15 years of Headbanging

An unexpected treat showed up on YouTube! BABYMETAL dropped a remake of the iconic Headbanger MV. Headbanger features a young female protagonist celebrating her 15th birthday, so it makes sense that this remake is meant to celebrate BABYMETAL's 15th anniversary.

The location has been updated to a gaming arcade in which a crane game grabs a neckbrace to kick off the song. Out of a video game screen, the ancestral spirit, or Kami, makes his reappearance Sadako-like. SU sings lead and MOA provides the clean harmonies as always, but MOMO gets to go full ham on her backing growls, adding an even harder edge to this classic track.

The choreography is the same, but after 15 years of repetition, the movements are polished and energetic without being breathlessly frenetic. The Kami steals the show, though. He goes into a Kevin McCallister style frenzy, running around the arcade like nobody's looking (nobody is looking 'cos it's empty), but Japanese finesse still comes though as he politely gives silent thanks before tucking into his ramen. He also celebrates with a soda pop shower (you're still not allowed to celebrate with champaign at 15), but mops up his mess at the same ridiculous Red-bull fuelled pace immediately after. It's a cute comedic touch to the faux horror theme that is so BABYMETAL.

Happy 15th anniversary to BABYMETAL! I hope to continue supporting your work until you change your name to BIDDYMETAL 50+ years from now!

SU-METAL wins Metal Awards' Female Metal Singer of 2024

 

This news is days late, but I was waiting for a video I could make a link to. Suzuka Nakamoto a.k.a. SU-METAL is Metal Awards' Female Metal Singer of 2024 after winning a year-long ballot by a landslide. The video cites the openness of the Metal community, becoming more inclusive of new, innovative variations within the genre, and how BABYMETAL's blend of heavy metal and idol-pop has opened up to the world a new way to appreciate Metal music. Agree and agree.

SU-METAL has forged an over a decade's long bond with a growing fanbase who really love her and BABYMETAL so much that they care enough to actually vote. Consider that the total number of votes cast for Female Singer at nearly 100,000 is double that for Male Singer at 50,000. Voting matters. When I cast my vote last year, SU already had a commanding lead over her rivals, so I knew that this fanbase was unparalleled among other female-fronted metal bands. Give her more chocolate to keep her (and MOA and MOMO) working hard and happy at making great musical productions for us all!

'Metali' MV is an energy vortex of joy and fun

I reacted to the audio-only track of 'Metali' in my previous post. The official video adds so much more to the enjoyment of this new BABYMETAL single.

Like its predecessors, 'Megitsune' and 'Karate', this video is very proudly Japanese: in set featuring traditional architecture, traditional costume in both festival and theatre attire, and even the lighting in the early part of the video displays rays radiating from the circular portal behind SU, suggesting the Rising Sun flag from Japan's earlier, more nationalistic days.

Although there is much tradition to be proud of, the ladies throw shade at the more oppressive parts of their culture. Their choreography comprises high stepping and stomping, with aggressive arm and hand movements, very unladylike. While dancing, MOA and MOMO 'accidentally' kick over traditional tea sets which can be seen as symbols of female subservience, and the ladies are having none of it. There is also the shocking visual of many 'fox signs' suddenly breaking through the traditional paper wall mid-ground, immediately followed by another jump-scare of two characters physically bursting through walls both stage left and right. These elements continue the band's penchant for fun horror movie imagery, but also reinforce their central message of breaking past barriers, like they constantly have had to do, while encouraging their audience to do the same.

Masks from Japanese theatre return, but other than the expected kitsune masks which feature in some backgrounds, in the foreground the supporting mass dancers wear human faces, representing us in the audience dancing, singing and chanting, being part of the festival, and really the show. The mid-piece breakdown unexpectedly throws back to a Japanese theatrical narration. Since MOMO takes the spotlight here, the voice is probably her's even if we only see her dancing, not vocalizing. This directorial choice keeps the energy going instead of slowing the pace to a standstill, which would break the momentum, and nobody wants that.

Energy is such a huge part of this song. The melody is super-catchy, the moves are big and deceptively easy to follow, and the audience participation is built in so obviously that when SU calls, without hesitation we want to yell back at the top of our lungs, punching the air while we do so. Somehow, self-consciousness gets shoved aside in this energy vortex, and everyone just gets sucked into being one with the performance. 'Live' in concert, this song would be an experience like no other.

We also get to see Tom Morello's contribution. Not familiar with him or his work, watching him play the guitar in the latter part of the video and hearing his beautifully weird East-West fusion on strings is a privilege. That last visual of the three ladies sitting on his guitar, waving at the crowd, is their tribute and thanks to Morello. The placement of the guitar makes them look like they are literally standing (in this case sitting) on the shoulder of a giant. Such humility in respecting their inspirations guiding them forward.

