Since Fatima’s breakup in 2005, Kanoma and Towa (now known as Hitomi and Soan, respectively) have gone on to form Moran, and recently paused activities.  Lay and 4ge (now known as cake and zizi makia) have gone on to form the shoegazer band OBSCURE, who have recently announced their disbandment.

Presale tickets for the event go on sale from March 15th through March 23rd via Speed-Disk’s official site, with general sale tickets going on sale starting from April 3rd.

Fatima Official Site
Moran Official Site
OBSCURE Official Site
Speed-Disk

Radio TBJE Nippon is hosted by Tom Melesky, a promoter in Japan. The Big Jugs Experience (TBJE) is an effort that began in Osaka, Japan, to promote bands. It has since expanded to host events in Tokyo and in the UK.

Tom has offered his skills as a radio personality to make feature podcasts to introduce us to some of his favorite band discoveries. From the heart of the scene in Tokyo, Tom will bring The Big Jugs Experience to expose listeners to who is new and who is notable among the many undiscovered acts.

This inaugural episode features Royalinserts, Buffalo’3, NACANO, NANOX, BALOON88, and Moja.

Get to know Tom a little better in the Backstage feature of the upcoming issue of Askew and take advantage of his insider’s look on becoming a band promoter.  Head on over and download the first episode here!

The Yoshida brothers are best known in the United States for the song “Kodo”, since it became the official theme song for the Nintendo Wii in 2006.  They’re known back home as renegades who fused traditional music with modern instruments.  They’re popularity even led to a bit of a music revival.  Shamisen classes became popular for some time, as fans decided they wanted to learn how to play like the brothers.

Check out their performance at Otokon 2010, and find out more about them on their official homepage.

Also, keep an eye out for Askew’s upcoming interview with BAAL.

The U.S. version will include the full Japanese version booklet.

Pre-orders begin today on JapanFiles‘ online store.

swamp man will also be sold on Amazon, RightStuf.com, and in store at Hot Topic.

HaMC will perform at Sakura-Con 2010 in Seattle, WA, which takes place April 2nd-4th.

FINAL TOUR: the Underneath LAST LIVE TOUR 2010 “LAST SCENE”

• 2010.3.21(sun.) HEAVEN’S ROCK VJ-3 Saitama Shintoshin (Saitama)
• 2010.4.10(sat.) Kobe STAR CLUB (Aichi)
• 2010.4.29(thu.) Nagoya ell. FITS ALL（Aichi）
• 2010.5.3(mon.) Shibuya O-WEST (Tokyo)

Following their disbandment, the Underneath will have one more release so as not to say farewell without a parting gift. The four-track single will be entitled Diamond and is set for release on March 17th, 2010. Diamond will sell for 1500 yen and is limited to release in Japan.

Diamond
1. Diamond
2. Deep -acoustic ver.-
3. Bite the bullet -re-build ver.-
4. Frontier -re-build ver.-

The photo featured above was taken exclusively for Askew. Look forward to the full size photo in our fourth issue with cover feature Satsuki. Along with the exclusive photoshoot is an interview with the band about their second album, us.

http://www.underneath.jp
http://www.myspace.com/underneathjapan

The entire anatomy of DIM SCENE comprises of nothing more than a three disc volume of video and the memories bound to those who attended. Every song, every cheer, every last second standing singularly, yet nothing would be the same without each individual component. From the very beginning, every second leaves to question exactly what will follow, and the uncertainty that every planned moment could go awry.  For the many unable to attend who do not share the memories, however, this bound volume serves as all the experience they will be able to attain.

Right off the bat, this DVD commands the viewer’s attention leaving no second to waste. Album opener “Hakuri” understandably serves as the entrance theme. Masking the stage is a large curtain with silhouetted dead trees, the light shining from behind creating the blood red sky. Bright white lights announce the arrival of Ruki on stage, casting his shadow on the curtain. As “Hakuri” comes to an end, what seem to be large television screens radiate light across the stage, and the curtain falls. The television screens strewn across the backdrop turn out to be nothing more than images created by the large screens of LED lights. The screens, however, do not obstruct the lights shining from behind, creating a wild combination of projected images and soaring spotlight effects.

