VAMPS - UNDERWORLD Review

It has been an interesting nine years for Japanese rock duo VAMPS. Forged in 2008 by two musicians already famous in their own right -- HYDE, vocalist of the legendary pop-rock band L’Arc~en~Ciel (anime fans may recognize his voice from the Full Metal Alchemist opening, “Ready Steady Go”) and K.A.Z. from the grittier alt-rock Oblivion Dust. They are supported by bassist Ju-ken (GacktJOB, Spin Aqua, Tomoyasu Hotei), Jin Saito (L’Arc~en~Ciel support), and Arimatsu.
 
Having already worked together for three years on HYDE’s chart-topping solo albums 666 and Faith, VAMPS just seemed like more of a good thing, even if it was just a cheeky side project.

But as L’Arc~en~Ciel’s hiatuses have become longer and more frequent, it is apparent that VAMPS isn’t just a side project for HYDE and K.A.Z. to channel their love for American glam metal and goth rock. Five albums (four original, one compilation), 13 singles, and five international tours later, VAMPS is still experimenting with their sound and still desperately trying to break into the American market. Perhaps the key to measurable success out of Japan will be an American producer with a specific sound?
 
Enter Kane Churko, producer for Ozzy Osbourne, In This Moment, Five Finger Death Punch, and Papa Roach. For better or worse, Churko has given VAMPS a very American blood transfusion with heavily produced songs that harken to Linkin Park, Bring Me the Horizon, a smidge of Rob Zombie, and of course Churko’s other projects, Papa Roach and Skillet.
 
This might be a draw for some but I was initially put off by this new sound when the singles preceding UNDERWOLD came out. The transition from the gothic new wave sound of the Bloodsuckers album to the kind of derivative nu metal I’ve been largely avoiding in the American metal scene for the last few years was a challenge for me to accept. Not that all nu metal is derivative but there’s a certain formula to a lot of it that feels tired in 2017. Thankfully, although I find UNDERWOLD to be overproduced it is not a one-trick pony.

The album begins with the distortion-filled title track, “UNDERWOLD.” Jin’s rolicking synth provides an electronic-tinged goth introduction to this anthemic rock song and the first few strains remind me pleasantly of vintage horror films. This is a preface to an entire album filled with heavy production and layers of grungy distortion but it works well for this kick-off in a song about luring mortals beyond banal reality.
 
The same distortion overlays the next track, “Calling,” which was also VAMPS’ second single for this album and a notable improvement over the first, “Inside of Me.” Kane Churko’s very American touch is still readily apparent in the too-strong distortion and specific synth choices. However, something about the composition feels more reminiscent of K.A.Z.’s darkly melodic style, punctuated by a much more complex drum line for Arimatsu. Sadly, Ju-ken’s bass is largely buried under the effects. I would call it overproduced but the melody is alluring and HYDE’s encouraging lyrics are somehow well-suited.
 
KamiK.A.Z.e Boy from Man With a Mission joins in on “Break Free.” While pleasant to listen to with a punchy rhythm, a metal feel, and some more interesting effects, “Break Free” represents the watered down, Americanized genericism that hangs over the majority of UNDERWOLD. The crawling melody and syncopated beats are undeniably fun but border on monotone. It feels like it could have been written by any band.
 
The same goes for “Don’t Hold Back.” HYDE and K.A.Z. have mentioned being fans of Linkin Park and apparently the producer was as well HYDE’s backing vocals are harmonized together in wonderful way but the chorus feels too derivative.

Thankfully, “Bleed for Me” is a completely different beast from the first few tracks. Slow, heavy guitars lead this gothic metal opus. The syncopation that prefaces the choruses takes me out of the mood briefly but with that exception, it is dark, gloomy, and seductive, enhanced periodically with subtle, foreboding bell tolls. This successful flirtation with doom metal is one of the most unique stars of UNDERWOLD.
 
