Leaderboard

lol funny you asked cos my friend @cirrusand i were just talking about him a few days ago and joking that he went back to playing computer games 24/7 again his official twitter is still around: https://twitter.com/MiNiMUMLiME afaik he's just doing sessions sporadically now, but it says on his profile that he's not accepting requests/invitations from bands etc.

NoGoD new maxi-single "Missing" will be released at 2017/04/21 (5 songs, 1728 yens) [tracklist] 01. Missing 02. new song 1 02. new song 2 04. emotional disorder(live version) 05. 桃源郷へようこそ (Tougenkyou e Youkoso) (live version) Live songs were recorded at TSUTAYA O-WEST, January 6th, 2017

| The spiritual successor to Lyrical Sympathy, hands down. This is what I've been waiting for since 2010. The collection album Versailles released at the tail end of 2016 was necessary but not enough. Self-covers set a low bar for a comeback - even if they blew my expectations out of the water - so I've low key been spinning the two new tracks from The Greatest Hits 2007-2016 on repeat. I've been looking for clues to where this band is headed next, and all roads point to Lineage〜薔薇の末裔〜. Lineage is the first original Versailles release since their disastrous self-titled, and with this release all my apprehensions are eradicated. This is how you redeem yourself. There are three reasons why Lineage is a successful album. The first reason is that it is compact; six to nine tracks seems to be the sweet spot for Versailles albums. Compact albums lend themselves well to multiple listens. This goes along with the second reason, which is that they've restored the regality to their sound. Reflecting on releases such as Holy Grail (2011) and Versailles (2012) made me realize that they were slowly stripping away the aristocratic elements in favor of power metal. With Lineage, Versailles has made a complete 180. "La Musique" opens up the release with an immediacy I haven't heard since "Aristocrat's Symphony", and the interlude before the solo is just ace. Songs feel textured with simple riffs leading into complex solos, fast verses leading into slow choruses, and in general, each moment feels meticulously crafted. Contrast this with their solo efforts, where at times both parties felt one-dimensional in their approach to symphonic metal. This leads into my third point, which is the chemistry between the band members has been found again. It sounds like they are working together far better than they have ever before. What I want most from Versailles is close to what Lineage delivers; a Kamijo solo project in all but name with occasional songs and instrumentation by Kamijo, Teru, Yuki, and Hizaki. I don't have composer notes handy, but if I had to trust in my ears, it still sounds like Kamijo and Hizaki are primary composers, but they're collaborating rather than proposing their individual songs. I used to be able to tell what songs were Kamijo's and what songs were Hizaki's and I can't do that with this particular release, which turns out to be a really good thing. To that end, I would love for Teru and Masashi to contribute even more as well. Tracks like "LIBIDO" and "Thanatos" are amazing additions to Versailles' discography because they stand out in a good way, and a remarkable trait about Lineage is that each track is both unique and memorable. Finally, I should mention the stellar production job. Everything between JUBILEE (2010) and Versailles sounds strange, whether it be a weird filter on KAMIJO's voice or an odd guitar tone. The re-recordings on The Greatest Hits 2007-2016 only clarify the problems for tracks like "MASQUERADE". Thankfully, whoever handled The Greatest... also blessed this release, and I hope Versailles continue to collaborate with these sound engineers in future releases. Lineage marks the beginning of a third stage for Versailles, one where they feel cleanly separated from past activities and expectations. Not only does it speak to the strengths of what a good hiatus can do for a band, but it sends a more subtle message that sometimes less is more. Lineage may only be six tracks but it feels like a full album. I've changed my opinion of this band's activities from cautious to optimistic, and I wouldn't be surprised if that's the case for others too.

Tru fans assemble Oni no men live from I don't know where. It says judgement day, but I'm fairly positive that it is not included on the DVD, at least the press I have. Plenty of other old gazette attractions on that channel as well, like an old bootleg recording of a show from 2003. God bless youtube.

Be still, my kokoro.

and then resume as a band like lolita23q did? ^.^

As if you guys don't know who this band is already since it's me lol

イロクイ。(Irokui) will revive for one day on July 29 at Shinjuku ReNY!

