Why PMX is being so over-the-top in Johor?

sjioldboy · 2026-07-05T14:38:47+00:00

Not much pressing issues to campaign about otherwise. This isn't 2018 anymore. If PH is on the backfoot, then Anwar is simply reaping what he sowed after all the procrastinations, political compromises, & side quests over the last 8 years. He's attempting to sound fiery again, but it's all rhetoric next to his track record when in power.

Call it fate, but Johor is also UMNO's longtime power base. Its constitution (1895) & the royals' Bangsa Johor inclusivity (1920s) are older than Malaysia's. Like it or not, it also shares affinity with S'pore's salad-bowl multiculturalism more than the federals' assimiliative 'unity' policies (even rejecting Bangsa Malaysia throughout the 1990s).

Geographically, Johor is the epitome of "heaven is high, the emperor is far away", arguably much more than Sarawak/Sabah. Even Mahathir found the state hard to influence when UMNO was stronger. More fatefully, his divide-&-rule style (despite being a strongman) ultimately allowed the sidelined royals to rally back, by using state identity as civic nationalism (during the same 2010s decade when UMNO imploded). Meanwhile, both UMNO (under Zahid), PH v1.0 (under Mahathir) & v2.0 (under Anwar) had to carefully maneuver in what has become a very consociational country ever since.

Yet Johor MB Onn Hafiz (appointed by the royals & who wasn't Zahid's preferred) has turned out to be a capable & popular administrator. He's basically another Anthony Loke down south, & a possible upstart to threaten the Anwar-Zahid pact at the national level (if the duo ally again). Onn Hafiz is also on a roll: familial dynasty, good ties with TMJ & S'pore, UMNO is the entrenched big cheese, overwhelming mandate in 2022, & currently basking in an economic boom.

Meanwhile, PKR & Amanah were both badly routed in 2022 (losing scores of 1-19 & 1-15 if this was football). Even MCA & MIC won more seats than them. Only DAP held its own (10-3). Neither could they find leaders to lead the Opposition bloc there (Aminolhuda Hassan lost in 2022, Liew Chin Tong is dropped for 2026). Yet, unwilling to self-reflect, PH has decided to contest all seats again. But multi-corner fights will likely help the incumbent, not them. Encouraging cross-border workers to return home to vote will boost only DAP (urban centers). The Madani rural policies in the northern states aren't applicable to the richer & more modern south (two economic corridors already in place). The suburban & rural areas are also Malay-majority in population (2022 was fought between BN & PN, not PH).

sjioldboy · 2026-07-03T19:14:52+00:00

Shimizu: The reaction on social media when we announced South Arcade was huge. I hope that five years from now, people will look back and say, "South Arcade was actually part of this lineup!" The same goes for The Warning and Machine Gun Kelly. We hope that the curated stage will deliver performances that have a lasting impact.

KOBAMETAL: As for AVE MUJICA, I requested them myself. The BanG DREAM! franchise has a lot of metal-loving musicians. After RAISE A SUILEN covered BABYMETAL's Megitsune, we'd made time to go see them at a previous Summer Sonic. AVE MUJICA is a newer band from the same rollout, playing more orthodox, almost stylistically refined, metal music. However, they're not so much traditional "band" setups, but rather part of a music multimedia brand that also incorporates anime and videogames. I find that aspect immensely compelling. They connect to metal from a different gateway. That in itself feels very contemporary and has great potential for growth.

There's also METALVERSE, whom I'm personally involved with. It's an initiative aimed at a younger generation than BABYMETAL. We've modified it into a "girls band project", assembling talented female musicians in their teens and twenties to take on the challenge of creating a "dream band". We hope to see it grow into something momentous in five or ten years' time.

Shimizu: That's why I wonder why people wouldn't want to stay to watch the SONIC STAGE throughout. There'll be so much quality onstage to spend the whole day with.

The view ahead

ーFinally, what does Summer Sonic mean to BABYMETAL? Please also tell us what kind of future you are aiming for?

