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Old 2012.02.23, 08:54 AM   #21
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Originally Posted by ShadyNook View Post
the catatonic symptom associated with playing the singles?
Perhaps, but Tengoku wasn't the single version and they didn't have to play Senkou again.

The energy on this tour is above Domestic and Spa and Treatment, but I don't think it quite reaches the heights of Ultra C. I like the transition from Kinjirareta Asobi to Osorubeki otona-tachi. It's like the end of Kinjirareta is the wake up call they needed to pick up the performance.
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Old 2012.02.25, 05:12 PM   #22
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Gather up, lads and lasses, for a rundown review of the whole friggin show.

Things you may already know or should know: I’m not a music critic or audiophile. I don’t give thumbs up or down.

Opening -- A transparency screen in front of the band is showing projected images of meteorites hitting the Earth. Someone at EMI has seen Tree of Life. No dinosaurs here, though, unless you count Kameda. An industrial beat underscores the dust balls on the screen.

1. Tengoku e yōkoso -- This is really just a prologue to the show. The band members are lined up in their Ultra C positions. From left to right: Izawa, Uki, Kameda, Ringo, and Hata. A horned creature seems to have crawled on top of Ringo’s head and died. The creature has a ruby eye that twinkles now and then. Can’t really see the band members too clearly, but Ringo’s voice is smooth and clear, not all that emphatic. “Here’s Heaven” appears on a screen behind the band....a bit presumptuous this early in the show, I think.

Show title appears and show “officially” starts.

2. Sora ga natte iru – Exploding meteorites segue into an outer space backdrop. Now we can see the band. Ringo is wearing a white, strapless one-piece with big fuzzy white boots and a garter on her right thigh that I’m trying not to stare at. A long-haired wig is the nest for that stuffed critter on her head. I'd describe the overall look as "cavewoman on prom night." The bizarre costume helps us get through the number, which is so weak the only dramatic action is Ringo holding the mike with one hand, then SWITCHING to two hands, then back to one hand. Not as riveting as it sounds. Izawa looks asleep. Uki seems ill….and he needs to get to a dentist. The camera work is really weird in this concert; here there’s a bizarre cut that flips from one end of the stage to another, so disorienting, and then there’s this “rack focus” cam that gets the whole band in the frame but only one of them in focus at a time. It’s like we just got collective glaucoma. Kameda’s grooving in the back. He and the camera are the only things moving in the whole number. Okay, at the end Ringo lifts her left leg and then does her “look over stage right, freeze, and close my eyes for the closeup” daydreamy thing. Clock chimes. End this already.

3. Kaze ni ayakatte ike – Ringo with the acoustic guitar. Kameda still grooving. Blue-green background; they’re really going for a cold, spare atmosphere in these first few numbers. Uki shows some life. Given that the song’s about wind, there are wind effects blowing on the stage, fluttering Ringo’s hair a bit. Her voice is still smooth and clear, but the show feels stalled in the garage. And can someone tell me what “blood promoters” are? Seriously.

4. Carnation – Warm colors finally invade the hall. Ringo and Uki on acoustic guitars, and Izawa’s fondling and blowing on a melodica. I thought that was Ringo’s thing. Anyway, it’s nice. Here’s where I’m getting aware of Ringo’s incredible control on the stage. She’s got a wig, a goofy hat, a tight dress, a guitar, and lyrics to deal with, and she deals with it by tightening herself up and using only the barest minimum of gestures and movements.

5. Kaitei ni sukuu otoko – Ringo faces Hata and drums a tambourine. More gestures and playing with her posture, but with the same tight control. She does a little too much “indicating” with her gestures: e.g. when she sings about “breathing in” she puts two lips to her mouth like they're holding a cigarette, and then later when she sings about “lips” she does the same thing. Maybe she’s not the Meryl Streep of j-rock. Alright, I now love this song. She gives it a sultry delivery, the band gives it a good jam, and it would be the perfect song for hearing live in a classy lounge act. I didn’t like this song on Daihakken but it seems to work better live. Big Ace of Hearts on the background screen.