Visual kei CD store littleHEARTS. will open 5 new stores!! Sapporo store will open on March 25 Yokohama store will open on April 1 Nagoya store will open on April 6 Shizuoka store will open on May 8 Takamatsu store will open on June 1 https://littlehearts.jp/cms/2017/02/24120001.php

Fiz isso pra descansar a cabeca. Pros fas de gazette

You, kind sir, is doing the holy work by spreading Masashi's message. thank you so much again!

I CANT BELIEVE THIS IT GONNA BE THE BEST YEAR OF MY LIFE AAAA I WILL SEE IROKUI, LOLITA 23Q AND AYABIE AAAAAAA

will type it out later! here you go: アカシックレコード 作詞 MASASHI 作曲 潤正 what's up? 過去と未来への融合 what's up? 幻想郷のリアリティ what's up? 後回しの日常に what's up? 己の力を放て what's up? 秘められしこの力は what's up? 人間への欲望が what's up? 生み出した世界情勢 what's up? 今「自分」を解き放て もう何も怖くないから　さぁ記憶の欠片を集め ※アカシックレコード　君の色に染め上げて欲しい 大好きな君のDNA 吸い込み 壊れてしまうほど　過去の君も　未来への君も 大好きです　頭がクラクラと　回っているのです 目に見えない　答え探し　自己陶酔　繰り返し 僕と君の先祖達も　繋がってる (RAP)賛歌を歌う人々を尻目に　自分の価値観を問いただして この場所には何もないと感じ　一人探してる桃源郷に 君との未来を共有しよう　脳内参照　推奨しよう 瞑想している自分の人生　見えない未来は手の中にある パノラマの様に映っている　風景は本物なのかな？ 終わらない夢でも　見てるみたい　今この世界は 僕の手の中で踊っている　玩具さ 手に入れたいものは　君が全て最初から持ってる これからは　自分が主役の物語なのさ 現実逃避がお得意　少年のお話さ ※リピート

My anime tiddy mouse pad arrives... all praise the anime tiddy!

MERRY lucky bag from Galaxy Broad Shop ✨✨

i'm really hoping i'll stick with bass. with guitar, i found myself really not getting into it. and i don't think the reasoning behind that was because of my super-intense perfectionism (usually if i don't get something quickly, i give up, lol). i actually think it was because i honestly don't care for the sound of a guitar unless it's drop tuned and hebi hebi br00tal metal \m/, and since i only have a very shitty 6-string guitar with floppy spaghetti for strings (that is clearly built for old rock and nothing heavier), i wasn't happy with the sounds i was creating (i realize i'm not a good player, but seriously. how about you try dropping 10 gauge strings to drop A and see how good of a sound it makes) whereas, with bass, i love the sound, regardless of the tuning or genre it's being played in. i love how it can switch from smooth n groovy to your-ass-will-fall-out low n heavy real easily. i love the sort of freedom it gives, and how it always manages to sound good to my ears. guitar didn't have that 'click' with me. so, i think i'll stick with it! (i don't actually have a bass yet, but i've been watching tutorials on it all day and reading a ton and getting that education. i haven't lost interest once). i also plan on getting lessons which'll really help keep me motivated and not so lost all the time. oh yeah, i did actually go bass shopping the other day, and got to hold a bass. it felt so much nicer than my guitar (and it was a lot prettier...), so i'm really excited to get my own.

I tried to cosplay Wajow from THE GALLO yesterday, lol. more:

This is more in regards to the fandom > Fans that spam 'AAAHH' 'I'm having a fit, I'm dying' 'X is so cuteomfgxD' etc. when a new teaser for a band comes out drive me crazy, specially those that 'ship' band members. e.g people who ship DDRM's Takashi and Tomo, I know they cater to people who do that a LOT but I still think it's irritating/unnecessary. These people are the same ones who usually will just say they're in love with every release from a group, they can do no wrong and every song is 'the best fucking one'. I know music isn't supposed to be criticised every time of the day, but I think it's good to be able to realise that artists will produce weak music and to be critical about it instead of just kissing their ass for everything they do. It just feels like I can't approach any fan of VK (outside of MH) with a negative comment about X band because all they can do is repeat the same mindless shit in Caps Lock, that or I get kicked out of groups.

