D's live performances are both a feast for the ears and the eyes: every CD, and therefore every tour, has a specific theme, and costumes and stage decoration are designed to be a visual representation of this theme. With their Namonaki mori no yumegatari tour, however, they went one step further. In order for their audience to completely immerse itself in the world of their new mini album, the merchandise included forest-themed clothing, such as fake fur jackets, hats and scarves, accessories with nature and animal motifs and aromatic candles whose delicate woody scent reminded of an autumnal forest. The fans seemed to welcome the idea since many items sold out in record time.
Inside the large concert hall, the air was filled with birdsong, running water and ambient sounds instead of the usual rock music. On the stage, tendrils of green foliage crept up the lighting rigs and decorated the drum kit and microphone stands, and red and black guitar picks peeked out from amongst the leaves like blossoms. A stylised branch pattern was projected onto the wall behind the stage and green spotlights at floor level illuminated the scene from below, recreating the solemn light inside a deep lush forest.
The assembled crowd let out a deafening roar as the band members filed in one by one to thundering techno beats, stepped onto the vocalist platform and encouraged them to scream even louder. Their costumes picked up the black and white colour theme of the album artwork and combined it with details hinting at nature and conflict: fake fur on HIROKI's collar and cuffs and mushrooms in his hair, a black rose headdress and floral eye makeup for Tsunehito, teardrops on HIDE-ZOU's fake eyelashes and straw in Ruiza's hair. Finally ASAGI appeared in a floor-length black and purple gown with a black feather collar, rainbow-coloured appendages and on his head the black horns of a mythological creature.
Unusually, D began their set with the title track of their new album, Hikari no niwa ~ Namonaki mori no Yumegatari. A green tree was projected on to the back wall and white fog billowed across the stage, setting a mysterious mood. As soon as the first delicate acoustic guitar chords rang through the hall, Ruiza, HIDE-ZOU and Tsunehito sprinted to the edge of the stage. HIDE-ZOU and Tsunehito pirouetted and then headbanged in unison as the rhythm suddenly turned violent, while ASAGI knelt on the vocalist platform and punched the air with his fist, firing up the crowd. Ruiza's infectious smile lit up the auditorium as he joined him on the platform for a first solo, thrashing his head as his fingers flew across the strings of his guitar, before tribal shouts led into a rousing chorus that had ASAGI command the crowd to bow like one man to the rise and fall of his arm.
Next, a graceful digital melody heralded Canis lupus, which described how the vampire prince Justice is brought up by a pack of werewolves, combining the forest theme with D's colourful Vampire Saga. Green beams wandered across the dimly lit stage like search lights as ASAGI sang passionately, one hand on his heart, and then howled like a wolf, his voice soaring effortlessly above Ruiza's and HIDE-ZOU's heavy guitars, while Tsunehito pirouetted elegantly as he tore bone crunching rhythms from his bass. The wolf motif carried over into the brutal Toki no koe from D's seven year anniversary album, 7th Rose. As guitars, bass and percussion raced along at breakneck speed, pushing the fans into a headbanging frenzy, ASAGI howled again like a wolf, before switching to fierce death growls, only using clear vocals in the chorus. Again and again, he motioned for the fans to bow to the heavy rhythm as he passed his microphone from one band member to the next, one arm around their shoulders, while they encouraged the crowd to headbang even more wildly.
"Shibuya!" yelled ASAGI as he picked up a tambourine and began to clap it against his palm. "Welcome to the tour final!" Tsunehito playfully pointed into the air and then pretended to be annoyed when HIDE-ZOU imitated him, their antics earning them delighted giggles from the crowd. "Let's all dance together!" ASAGI encouraged as accordion, death voice and tribal chanting joined heavy guitars, bass and percussion in Sankaku oyane to aware na koguma. The floor boards shook as musicians and fans danced exuberantly to the sound of pure-blooded folk metal, ASAGI hitching up his long skirt to be able to move more freely and Tsunehito jumping on to the vocalist platform in order to show the steps as he played. The folkloric vibe continued with Hanatsumi no otome ~Rozova dolina~, which was inspired by the traditions of Bulgaria's Rose Valley. Under red and white lights, ASAGI struck flamenco-like poses as he moved to the ethnic melody, clapping the tambourine against his palm and body. When Ruiza took centre stage to tease a solo from a 12-stringed acoustic guitar, the vocalist grabbed a wicker basket and scattered red rose petals while the other members lined up at the edge of the stage, Tsunehito pirouetting and landing gracefully on one knee, before jumping to the song's final beat.
Now a staff member carried in ASAGI's rose encrusted microphone stand, which tonight was also decorated with green foliage. In the darkness that engulfed the stage, white spotlights focused on the vocalist as he instructed the fans on how to move their arms like tree branches in the wind. The tightly packed crowd followed his movements to an impressive effect, simulating the forest that had swallowed the lost children of Shirarezaru kodomotachi. Until a moment ago, the musicians had been bustling all over the stage, but now they stayed solemnly in their places as their instruments joined piano and strings in the sweetly yearning ballad and ASAGI's deep, operatic baritone rang through the hall, filled with sincere emotion.