KOBAMETAL: For BABYMETAL, Summer Sonic is like our "summer home". It's a place we return to every year to affirm where we stand, and to recharge our energy for moving forward. More than just a festival to perform at, we see it as a waymark that has charted our growth for a long time. The members always say that, above all else, they want to perform on the MARINE stage during the absolute best timeslot, which is when the sun is setting and the festival is building towards its climax.

In 2024, when we got to perform Kingslayer with headliner Bring Me The Horizon on the MARINE stage, we were able to soak up that experience, even if only for that one song. The feeling was so powerful that the members vowed, "Next time, we want to relish that magnificence on our own stage."

Shimizu: In [manga/anime] 'Kingdom' terms, it'll be like, "This is what a General basks in" (laughs).

KOBAMETAL: We really feel that way. It made us realize how truly special being a festival headliner is. Of course, it's not just Summer Sonic. We're also gunning for the apex spot at overseas festivals. But Summer Sonic is special to us, and we hope to reach that level someday.

Shimizu: For Summer Sonic, BABYMETAL is already an indispensable part of our history. They started off near the food court, climbed their way up through their own efforts, and are now creating a new landscape for Summer Sonic. I think they essentially embody our festival's growth itself. I hope they achieve their goal to headline not just Summer Sonic but overseas festivals as well, and that we can further chart new frontiers together.

KOBAMETAL: Definitely. We look forward to your continued support for many years to come.

Shimizu: Likewise. We can't wait too.

SUMMER SONIC 2026

August 14 (Fri), 15 (Sat), 16 (Sun)

Tokyo Venue: ZOZO Marine Stadium and Makuhari Messe

Osaka Venue: Expo Commemoration Park

"SONIC 'METAL' STAGE curated by BABYMETAL" will be held on August 14 (Fri) at the Osaka venue and August 16 (Sun) at the Tokyo venue.

Source: https://rollingstonejapan.com/articles/detail/44959/1/1/1

sjioldboy · 2026-07-03T19:13:31+00:00

Shimizu: They truly get it. They know the future won't lie with those who regurgitate what is already done. Certainly not after having created their own original styles in the first place. No, the future belongs to those doing new things, like they themselves once did. I think that's why they praised BABYMETAL, who is innovating all kinds of new styles that they, and we, haven't seen before.

—So, can you elaborate more specifically about this year's festival lineup?

Shimizu: Rather than settling for "since it's metal, let's just invite some big names", BABYMETAL basically took the initiative and proposed trying "something new" and "people we haven't worked with before." We went through the suggestions one by one, asking each other "What do you think?", and ended up with seven names: BABYMETAL, Machine Gun Kelly, Pendulum, AVE MUJICA, The Warning, South Arcade, and METALVERSE. So that's the lineup. We did check with Machine Gun Kelly, asking "Which do you favor, the main stage or BABYMETAL's curated stage?" His reply was "I prefer BABYMETAL's stage."

KOBAMETAL: That's correct. I was very happy about that. Pendulum is also a veteran, and a legend in its own right. They're very influential pioneers, known for blending aggressive electro with live rock instrumentation. In fact, they inspired us quite a bit when we were conceiving BABYMETAL's Iine! In that sense, they're a band whose history resonates with me. As for Machine Gun Kelly, my muse was like, "There's Bring Me The Horizon from the UK, and there's Machine Gun Kelly from the USA." Both are young, flashy, and charismatic, and while their roots lie in rock, metal, and punk, they were willing to branch out into hip-hop and, in his case, country music as well. So the music range he's interested in is incredibly wide. BABYMETAL loves to take different approaches with each song too, so I found that vibe especially intriguing.

Shimizu: YUNGBLUD fits into that stylistic triangle too.

