Fero☆men “IMMORAL WEDDING” (single review)


フェロ☆メン (Fero☆men) seiyuu unit formed by Kousuke Toriumi and Junichi Suwabe has released their new single “IMMORAL WEDDING” as of today.

This 4th single is still dressed visually in their usual visual-kei style and their pop remains highly addictive.
Some info about the single:

Single: "IMMORAL WEDDING/Silent Carnival"
Label: Columbia Music Entertainment
Genre: J-Pop/Visual-kei
Release date: 02/10/13

The tracklist is the following:

2. Silent Carnival
3. 懺悔室 (ダミーヘッド・ヴァージョン)
5. Silent Carnival (inst.)

Track by track analysis:


Major pop song right here. This song is so good that, as I’m writing this review, it’s still on repeat and will probably be for a few more hours. The instrumental is incredibly good compared with some previous instrumentals the duo has opted to use in their singles. This time around we have house-like synths mixed with strings, a choir, piano and the electronic drums all making a right fit with Toriumi and Suwabe’s perfect combination of low toned vocals. Highly catchy chorus with both of them taking turns showcasing their flawless vocals. A catchy pop song through and through, easily the best on the single. 5/5

2 – Silent Carnival

Where do I start with this song? Simply putting it: it’s not the best song this duo has presented us till date. What puts me off with this song is the repetitive chorus and although I’m quite fond of spanish like instrumentals (with the trumpets, castanets and the accordion but not too exaggerated), this one just simply fails to impress and becomes an awkward mess. It could be better if the arrangement was a bit different. 3/5

3 –  懺悔室 (ダミーヘッド・ヴァージョン)

An unlikely beginning for a song I must say. The song starts off almost like a drama CD. Junichi Suwabe introduces us to the track along with dummy-head mic usage by Toriumi taking turns with Suwabe. Around 55 seconds on the track the song really starts off. Just to add more oddness to the song: it’s fully recorded using the dummy-head mic so it’s probably better to listen to this one with some headphones on or you’ll be missing being transported to studio as soon as you close your eyes. Kind of an interesting approach to this song and definitely a new one to boot. This song was already featured on their single “禁忌の薔薇〜Aphrodisiac〜” released in 2009 and is quite an interesting track to say the least. Simple yet catchy instrumental and with this kind of mic it’s even more interesting since you get to hear the raw, completely unadulterated vocals and the guys completely playing around with the mic throughout the song making this one a different version from the original. 4/5

Final rating: 4/5

A single that started off incredibly well with full force but somehow lost some of it during the following tracks. Besides the obvious best song on the single “IMMORAL WEDDING” the others fail to impress to the same extent and thus dragging the final rating of the single to a mere “good/interesting” evaluation. Vocal wise these guys never fail to impress as expected by two of the best and more prolific seiyuu in Japan, these guys are literally in every game and anime there is available be it main characters or supporting ones. Their low toned voices, Suwabe’s more rough and way deeper than Toriumi’s that sometimes hits a more medium-deep tone while singing than his usual deep voice impress anyone who listens to them singing. Still they are a good duo, presenting us with new things like the dummy-head mic and making singles with at least one incredibly catchy song on it.

If you’re looking for Tori-san and Suwabe-san’s newest work and you can’t miss anything they’re in then grab this single without hesitation but if you’re not a connoisseur of their work and you’re reluctant I must add that the single is interesting enough to deserve a listen at least if you’re up for some unusual j-pop and, who knows, maybe they won’t get off your head for a while.

The single is available on CDJAPAN for all overseas fans.

Vanessa Silvahttps://www.handthatfeedshq.com
The Hand That Feeds HQ founder and music reviewer writing about Japanese music since 2010. Also, the only person managing everything The Hand That Feeds HQ related. In 2011, I stumbled upon Mamoru Miyano's "Orpheus". Since then I have been writing about male seiyuu music. You may find me writing almost essays whenever music is really good (not limited to, but it happens a lot with Soma Saito's music). I also host the male seiyuu-centric podcast, SEIYUU LOUNGE (see Spotify link in this profile).





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