TRNTY D:CODE is the new project from ex-KILLANETH members 丐 (Kai) and 39. For everyone outside of Japan there wasn’t much activity with this artist, since their activity was primarily live-based. The only thing overseas fans heard from TRNTY D:CODE were updates from the members on social media and the occasional photo here and there until it eventually went silent until late 2017 when the first single GRAVITY was announced as well as a change in the lineup. SHiO (ex-LOVE LOCK as KAI) joined as a guitarist and MST (ex-THE DC as miki) joined as a bassist while 39 changed his name to saku and his position from drummer to manipulator. They are joined by a support drummer.
The band is signed to the label KEIOS ENTERTAINMENT, which has been started by the native-Swedish musician YOHIO (which you might have heard about in projects like Seremedy and DISREIGN).
02. No PAIN No GAIN
Even though this single definitely has all the boxes checked for a Visual Kei release there are some distinctive differences with other music coming out around this time. Mainly saku’s position as a manipulator. In every song, there is a clear modern influence of programming and manipulation in several different ways. There’s also a fairly common use of autotune throughout all three songs of the single. Other influences are rock, metal and hip-hop, which create a sound unique to TRNTY D:CODE so far.
GRAVITY is a melodic, powerful opener to this single and wastes no time in showing you what these four guys are all about. Powerful instrumentals are combined with 丐’s melodic voice as well as his more “harsh” abilities of screams, growls, grunts and autotune.
GRAVITY has elements from all the genres used to make this song a success. Elements of rock, metal, hip-hop and programming are combined into a surprisingly melodic song that’s very easy to get into even if it’s not your preference.
No PAIN No GAIN is a bit heavier than GRAVITY due to 丐’s vocals, but there are also more melodic parts in the song, making it switch between a heavier, fast-paced song and a rock ballad several times. It ends rather abruptly, rolling straight into the last song.
喰row is the least-electronic and programming influenced song found on the single. It’s a real rock-ballad song with a higher tempo, but 丐’s vocals are a lot calmer. There is a heavier, scream-like part here and there in the song, as well as some more fun with the autotune. It’s almost, mind you, I said -almost-, enough to make you think you’re listening to a lost K-Pop song for a brief moment before it reminds you that it’s not with a heavier rock part. It’s easily the most cheerful song on the single.
If you are a fan of electronic music this definitely is a single you need to look into, but even if you’re not and you’re willing to dive into something new that isn’t overly one or the other in the Visual Kei assortment of music to choose from, give this single a chance.
A fun little trivia: the members themselves aren’t fans of the Visual Kei scene when it comes to the music, but they do like the fashion and thus tried to create a middle ground for themselves with this project. Who knows, perhaps you’ll feel right at home in this grey area yourself!