Japanese band named for an Extreme album. It’s more or less as that sounds.
[Video][Website]
[5.50]
Alfred Soto: Perky, ain’t it?
[4]
Katherine St Asaph: This sounds like boss fight music composed by Barry Leitch (he’s American, which is just the most obvious sign of my ignorance, but bear with me here.) For non-gamers, Leitch and boss fight music are both reliably awesome.
[7]
Pete Baran: Often at the end of anime TV series, there is a wildly over-the-top theme tune which appears to be a full length song stuffed into the thirty seconds available. This is that full length song, with flailing guitars, snatches of English and a set of synth melodies obviously being played in realtime on four keyboards at once by a man in a cape. Its all terrifically exciting if not actually that much fun to listen to. Perhaps I need to watch a show about a young boy and his best friend the robotic sink plunger first to unleash the awesome.
[4]
Hazel Robinson: This is not at all what I was expecting from a band called Porno Graffitti — sort of Dragonforce-ultralite, sort of Diet Cascada but without the threat of Natalie Horler’s snarl or the commitment of three minute, 2000-note guitar solo. Really lost me at two minutes in, when my wavering enthusiasm was shattered by one of those TV-intro-style climb effects that seem to appear a lot in the Far-East Asian music I’ve heard.
[4]
Brad Shoup: Can you really go for sensory overload without twinning your guitar until the final 10 seconds?
[5]
Iain Mew: They go for the pumping beats and lashings of (fake?) strings in a big way, but the song is actually at its best when at its most straightforwardly rock. The way the singer tears into the title phrase, the guitar solo in the middle and the percussive guitars slashing across the first verse are the highlights by far.
[6]
Edward Okulicz: This pulls off the shoot-em-up boss sound T.M.Revolution couldn’t earlier this year. Mostly it’s because of better, smarter use of start-stop dynamics, but it’s also because it sounds genuinely rather than forcedly excited. In effect, a basic singalong, and convergent evolution of what half of the American mallpunk bands have been trying to do with better bells and louder whistles.
[8]
Jonathan Bradley: If it has a flaw it’s that it might be too relentless, pounding too insistently to effectively build the power-metal bombast it’s aiming for. Even so, this has solos properly described as awesome and riffing that might even qualify as wicked-awesome. Which adds up to at least a rating of kind-of-excellent, dude.
[6]