girugamesh's first full album.
2006 has been an exciting year for girugamesh and their fans; the band signed to the Danger Crue label (home to such bands as SID and La Vie En Rose) and now released their highly anticipated first full album, 13's reborn. Two different versions were released; a regular edition with twelve tracks and a limited edition with eleven tracks and a DVD. This review is based on the latter.
13's reborn
Track one, 13, is a simple intro track which leads us into the second track, Jarring Fly. 'Jarring' is a good term for this song which seems to be confused as to what it wants to be; a head banging fest or something more melodic? One is left confused both by the tune and the choice to start the album off with such a weak track. Thankfully, the rest of 13's reborn doesn't follow its lead.
Shadan and Mouja no Koushin are fairly solid songs, as to be expected from girugamesh, although nothing spectacular. These earlier tracks however are blown out of the water by the fifth track on this album, Aimai na Mikaku. The term 'drama' has become a pejorative one on the internet but there is little other to describe Aimai na Mikaku other than dramatic. It builds wonderfully, the dark bass line layered over by some outstanding guitar work. Satoshi absolutely shines in this song, giving it an emotion not often heard in recorded work. One does not need to be familiar with Japanese to be moved by his voice.
robust conviction has the difficult job of following Aimai na Mikaku and wisely chooses to be an entirely different type of song. This is one of two tracks on 13's reborn written by guitarist Nii, the other being Furubita Syashin. robust conviction is the stronger of the two tracks and is almost a cheerful, upbeat track without losing any of girugamesh's usual edge. If Aimai na Mikaku made one want to curl up in a corner and cry, robust conviction will make you want to jump right back up and dance.
Track seven, the only song written by bassist shuU, slows things back down. Ame to Fukoumono has, as to perhaps be expected, a very solid bass line and a somewhat strange sound, almost a heavy rock ballad waltz. A very interesting listen although it may have been more effective if placed earlier in the album as the vocals seem to lack slightly after the heart wrenching Aimai na Mikaku.
The album ends on a strong note with Deceived mad pain, Makai no Yami and Owari to Mirai. Owari to Mirai in particular is extraordinarily catchy, almost criminally so for a harder rock song.
The DVD contains two short videos with the music video for Owari to Mirai first. The setting is very simple and appears to have been filmed in a parking garage but is well-done and fairly polished, unlike many debut music videos. Between the quick camera work and Satoshi's liveliness, the video is an entertaining watch and certainly not a bad first showing from this band. The second video uses a well-known trick, often employed by bands with a limited budget, which is to play a recorded song (in this case, kaisen sengen) over live clips. Unlike many bands who use this, girugamesh seems to make an effort to actually have the song and video match, which is a nice touch. However, it may have been better to simply use a live clip and not play a pre-recorded song over it.
This album starts off with a bit of a stumble as its first tracks are its weakest, but thankfully it never falls on its face and instead only grows stronger and stronger as it nears the end. A solid first album for this young band and we look forward to what girugamesh will continue to create in the future.
