The sparkling, ethereal style of Alice Nine has been enchanting listeners since 2004, and now the band is back with their latest release. Shooting for the stars once more, Supernova, the band’s 6th album, was released on March 19th and consists of twelve tracks, in which Shou (vocals), Nao (drums), Hiroto (guitar), Tora (guitar), and Saga (bass) try to match the power of their past two albums, 9 (2012) and Gemini (2011). So, can we expect an out-of-this-world experience?
‘Shining’ is an upbeat and uplifting start, with a typically driving verse, but the overall impression is of an unusually safe start. The breakdowns feel somewhat misplaced amongst more dense rock rhythms, and while endearing, the melody is not strikingly original. Songs such as ‘+-’ and ‘SEVEN’ have a lot more attitude, thankfully. More attention to the bass line, rousing backing vocals and a heavier sound, topped off with a brief guitar solos, get the album on track.
‘Mebius’ is by far one of the most exciting offerings in the early track list, with a dance beat and synth additions, as well as a quirky, almost disco-style breakdown and videogame effects bubbling around the edges of the main instrumental. Shou’s vocal suits the fun, quirky style, and from here the band begins to hint at a new sound that grows clearer throughout. Known for their blend of features from rock and dance music, for Supernova Alice Nine has evidently opted to follow the trend of stirring up rock music with the digital instrumentation used in dupstep, trance, and club music.
Happily, the band also knows how to get the balance right, and the album retains some of their iconic, almost heroic-sounding style. ‘Daybreak’ is a 2013 single, and fulfils its promise of heart-warming vitality more successfully than ‘Shining’- the explosion of each chorus completely absorbs the listener in Alice Nine’s moving lyrics and melodies, and reminds us just why they are so popular.
Up next is ‘Shooting star’ which is, for want of a more sophisticated phrase, stupidly cute. You can literally feel your heart (and brain) melting as the chorus hits. Simple, stripped back instrumentation is accented by piano and strings in the choruses to perfect that fuzzy feeling, and the piano-driven outro is the ideal cheesy conclusion.
The later songs in the track list begin to push back towards a more typical sound, but thankfully they keep the mixing fresh. ‘Exist’, the final previously released single, plays off the elements explored in 9, with an echoing guitar riff in the introduction. However, it integrates some heavier moments with one of the most challenging vocals in the chorus. The high point here is the first longer guitar solo, which at last allows the dual-guitarists some free reign. The following token ballad of the album, ‘SHADOWPLAY’, has an added edge in the form of some high-speed riffs and powerful drumming mixed into slower moments, along with an inspiring chorus that also harks back to 9. Another fantastic dual-guitar instrumental makes this one of the most deeply affecting tracks of the album.
For a final example of the guitarists Hiroto and Tora in action, ‘Kaisen Zenya’ keeps the action coming, and the listener constantly on their toes, with sudden transitions and surprising contrasts.
Concluding the album, and opening like something out of a Disney movie, the Prelude transforms into a part-instrumental-part-chiptune fantasy adventure, adding a final touch of the band’s typical ethereality.
So, no surprises abound. However, while more extended guitar solos wouldn’t go amiss, the album explores dance and techno elements more than ever before, particularly in ‘KID’, which sounds like it might be fresh from a club dancefloor. Following the epic emotional rollercoaster that was 9, Supernova lacks the final touch of magic found in past concluding tracks such as ‘subete e’ or the ‘GEMINI’ trilogy, but still has the power to transport the listener from wherever they are listening to another plain of existence. It may not be outer space, but it might at least be floating around in the upper atmosphere.
Words by Lauren du Plessis