BABYMETAL is best experienced 'live', but they do occasionally put out official MVs that slap hard -- I'm thinking 'Megitsune' and 'Karate' as among my favourites. This one, 'Metali', shoots straight up to the top of my list. It has me dancing in my chair with every re-watch. That's my main criterion for a great music video.

BABYMETAL return to their Japanese roots in 'Metali'

BABYMETAL has gone home to Japan with their latest single after touring the world for creative inspiration. 'Metali' features the most traditional Japanese instrumentation since 'Megitsune' from a decade ago. It opens with the strings of (presumably) a shamisen which continues to be prominent in the music throughout. Likewise, the musical composition sounds East Asian, reminiscent of some traditional Japanese festivals involving music and interactive chanting. Yet, the main instrumental accompaniment is straight up metal, rhythmic and heavy, unrelenting and powerful. That, I'm guessing is where guest musician, Tom Morello (Rage Against the Machine), comes in to seamlessly blend West with East.

SU's vocals are almost aggressive: still melodic, but tends to be inspired by their fellow contemporary Japanese female-led metal bands, a genre arguably pioneered by BABYMETAL, so it's come full circle with the original taking inspiration from those they inspired. It's also notable that this is the first original BABYMETAL song released with MOMOMETAL as the official third member of the new trio. The chorus sounds nice and full again with the voices of MOA and MOMO combining as one to aid with the heavy lifting.

The theatrical narration midway through the track adds to the sense of homecoming. The voice is as yet uncredited, but I'm speculating it could be MOMO's given her experience with musical theatre during her early career. It could just as well be SU's or MOA's, though, as they, too, are vocally versatile.

I just looked up the translation for "wasshoi", which is repeatedly chanted, and indeed it is a word that is used in traditional festivals to get everyone in sync and work together to lift a shrine for a grand parade. It's a homecoming for BABYMETAL, and they've brought the whole world back with them for the party!

'Metali' dropped on 18 August 2023, and is available on YouTube (above), and on Spotify. Probably elsewhere too.

Edit: Big surprise! It's not just new music on YouTube, but a whole new official music video! This band gives so much, and keeps on giving. And I was there for the premiere!

Chibimetal debut teased in METALVERSE#1 trailer?

We have dates for a new reveal of something mysterious happening in BABYMETAL lore. An alternate universe version of BABYMETAL? At the launch of BABYMETAL's 2023 World Tour, a new trio of youngsters introduced as 'Chibimetal' performed alongside our known METAL ladies in their 'live' performances of (as far as I have discovered) 'Karate' and 'Doki Doki Morning'.

Comprising SG alumna (of course!), Chibimetal shadowed their older counterparts perfectly, move for move, note for note. But the Chibis are thankfully not exact carbon copies of their mentors(?). Chibi attire features a similar cut, but a starkly different colour scheme; and there's a noticeable height inversion in that both supporting dance-vocalists are taller than the lead.

Which brings us to this trailer that dropped just hours ago. Apparently, Chibimetal's development is more advanced than I expected, if they're ready to reveal something major in just under two months. There's speculation that this new group could be a cover band for BABYMETAL's earlier songs, which SU, MOA, and MOMO may have outgrown. But I really hope that we'll be getting some fresh, new music coming from the newly 'discovered' METALVERSE invasion that would be worthy of introducing a new kawaii metal band to our universe.

What will actually be revealed at Spotify O-East (a 'live' concert venue in Shibuya, Tokyo) is anyone's guess at this moment. We wait with bated breath...!

Edit: I'm speculating, wishful thinking really, that since SG ceased operations in 2021, could the management have been taking these last two years to retrain and re-brand the former girl idol band in the direction that its most successful spinoff unit had taken? Could SG have gone completely metal with its different sub-units to create many different varieties of new metal variants, hence the apparent multi-dimensionality of the Metalverse? Metaru-Sakura Gakuin sounds absolutely nutty, but this think-tank has made weird things work before. One can only hope.

The End: a critical commentary

I've finally figured out what's rubbing me the wrong way with 'The End', Lil Uzi Vert's collab with BABYMETAL. First, the song attempts to recapture BABYMETAL's child-like quality of 10-13 years ago, which in itself isn't a bad thing. But given the part they got to play in this song, it's just a caricature or a stereotype, at best, of the band they once were that this song is summoning.

The chorus in which we hear the girls' voices (or is it just SU's?) is cute and catchy, which is what we remember, but the lyrics are so literal, they're not even close to the relative sophistication of 'Doki Doki Morning', or their Sakura Gakuin songs from even earlier. 'Lalala... sing a song... sing along... love is all you need... we love all music' are just prosaic lines that mean exactly that. There's nothing to interpret, nothing to exercise the brain, or excite the heart, other than the solid hard-core metal behind them.