6. Karisome otome – The band totally screws the audience with a shift in tempo from Kaitei to this. It shuts the crowd up and I don’t think they know how to take it at first. If that’s all intentional, kudos. If not, let’s just move on. Izawa steals this number even though Ringo is doing things with her figure I won’t dwell upon here, and she walks away from the mike stand like it bores her. At the end she spreads her thighs and grabs the hem of her skirt and let's move on, shall we?…

7. Kinji rareta asobi – Shadows crawl over the stage. Weird vibe. Uki shows off some good intense strumming. Ringo clutches her hair, pushes and pulls the mike stand and ends the song with a dissatisfied expression that’s downright scary. The way she sings “I want you all to myself” at the end is so dark and demanding that I’m flashing back on a traumatic ex-girlfriend and thanking god all that jealous insanity is over with and I got out of it alive. Thanks for the memories, Ringo. If you’re going with anyone and he’s watching this, he hopes you’re kidding.

8. Osorubeki otona-tachi – Ringo is floating and spinning in a cloud of space dust in slo-mo. Costume change. Everyone’s in black, the guys in bowties and busboy outfits. I don’t know whether to listen to them or ask them to clear my table. Ringo has a pink wig and a long coat that’s sure to come off dramatically at some point. This is a mellow performance, with rain effects and slo-mo distortion. And jump cuts. Some continuity errors show that it’s probably edited from at least two different nights. Wait, is that HZM?!?! Naw, it's just Izawa in a quasi-bowler hat. Ringo gestures with a small green apple and does more indicating, twirling her fingers around when singing about the earth “turning the other way.” We get it, darling. Why are you poking the air with that apple? Uki’s guitar is quite cool-looking here. At the end, text comes up on the background screen: “Rejoice, be glad. Rejoice and be glad.” This makes me think of 3/11. Actually quite a few things in this show make me think of 3/11. I don’t know what to say about that.

9. Katsute wa otoko to onna – Criss-cross lighting. Ringo again with the tambourine and tight body control. The low-key, high-contrast lighting is very stark, and Kameda has his own upgraded cool guitar. Izawa takes the stage with his keywork but can’t really bring it off.

10. Handsome sugite – Instant turnaround! The last 9 songs have been lacking some vital energy and this number brings it. Red lights illuminate the band and Ringo does a high-heel stomp. When she calls for “guitar,” Uki delivers. Here the 5 members feel unified and focused. Everyone loosens up a bit, and Hata, who hasn’t been seen much so far, ends the number on a strong note. The crowd cheers. Tokyo Jihen have finally arrived.

11. Himitsu – To put an exclamation point on the fact that TJ have been phoning it in, we hear “please favor me!” as if they were introducing themselves. Where were you the first 30 minutes? Ringo returns to the edge of the stage and DOES THE MARUNOUCHI SADISTIC SLIDE. Is Himitsu the new Marunouchi? Part of me sees the slide as a sort of “F-you” to people who thought they’d get to hear Marunouchi tonight. The camera work is great when she’s downstage in front of the crowd. Kameda jams with Hata and we get the first “UKIGMO” sign of the night. Uki has trotted up the backstage staircase and gets a quick solo. Ringo stands in front of Izawa’s station and hops about, then turns her back to the audience, spins, and spreads her arms wide for the final note. I don’t know if that’s a great version of Himitsu or not, but there was a lot going on there.

12. Boutomin – The band members are smirking at each other, because they know what’s coming; Uki and Izawa warbling into their mikes. Ringo is still committing thespian crimes with her gestures, pointing at the crowd on “you” and at herself on “me.” Stanislavsky wept. This has always been a throwaway tune.