The tempo stepped up dramatically with Mayoi no mori, an older, less well-known song, which set lush synthesizer and clear, passionate vocals against driving guitars, its forest reference blending seamlessly with the tour's theme. As the musicians headbanged first to each other and then from side to side, white circles were projected onto the floor and spotlights fanned out behind them, before darkness descended and they stood silhouetted as black shapes against the green tinted gloom. The white circles turned into delicate beams that painted stars into the air for Yami no kuni no Alice, one of D's greatest hits, which had been used as theme song for the movie "Twilight Syndrome: Dead-Go-Round". The musicians headbanged wildly to the heavy rhythm, Tsunehito playfully kicking his feet into the air before joining HIDE-ZOU on the vocalist platform, while ASAGI twirled to the melodic chorus, sending his ruffled skirt flying, and Ruiza balanced at the edge of the stage for a hot solo.
Suddenly the stage was plunged into darkness and all band members except HIROKI left the stage. A single white spotlight focused on the drummer to chants of "HI-RO-KI!" from the audience, turning blue and then purple as it fanned out from above. The fans cheered him on with "hey, hey, hey" chants as he showed off his skill in a gripping drum solo and screamed his name every time he paused, putting one hand on his ear, letting the echo of his drums reverberate mysteriously through the hall as if in a deep, dense forest.
Now a new rhythm started up and the other band members returned, taking turns at hyping the crowd, which was having a ball and didn't really need encouragement. Powerful guitars and bass were joined by an electric organ for the intense Like a Black Cat ~Mujitsu no tsumi~, in which the forest becomes a refuge for the victim of a witch hunt. As ASAGI pondered righteousness versus doctrine, a single white spot found Ruiza, who posed on the platform for a passionate solo while Tsunehito pirouetted on one leg.
This brand new song was followed by a D classic, the mighty Hana madoi. To a darkly throbbing rhythm, ASAGI raised his hands over his head to show the complex furi, which were expertly copied by the crowd. Then he produced a long leather whip and licked it provocatively, before cracking it first against his platform and then into the air as he wandered up and down the stage to shouts of "oi!" from the other band members. As Ruiza's and HIDE-ZOU's screaming guitars gave way to a melodic solo that saw the entire band pose together on the platform, white spotlights circled across the stage, before flashing in a rapid staccato when the rhythm turned restless and heavy again.
ASAGI took a moment to explain the finger furi that were required for Zou to hito to ari to..., which told of the discord between humans and nature, then the band launched into an astonishing composition that blended D's heavy modern guitar rock with electric sitar, bells and rhythmic clapping and chanting. As guitars, bass, sitar and percussion chased each other in an increasingly frantic dance, ASAGI's powerful tremolo soared over the swirling harmonies, creating an exotic, world-music-inspired sound that was unlike anything one would expect to hear from a J-rock band.
Hydrograph from D's first major album, Genetic World, which explored the genetic memory of animals and humans, was another classic that lent itself well to Namonaki mori no yumegatari's theme of mankind's relationship with nature. A stylised white twig pattern was projected onto the floor boards and the wall behind the stage, joined by red and orange spotlights that cut through the darkness like a rising dawn as the musicians headbanged to the melancholy, yet heavy rock tune, Tsunehito playing slap bass and HIDE-ZOU singing melodic background vocals.
Graceful synthesizer and angelic falsetto led into a furious storm of deep death growls and bone crunching guitar and bass as the brutal, yet mystical 7th Rose now shook the walls. Ruiza, HIDE-ZOU and Tsunehito twirled and headbanged wildly as ASAGI, the hem of his skirt in one hand and microphone in the other, paraded up and down like an avenging angel and commanded the fans over and over to bow to the rise and fall of his arm, with white strobe light flashing to the violent rhythm.
Next, the vocalist was handed a huge black flag with a red "D", surrounded by a twig pattern, to wild cheers from the audience who pulled out their own flags in preparation for D's signature song, Night-ship "D". With his flag over one shoulder, he walked from band member to band member and sang to them as they swayed from side to side to the rousing tune, before HIDE-ZOU took to the platform for a coolly confident solo. As always, the sea of black and red flags moving in perfect unison, mirroring the movements of the men on stage, was a delightful sight.
The set ended as unusual as it had begun, with the serene Haru to utage that saw the folkloric elements return in a graceful dance of flute, bells and synthesizer, Ruiza's and HIDE-ZOU's guitars and Tsunehito's bass carefully keeping in step with the choreography. When ASAGI picked up his tambourine again and clapped it against his palm as he sang of a world where humans and nature live together in harmony, the entire hall followed his movements, stepping solemnly from side to side and clapping their hands to the sweet melody. Silver streamers inscribed with the tour name and the drawing of a deer were not shot, but gently released into the air from where they spiraled downwards into the hands of the fans, who caught them mid-air and used them as glittering pom-poms as they continued to sway from side to side.