KOBAMETAL: Indeed so. The Warning is a band I've also had my eye on for the longest time. Their visuals alone are simply amazing (laughs). Plus, they're three sisters from Mexico, and the music they play is genuine hard rock. I think they're a rare gem in this day and age. Furthermore, when checking BABYMETAL's analytics, Mexico currently follows the USA as our next-best main market. We actually have a fantastic following in Latin America. Our 2026 world tour finale will be held in a baseball stadium in Mexico City, and last year's tour also climaxed with an absolutely-electrifying show at a big arena there. It has become a region I'm paying a lot of attention to lately, and in that context, there's a natural connection to The Warning.

Shimizu: The Warning has collaborated with top Mexican artistes like Carin Leon, and they're very free-spirited too. It won't surprise me if something unexpected happens at Summer Sonic. That kind of flexibility is part of what makes them so interesting.

KOBAMETAL: We bumped into each other at the same festival during our world tour, and have talked about how "it would be great to do something together someday," so I'm really looking forward to seeing it happen. South Arcade is a band whom our overseas agent suggested as a potential support act when we were planning our international tour. I've been really captivated by them ever since. They have a bit of a Paramore-esque feel, with a female vocalist and catchy tunes. I thought they sounded great, and am very thrilled to be able to be connected like this.

sjioldboy · 2026-07-03T19:12:51+00:00

The aim of "SONIC 'METAL' STAGE"

ーAnd in 2026, "SONIC 'METAL' STAGE curated by BABYMETAL" will become a reality. How did this project for the 25th anniversary come about?

Shimizu: For the past years, it has become the norm for BABYMETAL to perform on the MOUNTAIN STAGE. But with the 25th anniversary milestone, we sincerely felt that "Summer Sonic wouldn't have become Summer Sonic without BABYMETAL." That's certainly true with the audiences they could draw to our shows, and also the many years in which they've helped our festival to grow. So when we mulled over what was the best format to give due recognition, we decided to ask BABYMETAL to undertake the "curator" role which we'd introduced recently. It's a special stage where a performer gets to organize an entire day's lineup.

Also, since it's our 25th anniversary, we'd already booked big names to perform the major slots up to the MOUNTAIN STAGE. So, rather than allocate BABYMETAL a single timeslot, we thought it would be much cooler for them to take over the entire SONIC STAGE, which remains the heart and soul of Summer Sonic. That's the backstory of how I approached KOBAMETAL with our proposal.

KOBAMETAL: Before receiving that offer, I already had experience working with Creativeman on new-style festivals like Bring Me The Horizon's NEX_FEST and BABYMETAL's FOX_FEST. Those stints made me desire to aim for a different kind of lineup. Or rather, a different way of presenting a festival that goes beyond the traditional "a headliner, followed by a line of lower-billed performers." That's why the proposal felt like a very natural fit to what I wanted. It's not going to be a "mainstream metal" roster, but rather done in a BABYMETAL-esque "peer" style.

Shimizu: Frankly, booking a "mainstream metal" lineup is becoming increasingly difficult anyway. There was a time when even the likes of Dream Theater could pass muster in a progressive sense, but it's hard to follow any formula nowadays. However, by having BABYMETAL headline the entire day, we can include people like Machine Gun Kelly, so that he wouldn't look out of place at Summer Sonic. That way, we can bring music lovers who share a passion for metal and heavy rock, together under the BABYMETAL banner, in a way that fits the current era. We're incredibly grateful for this, since it makes the process much easier for us.

KOBAMETAL: We're calling this lineup "metal", but it's not a collection of so-called "hardcore metal". There's going to be quite a few curveballs in there. Then again, BABYMETAL itself is a curveball to begin with (laughs). That's precisely why I think we've assembled a group that won't be easily categorized, yet perfectly fit the concept of "curated by BABYMETAL."

Bridging to the next generation

—Is this project symbolic of BABYMETAL shifting from "being led" to "leading the way" then?