13. Dopamint! – Heart-rate monitor graphic…whoa whoa whoa. That’s Gekokujo you’re messing with there, be careful. Crowd loves this, clapping away. Kameda gives good bass here. Ringo is clutching a huge xylophone mallet for some reason. “5-4-3-2-1” has giant graphics up the staircase. Kameda hopping mad. And OFF COMES THE OVERCOAT. So she had a pink and white mini-dress with a puffy skirt under that. Ringo is a 32-year-old woman daring you to call her girly. I don’t know how (or even why) she does it.

TO BE CONTINUED…..
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Old 2012.02.26, 01:25 AM   #23
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Originally Posted by Nimh View Post
Gather up, lads and lasses, for a rundown review of the whole friggin show.

12. Boutomin – The band members are smirking at each other, because they know what’s coming; Uki and Izawa warbling into their mikes. Ringo is still committing thespian crimes with her gestures, pointing at the crowd on “you” and at herself on “me.” Stanislavsky wept. This has always been a throwaway tune.

I liked this version of boutomin. The Ringo's reaction when the crowd automatically sings "TOKYO" (probably because of the big phat flashing TOKYO sign on the screen) was absolutely PRICELESS. I laughed heartily at that.

Well, I think that was the only highlight of the song... Move along...

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Old 2012.02.26, 10:13 AM   #24
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Originally Posted by Nimh View Post

And can someone tell me what “blood promoters” are? Seriously.
We have to get over this at some point, guys. lolol
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Old 2012.02.26, 11:20 AM   #25
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Vampires? Ukizawa's (Shiina's) vocals? Some fetishy thing, maybe.
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Old 2012.02.26, 02:43 PM   #26
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THE WHOLE DAMN SHOW PART TWO OF TWO

14. Onna no ko wa dare demo -- The background screen reads “Incidents Tokyo.” I like how they just flip their own band name without rhyme or reason. Or maybe there’s a difference between “Tokyo Incidents” and “Incidents Tokyo.” I bet if we charted it, we’d determine that one was definitely better than the other. But they keep it random so we don’t think about it. Anyway, more distorto-cam here, and in her little pink dress Ringo finds a use for the xylophone mallet she waved around in the previous song. There’s a vertical xylophone built into a stand that to my eyes looks like a dressmaker’s frame. There’s something womanly and skeletal about it, and when Ringo taps it (expertly, and adding whistles), I’m pretty sure there’s some kind of feminist statement going on about women’s bodies and self-determined identities but I’m way too distracted by the shot of her from behind. Streamers fall from the ceiling, and Ringo bows in a cross-legged crouch – the cameraman at a discreet distance shooting her from the front. The editor just saved this show from an adult rating (Uki’s “fuck” pants on the cover of the DVD notwithstanding).

Transition: snow – color bars – mashup of video footage and CMs – costume change coming up.

15. Kabuki – New costumes are futuristic gray shirts ‘n’ slacks (Ringo in a tunic) with matching block graphics and rising sun segment on the front. There’s something clone-ish (Devo-ish?) about them. The transparency goes up and Ringo’s standing between the two bleacher sections that, when collapsed, had been working as a flat projection screen and graphic display. She’s got her megaphone and a red light on her, and she sings into a remote mike. Unless I’m mistaken, she makes an obscene gesture, but it’s only obscene to certain Europeans, so I laugh. The number ends with color bars filling the projection screen. Foreshadowing.

16. Mirror Ball – Kameda comes out front, and Ringo wanders around, picking up a microphone and a little green crowd-participation flag. Her control is a little freakish here, as she sticks her pinkie finger out and keeps it there. With Kameda out front, Ringo is center-stage, and she gets the crowd flag-waving. She does a kick-twirl ON BEAT (with Izawa), falls into a crouch, slowly rises, stands on one leg and HOPS. I don’t know what she’s thinking, but she looks happy. And instead of illustrating lyrics with her gestures, she’s expressing moods. Izawa closes out strong, redeeming the weak close of Katsute wa

17. Noudouteki sanpunkan – Izawa and Uki’s singing is growing on me here. By now the band has all four corners of this song LOCKED DOWN and they hit a groove. Hata adds a grunt. This is a Teflon song. TJ could play this in their sleep.