The musicians waved and thanked their audience, but the last man hadn't even left the stage yet when the fans already demanded an encore. The musicians returned to rapturous applause, Ruiza now carrying an eco-friendly cloth bag imprinted with two deer and the band logo. Around his shoulders was a blanket with deer embroidery and balanced on his hair was a knitted black hat with cat ears. He and Tsunehito had removed their jackets, which left the guitarist with only a strappy top and the bassist with a black lace bra. Piece by piece, Ruiza pulled the remaining merchandise from the bag and cheerfully urged the fans to buy it. The most popular item, however, was missing: the "Kuroro" rose tights had sold out before even reaching the merchandise table. Having posted a photo of himself modeling them on his blog, ASAGI had to show them off at least once. The temperature in the hall rose by several degrees as, to the sound of a drum roll, he hitched up his skirt and revealed a pair of shapely legs sporting the coveted tights. Tsunehito wouldn't be outdone, so while HIDE-ZOU held his bass he lifted his own skirt and flashed a pair of frilly white knickers. The delighted crowd now clamored for the others to follow their example, so HIROKI stepped down from his drum kit and took off his coat, leaving nothing but a loosely draped scarf around his naked torso. Only HIDE-ZOU stubbornly refused to show any skin.
Having shown their sense of humour, they returned to more serious business as they took turns at announcing the latest news for their ten-year anniversary: more details on their "Bon Voyage!" live at Shibuya Public Hall, the release of a best-of box set with songs and PVs released on their indie label GOD CHILD RECORDS, among them a new PV for Night-Ship "D", and various fanclub activities, including a two-day trip to Hakone-Izu national park for the filming of the PV.
Once HIROKI, now stripped naked to the waist, had returned to his drum kit, they were ready for Rosarium, which reprised the idea of nature as a refuge and source of inner strength. As green and blue lights turned to white and yellow, ASAGI twirled to the melodic mid-tempo tune while the others were once again irresistibly drawn to the edge of the stage. Next, guitars and bass were out in full force for the powerful, endless number Guardian, which saw band and fans jump up and down in unison to the relentless beat. "No, no, no exit! Don't waste my time!" ASAGI screamed menacingly as the musicians switched places, taking turns on the vocalist platform to fire up the crowd even more, HIDE-ZOU posing with his guitar high above his head and Tsunehito kneeling and throwing kisses as he played. Brute force turned to sweet affection as the musicians waved and thanked their fans once more, but they wouldn't be appeased and called for a second encore.
Despite having played, jumped and headbanged their hearts out for the past two and a half hours, D reappeared looking as fresh as daisies. Independent Queen saw ASAGI transform into a haughty dominatrix as he grabbed his skirt with one hand, a riding crop with the other and whipped first his platform and then HIDE-ZOU, declaring "I don't need glass slippers!" Operatic vocals alternated with high pitched screams as he marched imperiously across the stage while the other musicians headbanged heartily and kept the driving rhythm going. The furious Meteo ~mubi no koku~ then cranked up the tempo to breakneck speed. Under erratically flashing green and blue lights, Ruiza, HIDE-ZOU and Tsunehito headbanged wildly as they shredded their instruments at the edge of the stage, while ASAGI knelt down and reached across the photographers' pit to touch the sea of hands that extended towards him.
The musicians threw their picks, drum sticks and water bottles and D's theme music then began to play, signaling the end of the show, but the fans knew that no D live is complete without a mutual declaration of love and so, after long minutes of shouting, the band returned for a third and final encore, Dearest you. As ASAGI sent angelic tremolos skywards, Tsunehito jumped up and down and headbanged from side to side, while Ruiza and HIDE-ZOU climbed up the steps to the drum kit and played to HIROKI. The fans' hands danced in unison to the sweetly melodic rock tune that was interspersed with bursts of heavy riffing, before they grabbed hold of each other and jumped together with the men on stage, spotlights flaring up in a white flash.
In a scene that is becoming increasingly standardised, D constantly reinvent themselves. Over the past decade, they have experimented with a wealth of different musical styles, ranging from shades of rock and metal to jazz, ethnic and medieval music, the only constant being the finely-tuned balance between their dark, heavy sound and heartfelt, poetic lyrics. Few bands are so versatile, let alone prove to be so competent at everything they try. Namonaki mori no yumegatari revealed yet another side of D, merging three of their key themes - nature, spirituality and folklore - in a winning combination that earned them a number one spot in the Oricon indie charts. We wish them the best of luck on their courageous path and hope that, amid their ten-year anniversary celebrations, they will find the time to also work their magic abroad again.
Set List:
1. Hikari no niwa ~ Namonaki mori no yumegatari
2. Canis lupus
3. Toki no koe
4. Sankaku oyane to aware na koguma
5. Hanatsumi no otome ~Rozova dolina~
6. Shirarezaru kodomotachi
7. Mayoi no mori
8. Yami no kuni no Alice
~Drum solo & Session~
9. Like a Black Cat ~mujitsu no tsumi~
10. Hana madoi
11. Zou to hito to ari to...
12. Hydrograph
13. 7th Rose
14. Night-ship "D"
15. Haru no utage
Encore 1:
1. Rosarium
2. Guardian
Encore 2:
1. Independent Queen
2. Meteo ~mubi no koku~
Encore 3:
1. Dearest you
