Praise for Moran’s Tribute Release for Late Bassist Zill: Apples

ROKKYUU likes 'dem Apples, for sure!

Apples. Apples? A-P-P-P-P-P-L-L-L-L-L-Z-Z-Z-Z.

That’s right, sound it out. Genius. Who knew such a common word could be so insidiously catchy?

Moran, apparently.

After a release postponed in late March by the unfortunate disasters in Japan, Apples, an album written almost entirely by Zill with lyrics by Hitomi, finally made it to the shelves. Despite my high regard for the band, I expected the mini-album to be overly airy and shabbily strung together. But, boy was I wrong! What Zill left behind after his unfortunate early departure was not an ill-fitting collection of potential future releases but an album replete with silky and aggressive music and an eccentric twist. Visual kei may be a confusing collection of genres: rock, pop, punk, metal, and god knows what else—but Apples… This album accentuates that rare, precarious blend of everything, the sound that is at the very heart of VK. The structure of each song is solid and balanced and the album as a whole holds together around a solid core.With the recent addition of Sizna to the band as guitarist, Moran’s style heard in this album is at its peak featuring Hitomi, Sizna, Soan… and Zill. While the arrangements may have been tampered with and each member’s individuality blended into the whole, the fact remains that Apples is essentially the last we will ever hear of Zill’s music, and the only collaboration of these four members. Of course, Shingo’s work as support bass deserves recognition, since no one else could have filled Zill’s shiny little shoes.

The album manages to remain true to Moran’s signature style but there’s a little something extra, thanks to Sizna. That jazzy element Moran have always been so good at is complemented by Sizna’s influence in the tracks “Minami He,” “Breakfast on Monday” and “Kekkan no Detail.” “Minami He” opens the album with a fascinating, escalated motif of digital beat, a clever little cymbal pattern, and hot bass. “Breakfast on Monday” has a strong upbeat element to the guitar, which was previously lacking in Moran. This addition to the cruising sound of Moran is certainly welcome, binding the music while maintaining a certain free-spirited instrumentation. “Kekkan no Detail” kicks off with an electronic intro supported by strong guitar. It’s the deep, dreamy quality of Hitomi’s voice that really brings this song to the party, though. The only downside is that the bridge—while catchy on its own—is at odds with the preceding instrumental, which may be due to the song being less complete than its composer intended.

“Fender,” which features the cello of Aotsuki Taizan, the violin of Sachi, and the piano of Nozomi Tokita, begins with a sweet classical tune reminiscent of the infamous Pachelbel’s Canon in D Major, yet always takes on its own life at the last moment. The positive, energetic melody is interspersed with the same classical effect, turning what could have been a cliché VK pop tune into a gorgeous piece of music.

The song “Silent Whisper” is anything but what its title suggests. As Hitomi repeatedly snarls the title lyrics, his voice takes on a hysterical quiver, driving a deeper sense of urgency into each verse. The only track with a harder edge is “Are” (pronounced “a-re.”) At first the vocals are deep over a racing blend of drums, bass, and guitar (gently muted to preserve balance), but the number takes a shockingly cheerful turn, complete with heartwarming whoas, courtesy of Zill. When Sizna takes over, he shatters the looking glass with some wicked guitar before vocals return in a frantic tone of 50s-era yeahs. While nothing of “Are” fits the mold, against all logic the eclectic evolution of the song feels perfectly natural as one theme progresses into the next.

Finally we have  “Bleach,” which completes the album in an obligatory ballad. The song is sweet enough and a fitting end to this tribute, but not otherwise special. The brief highlight in this song is Soan’s military riff solo right at the halfway point, and the occasional cymbal-touches, which are far more poignant than the constant synthesizer shoring up the melody. The final climax, however, contains a catchy rise that will stay in your head for hours.

Apples is far more than I expected. Zill, personally responsible for much of the bass, acoustic guitar, vocal chorus, and programming of the album, will be remembered every time these seven tracks are heard. R.I.P., Zill, and thanks for these final tunes.

Regular Edition: 7 Track CD

Track List

1. Minami He
2. Are
3. Breakfast on Monday
4. Fender
5. Kekkan no Detail
6. Silent Whisper
7. Bleach