18. OSCA – For me, the Ultra C version of this song was the ultimate; how can they top that? Well, they don’t, but they try. Uki and Kameda put some new twangs into the guitar work in the first part, and Ringo gets down to the crowd again, with megaphone (and without the remote). More great camerawork of her in front of the stage. The looseness of her tunic keeps her hip-grinding from reaching the scandalous heights of her Ultra C gyrations, but that’s fine – you can’t have everything. In the second part, Izawa goes slightly nuts, but it’s Kameda’s solo that pushes it into greatness, with serious reverb and head-rubbing. When the band members grunt in unison we get the first ever for a TJ concert – a 4-way split screen for each of the guys. They should do that more often…for the one tour they have left. I don’t know if it’s better than Ultra C, but it’s damn good.

19. Zettaichi tai soutaichi – Everyone has a guitar but Hata. Ringo is a slow player. Izawa gets a minor solo on guitar and I’ll let the picky audiophiles be the judge. The jam session at the end is great, and Ringo tosses a pick to the crowd while Uki solos.

20. Denpa tsuushin – Hata and Kameda are ON here, but damn those seizure-inducing light effects. This is lightning-fast TJ goodness, keeping the pace, keeping the crowd hopping. When they build a momentum like this you know the end is coming soon…….

21. Denki no nai toshi – Izawa begins, and he and Ringo take the whole first half of the song. When the rest of the band joins in and they build together, you know this is going to be a big one. Ringo’s voice hits that sweet spot just this side of shrill and she performs the entire last minute of the song STANDING ON ONE LEG. The camera holds that shot of her one-legged stance a long time for effect—it’s probably the longest shot on the whole DVD. The lights darken (naturally), and Izawa closes in a nice bookend. This was the pinnacle of the show and should go in the TJ concert Hall of Fame right next to Kimaru from Ultra C.

22. 21 seiki uchuu no ko – If you took out the Tengoku prologue, this would be the 21st song...gratuitous symmetry? Ringo holds her flag to her face like a shy girl and makes this cute song even cuter. In a way this is a companion piece to Senkou shoujo which follows: they have similar lyrics and arrangements. Kameda has some fun downstage. Ringo looks reticent for some reason but she smiles so I guess it’s okay. Kameda is really contorting himself back there, and if that wasn’t funny enough, Ringo does the goofiest flag-waving ever.

23. Senkou shoujo – Ringo crouches and tries to dig into this song. I think Denki took some starch out of her and she’s trying to get it back. Everyone has guitars—too many, actually. Ringo just about forces this song out of her mouth, and you can tell she wants a big, strong finish. She puts the mike down gently (no Ultra C toss) and dances off stage while Kameda and Uki have a stroke-off with their guitars. The guys follow Ringo out and there’s no one left but us chickens.

24. Konya wa karasawagi – I wish the DVD cover hadn’t spoiled this. COSTUMES!!! Uki’s got a pair of black pants with little red “fucks” all over them, and zebra-striped shoes with fat pink soles. Kameda has a black T-shirt decorated with giant pink gypsy faces. Izawa’s got a vintage royalty outfit and Hata’s covered himself in ostrich feathers. Then there’s Ringo in her Native American headdress with pink and white rose petals stitched to the front and heart-shaped earrings dangling on the side, and a one-piece dress with pink flowers and shoulder pads decorated with giant hands. She’s banging her tambourine and Uki does some “singing” but honestly I can’t hear anything, I’m just trying to take in all this freak-wear.

