STMLT – STMLT (Self-Released)
Wednesday, 13th December 2023
STMLT (ステミレイツ), abbreviated from Stimulate, are one of those Japanese groups that are really hard to classify. The ladies play all the instruments (even a saxophone, in this particular case), but they also utilize YouTube content as an idol act would. But in the end, the classification stuff doesn’t really matter if the music stands up. In the case of STMLT, it certainly does, in ways that allow the group to stand out from others in heavier genres, but even from other Japanese rock/metal and alt idol acts.
The group wastes little time in showing all they can do with the first track, “Shigeki,” opening up to some electronic beats before heavy riffs and a visceral growl comes through the speakers. Rumbling bass work, layered synth backdrops, punchy melodic riffs then fill the landscape, as some saxophone briefly enters the mix at a few points – most impressively without sounding like it’s an tacked-on piece. It feels like a fluid extension of all the parts they have going on and adds a subtle layer to their sound. Not to mention, the track really goes ‘all-in’ on the heavier side for a few moments and it provides a great dynamic for the catchy chorus to play off of. With the heavier riffing and occasional growls, one might come to the conclusion that it sounds more metalcore than anything else, but with the incorporation of the very classy sounding saxophone (“Tsuikyu” is a recommendation here) and the overall playfulness of the riff-work and occasionally energetic keys, it doesn’t seem an apt comparison in the end. Instead it turns into a ‘have to hear it to understand it’ type of affair, which definitely works to the group’s favor. Since once you hear a track like “dream walker,” you are going to want to hear it again just to absorb all of the different things in the song. For an act like this, that’s about the highest praise that can be tossed it’s way. It’s not hard to want to focus on the bass at some points, or listen to how the keys and electronics weave around the instrumentation, or just hone in on Yukippe‘s stellar vocal performance (her growls hit hard, and her singing doesn’t go too far into the higher octaves like some bands do). The last standout piece has to be the closing instrumental, “AnimaZ,” which is just such an engaging track – the ear-catching synthwork, the stellar playful bass lines, and the guitar soloing – it’s just a massive earworm from beginning to end.
STMLT is a collection of all of the singles that the band has done to date, and it’s a perfect introduction to what they can do as a group. Combining heaviness, melodic prowess, a strong vocal presence, and just a hint of jazziness, STMLT showcase a sound that has so much nuance and layering to it. All without sounding giving too far into total chaos – instead it’s a catchy yet ferocious piece of work that will grab you instantly but will pull you back for more.