Those who formulate first impressions rather quickly might find it challenging to commit to the entirety of the DVD, because although DIM had many notable tracks which one would assume would create a powerful concert experience, the performances represented here might prove certain songs held in high esteem to be less than satisfactory. From “The Invisible Wall” to “Leech” the performances seem significantly less enthusiastic than one would expect, particularly on behalf of Ruki. “Hyena” following the same pattern proves that such might not solely be a problem with the newer songs. It would seem that concerns were focused primarily on maintaining image and sound throughout the performance at the expense of expression. The short camera shots of the arena show the crowd enjoying it immensely, but for recorded performances it falls surprisingly flat.

The various camera shots from the audience’s perspective expose the immensity of the Saitama arena. The elevated shots of the stage from the very back extract one’s every ounce of pity and direct it toward the audience members with such a distanced view of stage. Yet, the one who truly seems distanced is none other than Ruki. The enormity of the arena would seem to have created a huge disconnect with Ruki and the crowd. Arenas just don’t seem to work in favor of rock concerts, and personally I would much prefer a general admission venue on any occasion. The other band members would seem to be making the most of it, but the majority of what is exhibited on DVD is Ruki.

While “Distress and Coma” continues the unsatisfactory trend, a big surprise comes with “Shiroki Yuutsu,” which I had considered the most worthless track on the whole DIM album. Uruha’s live improvisation adding electric guitar slides to Aoi’s acoustic melody was definitely an impression booster. Nothing but a live performance could have changed my mind about it, and it will still remain to be a track I avoid, but now will retain a newly found respect. Now that DIM SCENE has proven album favorites to leave much desired and least favorites to be respectable live, this pattern would seem to continue with the numerous SE tracks from DIM, some of which seem more suitable in a live setting, while others remain inexcusable in recording and live.

“[ERIKA]” serves well enough as an interlude before slamming into arguably the best track from the album, “13 Stairs [-] 1.” Lo and behold, the performance takes a turn for the better as Ruki implements an expressive performance, mimicking a puppet with disjointed pop ‘n lock movements. “13 Stairs” marks the real beginning of where concerns are dropped and the real concert performance begins. “Headache Man” withstands the test and rocks hard. “WITHOUT A TRACE” brings out the dual acoustic guitars, building into a powerhouse ballad.

“[Kanshoku]” stands as the interlude leading into “Nakigahara” which proves to be ever more impressive live, as does the other main ballad “Guren.” Between the two stands the atrocity that is “[Shikyuu]” with its inexcusable wailing. The string of ballads leaves little left but a line of steamrollers ready to flatten. The wild and rocking “A Moth under the Skin” stands as one of the main highlights of the performance. Following up is the mid-era “COCKROACH” with its prominent bass groove and rap-rock twist. “IN THE MIDDLE OF CHAOS” which was decent on recording proves to be even more appreciable in a live setting. Throwing in another mid-era highlight, fan favorite “Filth in the Beauty” maintains its title as what might be the very pinnacle work of their career as a band. Switching gears back to DIM, “OGRE” ends up being more appreciable as the raw live vocals give more inflection than the monotone recording, but the nonsensical pace alterations remain nonsensical to me, thus not fully redeeming the song. “Discharge” brings back more mid-era GazettE, but the subsequent “DIM SCENE” proves exactly why the tour bears its name, creating yet another highlight of the performance, finishing off Disc 1.

Disc 2 has some enjoyable encore footage, but the majority seems to be much more appreciable in a live setting, perhaps working well as a persuasive tool to draw in viewers’ attendance to the actual performances. The encores contain all pre-Stacked Rubbish, pre-NIL material.

Overall, the ups and downs of DIM SCENE depreciate the value of some recent favorites in the prospect of live performance but also have the reverse effect of redeeming several duds. Anatomically, the SE tracks prove to be as friendly as an inflamed appendix and should require immediate removal. A few songs seem to have lost connection to the central nervous system but retain some functionality, avoiding the need for removal and leaving the opportunity for revival of the deadened nerve. Others previously thought to have deadened nerves seem to have improved miraculously.

