ALBUM REVIEW: BRATS - KARMA

As you all know, I’ve been following the progress of BRATS for a while, since they dropped their first maxi-single, Ainikoiyo / Nounai Shoukyo Game, in 2017. Sisters Rei and Aya Kuromiya have been hard at work since then, with a self-titled album following in 2018 before dropping their sophomore effort, KARMA, this autumn. The release was somewhat marred by the departure of guitarist Hinako over “creative differences” during the summer, but the group, now operating as a duet with support musicians for the time being, are still persevering and have unleashed a big statement of intent with the new album.

 Much like their first album, KARMA opens with a flourish of hard electronics and energetic riffs through “Forget Me Not”, continuing their approach to j-rock infused punk to a tee. This has somewhat become BRATS’ trademark style as they enter album #2, and it’s easy to see why as the formula works so well, with other tracks such as “エクスキューザー” (“Excuser”) and the industrial tinged “No More No More” seeing Rei rage against the pressures of fame that she endured while a member of kawaiicore outfit Ladybaby (“A life of money, no more no more”). However, that doesn’t mean they’re unafraid to try different things. “棘”(“Toge”, or “thorn” in English) is a grandiose ballad built around a neat piano line and showing a more personal side to Rei Kuromiya’s style, while “Ms. Downer” carries a hell of a nu metal stomp to it.

 While their last outing saw them bounce around different genres so often that it could be difficult to really get a proper flow on the album, this time around, BRATS have worked out what they want their core sound to be, and how to allow deviations from that to slot in to the track list in a way that still feels natural. It’s a shame there aren’t more tracks like “棘”on the album, as that more epic approach is something that they really managed to hit on the head, but at the same time, placing it early in the album’s order means that it doesn’t have a chance to upset the punk energy that tears through the rest of the album, and there is always going to be room for them to grow that style as they continue down the line. 

One thing I’m not entirely sure on is why they saw the need to re-record two tracks which were only released on 2018’s self-titled album. “決まりごと”(“Kimarigoto”) and “Lost Place” both got re-worked but there isn’t really much significant difference in the songs, other than the fact that the musicians behind it have matured in the 2 years since. It works as a good way to introduce new fans to their earlier material, but it feels like they could have waited a few more years to start trying to “modernise” their older tracks. Without these two or the live tracks that come with some editions of the album, KARMA only really has 7 tracks of material, meaning that, as an album, it feels like there should be a lot more to it than there really is. If released as an EP, it would be less of an issue, but the new material on display here shows a lot of growth for BRATS and it really would have been nice to see what more they can offer.

Nevertheless, it's good to see BRATS continue to establish themselves and their sound, and be able to set a clear pathway to where they can go in future. Obviously that path has hit a bump with the departure of Hinako, but if the Kuromiya sisters decide to rebuild with a new full-time lineup for album #3, they have a solid foundation to build from.

 

KARMA is out now via Far East Monster Records. Follow BRATS on Twitter for updates.