What I am most disappointed with is that this song fails to take seriously BABYMETAL as they currently are, and what they can now do. Instead, the production process to me feels like the girls were given some sheet music and told to sing it into some recording device for processing later, and the girls were nice enough to oblige. Looking at their world tour schedule for this year, perhaps that was all the time they had, anyway.

In comparison, 'Kingslayer' (harsh language warning) sounds more like a true collab between Bring Me the Horizon and BABYMETAL with the integration of their different strengths: sounds, styles, lyricism, imagery. There's thought and discussion apparent, resulting in a seamless throughline and a deliberate sense of artistry that synergizes the two bands in this one song.

Having said that, I still wish Lil Uzi all the best success in Pink Tape, their fourth album. Finding a new direction is difficult. I applaud the inspiration and courage behind the song, and appreciate its positive spirit. BABYMETAL started the same way.

IDZ brings the evening to a close

(This post concludes my reaction to BABYMETAL's performance during their World Tour 2023 at Zepp, KL, 4 June 2023. If you start here and scroll downwards, the sequence will be in reverse order. If you prefer the sequence to be chronological, first scroll about 13 entries down to my 'Megitsune' review, then work your way back up.)

BABYMETAL gifts us with one final number to finish a 14 item set. The performance in the featured video (above) is the capstone to the showcase that riveted the band's place in metal canon. Sonisphere, UK, 2014, a major rock music festival, marks a glorious piece of historic lore in which an unknown band comprising a trio of uncomfortably kawaii underage frontwomen singing pop in a foreign language accompanied by a face-melting metal band got unexpectedly bumped up from the fringe event, and on to the main stage in front of 60,000 presumed hardcore metalheads. After immediately becoming the talk of the town, the band gained a beachhead from which to conquer the world.

Was their success really that unexpected? Well, even at this young age (14-16 years), the girls are already entertainment veterans, having performed in front of large numbers of paying audience for at least 4 years, if not more. The Kami band behind them is jaw-droppingly metal. Their performance package is tried and tested: the choreography is well-rehearsed, polished and perfectly coordinated; the trio's vocals are strongly melodic, and delivered with powerful conviction; their stage presence captivating. By this time, they've already picked up a global following through their MV releases on YouTube, 'Gimme Choco' being their most viewed. And judging from the display of a white neckbrace and a BABYMETAL flag from the audience (7:22) they probably have more friends in the crowd than they gave themselves credit for.

This song, 'Ijime, Dame, Zettai' (bullying, [to] stop, forever), represents a core value the band has embodied since its beginnings. Its use of metal to carry songs of positivity, encouragement, and cheer was a radical departure from what metal was 'supposed to be about' back then. Experimentation, innovation and adaptation still keeps this band fresh and relevant, even forward-looking, today.

Back in KL, the performance is over. SU calls, 'we are...?' To which we respond, 'BABYMETAL!!!' Then instead of the usual chorus of 'see you', she goes, 'berjumpa lagi', which is still literally 'see you again' but in Berhasa. It's a tiny, but heartwarming gesture to recognize the country that has welcomed them, on this effervescent and thoroughly memorable night of my mid-fifties.

Divinely attacked in the nicest possible way

It's been a few minutes since 'Road of Resistance'. The band has left the stage and we're left in darkness and silence. I'm not familiar with 'live' concert protocol, so I'm running some possibilities in my head. Was it supposed to be a 12 song set, and now they're setting up for an encore? Or could there have been a technical issue, but will be resolved quickly enough so there's no point announcing it? Or could the band need a little break to revive before finishing strong? Or did someone get hurt and they're assessing the damage?

Anyway, the band re-enters to perform 'Divine Attack', so I guess problem solved. The pace of this song feels like we're in a cooldown phase, given the choreo has slowed down. Although there's a definite metal foundation, the song is less frenetic, opening up some space to bring the focus back to SU's belting vocals.

According to these translated lyrics, the song inspires us to fight on against whatever holds us back or down, even though our backs are against the wall, as we push together towards the open road. That's great! But the English lyrics I hear in the chorus are

The time has come, stand up...

Time to go your way...

Yes, m'am, I take the hint. It was a really lovely evening, and you've been a very entertaining host. Thanks for having me over at your party! It was absolutely something to write home about!

Piece de resistance

'Road of Resistance' is the song I've been most anticipating and dreading at the same time. Placed 12th on the KL setlist, this song packs such an inspirational quality. From the instrumentals, to the vocals, to the choreo, to the set, the lighting, the pyrotechnics, to the audience participation, these 8 plus minutes takes theatricality to another level! First of all, I doubt any theatre company has ever played to a 'live' audience of 20000 in one sitting. Second, the entire crowd is completely in sync with the performance, and right on cue with their parts in the the singing and movement. What it must have been like to be in the crowd during this production!