Is the entity of DIM SCENE worth all expense? In the end, it does rival many other impressive concert recordings, and the ups far outnumber the downs. The footage quality is superb by all means. DIM SCENE does prove to be a healthy follow up to a reputable album.

Haven’t heard DIM yet? Check out Askew’s staff reviews in the September issue, free in the Downloads section.

The poster is not available in all stores, so call ahead.  JapanFiles says that the deal should also be available on HotTopic’s website, but we were unable to locate either the poster or the CD in their webstore.

After turning out several promising singles and embarking on a national tour with Matenrou Opera, DELUHI wraps up their most successful year with their November release, Yggdalive. The nine track mini-album is an excellent listen that steps away from the band’s metal roots in an attempt to explore a more alternative approach.

“Overture –Yggdalive-“is one of the catchiest album openers I’ve heard in a long time. A techno fusion coupled with a chanting choir and violin section, “Overture” is the lovechild of Versailles’ “Prelude” and UnsraW’s “End of Finale.” Like most openers, the song transitions smoothly to the first full track on the album, “G.A.L.D.” The song contains another brilliant arrangement by guitarist Leda, whose prodigal skills continuously soar beyond my comprehension and melt my ears into a delightful little puddle of six-stringed bliss. Not that anyone’s exaggerating here, but the song is pretty damned good.

Next up is “Revolver Blast,” Yggdalive‘s boldest track that inspired an equally aggressive image for the song’s PV. “Revolver Blast” is as every bit abrupt as Dir en grey’s “Agitated Screams of Maggots”, just without that creepy animation sequence and half the screaming. Although the song is pretty decent, the first 15 seconds are drenched with what I’d like to call Dragon Force vomit (which almost ruined the entire track for me). Luckily, the 90mph arpeggios and mediocre overuse of double bass tone down by the chorus and the song reclaims itself.

The string of Yggdalive‘s more hardcore songs ends with “Flow Snow,” whose title seems to be an amusing understatement. Yes, Juri’s vocals are much sweeter and melodic but the track resembles more of a blizzard when it comes to everything else. This time the guitar, drums, and bass have gone off the “Revolver Blast” steroids while still sticking to a power-metal agenda. “Flow Snow” is definitely more relatable to fan favorites like “s[k]ape:goat” and “Hybrid Truth” so I’m voting this one as Yggdalive‘s best overall song.

Running a close second to “Flow Snow” is the more rhythmic “Wake Up!” which explores a totally new alley for DELUHI. “Wake Up!” is refreshingly more upbeat than the majority of DELUHI’s discography and every aspect of it is just downright catchy. As of now my commentary on this one is limited because I’m simply too busy dancing to it.

The mini-album closes with two more surprises in the form of a punky anthem, “Follow the Future” and “Hoshi no Nai Yoru ni,” a melancholic ballad that just needs to be held and snuggled with. I have to say that at first I was surprised by Yggdalive‘s genre-switching roller coaster ride which did take a few listens to get used to. However, the raw talent of this four-piece band and the flow of the mini-album are what make DELUHI’s new eclectic style so overwhelmingly successful. Being a big fan of DELUHI myself, Yggdalive is definitely deserving of high ratings and I hope it receives little gold stars across everyone’s boards.

Issue number four is available for pre-order!  Featuring an exclusive photo shoot with Satsuki and photographer Brendan Daniel.  Head on over to our store in order to grab this new issue.  Also featured is Exist Trace, Kaya, Hakuei, Deathgaze, and more.  Those who pre-order the magazine receive it before it goes online, and get extras like postcards, magnets, or posters.  Shipping times are significantly longer after the first release if we do not have extra in stock and might not come with any other items.  The print edition is also free of advertising.

• Because of our printing problems with issue three the December issue has been delayed and will most likely be released simultaneously with issue five.
• Our subscription option is temporarily on hold while we research a more accurate processing system.  If you are already subscribed don’t worry – you will receive your issues as ordered.  Otherwise you must order issues individually for the time being.
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