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Posted: Thu Sep 25, 2008 8:08 pm
Posted: Fri Sep 26, 2008 3:04 am
Can I buy the posters anywhere?
Posted: Fri Sep 26, 2008 11:08 am
CD should starting hitting shops today 26 Sep 2008
Poster were printed only for promotional use...
you can try contacting SaikoSounds to see if they have some posters available for sale
Posted: Wed Oct 15, 2008 7:08 pm
2 guys at my place listening diablos album on 3plag radio! yeeehaaaa!
Posted: Thu Oct 16, 2008 8:06 am
Posted: Thu Oct 23, 2008 2:38 pm
Big BoOm to all the ppl involved!
Posted: Tue Oct 28, 2008 11:34 pm
Posted: Fri Oct 31, 2008 8:54 am
Posted: Sat Nov 01, 2008 9:23 pm
Posted: Sat Nov 22, 2008 2:26 am
Posted: Sat Nov 22, 2008 5:29 am
I love it more and more... This is a release that will kick you straight away, and then grow even bigger ... WOW!!!
And the songs with changing bpm... What to say .. THE FUTURE.....
Posted: Sat Nov 22, 2008 10:47 am
this one is one of the biggest killer i know!!!
Posted: Tue Dec 02, 2008 10:38 am
Respect artist & Triplag team!
Posted: Tue Dec 23, 2008 9:12 am
one ore time.. never is to much !!!
JapUnese Artist rulex !! Underground is WIN !
Posted: Thu Mar 26, 2009 2:03 pm
Review by Anix Gleo:
Right, we have 3 brave and resourceful Japanese (Mizuki Nishihata, Kagetoshi Nakamura and Takeomi Matsuura), who personify three of their projects (Baal, Mephisto and Diablos)...
but not the way you'd think they would. Asian dexterity is evident: the guys separated into 3 groups, 2 in each. I haven't noticed a pronounced distinction between the music tracks of these virtual teams, however if it works out for them - we'll accept and support!
Baal: Mizuki Nishihata (Savage Scream) and Kagetoshi Nakamura (Noise Gust)
Diablos: Takeomi Matsuura (Far East Ghost) and Mizuki Nishihata (Savage Scream)
Mephisto: Kagetoshi Nakamura (Noise Gust) and Takeomi Matsuura (Far East Ghost) -- unfortunately we do not have a picture.
Their music bears similarity with the drama of puppet theatre: passing comical lightness coupled with imminent chaos.
Each track starts as if out of nothing, but then bit by bit a harmonic sound stream assembles. Synths excite and overwhelm at the same time. Resembling a bait, they tell you more than you expect to be hear. The fuss & hiss in high range, which modern day "dark" music is plagued with, is quite meaningful here. High ranges are maintained for the whole duration of the tracks, but devoid of soup of annoying glitches, which could 'turn off' the listener seeking to be delivered from it. Everything seems legit, details merely emphasize the main drive 'pulling the cart' forward without obstructing the 'wheels'.
Special emphasis is brought to the music by the low range. Japanese didn't slave the fashion by accentuating the lows, but diversified them instead. There is plenty of it here - lax or viscous or swinging... There is not much sense in trying to find a proper adjective to describe it - easier to put the music on and give it a go.
A lot of attention is given to intros. Dry bass kick at the start (that is so convenient for mixing but so dull to listen to) is not always there. It's hidden at times to trigger a natural flow of metamorphose of sounds.
It's a pity there is no traditional Japanese instruments. It could enhance the ambiance of the Far Eastern enigma that we're intuitively aware of. However, random ethnic undertones surface up in kaleidoscope of synthetic trance patterns, not as themes, but the hints of artists'
Japanese ability to work hard is well known, but the other side of the coin is that they break away from it with a full swing... perhaps even better than Finns or Russians do. Their music reflects the rhythm of the Empire of the Sun - evolved sharpened automatism, the future, that comes closer by the day though enormously hard work.
That is how the philosophical context of the album has been revealed to me.
Sincerely yours, Anix Gleo.