25. Gunjou biyori – Someone in the audience shouts that the band looks cute. I guess on one level I’d agree with that, like when a cute dog messes around in the closet and comes out wearing a bunch of random stuff and drags it all around the room. “Aw, he thinks he’s people.” I know it’s Japan, but I wouldn’t call these costumes cute. Garish, yes. Cute, no. Anyway, I always liked this song but never loved it because it’s always been too percussive, too much starting and stopping. They give it a flowing rhythm here I like a lot more, and when Ringo calls for “guitar,” Uki again delivers. Kameda’s making all these weird gestures in the back, pointing at things for no discernible reason. For the first time, Ringo gives her guitar full attention when they jam at the end, and it’s a great rendition.

26. Atarashii bunmeikaika – Hata loses the ostrich feathers. Ringo obliges another shouting fan by doing a quick twirl and pose, so we can see her whole multi-colored, multi-concept, multi-insanity ensemble. I don’t like the megaphone here but this is my first time seeing this song performed live, and I like how they arranged it as a go-home song. There’s a too-muchness to the song that gives it a kick—it goes that extra minute, minute and a half to make you forget everything else. Uki gets his second “Ukigmo” branded solo and by the end of it I’m forced to say “I. Respect. Uki.” Again, I think of 3/11; I don’t know why or even what to say about that. Ringo SCREAMS the last note of this song into the megaphone, damned if she doesn’t, and then she’s gone. Izawa waves bye bye, Uki and Hata bow, and Kameda hoists his guitar over his shoulder and saunters offstage like a conquering hero…and we’re left with credits and the realization that they’re on their final tour.

Eight years.
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Old 2012.02.26, 07:49 PM   #27
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TRIGGER ALERT: I am a huge Phase 2 fan.

...

I'm not going to give "James's commentary" on each and every track, because you've all seen it, and others have done it with way more detail than I'd ever put in.

Anyway, it was great. I liked it more than Ultra C, but only because I like Dai-Hakken more than Sports. I still like Just Can't Help It more, and probably always will, even if it did lack some "live" energy.

(If you're after some sort of ranking, mine goes like this: Just Can't Help It > Discovery > Ultra C > Dynamite Out > Spa and Treatment, because Spa and Treatment is awful. I don't know if they hadn't nailed their songs by that point or what, it just wasn't pleasant.)

Back to Discovery.

Izawa was the highlight. Say what you want, but him coming into the band is probably the best thing that could've happened. His songs are the strongest, he plays multiple instruments, and he has great stage presence. Let's not compare him too much to HZM or anything, but while HZM is a very, very good pianist, his contributions, especially when live, came off as too heavy (clunky) and egocentric. Izawa has grace when he plays. He doesn't jump around, he plays into and around the others, and he knows his own limitations. He's a great musician. I'm so glad he came into the band when he did.

Oh yeah, stage presence. Let's talk about that. I wish Seiji would stand still, though I laughed while he was pointing during Gunjou Biyori. That was one of those "I'm in the moment" moments, and it was great to watch. His OSCA bass solo bit seemed overly long and forced, though every other little bassy bit he did added, rather than took away. I liked seeing Hata stand up, because that seemed rockinger, somehow. I wish they would have focused on him more, because he's such a great drummer. Open-handed and he knows where the sticks are at all times. So good. Ringo was great, controlled, blah blah, yes we know, we could all write countless blog posts dedicated to it. Izawa was the professional I have come to love to watch, even if he does look a little out of his depth when playing guitar, sometimes.

Ukigumo was my other highlight. People go on and on here about how he has no stage presence, how he looks dead, how he's so bored, how he's not HIRAMA MIKIO WE LOVE YOU MICKY, but he is one of the best, most unconsciously competent guitarists I've ever seen. Have you guys ever seen Derek Trucks play? He stands here, zoned out, and plays. NO, I'm not comparing his talent to Ukigumo's - I would never do that; they're so different. But, Uki does the same thing. He zones out. He lets his body take over. What some see as 'phoning it in', or whatever the choice phrase is at the moment, I see as the ultimate expression of someone who knows their parts so well that he can merge into them. The best ever examples of this were on JCHI (during Himitsu and Honnou, especially the last bit of Honnou), but he displayed it here, too (see also: http://www.youtube.com/watch?v=L9vlu...ure=plpp_video ). I love watching this guy, and while I hate OSCA so much I want to scream, I can't hold that against everything else he brings/brought to the group. His performances here (minus Himitsu, which was a bit wonky) were amazing. I don't know what else I can say about them.

