It¡¯s a week until Necronomidol¡¯s big show and, practicing at a dance studio in Tokyo¡¯s Shinjuku Ward, the four members make a decision to change one line from ¡°We¡¯ve come to bring about the Apocalypse¡± to ¡°We¡¯ve come to enact Armageddon.¡± Manager Ricky Wilson agrees; another problem solved.
The four-member Necronomidol claims to be Japan¡¯s first occult-infused idol unit, and its members are still tweaking lyrics and stumbling through the choreography for their new song, ¡°Skulls in the Stars,¡± but 31-year old Wilson is calm. He supplies the concept ¡ª in this case, a tale of cosmic horror set to horror disco ¡ª and the members make it their own. Besides, even if they stumble on stage, imperfection is a selling point in the idol world.
At times like this it pays to be the underdog. The unit¡¯s low visibility allows it the freedom to experiment ¡ª and possibly fail ¡ª in ways that established acts could never risk. Necronomidol and other self-produced underground idol groups share more in common with DIY punk than polished pop ¡ª and they¡¯re the place to be if you like your music raw.
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