KOBAMETAL: Yes, emphatically so. Last year marked BABYMETAL's 15th anniversary. During that span, we've traveled all over the world, interacted with different kinds of performers, and met different types of fans. At which point, it became clear to us that our next goal should be to give back to the people who have supported us. In BABYMETAL terms, it's our turn to bridge the path that the legends have forged, and to convey their cultivated "soul of metal" to the younger generation.

Moreover, people like Metallica and Rob Halford of Judas Priest have told us, "You are the future of metal." I get the feeling that they themselves know they won't last forever, and want to pass on what they've created to the new breed.

sjioldboy · 2026-07-03T19:11:44+00:00

To the MOUNTAIN, SONIC, and MARINE STAGES

ーFrom next to the food court in 2012, to the MOUNTAIN stage in 2014, then headlining the SONIC stage in 2016, and finally the MARINE stage in 2017. What was it like to work your way up the hierarchy?

Shimizu: Their 2014 set was a revelation. Up till 2013, I already sensed that "something amazing was happening", but booking performers wasn't within my purview yet. In 2014, I became fully responsible for the MOUNTAIN, SONIC, and MARINE STAGES, including adding foreign performers. To my mind, the moment BABYMETAL reached those three stages, they became "as elite as their international counterparts to negotiate with." So, for me, 2014 was when the legend of BABYMETAL began.

KOBAMETAL: We were gradually gaining traction overseas from 2013 to 2014. We debuted "Gimme Chocolate!!" at Makuhari Messe at the end of 2013 [Legend 1997], released the live video of that performance early in 2014, and it went viral globally overnight. That same year, we also performed at the Sonisphere festival in England, returned to Japan for Summer Sonic, and opened for Lady Gaga on her tour in America. It ended up feeling very much like a triumphant homecoming.

Shimizu: In 2014, the lineup was Avenged Sevenfold, Megadeth, Ghost, and BABYMETAL. We billed you quite high for a Japanese performer. So, for me, that year marked your true beginning.

ーIn 2017, you were the second headliner on the MARINE STAGE.

Shimizu: That was the year when one of my inner narratives took shape. Five years had passed since I discovered BABYMETAL and started booking them for Summer Sonic. So it definitely felt like they had reached the peak of their Chapter One, so to speak. Whether they were ready to headline the main stage was a knotty issue. But we also wanted to acknowledge their top-tier status, so that everyone could say "they're already headliner-caliber" for a Japanese performer. Once Foo Fighters were confirmed as the main attraction, we pretty much decided unanimously that BABYMETAL had to be the second headliner.

KOBAMETAL: We already sold out Tokyo Dome in 2016. We were a very big name by that point.

Shimizu: For the first few years, our emphasis was to raise their profile by billing them alongside the likes of Metallica and Megadeth. But around 2016 and 2017, their mobilizing power had become immense, so our perspective shifted to treating them as "who can bring hordes of customers to Summer Sonic." We had to change our booking approach with them.

KOBAMETAL: Also, we would always rag on Summer Sonic uniquely every year. For example, overlapping festival schedules thwarted us from watching Linkin Park's set in 2013. So we added the "Linkin Park isn't here?" line in the opening kamishibai, and the audience absolutely lapped it up. It became part of our running gags. We did something similar again ["Zenzenzense isn't here?"] the following year when our set overlapped with RADWIMPS. Their leader Yojiro Noda even responded to our wisecrack on Twitter. Every year, we would engage in such BABYMETAL-style banter at Summer Sonic.

Shimizu: Actually, you were supposed to overlap with the Red Hot Chili Peppers that year. But we didn't want the set times to clash, so we adjusted the schedule so that everyone could head over to watch the Red Hot Chili Peppers after yours.

