BABYMETAL

BABYMETAL turns the idea of placing idol vocals and choreography over heavy metal into a complete album rather than a temporary novelty. Death metal, thrash, metalcore, power metal, electronic dance music, hip-hop and techno pop are connected with fearless speed, yet SU-METAL’s direct voice, YUIMETAL and MOAMETAL’s responses, and tightly designed choreography provide a stable center. The contrast between youthfulness and violent sonic pressure is immediate, but each song also gives the listener a clear character, ritual or point of participation. The basic architecture of BABYMETAL’s mythology and live relationship with its audience is already present. “BABYMETAL DEATH” introduces the three names as ceremony, while “Megitsune” links Japanese melodic color with a complex image of femininity. “Gimme Chocolate!!” became the worldwide breakthrough through nervous riffing and an addictive chorus. “Iine!” and “Uki Uki Midnight” embrace club music without apology; “Akatsuki” and “Rondo of Nightmare” place SU-METAL inside more traditional metal drama; and “Onedari Daisakusen” and “Song 4” emphasize the playful personality of the younger pair. The closing force of “Headbangeeeeerrrrr!!!!!” and “Ijime, Dame, Zettai” turns audience movement and a direct anti-bullying message into large-scale anthems. By using both enthusiasm and controversy as momentum, the debut became one of the most unusual starting points in twenty-first-century metal.