Within Japanese visual kei, there were projects that did not seek to follow a fixed formula, but instead evolved according to the creative needs of their members. Two key stages within modern visual kei that clearly represent this are XODIACK and Black Gene For The Next Scene.
They are a clear example of this evolution: two different bands, connected by the same creative mind and by a constant idea where metal was always the foundation, even when other elements took the spotlight.
First, let’s talk about XODIACK.
XODIACK was formed in Tokyo in 2008 as a metal visual kei band with a strongly defined conceptual focus (and yes, very strongly defined). From the very beginning, the project revolved around cosmic themes, divinity, and human existence—something the band themselves described as “Galaxy Metal.”
This concept was not commonly explored within visual kei at the time. It wasn’t just about aesthetics, but about building a narrative through music.
The driving force behind the band was Eros, vocalist and composer, who kept the project alive even as the lineup changed several times. Musically, XODIACK leaned heavily into crushing guitars and intense drumming, breaking away from the more conventional sound of many visual kei bands of that era. Because of this, they came to be regarded as one of the heaviest bands of their generation, while also delivering a dark atmosphere that felt more epic than commercial.
Among their most notable releases is the album Shinrabanshou – Setsuri –, along with several singles that reinforced their strong conceptual identity. In 2011, XODIACK officially ceased activities, closing a creative chapter that would lay the groundwork for what came next.
Now, let’s talk about Black Gene For The Next Scene.
After the end of XODIACK, Eros adopted the name ICE and founded Black Gene For The Next Scene in 2011. Although the sound took a clear turn, metal never disappeared. Instead, it became the core support for a broader fusion that incorporated electronic elements, beats, synthesizers, and rhythm-driven structures designed to move the body—sometimes recalling XODIACK tracks such as Kuroi Taiyou or Meteoroid.
Black Gene stood out within visual kei for not separating genres, but rather blending them head-on. Heavy riffs coexisted with electronic bases without losing intensity, resulting in aggressive, dynamic songs clearly designed for live performance.
The band featured well-known figures from the scene, such as Rame (ex-Vidoll) on bass, which naturally drew attention from the very beginning.
Their discography was consistent, including the album Dance to Rave – Nounai Shake na Song-tachi –, as well as several singles and EPs like DOOM, Namida-kHz, Ouran Trance Destiny, D.D.D – Dead Devil Dancing –, and Gyaku-manji yori, Ai o Komete.
Live, Black Gene For The Next Scene was known for intense, high-energy, and very physical performances (especially considering ICE’s well-trained physique). The music was designed to provoke immediate reactions: jumping, moving, and releasing energy. Visually, the band embraced a modern and provocative image aligned with club and rave culture, without abandoning the striking visual impact inherent to visual kei.
In 2016, Black Gene For The Next Scene entered an indefinite hiatus due to internal differences. Since then, the project has remained inactive, but its influence continues among those who seek to push boundaries within visual kei.
In conclusion
XODIACK and Black Gene For The Next Scene should not be seen as separate projects, but rather as two stages of the same artistic evolution. XODIACK was the conceptual and narrative foundation.
Black Gene took that foundation into a more direct, physical, and genre-fused territory. Both projects proved that visual kei can grow and transform without losing its identity, as long as metal remains at its core.
Now tell us:
Which song did you like the most from each project? We’ll read you in the comments 👀
But before that… here’s the surprise!
Special Interview with ICE (XODIACK / Black Gene For The Next Scene)
- XODIACK and Black Gene For The Next Scene sound different, but metal was always present.
At what point did you feel it was time to change the project, not just the sound?
XODIACK certainly had metal as its base, but with Black Gene I wasn’t really conscious of “metal” itself. However, both bands clearly shared the visual kei aesthetic.
I didn’t consciously feel the need to “change the project.” A band’s direction is determined by the will of its members and the moment in which it exists. I simply let myself be carried by that strange destiny.
- In XODIACK, you worked with concepts related to space and existence.
Did that approach come from something personal or from the music you wanted to create at the time?
Yes. In a sense, XODIACK was a band that expressed my personal desires and ideals almost 100%. Because of that, the message inevitably reflected my own views on life and death—topics that felt natural for me to convey.
- The name change from Eros to ICE marked a new stage.
What did you feel you needed to leave behind, and what did you want to begin?
Many people mis understand this, but I never intended to “change my name.” From my perspective, what happened was the birth of a different character.
“Eros” is a mythological figure that represents mystery. “ICE” has a more realistic side, a more human image that lives in the present. I didn’t leave anything behind; both exist and live at the same time.
- Black Gene fused metal with electronic elements from the start.
How did you find the balance so neither side lost strength?
Honestly, I feel we went on hiatus without ever finding the definitive answer to that. We began to see part of that balance after SAN joined, but Black Gene was always a band full of experimentation. We never reached the final form of our music.
- Within visual kei, mixing metal and electronic music isn’t always well received.
Did you care about the audience’s reaction, or were you more focused on being honest with your music?
At that point, the consensus among the members was: “If the live show is fun, no one will complain,” regardless of genre.
To be honest, when it came to sound, we were all experimenting and exploring as we went.
- Your live shows had very physical energy.
Did you compose songs with the stage and audience movement in mind?
I may have been conscious of that when writing lyrics. As for audience movement, it was something I frequently discussed and planned together with the other members.
- When Rame (ex-Vidoll) joined the band, it attracted a lot of attention.
What changed after his arrival, musically and personally?
Actually, it was more like I was the one invited by him, haha.
On a personal level, because he has so much experience in the music industry, it was very stimulating for me. I think he was the member I could speak with most directly and openly.
- Would you be interested in coming to Mexico someday, either for a live show or another project?
I would actually love to go this very year. If that wish can become reality, I want to go and bring you my songs.
(Note: I’m currently independent and not affiliated with any agency, so I’m very easy to negotiate with, haha.)
- If someone listens to XODIACK today and then Black Gene,
what would you like them to understand about your approach to music?
I simply want people to listen however they like. Their worlds are quite different, so I hope they can enjoy that contrast.
- Finally,
what message would you like to give to the Latin audience, especially Mexican fans who have followed your music over the years?
I’m sorry that the frequency of my activities has decreased over the past ten years.
I currently live in Malaysia, not Japan, and I’ve realized that going out into the world isn’t as difficult as it seems.
One of my dreams and goals is to go where you are and deliver my voice now stronger than ever as soon as possible.
Let’s toast with tequila. THANK YOU!
ICE also mentioned that he is very interested in visiting Mexico and Latin America in general 🇲🇽🔥
for: MJ Seiji | Visual Violence