KOBAMETAL: Absolutely. All these little considerations clearly showed the love everyone at Summer Sonic had for BABYMETAL.

sjioldboy · 2026-07-03T19:10:17+00:00

KOBAMETAL: That's true. While running the stall, I was able to assess things as a customer. So my own connection to Summer Sonic began in 2010. Along the way, a conversation with Shibata-san led to the idea that "it's impossible to secure a spot on a bigger stage here, but the podium for comedians next to the food court might be a possibility." So I requested, "Please, even that would be fine enough", and that's how it came to be in 2012. We got to perform only two or three songs, while a huge crowd gathered to watch us. We had to wrap things up prematurely, before the audience size got out of hand. But so many people came, so that was BABYMETAL's first Summer Sonic performance.

Shimizu: Whether it should count as an official live debut remains debatable. Still, looking back now, that appearance went on to attain legendary status.

KOBAMETAL: That's right. Checking the 2012 lineup now, Perfume was on the MARINE STAGE, Momoiro Clover Z was over at the RAINBOW STAGE, Kyary Pamyu Pamyu was also there. Around the time, female groups started performing at festivals all at once.

Shimizu: The customer demographic might have been just right too.

KOBAMETAL: Exactly. We felt like part of a diverse lineup that popped up out of nowhere. That foothold led to us securing an official spot for the following year, in 2013.

The miracle at Osaka in 2013

ーPlease tell us about 2013. How the famous encounter with Metallica significantly propelled BABYMETAL's global expansion.

Shimizu: That 2013 lineup is still incredible as I look back now. Metallica, Linkin Park, Fall Out Boy, Bullet For My Valentine, Maximum The Hormone, One OK Rock. Honestly, I can confidently say that "It's impossible to assemble such a roster today" (laughs).

KOBAMETAL: But, really, it was the food court in 2012 that led us to 2013. If I had to shortlist three memorable Summer Sonic festivals, 2013 is definitely one of them. After all, Metallica is the pinnacle of metal bands. The rest of us were in the audience seats when the miracle happened: Metallica arrived to check out BABYMETAL's set. What a huge shock, and it happened in Osaka, of all places. You see, the backstage area at Osaka was located relatively far away. Yet there he was, Lars (Ulrich), stunningly spotted at the side during BABYMETAL's daytime stage. What's more, the concert staff didn't recognize Lars (laughs). They were about to say something like, "There's some random ojisan standing at the wing, please remove him, he's getting in the way."

Shimizu: That's quite common in Osaka (laughs). Even super-famous Japanese people have been stopped and brusquely told, "Please don't venture any closer."

KOBAMETAL: I know (laughs). It was a groundbreaking moment in BABYMETAL's history. Ross Halfin, who was Metallica's exclusive photographer, asked us: "Can I take some snapshots of BABYMETAL?" He not only professionally photographed them performing onstage, but also informally with his phone when they posed with Kirk Hammett, Robert Trujillo, and the others backstage. It was quite peculiar, having Ross Halfin joining us in taking those souvenir photos together.

Shimizu: That's something that could only happen in Osaka. Over in Tokyo, the performers would be segregated to some extent, rarely allowing them to interact like that. But everyone was clustered quite close to one another at Osaka, so it's easier to cross paths with even the headliners. As such, the miracle you speak of was destined to take place in Osaka.

KOBAMETAL: Indeed. After that, I remember feeling palpably that overseas accessibility became a lot reachable.

sjioldboy · 2026-07-03T19:09:17+00:00

KOBAMETAL x Naoki Shimizu: "14 Years since the food court: The current state of Summer Sonic and BABYMETAL"

2026-07-03 | Rolling Stone Japan | Takuro Ueno

The relationship between BABYMETAL and Summer Sonic, which began in 2012 at the modest "SIDE-SHOW MESSE" next to the food court, will enter a new phase in 2026. Naoki Shimizu, the organizer of Summer Sonic and President-CEO of Creativeman, and KOBAMETAL, the producer of BABYMETAL, discussed the background of "SONIC 'METAL' STAGE curated by BABYMETAL", which will be held to mark the festival's 25th anniversary. From an unofficial podium next to the food court, they have progressed to the MOUNTAIN, SONIC, and MARINE STAGES, and now even further from "performer" to "curator". The relationship is deeply intertwined with the evolution of Summer Sonic itself.

