing. The same dispair, sadness and hope are retained in this cover, only with a much better technical performance. Great work.
I approached the vocalist change with deception and scepticism, only able to credit the instumentation and sonwriting inner quality and recognise the band's new lineup had potential. I did not realiced how big that potential was until now. Even with the variety the songs in Loops are, this is a much more coehesive release. This songs in general are closer to Kagerou than to old boogieman, but they still retain the stoned, trippy and adult themed ambience. They added a new layer of contrast with a more sober and soft melody writing. Maybe being the spiritual successior of Kagerou won't turn boogieman today into the legend that Kagerou was yesterday. But with their embracement of new sounds the band has show to be capable of doing in this album, without loosing a distinctive sound proves they carn earn more credit for they music.
The first definitive evidence of a band that had a proper evolution that can lead to even greater things.
Heyt score: 7,7 out of 10