For a Phase 2 fan like myself, this was a phenomenal show. I didn't want it to end. It showcased everyone's talents, had an excellent mix of old and new (though I would have liked more Phase 1 songs. Really!), used lighting and effects and costumes and whatever properly, and was equal parts sexified funky/rock awesome/soft acoustic. I loved it.

EDIT: Oh yeah, and the "fuck" pants! They were my other other highlight.

Last edited by Jameslicious : 2012.02.26 at 07:54 PM. Reason: I forgot about the "fuck" pants.
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Old 2012.02.27, 01:07 PM   #28
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Originally Posted by Nimh View Post
21. Denki no nai toshi – Izawa begins, and he and Ringo take the whole first half of the song. When the rest of the band joins in and they build together, you know this is going to be a big one. Ringo’s voice hits that sweet spot just this side of shrill and she performs the entire last minute of the song STANDING ON ONE LEG. The camera holds that shot of her one-legged stance a long time for effect—it’s probably the longest shot on the whole DVD. The lights darken (naturally), and Izawa closes in a nice bookend. This was the pinnacle of the show and should go in the TJ concert Hall of Fame right next to Kimaru from Ultra C.
It's funny, I had just told Jihad that this song was the highlight of the night before you posted this. Easily in the top tier of all TJ performances (including Phase 1). The ending is phenomenal. I'm not even a fan of the studio version. If only they brought that intensity to some songs of the songs that needed it... : /

Originally Posted by Jameslicious View Post
Ukigumo is one of the best, most unconsciously competent guitarists I've ever seen. [...] But, Uki does the same thing. He zones out. He lets his body take over. What some see as 'phoning it in', or whatever the choice phrase is at the moment, I see as the ultimate expression of someone who knows their parts so well that he can merge into them.
Perhaps he should pay a little more attention when playing. I counted four mistakes in Atarashii Bunmei Kaika and I wasn't even listening critically. One which wasn't even really a problem, one lazy phrasing, one intentional yet annoying octave change, and once playing the wrong part. Playing the wrong part was funny though. In the second verse he started to play his tremolo effect part from the first verse when he's supposed to be silent through the verse. It's funny because he realizes his error and stops playing it about halfway through.

Phoning it in wasn't even about just Ukigumo. The entire band (save for Kameda) completely phoned in the first 30 minutes of this show. It was terrible.
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Old 2012.02.27, 04:35 PM   #29
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Originally Posted by Maou View Post
It's funny, I had just told Jihad that this song was the highlight of the night before you posted this. Easily in the top tier of all TJ performances (including Phase 1). The ending is phenomenal. I'm not even a fan of the studio version. If only they brought that intensity to some songs of the songs that needed it... : /
Funny, I didn't notice Uki's f-ups on Atarashii because Ringo's megaphoning already took me out of the song. And the band earned back some good will.

I wasn't crazy about Denki no nai toshi in studio version either, but it worked so well live that now when I hear the studio version I can at least think fondly of it.

In that first crap-tacular 30 minutes, I thought Kaitei ni sukuu otoko was the highlight. It needed that live, torch-singer vibe and Ringo brought the sultriness. Definitely more effective than the studio version. What's annoying is that when I burn the audio I can't just skip over the whole first section.....
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Old 2012.02.27, 04:40 PM   #30
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I know lots of people don't like it, but I reckon the Carnation ver. is pretty nice too.
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