It begins with a riff that will stick in the head for a while. The girls are absolutely still, faces serious, two adjectives we would hardly use to describe this band. Each bearing a flag across their shoulders, they march with great resolve to centrestage and halt. Without saying a word, SU authoritatively parts the crowd with a simple but firm gesture, creating a giant mosh pit. What an epic build up of anticipation as we count the seconds to the imminent wall of death.

1234! and all heck breaks loose. The girls mount their steeds and charge full tilt across the landscape, kicking off yet another electrifyingly energetic piece of choreography. At this point we can pick out a subtle difference between YUI and MOA's approaches. YUI is fully immersed in her performance. At 1:56 YUI's expression looks like she's really giving her heart away and she keeps this attitude throughout. At 2:15 MOA is having the time of her life doing what she most loves to do: sing, dance, entertain her audience. It's nice to see that despite their different personalities, they still sync so well together.

One thing that sticks out for me is how freely they use the word, "forever". To sing of forever at this young age shows a lot of youthful idealism and naivete. It makes me sad because YUI will eventually leave the band, and one of the guitarists will lose his life in an accident within the next few years. After these events, the band is no longer so casual with their use of "forever".

Anyway, just before they get to the audience participation bit, there's an instrumental bridge. The guitar and drums set a blistering pace, then impossibly accelerate even further before dropping back down. But the crowd has already been so excited that they gladly fill in the void when SU invites them to sing the "woah-oh-oh-oh" response, and we get this 20000-strong choir valiantly struggling to keep up with SU's higher notes. She lets them go acapella for a few bars before graciously taking back control and ending the song with a literal bang!

And the moment I've been dreading arrives. With a chorus of "see you" the show comes to a close. At least, it does in the video. Not in KL. Here, without a word, the girls exit stage right, and we're left in darkness and silence. We're not sure what's happening, but since there was no "thank you" or "see you" signal of dismissal, perhaps we're not done yet...?

Gimme BABYMETAL

I've responded once already to 'Gimme Chocolate', the song and video that launched BABYMETAL onto the world stage. So instead of featuring the official MV again, here's another fancam shot on location at Zepp, KL on their 2023 world tour.

'Gimme Chocolate' was indeed my very first encounter with the band. It was years ago, but in all places, a shopping mall in Bangkok, while I was on vacation. A song with a beat much heavier than all the other songs playing on the PA system made me perk up and pay attention. Then children's voices piped up -- in Japanese, and I was in Thailand -- and they kept repeating one English word that I could recognize: 'chocolet-to'. I remember thinking it could have been some weird commercial for chocolate, but the music went on longer than any commercial should have. Intrigued, I was determined to research this band and find out more about this weirdness once I got back home. But the Internet being what it was back then, and me possessing the attention span of a goldfish, I completely forgot about it.

The second time I encountered BABYMETAL was when they took their first tour to the USA, and they appeared on The Late Show with Stephen Colbert to publicize their new album. That's when my memory clicked back, and I could now connect this distant memory of a song with its performers. So I looked them up on YouTube, curious to find out what they were like back in Japan. I saw the Gimme Choco video, and I dimly remember watching 'Headbanger' as well. My brain instantly shut down due to sensory overload. Also, the girls were too young to be making this kind of music. It felt so wrong. Somebody behind the scenes had to be exploiting these poor kids for profit, and I really didn't want to give them any more of my attention.

I guess it was the third time, encountering them on The First Take that I realized how talented SU and MOA were. If it had been just a quick cash grab like I thought back then, they wouldn't have continued making music this long, and they wouldn't have evolved their music to grow up along with them. And so began my delving into the Foxhole, perhaps hoping that their art could help inspire something of my own.

Spicy Asian fruit salad

The papaya is just a humble, common Asian fruit. To most of us, it's a sweet dessert fruit, cut to bite-sized portions and served chilled. But in Thailand, the pre-ripened fruit is mercilessly shredded and served with cut chillies as a sour-sweet, spicy appetizer that explodes in the mouth with an overwhelming mix of flavours. That's how it is with 'Pa Pa Ya!!', where even the song title is shredded!!

The dance beat hits right from the get-go. Everyone is jumping and amplifying the rhythmic pa pa ya vocalizations provided by guest collaborator, F. Hero, a Thai rapper of some renown. The verse comes in, catchy as heck. The pre-chorus builds anticipation, then whack! The chorus smashes in with even more energy, and we all go nuts. Very simple lyrics and a predictable composition makes it easy for the crowd to know when to respond with a "hey!" a "yo!" a "pa pa... ya!" and a towel (or official merch bandana) twirl.

