Zill Memorial Live at Shibuya O-East

The stairs leading into the venue and continuing up to the second floor were lined with no less than twenty-four photographs of Zill and featured his various visual styles throughout the years. While the majority of the pictures were from his Moran era, there was also a handful from his previous band KuRt. The entrance foyer contained a memorial to the bassist lined with flowers from grieving friends, family and peers as well as a display of his four costumes as a member of Moran. The star of the evening was well represented.

In addition to Moran, five other bands performed, all featuring members involved with Zill in the past. Included were the opening act Jiminy Cricket, a session band featuring Ten Ten of KuRt, a one-day revival of gift, Aoi from Ayabie as well as Zill‘s Shedde and Cynical Biscuit and finally,Mix Speaker’s, Inc.. Moran was last to take the stage and say farewell. Constantly illuminated, two photographs of Zill served as a backdrop, a regular reminder as to who every word and every song was truly dedicated to.

Moran

Amidst ambient background music that gradually picked up in pace and tension, the darkened floor of the venue was smattered with the glow of Moran’s signature, flashing rings. Visible amongst the crowd were several Zill cosplayers paying homage to the bassist their own way. When the band’s overture began, hundreds of rings lit up, flashing in scattered rhythm to compliment the funky music and unpredictable, clashing piano chords. It was harmony in discord.

The opening number, Konseki to Canvas, began with the drawn curtains slowly parting to reveal Moran, backlit by a row of thin spotlights drifting eerily about. The ballad was a beautiful opening tribute. The lights came on with the chorus, revealing vocalist Hitomi, his staging all the more striking in its simplicity. Meanwhile, guitarist and brand new member, Sizna, alternated along with the guitar line between tranquil poise and lashing out in smooth style. A musically stripped rendition of the chorus featured Hitomi poignantly spotlighted between the images of Zill as his rich, smoky voice created a spellbinding atmosphere. A slowly raised arm brought the song to a close.

Konya, tsuki no nai kaigan de brought movement into the set, Hitomi’s shouts of encouragement causing hundreds of flashing rings to bounce in the darkness as the crowd jumped throughout the lively introduction. The deep, dark melody had bodies grooving all over the place, the band no exception as Hitomi danced through the instrumental and Sizna never stopped moving. The music, the lights and the dancing merged to create a dangerous club montage, a dark atmosphere that was only intensified as Hitomi stomped a booted foot on a speaker, feeling the beat. Hameln had fans headbanging like mad and diving over on one another in a frantic haze of red and orange light and the first five or six rows were an utter crush around centre stage. Meanwhile, a deep, sexy, red-lit bass solo courtesy of Shingo did Zill’s memory proud. A second bass solo had Hitomi addressing the crowd. “I don’t think there’s enough singing or enough wildness for that matter, but keep it up and we might be able to get something across!” With that last screamed word, lashes of hair whipped into action, the number coming to an intense close as Hitomi screamed “TOKYO!!!”

The lights dimmed and an emotional cacophony of voices cried out for Zill. “I’m not the only one who believes your voices can reach Zill,” Hitomi assured the crowd. “The other bands who played here tonight agree. In fact, I’ve been watching from up top. I don’t usually watch other bands — unless they say they like me — but tonight I watched these other bands who are part of Zill’s history and reminisced.” This frank statement was followed by the announcement of Sizna’s induction into the band. “I’ve been watching him for a long time, and I want you all to come to like him as I do.”

“Next, I’d like to sing a passionate song. Helpless.” Taking up a microphone stand fashioned for portable use, Hitomi danced to the jazzy tune as the fans beat across the floor. Calming down for the verse, they moved with purpose once more throughout the instrumental as Sizna and Shingo both grooved across the stage with Hitomi. The middle of the piece saw Hitomi sensually place his microphone stand on the floor, freeing him up to move as the light, jazz piano willed. Tossing the portable stand for a sturdier, stationary model, the vocalist set up at centre stage for Lost Sheep, a groovy tune that had everyone dancing away once more, bodies naturally adapting to the strong accents of the music as they chanted “Yeah – Yeah – Yeah.” Exhibiting a strong sense of the rhythmic music, Hitomi had the crowd in the palm of his hand as he flicked his jacket off the shoulder in ‘careless rocker’ fashion. An interlude of loosely conducted “oooohs” courtesy of Hitomi and the crowd then broke into a double time chorus complete with headbanging as the vocalist took on a wild tone and the piece sped up to a reckless flourish of wildly flung hair.

LOSERS THEATER kept up the pace, Hitomi leading the headbanging as Sizna danced about at the stage front and Shingo went down on his knees, head thrashing unreservedly. Approaching Soan at his drum kit, Hitomi sang up to the portraits of Zill. Despite a lively bout of jumping, the potential brightness of the chorus was brought in check by the dark timbre of Hitomi’s voice. The vocalist spoke mildly over rhythmic clapping for the first half of the instrumental which then turned heavy, allowing the crowd to toss their heads about some more. The tamer resumption of vocals had Sizna sneaking about so as not to disturb the quiescent rhythm. Another funky bass solo brought about an end to the number.