VAMPS new album "UNDERWORLD" will be released at 2017/04/26. Limited Edition Type A (5,000yen) will include CD + Blu-ray, Limited Edition Type B (4,000yen) will include CD + DVD, Limited Edition Type C "Special Box" (17,000yen) will include CD, Blu-ray, DVD + sukajan jacket, and Regular Edition (3,000yen) will include CD only. [CD] 01. UNDERWORLD 02. CALLING 03. BREAK FREE 04. DON’T HOLD BACK 05. BLEED FOR ME 06. IN THIS HELL 07. INSIDE OF ME feat. Chris Motionless of Motionless In White 08. RISE OR DIE feat. Richard Z.Kruspe of Emigrate / Rammstein 09. SIN IN JUSTICE feat. APOCALYPTICA 10. B.Y.O.B. (BRING YOUR OWN BLOOD) 11. RISE UP [Blu-ray] 01. LIVE @ ZEPP TOKYO 2016/09/17 [DVD] 01. CALLING (Music Video) 02. CALLING (Making Of) 03. INSIDE OF ME (Music Video) 04. RISE OR DIE (Lyric Video) 05. SIN IN JUSTICE (Lyric Video) 06. VAMPS LIVE 2016 (Documentary)

i'd like to introduce my new son

For the first time....me:

Hyde gyas don't joke around XD

The first time I heard Animals as Leaders... it blew my mind. like wtf Not only for all these complex riffs and impossible sweep picking passages, but the guy was also using a 8-string guitar. Just amazing. Ever since, I've been listening more and more to this kind of music. Especially when it got heavy riffs on it (I don't really like to call it 'djent' haha). I liked almost all the songs on this thread, tho.

Title: Never Ending Story Limited Edition (CD+DVD) (1,800yen) 1.Dear... 2.サヨナラ世界 DVD PV - Dear... Regular Edition (CD) (1,500yen) 1.Dear... 2.サヨナラ世界 3.moment

Today is Kirito's birthday.

Vorchaos – Vorchaos ORCALADE – Espada REVINE – 万歳三唱 RAZOR – DNA (Type B )

haha right!? I can't quite put my finger on what it is about them, but everything seems so awkward. Like all the band members seem very uncomfortable in their PVs

yesterday I finally got the last part of my Jiluka order that got stuck in the customs I'm so much in love with that hoodie

I LOVE AKASHIC RECORDS SO MUCH <333333333333333333333 Also, this picture Also, this picture too <3

@Zeuscan you move this to entertainment/games forum?

they performed it during nico debut live already, you can look around for a bootleg.

what a dickmove

so good!

New album is going to be released on May 3rd. Title of the album is 「J'aime La Vie」. 10 tracks and DVD (10 songs) for the deluxe edition. 11 tracks for regular edition. http://natalie.mu/music/news/222186 ■LIMITED DELUXE・EDITION(CD+DVD) WPZL-31272/73 定価\5,000（税抜価格\4,630） 【DISC 1:CD】 全10曲収録予定 【DISC2:DVD】 THE HISTORY of KIDS BLUE STANDING SPECIAL 2007～2016 (仮)：ライヴ映像10曲収録予定 フォト・セッション2017メイキング映像(予定) ■REGULAR （CD) WPCL-12535 定価\3,240（税抜価格\3,000） 【CD】 通常盤のみ収録のボーナス・トラック含む全11曲収録予定 http://www.derlanger.jp/news/media/170224media.html

I think they were being sarcastic ...

Yuuki reminds me of Takeru... He just need the labret piercing xD Previews are great xD

sounds really good compared to their previous release

The only thing I have to add to this is that they truly need to lay off the rehashed cross- drums and guitar galloping-rhythm that comes back in almost all of their songs. I know it's an important returning pattern in Power metal, but Lord — it's getting so old and I have to counter @JukaForeverand @SHOKIon that matter. The trio Hizaki, Teru and Yuki are capable of so much more technically and I do not understand why they constantly fall back in this same rhythmic arrangement. La Musique and Shadows Fang follow the exact same pattern and that's what makes them so very similar, and if I would be able to write down its phonetics I am sure that everyone would understand what I mean here. These constant mathematical repetitions are what's hurting their abilities to evolve and write another masterpiece like Noble or Jubilee. I felt those albums didn't follow these particular genre-based algorithms like they do here. It's like they're trying more to lean toward the exact Power metal regulations instead of just being Versailles as themselves. At this moment I do feel that Lineage and Inheritance come close to their former glory, so I am surely not giving up on them at all, but there is just something obscured in here that irks me. This mini-album definitely needs time to grow on me and I do not yet have definite favourites after three listening sessions. Currently I am still leaning toward Kamijo's solo-project when put up against anything post-2011 Versailles, and I feel like the band still needs time to crawl out of their pit that came along with their self-titled album released in 2012.

