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PROFILE

MOVE


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The band known as m.o.v.e was formed under producer t-kimura�fs concept of �gcontinually repeating the process of shifting and evolving without being held down by predefined notions of nationality or sound.�h

m.o.v.e consists of two members, motsu and yuri.
The avant-garde motsu combines his varied style of sound, which borrows from electronica, dance music, rock and everything else in between, with a world visualized through his intense, high-speed rap technique and remarkable lyrics and rhymes.
yuri, with her dynamic vocal style, breathes life into m.o.v.e�fs tracks.

m.o.v.e officially debuted on October 1, 1997 with �gROCK IT DOWN.�h
Since then, they have continued to blaze an inimitable trail that has resulted in 56 individual works released as of 2011 (31 singles, 11 original albums, 7 remix albums, 3 best albums, 3 cover albums, and 1 concert album).

By virtue of handling all of the opening tracks for the mega-hit TV anime series �gInitial D�h since its initial broadcast, m.o.v.e has gone on to benefit from tremendous support from motor sports circles such as SUPER GT, D1 GRAND PRIX, and the internationally-renowned auto shows AUTO SALON and AUTO MESSE.
The GT3000 by Mitsubishi has been entered in these events with m.o.v.e�fs logo featured prominently on the front side of the car as an official sponsor. Since their debut, while keeping their core sound consistently edgy with their patented fusion of electronica and rock, m.o.v.e has managed to keep their music highly diverse over the years.

One particular anecdote surrounding the band�fs production efforts as featured on a DVD involves t-kimura holding a pair of individual meetings, one with yuri and one with motsu.
The question posed at those meetings was, �gTaking a Eurobeat approach to our sound is a fast ticket to sales. The problem is, we would have to cope with the subsequent image that hangs over our later career. What direction should we take?�h
m.o.v.e�fs collective answer to that question was the single �gGAMBLE RUMBLE,�h which went on to become a huge hit.

2004 saw the release of �gGHETTO BLASTER,�h a ghetto rock number true to that genre�fs fusion of hip-hop and rock.
Following that release, m.o.v.e was asked to produce tracks from a number of rap-rock outfits active on the major music scene.
Furthermore, on their �gDeep Calm�h album released the same year, the band let loose an all-out, unexpected flurry of gothic and industrial metal sound, which was met with great praise from heavy metal magazines and other reviewers.
From there on, m.o.v.e would experience no shortage of episodes illustrating the band�fs continually shifting and evolving musical style, including headlining a concert that brought together prolific artists known mainly for their contributions to heavy rock, such as OLIVIA and BACK-ON.

Of course, where m.o.v.e�fs legendary concerts are concerned, that�fs only the tip of the iceberg.

In 1998, the year following their debut, m.o.v.e appeared in a festival at a stadium in Taipei alongside the English band Hybrid.
With several supporting members bearing full-body tattoos in tow, m.o.v.e performed in front of 30,000 attendees.
This performance further set the stage for the band�fs hard-rocking, intense approach to its shows, and in the same year, at a club event in Osaka, m.o.v.e�fs performance was nearly canceled due to the all-out mosh started by a good chunk of the audience.
Fast-forward to 2007, during which m.o.v.e performed a solo-band concert in Seattle in front of 4,000 attendees that started jumping up and down in unison with the music.
This caused the whole convention center where the band was playing to shake like an earthquake.
Still, the show must go on, and indeed it did ? with dozens of onsite staff members doing their best to physically keep the four gigantic screens set up at the venue from falling down.
Since that time, m.o.v.e�fs concerts have found recognition outside of Japanese borders, such as in Europe, Asia, and especially the United States.
In 2011, the band has already put on a multitude of successful shows overseas, including ones in Brazil, Chile, Argentina, and Peru.

One of the many defining qualities of m.o.v.e�fs musical contributions is that they are largely centered on subculture.
This is a reflection of motsu and t-kimura�fs understanding of the significant role that subculture plays, and between the two of them, the knowledge they possess regarding subculture dating back to the 1980s is unmatched.
As motsu and t-kimura also attest, �gOur roots lie in nightlife and edgy sounds,�h and their collaborations with energetic creators and artists attuned to a shifting era in which genres mater less and less further back that up.

As for collaborations, m.o.v.e has worked with Jacques Le Cont (Les Rythmes Digitals), renowned for his production work with Madonna as well as with the outfit 808State that flourished during the rave boom and �g2nd Summer of Love�h phases in music, as well as with Pete Hammond, whose engineering work ranges from works by Mad Professor, Kylie Minogue, Rick Astley and other PWL Records-affiliated artists to the rock stylings of The Lords of the New Church. t-kimura has also collaborated with John Taylor of Duran Duran fame, Dave Rogers, who is known for his godfather-like role in Eurobeat circles, and Pete Waterman, the president of PWL in London. In recent years, m.o.v.e has played opposite Ryuichi Kawamura, SUGIZO,and 8-Ball, which is led by the bassist Chris also known for his work with the legendary hard rock band MURASAKI. m.o.v.e has also performed together with Klayton of Celldweller fame, who continues to forge new territory in rock and dubstep as a key figure on the industrial rock scene in the same vein as Trent Reznor from Nine Inch Nails (NIN).

Looking at m.o.v.e�fs subculture-oriented activities, the band has taken its strong interest in the world of anime songs and their esoteric lyrics that are far removed from pop, and transformed that interest into a special project series called �ganim.o.v.e�h in which the band covers such songs. Meanwhile, the band has also rendered their appearance into character form and developed accompanying Vocaloid singing synthesizers, with figures of the characters that appear in those Vocaloids selling upwards of 8.000 units. Between this and their many other successful efforts, m.o.v.e is a prime example of a band that refuses to be trapped within the confines of conventional music.

Their 12th album, �g�]II�h was released on December 12, 2011. The number �g12�h not only signifies �gCycle�h but and important number for human beings.

While they celebrated their 15th anniversary on October 1, 2012, they announced their breakup on December 7th on their website.
The last best of album �gBest moves. �`and move goes on�`�h is expected to be released on February 27, 2013.
Please support m.o.v.e�fs last run, who�fs smashing their way till their very last concert at Akasaka BRITZ on March 16, 2013.