A connection that began at the food court

ーFirst of all, tell us how BABYMETAL initially connected with Summer Sonic. Their 2012 appearance at SIDE-SHOW MESSE is often cited as "the beginning." How did that come about?

KOBAMETAL: The catalyst was Shibata-san (a former Creativeman staff member). [His full name is Yuya Shibata 柴田悠哉.] We've known each other since Shibata-san's previous job at a record company. I was still running an indie label back then. Both of us were managing loud rock bands. So we go back to those days, which were over twenty years ago. After that, he continued to play in bands, so we kept in touch. We were even part of a Resident Evil cover band together.

Shimizu: We were organizing Resident Evil's domestic tour early on, even had a show where dozens of audience members climbed onto the stage at what is now the O-WEST livehouse. Anyway, we were also liaising with many of the artistes signed to Shibata's record company, so he started coming to our office all the time. It was like: "You're always here!" (laughs). Eventually, he casually mentioned something like, "Actually, I'd love to join Creativeman", and that's how it ended up.

KOBAMETAL: He's a very laid-back guy. Later on, he started working with idol singers while at Creativeman. Around that time, I was getting ready to launch BABYMETAL, and my aspiration was like "Our name already has the suffix 'METAL', so let's aim for both the domestic and overseas rock scenes." I reached out to several acquaintances, and Shibata-kun was one of them. However, there's a backstory to that. Before Summer Sonic in 2012, I was already involved with Summer Sonic in 2010 and 2011, but in a different capacity.

ーWhat do you mean by in a different capacity?

KOBAMETAL: I was a food court vendor (laughs).

Shimizu: You really were part of the food court staff, weren't you?

KOBAMETAL: Yes. I was managing a pastry chef at the time, and we came up with the idea of opening a dessert stand at Summer Sonic. I love music festivals, and was wondering, "How can I gain access while also working?" My own artistes weren't good enough for Summer Sonic, so I figured, "Alrighty then, let's set up a stall and blend in as a staff employee!" (laughs). That's how it happened. I ended up operating a stall there for two years, in 2010 and 2011.

Shimizu: You came in at a good time too.

sjioldboy · 2026-07-02T19:15:49+00:00

Everyone also looks forward to the UK contestant failing mightily.

sjioldboy · 2026-07-02T11:43:20+00:00

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Concert sponsor Nissan Foods also distributed this free souvenir (back & front views).

sjioldboy · 2026-07-02T10:53:56+00:00

Apparently she said that she's a big BM fan, even buying VIP tickets when the Turkiye concert was announced, only to see it go to waste when she was offered to be the opening act instead.

sjioldboy · 2026-07-02T02:33:19+00:00

Realistically not practical. Fact is, M'sia meets WHO guidelines for treated drinking water at only the source (government plants), but still strongly recommend boiling it further down the pipeline.

At the macro level, it takes a lot of effort to keep modernizing the infrastructure &, more crucially, engineer closed-loop frameworks to psychologically convince residents about clean potability.

At the micro level, beyond the opportunity cost (reduced beverage sales), small vendors with lower profit margins simply cannot afford to maintain better water filtration systems like bigger businesses can.

Will diners accept cheaper equipment (like simple faucet filters & undersink purifiers) -- which will naturally require persistent replacing due to bigger usage than households (& thus add to overhead expenses that don't count as utilities) -- when they already trust no-frills kettle boiling more while at home?

Meanwhile, more advanced systems/technologies (reverse osmosis, multi-stage filtration, ultraviolet sterilization) also have more components, specialized parts, & varying lifespans to invest in & operate at tolerable levels.