“In this Hell” is completely different in tone and sound, not only from the previous song but to the majority of the album all together. The instrumentation and melancholy melody are reminiscent of the duo’s work on HYDE’s “Faith” album. It’s not an especially complex song -- no one would categorize VAMPS as prog rock -- but it’s moving and pleasant without sounding dark or full of vampiric ennui (at least not musically -- the lyrics are another matter). It doesn’t rely on heavy distortion or an excess of effects layering.
 
Unfortunately, this high note is followed by a low note: “Inside of Me” (featuring Chris Motionless from Motionless in White), which came out last autumn as a single. It rocks live but on an album, it just makes me wish VAMPS hadn’t decided to reinvent the wheel -- or rather swap their own wheels for Kane Churko’s thoroughly uninspired sensibilities. Chris Motionless adds little except some vampire-related screaming during the bridge.
 
“Rise or Die” (featuring Richard Z. Kruspe from Rammstein) was the B-side to “Inside of Me.” It’s a bit more fun and has a rollicking, driving pace. Although equally as cheesy as the angst-drenched “Inside of Me” it’s more tongue-in-cheek.”
 
Balancing miss out once again with another hit is the delightfully unique “Sin in Justice.” Featuring the excellent cello work of Finnish metal trio Apocalyptica, K.A.Z.’s pure metal guitar work is married to menacing, marching cellos and topped off with HYDE at his best, his voice soaring through the melodious chorus.
 
It wouldn’t be a VAMPS album without at least one adventurous romp of a song and “B.Y.O.B. Bring Your Own Blood” fills that niche with aplomb. Don’t let the silly title mislead you, the song is undeniably fun and made for enthusiastic live participation. Jin’s synth and K.A.Z.’s guitar bring a Rob Zombie feel alongside HYDE’s energetic vocals.
 
Sadly UNDERWOLD ends on a bit of a snoozer. “Rise Up” is inoffensive but fundamentally uninteresting. The alternating rhythms make for a good contrast and HYDE’s vocals are strong, but nothing about the song stands out except for the fact that is one of the only tracks on the album where Ju-ken’s bass is really audible and he is given a short solo. I do like the cascading melody at the end but it just feels like VAMPS is capable of so much more than this.
 
Unfortunately that really sums up the album -- I think it could have been so much more than it was. Bloodsuckers showed us the range VAMPS is capable of but I feel like Kane Churko’s style held them back. I only hope that this foray into a different style finally succeeds in turning the heads of the Western audience that VAMPS has been courting for years without alienating too much of their fanbase.
 
Decide for yourself whether UNDERWOLD is a bold step in a new direction or a misstep: UNDERWOLD is available on iTunes, Amazon MP3, and Spotify: https://fanlink.to/VAMPSUNDERWOLD
 
And to experience UNDERWOLD and VAMPS at their absolute best, check them out on one of their tour stops across the US this month:
 
(I PREVAIL Dates = *   Headline Dates = ***)

Tickets available HERE. Meet and greet VIP upgrades are still available for sale HERE.
 
VAMPS U.S. Tour 2017
5/2 — Birmingham, Ala. — Workplay Soundstage*
5/3 — Knoxville, Tenn. — Concourse at the International*
5/4 — Richmond, Va. — Canal Club*
5/6 — Baltimore, Md. — Rams Head Live***
5/8 — Clifton Park, N.Y. — Upstate Concert Hall*
5/9 — Portland, Maine — Aura*
5/11 — Boston, Mass. — Middle East Downstairs***
5/12 — Pittsburgh, Pa. — Diesel Club Lounge***
5/14 — West Des Moines, Iowa — Val Air Ballroom*
5/15 — Omaha, Neb. — Sokol Auditorium*
5/17 — Traverse City, Mich. — Ground Zero*
5/18 — Louisville, Ky. — Diamond Pub Concert Hall*
5/19 — Atlanta, Ga. — The Loft at Center Stage***
5/21 — Houston, Texas — Scout Bar***
5/22 — Dallas, Texas — Gas Monkey Live!***
5/24 — Denver, Colo. — Bluebird***
5/25 — Tempe, Ariz. — The Marquee***
5/27 — Irvine, Calif. — Blackest of the Black Festival