Just when things get too predictable, F Hero shows up, spittin' a hard hitting rap in Thai-English, though on their world tour concerts it's a recording. His harsh, staccato flow contrasts against SU's melodic lines. Each brings their own distinctive flavour to the table, but both complement each other so well in this one delectable, exciting, and fun dish of a song.

The choreography borrows from traditional Thai dance, though not as heavily as it does from traditional Indian dance in 'Shanti Shanti Shanti'. There's a more contemporary feel to these movements as the traditional ones are blended in with F. Hero's Molam sub-culture.

BABYMETAL's positive vibe continues through this song, but they politely let F. Hero deliver the main lines:

Knock, knock, knock, struggling

Pound our lives with some happiness and sadness

Papaya needs to be pound[ed] hard

So it can be yummy, crispy and delicious

Translated lyrics from here.

I appreciate SU making the effort to roll her 'R's every time she sings "brrring it on, brrring it" in the pre-chorus. The 'R' sound is absent in most long-established Asian languages, so it has to be learned and practiced consciously to be pronounced. Props to her for striving to respect the languages she uses to engage her internationally diverse audience.

It's hard to believe we're all jumping, sweating, and yelling ourselves hoarse in a cardio workout of roughly 4 minutes to a song about fruit salad. Thanks, ladies!

The fourth member of the band

Although there is an official MV for 'Distortion', the ninth song in the KL setlist, I've chosen to feature footage from another fancam on site. Again, I hope they don't mind.

What we see is a view from the audience's perspective of what it's like being in the crowd at a BABYMETAL concert. This song, in particular, seems to invite the audience to join in with simple repetitive English phrases, and a catchy 'Wo-o-o-o-o-o-oh!', while we respectfully leave the Japanese words to SU.

It doesn't matter how badly we mangle our parts in the song, we're all creating this shared experience together, and it's part of the fun. It's especially awesome that these performers encourage the crowd to sing along, yet they still deliver a bangin' show without getting distracted or thrown off by our awful accompaniment.

It's this feeling like they treat us collectively as the fourth member of the band that makes their 'live' performances so special. It's possibly the reason that despite my miscreant tendencies, I had to buy a ticket to the show without hesitation. I wasn't going to be there just to coldly audit the show, I was going to be a part of it.

This monochrome firework

I started this BABYMETAL journey with 'Monochrome' on The First Take. I'm just a whatever's-on-the-radio's-fine-with-me mainstream guy, so I have no alignment to any musical preferences at all. While I did listen to Linkin Park (which is sort of metal) for a while back in the day, I was no fan of the genre as a whole. But when I stumbled on BABYMETAL performing on piano, I was intrigued. What would a metal song sound like without the metal? The performance SU and MOA presented was beautifully melodic, passionately, and sincerely delivered with love and tenderness -- so uncharacteristic of my stereotypical conception of metal that I got drawn in right away. If this is what metal can be, I want more!

Immediately, I searched for and found the official lyric video. Certainly, the instrumentation was heavy, as I'd expected, but the guitar produced yet another beautiful melody of its own, leading in to SU's main vocals and MOA's supporting vocals that hit like hammer on anvil, respectively, with the drummer putting out rhythms at a speed I'd never heard before. I didn't see any choreography since it was a lyric video, but when I discovered more of their music, the dance was yet another layer on a package that was both thoughtfully composed, and movingly heartfelt. And I'm a sucker for theatrical performances with high production values. And poetic lyrics that make you think. This band ticks all the right boxes for me, so I'll be stuck in this foxhole for quite a while yet.

Anyway, the featured video (above) is not the official lyric one, but a fan edit that was clearly painstakingly put together to integrate the official video with the band's 'live' performance, as I would have experienced in KL, although the size of the audience would have been a tiny fraction of what we see here. The girls here are dressed in their pre-world tour 2023 outfits, but if you go back to look at their current concert attire (which I saw them wear for the first time on The First Take singing 'The One -- Unfinished ver.'), they're still wearing all-black, but with plastic chromatic frills that reflect light in a spectrum of multi-colours. It's a clever way to brighten up an otherwise drab monochrome dress with a costume feature that creates dynamic rainbow colours with every movement. I believe this song is the very inspiration behind this unique design choice.

'Monochrome' appears on the KL tour setlist right in the middle of the repertoire, making it the feature song of the concert. For the special connection I have with this song, oddly enough in its non-metal form, it's definitely this fanboy's favourite.

BxMxC (the x's are silent)

We're now smack in the middle of the KL setlist, arguably where the most fun songs in the repertoire are. The energy skyrockets with fan-favourite 'BxMxC', a metal hip-hop rap battle. Pardon me if I leave my brain out of this one, and just jump with the beat, shouting along to the 'B! M! C!' chant, since there's no way I can match SU's spittin', even if I knew Japanese.

