A Track by Track Analysis of J-Metal

This week, for my digital artefact, I began to set out my ideas for my Prezi presentation and how I could generate my best artefact through this. I began to breakdown the best ways that I could lay out my presentation and what I wanted to convey through this and I decided that the best way to examine ‘J-metal’ and ‘J-pop’ and how the genre is unique and recognised within the metal genre was to take three of the most prominent Japanese bands and examine their successes and what they are individually doing to push the boundaries.

I decided to take three of my favourite Japanese metal tracks – ‘Megitsune’ by Babymetal, ‘え・い・り・あ・ん‘ by Maximum the Hormone, and ‘Monolith’ by Crossfaith – and decided to start by breaking them down and autoethnographically examining them to see what they were doing that was causing worldwide attention.

What I have found with these particular bands and their music, and what caught my attention in the first place, was how they weren’t targeting a particular audience or demographic with their music. Sure, it’s predominantly heavy metal based music, but it features pop choruses, sing alongs, crazy groove transitions and big synth melodies.

Upon researching further into Babymetal, I found that their radical sound changes and transitions within their songs have become the topic of much interest and discussion, as seen in the YouTube clip ‘YouTubers React to Babymetal.’ It seems that Babymetal is generating a lot of hype in the Western world for their music, style and performance, as most of the comments are along the lines of, “I want to go to this concert! Do they tour here?” It was ideas like these that first peaked my interest in groups like Babymetal, and the stir they are causing all the way across the world.

Check out the video here:

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