SUBROSA feels like an rave in an funeral, everyone is dancing, but no one is happy. There is a dark gravitas that intoxicate all the tracks. It’s all so somber, so solemn.
If you can’t avoid the unavoidable, you may very well put it on the center of the parade. They ain’t shying away from their newfound limitations, but are embracing it.
This is their most eletronic album in a while. Feels like a continuation of the ideas of No. Ø, but also an return to their cyberpunk era of the 90s. SUBROSA would tag along great with SIX/NINE and Sexy Stream Liner. It’s definitely an album found of it’s beeps and bops and things that goes bzzzzt. While IZORA was very… organic, SUBROSA is everything but. Posthumanism is back on the menu baby.
As I said before, Hoshino getting the lead vocals was an smart choice. The transition wasn’t as traumatic as I was expecting. He is obviously on shaky grounds and unsure of his surroundings, but he will get there. Everything he needs is already there.
Zetsubou to Imano no kimi ni is such a throwback. New Buck-Tick can also feel so fucking much like old-old-school Buck-Tick. This one is for crying. If Hoshino can carry this performance live, they are set.
Those who love Imai-isms gonna love his tracks, those who find him obnoxious won’t find much to change their opinions. His songs are plain to see, we get an Sid Vicious on the Beach part 2, an FUTURE SONG part 2, and an 相変わらずの 「アレ」のカタマリがのさばる反吐の底の吹き溜まり part 2. As an Imai Enjoyer™, I feast.
I’m a bit curious how this new batch of songs will translate live, as synth heavy as they are. They didn’t compose much straight rockers this time, with Paradeno Mori being the joyous exceptions (and even this song is beep-bop-heavy). I’m so curious how this new year’s live will go. But I’m confident they can pull this off.
Buck-Tick still is Buck-Tick. You can feel the gothness, the horniness, the avantgardism. They are as extraterrestrial visual kei as always. Obviously things had to change, but it didn’t change that much. And I want to see more of what they can do now.
I miss Sakurai as much as the next one. He is irreplaceable. And they didn’t even tried to replace him, and I guess this is what make this project work.
subrosa/track 2/ has the biggest charisma.com energy I’ve heard in my life outside of actual charisma.com, ojisan karaoke werking machine goes hard w. that one
i like that all of it sounds wholesome and v. retro, but I’ll need a couple more listens.
The album has surprised me in the end, it seems very good, fun, dark, original. Even alternative
Yes, it reminds me of their old works From the SIX NINE era to Mona Lisa Overdrive, and something around the time in Athom to No.0, but it is even more electric, leaving the guitars aside. (I suppose to concentrate more on singing live and less on complicating things with the guitar, although lately they have not done much with the guitars, they left the background sound more of a protagonist).
The problem I have: it is not “BUCK-TICK” anymore, it is like another project for me. It is “BUCK∞TICK”.
I like what they have decided to do, but it is not what they did, and this drastic change after 35 years of career does not seem to me to be in the same “bag”
I understand why they do it, but I don’t feel it that way
I haven’t listened yet, but Six Nine is one of my favorite albums, so y’all referencing that has me excited.
I recall someone saying that there were some unreleased songs with Sakurai vocals. I’m guessing we didn’t get that, or they were just rumors?
I feel like you can sort of get which ones were composed w. atsushi in mind if you listen to it
there are about 4 songs in total I can think of atm that literally carry his vocal vibe and mannerisms really on point (obviously simpler technique compared to his last years) but I also suspect most of the album was written from scratch after he passed away.
According to the latest magazine interviews, none of the Atsushi materials, including prior album leftovers, had been used.
Atsushi’s presence, even if it is in spirit only, is obviously given in this album, though. Hoshino sounds eerily Atsushi lite on “Psyche”, for example…
Not related to my reply, but what sucks to me personally is that in-depth translations/interpretations of SUBROSA songs might never see the day. Would really love to understand all possible B-T / Atsushi references scattered throughout, but sadly Cayce (one of the most committed B-T fans - a beautiful soul and a talented interpreter) passed away this year, not too long before this release
After an first album listen, i admit to being impressed by Hoshino’s voice on Psyche and on Zetsubo to lunano Kimi e. An album controlled from start to finish, a solid 8/10 for me. I wasn’t expecting such a good record to be honest. And finally, Imai sing very little, thanks for our ears.
Hoshino and Imai done back vocals and harmonized with Sakurai in every record and live recording, I think much of what we think as Sakurai is actually a blend of the three. And I guess thats why we have that wierd vocal illusion on Zetsubou and Psyche
You are completely right about the importance of the presence of Imai and Hoshino for the choirs in the majority of their records, you can hear it clearly. However, Hoshino’s voice never came out that way. What a pleasant surprise!
Not sure if this is the right place to post such things, but they just performed the first bit of their SUBROSA tour this December (I think?) and their last Budokan setlist was as follows:
Hyakuman Nayuta no Chiri SCUM
SUBROSA
Muyuu Neko SLEEP WALK
PINOA ICCHIO -Odoru Atom-
Les Enfants Terribles
From Now On
Shinkeishitsu na Kaidan
Raijin Fuujin - Resonance
Meiousei de Shine
paradeno mori
Strelitzia
Zetsubou to iu Na no Kimi e
Madman Blues -Minashigo no Yuuutsu-
TIKI TIKI BOOM
SANE -typeII-
Barairo no Hibi
Encore:
LOVE ME
Kyouki no Dead Heat
Villain
ICONOCLASM
I wonder though what did they do with those Atsushi-fronted songs? AFAIK they promised not to use existing Atsushi recordings anymore, but I might be wrong of course.