I imagine a scenario in which SU is having a heated debate with her Other, but she is monopolizing all the airtime, while the Other can't get a word in edgeways. Her upward inflections at the end of every line in the pre-chorus suggests that she ain't done talking yet, so just shut up and listen, yo! The choreo is aggressive, featuring lots of restrained kicks and sweeping punches. It's clear they've conquered and assimilated hip-hop, with SU throwin' down some acapella bars in the final verse for good measure.

The video I chose to feature above is their performance for TV broadcast on NHK. I feel that the official MV contains an unnecessary storytelling element, and that their 'live' shows are much better at showcasing their newer music. This video also features a short interview with SU and MOA, so I thought I'd let the ladies speak a bit, and introduce themselves for a change.

The psychological truth of 'Mirror Mirror'

We're now comfortably in the middle section of the KL set. Starting with 'Believing', the songs now come from their latest album, 'The Other One', which dropped in March this year. These new songs show a much more mature side to the band. Gone is the child-like playfulness of their earlier music and choreography. What remains is the commitment to hard-driving metal which is core to their identity, while the vocal line remains beautifully lyrical and melodic. The tunefulness of the vocals is catchy and tempting to sing, or at least hum along to, like as if we could keep up with SU-METAL.

'Mirror Mirror' is a weird combination of familiar references from Disney's version of 'Snow White' and Shakespeare's 'Macbeth'. SU's line references the wicked queen as she indulges her vanity while looking into the mirror. MOA replies with the chant of the 'weird sisters' before they show Macbeth the illusory vision of his ascension to royalty, motivating his descent into serial murder just to maintain a brief, heirless, and ultimately pointless rule.

The point is that the mirror lies to us. Need I say that the mirror could also be social media that we allow to dictate our identity? Focused on our mirror image, we are stuck where we are, this illusory superlative sense of self, being either the 'fairest', or the 'worst'. Instead, stop focusing on yourself, and turn your back to the mirror. Then you'll see life, and navigate through life as it really is. Wow. That piece of wisdom alone has saved me 10 to 20 years' of therapy down the road!

Going back to the choreography, it's clear that the band is much more confident that their music does indeed transcend borders, regardless of language barriers. They are no longer bound to literal storytelling in their movements. They are not above doing it when performing their older songs, but it's not who they are any more. Their choreo has evolved to be more aesthetically appealing, hence the synchronicity and overall symmetry of movement, generally suggesting the constantly shifting patterns of a kaleidoscope, with every nuance of gesture deliberate and rehearsed to perfection.

Letting the music tell its own story, the dance has become an additional instrument in the band, providing notes and rhythms for the eye, enhancing what the ear already hears. The dance now contributes to the music instead of trying to talk over it, like it used to. While many of us miss the controlled chain explosions of tiny chaos that early BABYMETAL used to be about, they have allowed for the progression of maturity, and instead of fighting change, the band has evolved with natural grace. Taking their own advice, this band isn't stuck looking at itself in the mirror.

Megitsune: BABYMETAL is Borg

For want of anything better to write about, I'll be running through the BABYMETAL setlist as performed 'live' @ZEPP KL, 4 June 2023. I already reviewed the opening number, 'Death' in an earlier post, so I'll skip it and go into 'Megitsune', which is an apt follow up.

Where 'Death' is a statement of identity for the band, and its members, 'Megitsune' details its purpose, like its corporate statement.

The song pays homage to the trickster fox of Japanese mythology, whose totem the band has adopted. Behind the fox mask, nothing is as it appears. The mask is the stage on which the girls and the band perform in front of their audience. The band dresses as spooks, possibly ancestral spirits, and as the Kami band, they are almost gods of their craft -- although in this MV, the band is very enthusiastically played by actors wielding traditional Japanese musical instruments which obviously could not make the metal backing music we are hearing. The presence of spirits in this Japanese house(?) brings a spooky vibe, but YUI and MOA are clearly having so much fun in this haunted house, like it's Halloween. Meanwhile, SU, who is older, is pensively preparing for her transition into womanhood, which is yet another mask protecting her private self from her public facade. Even the microphone SU holds is a mask hiding another surprise.

So what exactly are we looking at in this MV? Well, it's a metal band wearing an idol-pop face. Or is it the other way around? The integration is so tight, we can't tell. It's metal, but the band will assimilate any genre it can wrap its musicality around. Here, it's incorporated 'Sakura', a popular Japanese folk song, and metallized it with repurposed lyrics. The band will go on to assimilate music from many other cultures worldwide in their later tracks, giving the band constantly fresh material, and an unpredictable repertoire of things that should not go together, but somehow they do, and you'll love it! BABYMETAL is Borg at their most delightful. Resistance is futile!

