The decade began with a foundational shift in the band's identity. Following the departure of early members, drummer Nao Kawakita recruited her brother, Maximum the Ryo-kun, on guitar and vocals, alongside bassist Ue-chang. This lineup solidified the band's unique vocal trio: Daisuke-han’s abrasive screams, Ryo-kun’s melodic and rap-infused vocals, and Nao’s pop-influenced singing. Hō (2001) & Mimi Kajiru (2002):
While technically a single (for the song “Rokkinpo Goroshi”), this era’s B-sides are essential. In , the B-side "The Monkey" (a cover of The Prodigy’s "Firestarter" styling) showcases how Nao’s drum programming merges with live drums—a detail lost in low-bitrate files.
A strategically named single/EP that capped off this historic decade before their long hiatus ahead of 2013's Yoshu Fukushu . "Maximum the Hormone", "Benjo Sandal Dance".
This is widely regarded as their magnum opus. Bu-ikikaesu was a massive success, featuring tracks used in the Death Note anime adaptation. Maximum the Hormone - Discography -2001-2011- FLAC
Maximum the Hormone occupies a singular space in modern heavy music. Emerging from Hachioji, Tokyo, the quartet—comprising Maximum the Ryo-kun (guitar/vocals), Daisuke-han (screaming vocals), Nao (drums/vocals), and Ue-chan (bass)—crafted a chaotic, genre-fluid style that rewrote the rules of alternative metal. Mixing Tokyo hardcore punk, heavy nu-metal riffs, funk basslines, and bright J-pop melodies, they created a sonic whiplash that gained massive global popularity.
During this era, MTH was primarily a frantic punk/hardcore outfit. The lossless audio highlights the basement-recorded quality of tracks like "Risutora G-sain," where the drums sound live and unpolished, and the guitars possess a biting, treble-heavy crunch. The FLAC format allows the audiophile to appreciate the kinetic energy of Nao’s drumming, which, even in these early stages, showcased the complex polyrhythms that would later become a staple of their sound. These albums serve as a vital document of the band’s "kimo-kawaii" (creepy-cute) roots, unencumbered by the glossy production of their later years.
The 2011 release, featuring "Greatest the Hits," further refines this sound. The band embraces a more radio-friendly metal approach without losing their edge. The FLAC audio highlights the "wall of sound" production technique used here, where layers of guitars create a massive sonic tapestry. The clarity allows the listener to appreciate the contrast between the melodic choruses and the brutal verses, a signature MTH trope that requires high fidelity to fully appreciate the vocal modulation effects used on Daisuke’s voice. The decade began with a foundational shift in
| Title | Release Date | Oricon Peak | Highlights / Milestones | | :--- | :--- | :--- | :--- | | | Mar 2, 2005 | No. 27 | The band’s first Top 40 album; signifies a turning point. It features "Rolling1000toon," which was used in the Air Master anime. | | Bu-ikikaesu (ぶっ生き返す) | Mar 14, 2007 | No. 5 | This was a massive breakthrough. It was the band’s first Oricon Top 5 album, selling 70,000 copies in its first week. Certified Gold by the RIAJ, it was named by Rolling Stone Japan as one of the "100 Greatest Japanese Rock Albums of All Time". Features the Death Note classics "What’s Up, People?!" and "Zetsubō Billy". | | Yoshū Fukushū (予襲復讐) | Jul 31, 2013 | No. 1 | Although released after our cutoff, it’s the culmination of the 2011 momentum. It includes the singles from Greatest the Hits 2011–2011 and is a masterpiece of genre-bending. |
"Koi no Sweet Kuso Meriken" and "Sekaizumi Rock."
The interplay between Daisuke-han’s intense screaming and Ryo-kun/Nao’s melodic vocals is cleaner and more engaging in high-fidelity. Hō (2001) & Mimi Kajiru (2002): While technically
Kusoban continued the momentum, showcasing more complex songwriting. "Louisiana_Bob", "Rock_n_Roll_Utsunomiya".
Their breakout masterpiece. It is essential listening for anyone interested in modern Japanese heavy music. Critical Listening