SOZESAYA – 恐怖電子人間 (Horror Electronic Human)

SOZESAYA - 恐怖電子人間 (Horror Electronic Human)
Listen to SOZESAYA’s ep 恐怖電子人間 (Horror Electronic Human), a short and creepy experiment from two of the most interesting idols, perfect for Halloween.
SOZELICA (from Melon Batake A Go Go) and 沖縄電子少女彩 (Okinawa Electric Girl Saya) are among the most experimental and interesting idol in the whole scene. If you put them together, the result would surely be incredible… and it actually happened. SOZESAYA is a collaboration between these two artists and おやすみ電子人間 (Horror Electronic Human) is their first release.

As you have probably guessed from its title, this EP is the perfect soundtrack for Spooktober: the horror atmosphere the five tracks are drenched in is perfect for the upcoming Halloween and — although it lasts less than fifteen minutes — it will make you shiver quite a bit.

The EP starts with the titletrack and its creepy synth melody, soon joined by an electronic beat and some spoken words; I’d like to recommend you to keep in mind that melody, but to be honest it will actually be harder to forget it, as it will keep haunting your nightmares for a while, especially since the voices also make use of the same melody. The song gets more intense and also more frightening with the addition of a distorted bass synth and some choirs towards the end.

Next is “恐怖電子人間のテーマ” (Horror Electronic Human’s Theme), which is entirely made of glitched and cut up voices with some reverb and other effects; if this isn’t creepy, I don’t know what it is. It lasts less than a minute, unfortunately… or maybe luckily, I’m not sure.

SOZESAYA (Sozelica & Okinawa Electric Girl Saya)

SOZESAYA (Sozelica & Okinawa Electric Girl Saya)

With “恐怖電子人間再び” (Horror Electronic Human), SOZESAYA brings back the same melodies and vocals of the first song, but with a more powerful beat and industrial-like sounds. There are also some jazzy piano notes in the background here and there, which don’t really make the album less scary. Somehow, this rework of the titletrack sounds even more eerie of the original, even if it generally has a harder sound.

And then… all hell breaks loose. Starting off with some ear-piercing screams, “恐怖電子人間の叫び” (Horror Electronic Human’s Cry) is an experimental noise track capable of melting your brain. You can feel some sort of beat going on in the background, but other than that, it’s basically chaos made music. These three and half minutes feature ghost-like breathing, processed vocals, high-pitched synthetic sounds… literally anything helpful in the process of making us both deaf and terrified.

Surprisingly, the last track is both soothing and spooky; aptly titled “おやすみ電子人間” (Goodnight Electronic Human), it has a more ambient and dreamlike atmosphere, with the voices quietly wishing you sweet nightmares dreams on an unearthly, ethereal synth melody. A very interesting ending for this EP which traversed so many genres in such a short time.

Overall, おやすみ電子人間 sounds like a great experiment by two artists who enjoy going beyond any boundaries; both SOZELICA and Saya seem to enjoy scaring us poor victims of their music… not that we’re complaining.


KNOW YOUR IDOL #9: LAST QUESTION

Last Question

We’re back with another interview of the Know Your Idol series in collaboration with Idol Underworld; today we’ll get to know the rpg idols LAST QUESTION.

If you’re a fan of RPGs and idols, you’re going to be happy about this interview. LAST QUESTION is both an idol unit and a party of adventurers, in which the hero, the wizard and the bandit combine their forces together with their supporters’ energy to defeat the bad guys. Will light prevail on darkness? Of course it will, but be sure to support out heroines.

The three girls seem to be really into this videogame setting, often mentioning stuff related to it throughout the interview (take a look at their awesome website, while you’re at it); on the other hand, they will also talk about their experience as idols, the hardships of these covid-plagued times and many more things. Enjoy the interview!

レイドロイド (Raydroid) – PARALLELS DRIVE

レイドロイド (Raydroid)

Listen to the debut album of レイドロイド (Raydroid) titled “PARALLELS DRIVE”, where future bass and j-pop meet creating the kawaii future pop sound.

Remember when we talked about Raydroid on our Chika Radar? It was February, they had just been starting releasing short song previews and I was waiting for an album from them. Well, my prayers have been answered and we got PARALLELS DRIVE.

Kawaii future basswhich apparently is a thing — may be the perfect way to describe this release: it sounds cute, it has a lot of bass and the group claims to come from the future. The album is indeed very future bass-oriented and combines this genre with very catchy vocal lines and bubblegum-like sounds that paint pastel-colored, futuristic sceneries.

The album is not very long, which is a good thing since the fast and upbeat rhythms almost gave me a headache while writing this review; however, in less than forty minutes, these nine songs manage to show slightly different aspects of Raydroid‘s music, adding some elements here and there. Don’t get me wrong, the album is very coherent style-wise and has little to no surprises, but every now and then you’ll find yourselves noticing that certain passages sound quite interesting.

Take the titletrack for example, which follows its very intense and fast beat just to throw in something vaguely similar to a digital hardcore breakdown when you least expect it and making use of a short guitar solo as well; pitch-shifted vocals, sudden speed ups, 8-bit synths, glitched stuff and syncopated rhythms also appear here and there throughout the tracklist, adding to the futuristic feel in songs such as “Kawaii In the Future” and “Hapitable Zone”.

On the other hand, there are more simple and pop-oriented tracks, made just to sound cute and catchy while keeping the digital aesthetics, like “Renai Logic” and “Kanjou Stream”, both featuring a really nice hook. These relatively quiet tracks help giving your brain some relief, allowing you to fully enjoy the more frantic and hyperactive ones without getting tired of this sound.

The only minor defect of PARALLELS DRIVE regards the vocals, which sometimes feel slightly off or not really expressive; it just happens every now and then and didn’t undermine my enjoyment, but it’s still something the group should and probably will work on in the future. In any case, this release is really recommended to fans of EDM-oriented idols.


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