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Tracklist | |
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君と僕の第三次世界大戦的恋愛革命 01 - 日本人 02 - SKOOL KILL 03 - あの娘に1ミリでもちょっかいかけたら殺す 04 - 童貞フォーク少年、高円寺にて爆死寸前 05 - トラッシュ 06 - なんて悪意に満ちた平和なんだろう 07 - もしも君が泣くならば 08 - 駆け抜けて性春 09 - BABY BABY 10 - 漂流教室 11 - YOU&I VS.THE WORLD 12 - 若者たち 13 - 青春時代 14 - 東京 DOOR 01 - 十七歳（･･･cutie girls don't love me and punk.） 02 - 犬人間 03 - 日本発狂 04 - 援助交際 05 - メス豚 06 - あの娘は綾波レイが好き 07 - SEXTEEN 08 - リビドー 09 - 夢で逢えたら 10 - 銀河鉄道の夜 11 - 惑星基地ベオウルフ 12 -夜王子と月の姫 13 - NO FUTURE NO CRY 14 - 人間 15 - なんとなく僕たちは大人になるんだ |
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Review | |
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Near the outset of 2003 Going Steady broke up just as their popularity seemed to be gaining momentum. Mineta Kazunobu, vocalist and guitarist for the band, soon started a new project called the Ging Nang Boyz, though the pluralization seemed odd as he was really the only member. Under this band name he released a track, "Kanashimi no Hate", on a tribute to the band Elephant Kashimashi in March of that same year. Fittingly enough, the track was several minutes worth of Mineta singing and screaming without any instrumental accompaniment. This was definitely a strange opening chapter in the history of the Ging Nang Boyz, but one that makes sense in retrospect. What few bits of restraint that Mineta had felt as a member of Going Steady were gone for good. Mineta performed as the Ging Nang Boyz with former bandmates Abiko Shinya and Murai Mamoru as support. Soon enough they became official members, along with former Snotty guitarist Chin Nakamura, and they began to perform concerts regularly. As if Going Steady had never broken up, the Ging Nang Boyz picked up with the same momentum and built up an incredibly rabid and loyal fanbase. Fans who visited their website everyday to read Mineta's journal would rave about all the bands that Mineta recommended. Mineta's starring role in the movie Iden&Tity made a splash in theaters. All the while they were recording bits and pieces of their forthcoming debut. By debut, I meant debuts. Exactly two years after Going Steady's dispersal, the Ging Nang Boyz released DOOR and KIMI TO BOKU NO DAISANJI SEKAI TAISENTEKI RENAI KAKUMEI, with a whopping 29 songs spread out over both albums (nine of them new recordings of old Going Steady songs). The first things that stand out about the albums are the performance and production. Mineta's vocals are unhinged, ranging from soft crooning to rabid barking. Chin's guitar work is confident and manic. As we've come to expect, Murai and Abiko lay down the rhythm with finesse. The albums themselves sound overmodulated and distorted, not to mention twice as loud any other records out there (literally). While a few contemporary bands have been brave enough to sound this dirty (The Exploding Hearts, Guitar Wolf), in the Ging Nang Boyz case it seems like a calculated move to shake-up the mainstream which they've been courting. It also helps that the grossest songs on each album, respectively, happen to come at the beginning. The punk-funk of "Nipponjin" and "Inu Ningen", specifically, sound a lot like underground hardcore legends School Jackets, and even like Chin's old band Snotty. The albums both settle down into some more standard pop-punk with standout tracks like "Doutei Fooku Shounen, Kouenji Nite Bakushisunzen" and "Libido" which are as simple and satisfying as the Buzzcocks' best. "Ano Ko Wa Ayanami Rei Ga Suki", a love song about the character from the Evangelion animated series, is a sleazy rock and roll tune that invites you to do the twist. Midway through each album the Ging Nang Boyz tone down the insanity a bit. A new version of "Kakenukete Seishun", one of my favorite Going Steady tunes, is graced with a new verse by singer Yuki (from Judy and Mary). The timbre of her voice is so graceful and the harmonies with Mineta so satisfying. "Hyouryu Kyoushitsu" and "Yume De Aetara" are potential radio hits, sentimental, yet not trite. "Ginga Tetsudou No Yoru" and "Yoru Ouji To Tsuki No Hime" tap the same sentimentality with a bit more desperation. The stylistic parallels between each album fall apart near the end, though both reach a superb climax. "Seishun Jidai", from KIMI TO BOKU, is the best of the re-recorded Going Steady tunes. Re-imagined as a folk-rock tune, this new version is much more dynamic and honest. Subsequently, the melancholy "Tokyo" caps off the album. Despite it's nine-minute length, the song's development over time is paced perfectly. DOOR is capped off by "No Future No Cry", five and a half minutes of catharsis along the lines of Dinosaur Jr. I would've chosen this as their first single instead of "Skool Kill". That sets up the 10-minute long "Ningen", a half acoustic, half bombastic anthem. Mineta triumphantly proclaims, "I'm not an angel, you're not God, he's not Buddha, all we do is eat and have sex for we are human!". In the song "Trash", Mineta reverently references some of his influences: Weezer, the Pees, the Buzzocks, and Green Day. The "SKOOL" logo for their record label looks suspiciously like that of the classic punk label Lookout Records. More so than Going Steady, the Ging Nang Boyz sound like the sum of their influences, but also more confident and unafraid to make music without compromise. If their influences were in their prime ten to twenty years ago, the Ging Nang Boyz are in their prime now. Going Steady was my favorite band, yet DOOR and KIMI TO BOKU NO DAISANJI SEKAI TAISENTEKI RENAI KAKUMEI are so much better than I ever expected, and now I don't know what to expect next. |
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