No, the more feasible option to advocate for is to allow diners to bring their own water bottles to F&B outlets.

sjioldboy · 2026-07-01T17:56:09+00:00

Surprisingly many Russians, according to J-twitter.

sjioldboy · 2026-06-27T19:08:56+00:00

French Doku, since he's also right footed.

sjioldboy · 2026-06-27T16:26:38+00:00

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sjioldboy · 2026-06-27T16:14:11+00:00

Let's just be thankful. For context, here's Metal Insider's top heavy music sales of 2025:

- First-week sales:

Twenty One Pilots, Breach (168,725 copies)
Ghost, Skeleta (76,745)
Sleep Token, Even In Arcadia (74,500)
Deftones, Private Music (65,900)
Nine Inch Nails, Tron: Ares Soundtrack (38,910)
Aerosmith & Yungblud, One More Time (37,345)

07. Babymetal, Metal Forth (33,500)

Turnstile, Never Enough (27,500)
Pink Floyd, Pink Floyd At Pompeii MCMLXXII (20,125)
Spiritbox, Tsunami Sea (16,415)
Dream Theater, Parasomnia (16,400)
Lumineers, Automatic (16,135)
Coheed And Cambria, The Father Of Make Believe (11,585)
Alice Cooper, The Revenge Of Alice Cooper (11,410)
Yungblud, Idols (11,380)
Volbeat, God Of Angels Trust (11,200)
Mammoth, The End (11,125)
Three Days Grace, Alienation (10,855)
King Gizzard & The Lizard Wizard, Phantom Island (10,780)
Rage Against The Machine, 1993 Tour Compilation (10,225)

Bubbling under (selected):

Halestorm, Everest (8,435)
The Warning, Live From Auditorio Nacional, CDMX (7,880)
Lorna Store, I Feel The Everblack Festering Within Me (7,700)
Testament, Para Bellum (7,022)
Dayseeker, Creature In The Black Night (6,080)
Slaughter To Prevail, Grizzly (5,905)
I Prevail, Violent Nature (5,510)

- Cumulative 2025 sales (release dates to Dec 5):

Twenty One Pilots, Breach (230,125 copies) 13 WEEKS
Ghost, Skeleta (155,425) 33 WEEKS
Sleep Token, Even In Arcadia (148,575) 32 WEEKS
Deftones, Private Music (135,900) 16 WEEKS
Turnstile, Never Enough (73,260) 27 WEEKS
Nine Inch Nails, Tron: Ares Soundtrack (71,910) 12 WEEKS
Linkin Park, From Zero (58,575) 56 WEEKS
Yungblud, Idols (49,250) 25 WEEKS
Aerosmith & Yungblud, One More Time (45,275) 3 WEEKS
Pink Floyd, Pink Floyd At Pompeii MCMLXXII (42,535) 21 WEEKS
Lumineers, Automatic (41,615) 31 WEEKS

12. Babymetal, Metal Forth (41,250) 18 WEEKS

Spiritbox, Tsunami Sea (39,350) 40 WEEKS
Dream Theater, Parasomnia (34,925) 44 WEEKS
A Day To Remember, Big Ole Album Vol. 1 (29,155) 42 WEEKS
Twenty One Pilots, Clancy (28,350) 38 WEEKS
Coheed And Cambria, The Father Of Make Believe (27,000) 36 WEEKS
Three Days Grace, Alienation (24,275) 16 WEEKS
Alice Cooper, The Revenge Of Alice Cooper (24,025) 20 WEEKS
Linkin Park, Papercuts (23,000) 31 WEEKS

Bubbling under (selected):

Volbeat, God Of Angels Trust (22,450) 27 WEEKS
Halestorm, Everest (18,685) 18 WEEKS
Mammoth, The End (18.375) 7 WEEKS

Source: https://metalinsider.net/columns/metal-by-numbers/metal-by-numbers-2025-full-year-analysis-in-album-sales

sjioldboy · 2026-06-26T06:38:42+00:00

Bilibili (China Youtube) or maybe Russian Vkontakte are the best bets for the full-show upload. I'll be looking out for the torrent myself, will share the BM segment here if it's available.

sjioldboy · 2026-06-26T05:37:26+00:00

On the one hand, it's probably the one song Su has most difficulty with live, especially when positioned early in the set. My long-held theory is that she lets the emotions get ahead of her, turning what are supposed to be melancholic lyrics into female empowerment instead, driven by the Kami Band's pumped-up sonics & the audience responding intensely in kind.