I can't connect with most fans because of what you mentioned above. I hate it because I truly want more J-rock/vk friends, but 9 times out of 10 when I try to initiate a conversation, it ends up being about Dadaroma and such. I'm not so much of a vk oldfag that I shun all newer bands--there are actually quite a few that I like, they're just the few that most fans don't bother checking out because they don't look like Gazette or Mejibray or whoever else. Like, there are so many other bands out there. Be more open-minded. I understand having a preference but I also don't get why people always stick to the same few without exploring anything else unless it's a carbon copy of what they like. Idk, maybe I'm just getting old.

This whole leaving this was much more entertaining when it was Trombe :V

he finally uploaded a demo song! i love it!!

I mean, in a lot of heavy western music, the bass mostly follows what the guitars are doing. But that's the complete opposite of what Japanese rock bands do, where you often get the bass laying down its own separate melodic foundation (Toshiya's performance in "Glass Skin" is a good example). So for Reita to suddenly just disappear is alarming. Though, to be honest, I was never really fond of his bass playing to begin with.

As somebody who works in the field of movie & TV production (also worked on music-video shoots, but not on that many) all I can say is; there are various reasons... Hope you don't mind reading a longer text now... Most simple answer tho; music videos - if not on the high class sector - have limited budgets which means most of the time you only have one A-Cam (the main camera, biggest/best quality camera) and no B-Cam (ok, you can throw some GoPros in for action shots e.g. for guitar or drums, but for me that doesn't count as real B-Cam). Which means to achieve different shots and framings for cutting you have to change positions, you have to change the glass (if on primes), you often also have to change the lighting-setup or stage-setup in general. To do so you usually let the band play the full length of the song at least 2-3 times with breaks between the full song-runs to change the camera setup - which needs some time, after that you do so called pick-ups from various short parts which might be needed in addition (e.g. guitar or drum solo only, or maybe close-up of the eyes of the singer and so on - you get the idea). Now we get closer to the fact why playback is used and needed -> PV = promotional video -> means a video to promote and "sell" the band (after all it's a business) - which means you need to show off the best style, the best music quality, maybe the message or the art... That's why like 99% of music videos, especially PV's use the studio track of a song (final mix of a studio-recording) and not a "live-recording" and since it's nearly impossible to nail that a second, third, fourth time just for the video-recording (you need about the same timing, position- and sync-wise to have all the options when cutting) you usually do it with playback - thus it's also easier for the band members to focus more on the expressions, the "style", all the things you basically see in videos but usually not live on stage (e.g. stuff that would just be in the way at a live-setup/stage). It's also to get to the full length, to nail the right playing speed and so on - most musicians are used to performing lip-sync and I guess especially visual artists who care about appearance know how the stuff they do is looking or appearing to others (it's part of the game, you can even call it a 'show' sometimes - not in a bad way tho -> music often is 'entertainment' after all). Now about the cables where there are more options now; sometimes it's just a visual reason - cables don't look pretty pretty ( ) when you don't need it for compositing an image (sometimes you have them as visual part, without another function - e.g. to state chaos, to hang from walls, to 'strangle' ppl as part of the performance and so on) so for "clean" pictures you want to avoid them. Most of the time the cables are just not practical to perform the way the bands perform in PV's - which is - most of the time - over the top compared with a live performance. They have to move more, they usually are on heavier make-up or special costumes, the focus is more on the 'how do I (or stuff I do) look in camera' then on the 'how well do I play my instrument on a technical level' part (one more reason to use playback - you still have to make it look like it's well played but you don't need that exact same focus as on a 'real' performance). When shooting video (in general) it's also about the safety of all the ppl involved - you have big (hot) lamps standing around, you have (somewhat) expensive equipment that can be damaged during action, you have ppl running around doing stuff who shall not trip over cables and so on... Sometimes it's just a case of "no time to do the cabling" because of reasons like limited shooting time (you have to pay for locations, often by hour, you have to pay for personell and so on) or limited resources/budget (who brings or manages the cables - most of the time PV's are not shot at a concert location or recording studio but more like at a TV/Greenscreen-Studio or "on location" where you have to bring and carry all the stuff you need there yourself). Sometimes the stuff used is only a "Prop" without function and not the "real" thing - because real instruments are expensive and you don't want to damage them (again). So even if this stuff has 'real' plugs it might not be able to be turned on so it makes no sense to do so. As mentioned when you use water or rain for visual reasons or e.g. play at really cold or really hot locations you don't want to use electricity because of safety reasons or if not to protect ppl just to protect your equipment. Sometimes you also don't want to have lights and LED-lights of eg. the turned on AMP in you picture because it might cause flares and it might cause reflections and so on. Ever noticed that about all of the professional gear is black or even has a matte finishing -> that's because of reflections (which are a nasty thing, and sometimes mean a lot of work to avoid them - because you don't want to see the whole crew in a mirrored reflection at any time - lot's of fun when you shoot at small/tight places with mirroring stuff in there). After all these PV's should look 'good', and sometimes good doesn't automatically mean 'realistic', film involves lot of tricking the audience or faking stuff but in the end result you might not even notice it... Or only if you focus on it or take a closer look, or have the knowledge to see it... Edit: one thing I forgot -> often it's also because of the power output/source limitations; on location is often not possible to provide enough output to power all the stuff as most of the power will be needed for lighting the scene (we talk about lamps up to like 2.5 Kilowatt to achieve daylight, even the smaller ones are like 650 to 800 Watt each - if you don't run everything on LED-Stuff which still is more expensive then 'regular' light... And on music video's you are usually on a tighter budget which means you don't have the money for the most expensive, power-saving stuff). So if you need all the power plugs for the film-department (which usually also spans to much more departments then 'camera' only, who will also need power-plugs and power in general) you might not be able to also power the whole 'music'-department (Amps and stuff) without killing the power line. Edit 2: About the "let's post videos (PV's?) where the band plays actually" -> those are performance videos or live-recordings / studio-recordings then and a totally 'different type' of video or attempt actually... As told earlier; a PV is used to sell al single or an EP or an album - so you want to show ppl how the stuff on the album actually sounds, with the actual, finished audio track from the CD. Which also means you want to show them it's a 'good' product with 'good' production and 'good' sound (despite you want to sell is as hard/dirty/grunge sound or with genres that actually have to sound 'bad'). For the CD-versions they achieve(d) this sound at a (maybe home-)Studio, with lots of work and time, with good mixing, with post-production, with separate recorded instruments and vocals and so on (sure, you can also record 'as a band' but even then it's not the same situation in a studio as it is 'live'). There's usually _no way_ to sound like that on a location where you shoot a PV - except you shot while actually recording; which makes the whole thing a studio-recording video (sometimes you get those as 'making of on DVD's or limited editions). So for me a PV is already 'playback' per definition most of the time - if not then it's just not a 'regular' PV... Hope you can follow me here. Edit 3: simple communication - the director often needs to communicate with the cameraman during the shot if he notices e.g. wrong framing or if he wants something different then the cameraman at a moment, usually on at least one of the full-length runs you have hand-camera action with freestyle framing and the camera just moving around on the scene to get (usually dynamic) additional shots. Depends on the production tho - some PV's are only from fixed positions (tripod) or from a circle-track with a dolly and so on - but usually it also involves a dynamic camera, can also be a steadycam or gimbal... For that it's much easier for the camera personell to work in a silent surrounding - you don't want to run around between the playing band members (which is difficult enough) and then in addition be blasted on with loud stuff from the Amps (which also cause vibrations btw, also a thing you don't want to have on video). Video involves focus, involves smooth moves, steady and recall-able movements or shots and so on -> all of that is much easier to achieve when you're not blasted away with loud music. The playback is usually just loud enough for the musicians to follow the timing or to get the starting point (then turned off for the freestyle part) - sometimes it's even through in-ear monitoring only, at least it's never on concert-volume. Just to mention; one of the number-one rules on set is; don't be loud, don't make any noise, don't even move, turn off your phone... at least that's how professionals do it, if you don't obey that rule you won't work in that field for long. Hmm, I think I got most of it covered - for more specific reasons; just ask