“So, honestly, who’s here in the name of KuRt? No one? Really? Okay then… how about Shenne? I don’t mind. Be honest! Who’s here as a fan of one of Zill’s prior bands? Okay, well it really doesn’t matter. Let’s all call out to Zill together!” The result was a continuous rumble of cries all blending into one name — ZILL. “I can’t hear you!” Hitomi lied, nonetheless achieving the desired effect of a tumultuous roar that surely reached the bassist wherever he may be. “Thank you. With such a strong, unified voice, I’m positive he can hear you,” Hitomi agreed. He then proceeded to announce that Moran will be resuming activity as planned on December 24. “These are the right members for Moran and I hope that you can view this new scenery with us, scenery we were unable to show Zill but that I want to create together with all of you.” Another round of “ZILL” and Hitomi introduced the remaining members. “Drums — Soan. Bass — Shingo. Guitar — Sizna. With these five members together, we Moran are going full throttle! ZILL!!! Let’s go wild!”

Star gazer was next and wild it was. The floor blurred with movement as fans careened from one side to the other and Hitomi danced about, hopping in circles and losing his jacket. “Are you ready?” he yelled as the verse ended. Fists flew throughout the chorus, the words “Music like a lazer,” describing the number with decided accuracy. The movement never stopped as Soan struck brightly away at the tools of his trade and Sizna danced, danced, danced. Yelling over the music, Hitomi capped the number with a raw cry. “Lastly, let’s send off the greatest ‘Party’ loving ‘Monster’ with a ‘Monster’ of a ‘Party!’" Party Monster kicked off with the band instantly scattering all over the stage. How could anyone stay put with such an addictive beat? In fact, Sizna could be seen throwing in push-ups on the stage-side barrier when he could spare a moment from his guitar. Getting down like a true Party Monster, Hitomi spared a completely unnecessary incentive for the crowd. “Let’s throw the best party ever!” The chorus had everyone yelling the title lyrics, lost in the music and the adrenaline. An interlude blacked out the whole venue but for the two indispensable backdrop images and multicoloured flashing lights waved back and forth in the dark, Hitomi’s own ring zipping about maddeningly. When strobes kicked in, Sizna could be made out doing the locomotion like a trooper! With a coolness previously known only to Fonzie, a fictional character in the American sitcom "Happy Days," Hitomi absorbed the crowd's yelled accents like an extension of his own voice and Shingo’s final, brilliant grin said it all.

“Thank you,” Hitomi intoned. “I’m falling for you all. Thank you. Thank you Shingo. Thank you Soan. Thank you Sizna. Thank you —Zill.”

That one phrase lingered in the mind as the band gave the stage to the bassist. There was no encore chant, only a unified, rhythmic call of “Zill Zill Zill Zill” accented by the chime of a tambourine. Ring lights flickered like fireflies on clapping hands. Once Moran returned, the shouts for Zill and for various members continued until Hitomi moved to speak – the crowd miraculously in tune with the vocalist as they hushed instantly.

“As a send off, we’ve prepared a new song written by Zill. If I say it will be a popular song, it will be popular. The song we’re going to play now, Bleach will be popular.” Hitomi went on to announce that Zill left behind a whole collection of songs and that Moran will go into recording until December 24 in order to make those songs a reality. Commencing with strong, deep drums underlying the sober ballad sound, Bleach was light in melody but filled up by Hitomi’s smooth voice and powerful rhythm and guitar. Sizna played out the guitar solo, moving as the music demanded of his body. A final, simplified verse was overlaid by chimes, Hitomi singing with more emotion than he had yet shown. A difficult key-change and fascinating bridge saw an amazing climax as the new melody climbed from minor to major and then dissolved into piano.

“This will be the last song. This version of Stand By Me was arranged by Zill for the memorial for You of Versailles.”

All of the night’s performers were re-called to the stage and Maru, representing Zill’s previous band mei, made a surprise appearance. The arrangement was mostly acoustic with a steady drum beat and the occasional rise of a stronger guitar line. Hitomi began the number but every vocalist took his turn throughout both verse and chorus. Lyrics were forgotten in the moment and the guilty parties were rescued by others. Everyone onstage worked as a team not to perform or satisfy but to comfort and console. Finally, the music slowed as Moran wound up the piece together. “Thank you. Thank you, everyone. Thank you Zill!” The gathered bands turned as one to the portraits adorning the back wall until eventually, Hitomi wrapped things up in his typical, frank manner. “Well, that’s it for today. Thank you so much! Never forget.” With that, the stage emptied, Shingo bowing to Zill one final time before only the photographs and the voices of hundreds of fans were left to fill the empty space.

Stand By Me played anew as background music, fans clapping along until the curtain closed at last, hiding Zill from view, and a round of applause broke out. Reluctant to leave, huddles of fans clung to each other crying, comforting and saying goodbye. Some smiled and laughed, their farewells complete. Others weren’t yet ready to let go. Either way, the concert was a true tribute that none will be likely to ever forget.


Set List

01. Konseki to Canvas
02. Konya, tsuki no nai kaigan de
03. Hameln
04. Helpless
05. Lost Sheep
06. LOSERS THEATER
07. Stage gazer
08. Party Monster
09. Bleach
10. Stand By Me