BABYMETAL is itself an impenetrable mask as the girls are only seen in public in their METAL (and their earlier SG) personas. Their private lives are intensely private, which is as it should be.

Jumping with them at the concert, yelling sore together with the crowd was something I never thought I'd enjoy up to a couple of months ago, but

Check-it-out BABYMETAL. I can have a bit of BABYMETAL, can’t I?

But my dignity worries me a bit these days

However, BABYMETAL. I can have a bit of BABYMETAL, can’t I?

Such guilty pleasure. 

BABYMETAL World Tour @ Zepp KL 2023

I was there. 'Live'. In person. VIP section. Weird, as the people who paid the most got to stand right in front of the stage where, in Shakespeare's time, the poorest people would have been standing. And the VIPs then would have been comfortably seated at the back, where today, the cheapest tickets are.

Unfortunately, this was the best shot I could get of the three in one frame. While SU and MOA are relatively clear, MOMO is blurred out due to movement. Photographs are literally shots in the dark, when lots of factors have to precisely align: Lighting, moments of stillness (which are far and few as they move around constantly without any signs of fatigue), and no random 'fox signs' or other mobile phones obstructing the view.

MOMO (Edit: nope, that's MOA. I didn't notice the dimples earlier) at least gets one good shot here, and probably my best one for the night. And what a night! Well worth the 6 hour bus ride up north, well worth the 90 minutes I spent on my feet waiting for the show to start, well worth cramming shoulder-to-shoulder in a crowd of 2000+ other BM fans (a.k.a. The One) when standing so close to people actually makes me uncomfortable.

The show comprised 14 songs, altogether lasting about an hour and a half. Each song was performed exactly the way it was always performed in their official and unofficial 'live' shows on YouTube, so perfectly coordinated, rehearsed, practiced, and polished. The only difference being that I. Was. There.

I even survived a couple of impromptu moshes. My research into metal concerts indicated that waivers had to be signed if I wanted to participate in a mosh pit, but no documents had been presented to me for my autograph. Yet, I knew that where I was standing was prime location for a wall of death, but as the crowd was well behaved, I thought nothing of staying where I was. But when 'Gimme Chocolate' came on, that's when the pushing and shoving began, without warning. So I leaned into it, nearly getting knocked off my feet a couple of times, but leaning on other people kept me upright as I carefully edged my way out of the pit. It may not have been my intention to get involved -- considering my age -- but I got what I paid for and consider surviving the experience a bonus. So I knew well enough to stay at the periphery during 'Road of Resistance' and the closing number, 'IDZ' during which moshing was expected.

I really admire these three women who brought so much life, talent, energy and joy to this small KL performance, when they've been performing almost every other night in a different city each time around Europe and Asia, and they have yet to start on their US leg before returning to Europe to close out the year. Just look at their tour schedule for 2023 alone!

The souvenirs I'm bringing home include a lanyard with VIP pass, an official promo poster, and an official bandana used for audience participation during 'Pa Pa Ya!' which I believe is the most fun song in the entire repertoire.

Finally, I can't believe I saw BABYMETAL in person. Yes, anyone can see them in person as long as they have a ticket. What I mean is that I found something that I really wanted to do, and I didn't let my laziness, inertia, excuses, apprehensions, and doubts stop me from planning out this little trip and seeing it through to the end. Not often I can say this to myself, but 'mission accomplished'!

Unexpected act of mercy

Early BABYMETAL songs tell stories that are easy to follow, even if you didn't know the language. In 'Karate', three imposing death's head figures square off against our three METAL protagonists, although there is only one male aggressor who engages them in battle. In a back-and-forth contest, he lands a powerful blow, knocking the three girls down. Big sister, SU, struggles back to her feet and helps MOA and YUI up. Together, they gather their strength for one last strike. However, the antagonist who downed them has disappeared. SU's sonic blast hits the three masked figures, breaking their masks to reveal... themselves. It's quite true that we are often our own worst enemies. Having defeated their fearful, rageful, aggressive parts of their personalities, the girls are finally at peace. Easy story.

My first thoughts on watching this video was that all this Karate fighting seems to be at odds with one of the band's definitive messages of 'ijime, dame, zettai' (commonly abbreviated as IDZ) or 'no more bullying forever' and is one of the tracks in their self-titled debut album. I guess I was thinking 'Karate Kid' initially. But this fight is more of an inner struggle to defeat the worst parts of ourselves that keep us down and out, rather than directing violence against another person.

SU and YUI demonstrate strength in breaking things, but my favourite sequence is when MOA uses her heightened senses to pluck an insect in mid-flight out of the air. It had disturbed her meditation, and having caught it, she could have crushed it out of existence so that it would never bother her again. Instead, she gently releases it in an unexpected act of mercy, letting it rejoin its companions and go on its way. Her celebration of and respect for life no matter how seemingly insignificant packs the strongest gut punch. It truly embodies the spirit of IDZ, and watching it greatly uplifted my spirits.