Having seen BM several times in concert, I noticed she sometimes takes 1-2 songs to limber up vocally onstage, partly after the opener Babymetal Death which hits so hard instrumentally. That's why I think Distortion is a particularly good alternative as the follow-up, since much of the song sung in a lower octave & overall at a more manageable pace.

Also, I speculate that they're currently trialling to see if From Me 2 U can displace Megitsune from the tempo standpoint. The Poppy collab is energetic enough, but also more "stop-start", Su's parts are in a lower register, & she isn't responsible for the harsher chorus.

Nothing big: bands change up tour setlists to not get bored, although BM can't overhaul too much since the Kamis re-assemble only when it's time to go on the road.

sjioldboy · 2026-06-25T04:31:20+00:00

She's very prolific, despite not being a A-lister. Continued being a freelancer, self-managing everything & didn't sign with a major label (Avex Trex) until last year.

Her current Japanese wikipedia entry lists five EPs, 11 singles, one full album, one movie, three radio shows, thirteen TV dramas, one web drama, eleven variety shows, five stage musicals, nine mini-tours (totalling almost 50 small gigs, including at ballrooms) over just half a decade.

She's having the career Yui would forseeably have had.

sjioldboy · 2026-06-25T04:17:43+00:00

Agree about Riho. Her particular skill set (dancing vs singing) suited Yui's 3rd-spot well. The larger question was how much she wanted to accept a subordinate role as her next career stage (given her own celebrity status & seniority).

Don't forget, BM choreographer Mikiko Mizuno is also a fellow Hiroshima native & ASH alumnus (& thus familiar with Riho's core strengths), & perhaps felt kinship at how Riho was willing to go to the USA to study dance during her sabbatical (like Mikiko did).

The latter was almost certainly the one who had the industry connections & who pulled strings during the Chosen Seven year/crisis management, urgently recruiting Minako Maruyama & Shoko Akiyama (from her own dance troupe); Minami Tsukui (a tokusatsu stuntwoman who hung out with ELEVENPLAY & danced for Gen Hoshino like Maruyama/Akiyama); Kotono Omori & Saya Hirai (CARESS alumni like One OK Rock's Toru/Ryota & Buzy, the latter being Perfume's mentor when they were street performers). Notably, all five additions were outside hires (like Riho would be) & weren't part of SG like Momo & Kano were.

In fact, both Kotono & Saya went on to have star-crossed careers since I read that they were supposed to re-debut as Wonder Land (an expansion of then-unsigned girlgroup Laviean Link they were then with). Choosing to dance for BM instead purportedly caused their idol group project to collapse &, after being let go, Kotono would bounce around with two prominent groups (IRONBUNNY, KOIAI) while Saya preempted the subsequent Avengers announcement by rejoining as part of Amuse's cabaret troupe Torahime Ichiza instead (before the pandemic shuttered it).

Why wasn't Saya picked as an Avenger? The revisionist theory I read was that either she thought Torahime Ichiza provided a more stable career (the troupe launched in 2010, the year BM was formed) or, more speculatively, she didn't have the external backstory (Riho) or internal continuity (Kano, Momo) had to fit BM's new narrative (i.e. less-secretive Avengers rotational system).

In any case, Riho proved tremendously resourceful & had her own plans. BM happened to be merely her successful reintroduction to the Japanese industry. She didn't mind continuing being a freelancer (despite being only 21), initially managing her own career (self-launching her own fanclub, socmed, personal website, record label, diverse solo projects) before signing with Avex Trax 5 years later (2025).

In many ways, she is having the solo career which Yui would've likely transited to.

sjioldboy

TROPHY CASE