Aural Vampire - RAZORS ON BACKSTREET

Aural Vampire is one of Japan's most highly renowned goth groups, and with good reason. Their unique blend of electronic music, B-movie horror, and dark humor has brought them praise in their native land as well as abroad, so it wouldn't be an exaggeration to cite them as a group that never ceases to entertain. When a group reaches the upper echelons of its subculture, gaining international fame and performing regularly around the globe, is it still possible to evolve? The group's new album, RAZORS ON BACKSTREET proves beyond a doubt that it is.

Aural Vampire has undergone a transformation. After staying relatively silent since 2011 (outside the live scene and the release of one single), the duo are back and ready to show off their new sound—and they brought friends. Originally a two-member unit, they recruited four new members back in 2012 and debuted the new line-up on their single Soloween. Aural Vampire is now a hybrid gothic rock/darkwave band, featuring WU-CHY on bass, Higuchuuhei on guitar, ZEN on keyboard, and IZU on drums, and the result is an upgrade to the group's already successful style.

Kicking off the album is the aptly-titled Main Theme. Ominous electronic booms accompany a narrated introduction reminiscent of an old B-movie horror trailer, and each one serves to let the listener know what's coming. Up next is the first "real" song, Carpe Noctem. A song that is nearly equal parts rock and electronic, it's here that the group's evolution becomes readily apparent. The basic composition and vocals will be familiar to longtime Aural Vampire fans, but the addition of a full band enhances the song to its very peak.

The next song, MAILER-DEMON, features the group at their spookiest, with some of RAVEMAN's most menacing techno beats to date. Following this is a newly-recorded version of the group's 2011 song Kerguelen Vortex, which has been significantly filled out thanks to the new members. Though the original stood well on its own, heavier instrumentation and relentless drumming mutate the track into a slightly more distinct beast. Bad Taste Youth allows the new members to carry the majority of a song, and the outcome is a catchy rock song with frequent electronic embellishments. The strangely-titled NO-SEE-UM sets out in a direction evocative of the band's original lineup, but gradually introduces the new instruments while still maintaining a firm, rave-appropriate sound.

About halfway through the album comes Yama no Ox Bakery, and it's this song that derails the entire production in the best possible way. Humor has always been a valuable but subtle element to Aural Vampire's musical identity, but here it's out in full force. Yama no Ox Bakery is a children's song with a dark twist, and it is hilarious. Between the kindly narrator, bouncy piano, and some astoundingly cute vocals from EXO-CHIKA, the track is a definite standout that listeners will never see coming.

The album eases back into a darker sound with a short, video game-esque re-introduction called BIG BUG HUNTER. Following that is Sex to Gang to Children, which is pure goth rock with near-negligible electronic flourishes. Mukuromantic begins with a vaguely Latin dance beat, but swiftly segues into pleasantly bright 80s-style synth pop. Fragile is another rock track with a considerably more upbeat air to it, and is followed by the quirky darkwave of the aforementioned 2012 single Soloween. Finishing off the album is Robinson, about as peppy a song as Aural Vampire could make without being outright silly. The song eventually fades into a voice-filtered monologue and some heavy instrumentation from all of the members, leaving a lasting impression that drives home how special this album is.

Without deviating from their already strong sound as a duo, Aural Vampire have managed to create a release that's accessible to both new and older fans alike. All the trademarks are here—RAVEMAN and his DJing skills are in top form and EXO-CHIKA remains a beyond-competent vocalist, but there are a variety of new surprises to delight all listeners. Unfiltered rock songs like Fragile and Robinson show the new line-up's versatility, while Yama no Ox Bakery proves just how strong the group's unique voice can be. Listening to RAZORS ON BACKSTREET is like walking through a haunted house—something new pops out from around every corner. This is an all too appropriate comparison, and one that the band will hopefully echo in every release to come.