With BABYMETAL, the positive emotional payoff is refreshingly different, in comparison to the cathartic release of angst and rage when listening to, say, Linkin Park, which I did listen to quite a bit back in the day. I'm all for it.

SU-METAL solo: 'No Rain, No Rainbow'

SU-METAL solos offer a change of pace within BABYMETAL's 'live' performances. Slower, slightly softer, the focus is often on the emotional delivery of someone longing for human connection. Perhaps it's also that SU is bereft of her supporting vocalists, MOA and YUI, that her voice sounds so completely alone, and lonely. It's a vocal quality that offers more variety than just headbanging for the audience to experience and appreciate.

For 'No Rain, No Rainbow' I chose to feature above a more recent version of the song as SU's voice has since matured, and as such carries a sense of loss with more gravitas. Her younger voice still makes for a beautiful rendition, but an older voice suggests having had more to lose, and more to regret.

I don't have the musical vocabulary to describe what I hear, but I feel this song is particularly effective in hitting the emotive elements through the way the chorus is structured. I don't know if it is accurate to say, but the chord progression sounds like the way water falls in tiers (yes, clearly an English pun, and probably unintentional), but that's what it sounds like to my ears. It then picks up, only to fall again, so I am constantly experiencing a sinking feeling every time the chorus comes around.

Then there's this breathtaking staging effect as a beam of white light appears to emanate from the grand piano, lighting a path to SU's feet. With poise and dignity, she walks to the piano while the band plays an instrumental bridge. The band cuts out so we can just hear her play the piano accompanying herself as she sings a couple of lines of verse...

But then there's a sudden, inexplicable length of silence that cuts in mid-verse. It appears to be a mistake or a glitch, perhaps in the audio recording, but in other performances, the band does pick back up and continues until SU comes in once more with the chorus. But in this performance, we next see SU at a different part of the stage, illuminated in a circle of light, dead centre within ripples of tears falling into perhaps a pool of tears, and she continues the verse where she left off. Guess you had to be there to know what really happened. Regardless, 'No Rain, No Rainbow' is still a beautiful song, beautifully rendered.

Great job!

Today being Labour Day is as good as any to introduce Black BABYMETAL with the song 'GJ!"

As we've seen, a BABYMETAL 'live' show is a full-on high energy effort that often goes on a few days running. The concept of Black BABYMETAL has a lore to it which I won't get into as it is confusingly inconsistent, and much is probably lost in translation. Regardless, to give each other a break without disrupting the momentum, parts of the performance are taken by SU solos, and some are MOA and YUI duets under the Black BABYMETAL label.

GJ likely stands for Good Job, as the phrase appears in the chorus. The opening beat is a cheerleader rhythm of encouragement for the team to put in extra effort, but done in metal with a bass guitar assist, the sound is heavy -- more like the beat of galley drums, getting the slaves working together to pull the oars.

Picking up from the instruments, YUI and MOA launch into rhythmic verse about the daily grind of sheeple going to work, comparing the daily commute to a 'wall of death', a term describing the commencement of a mosh when people from opposite sides of the pit run headlong towards each other and collide in the middle. Pretty accurate description for rush hour at the MRT station. During the verse, their movements are punchy sharp, imitating the pushing and shoving on jam-packed trains. For the pre-chorus, they revert to cheerleaders egging on the crowd. But their gestures are from their fingers and below their shoulders while leaning slightly back, which suggest less encouragement and more taunt, as if to say, 'is that all you got?'

The second verse is about the opposite of going to work, and that is going shopping. Likewise, shopping is yet another mosh pit as everyone tears through malls looking for the best discounts and offers of free extras. The movements here have become more combative, showing finger guns in the short instrumental break, and some defensive shielding amidst more pushing and shoving in the verse.

In between, the chorus hits with contrasting melodic lightness, incredibly catchy as their choruses usually are. Their movement also lightens up a little. They keep their sharpness, but throw in more fluid, rapidly flickering movements as they sing of escaping the crush and grind of the work-consume cycle. Being "happy-go-lucky" is the way to go: 'aiming too high brings us no good' so 'take it easy' instead.

Easy for these girls to say. It's clear they work very hard at what they do, and aim for the stratosphere with their ambitions of changing the world for the better with BABYMETAL music. The big difference is that they found their ikegai (the intersection of passion and competence in supplying what people need and are willing to pay money for) while they were still relatively babies, and went ahead to pursue it. The rest of us will just be grateful for Labour Day when we can put up our aching feet for a while, and hopefully not squander it on meaningless shopping. Take it easy, folks!