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  1. 15 points

    Reflection: Kagerou (2002-2003)

    蜉蝣 (Kagerou) Vocal - 大佑 (Daisuke) Guitar - ユアナ (Yuana) Bass - kazu (Kazu) Drums - 静海 (Shizumi) July is a bittersweet month for Kagerou fans, as the infamous charisma vocalist himself, Daisuke was both brought into and taken out of this world within the month. Kagerou are a band that have been impossible to replace, both in the the Western and Japanese fandom, as seen in the outpouring of emotion that happens every year on the net around July. Kagerou--the band--isn't just their vocalist, nor are his talents confined to Kagerou, but his passing marked the end of an era. The legendary bands of the mid-late 2000's i.e, MUCC, D'espairsray, lynch., merry, Nightmare and The Gazette all had their roots in the early 2000's, with many of the mentioned members playing alongside each other--most notable being the historic Beauti-Fool's 2003 multi-band event. They were all doing the most in their early eras, embracing eclectic and varied looks and styles in the shadow of visual kei's mainstream success and eventual demise. Daisuke's passing marked the end of the decade in which those aforementioned groups had come through the scene and out of it, shedding their visual flair for a more straightforward rock image and fading into the background of the scene as bands from the mid-late 2000's took over the reigns. They kept their followings, don't get it twisted, but they were in a different category from the hot new faces of the time, i.e. Sug, Versailles, ScreW, Alice Nine, Sadie, etc. While a lot of the earlier bands managed to reach a more constant, and arguably mainstream level of fame past 2010, we've been left wondering what might have been with Kagerou. While Kazu and Yuana continue to play in the scene with Stereo C.K and in sessions, it's on a much smaller scale than their peak of fame. 2006 marked the end of Kagerou, Daisuke passed in 2010---but this isn't a sad history lesson. So why, in 2017, are we discussing Kagerou's tunes from 15 years ago? If you've ever listened to their output from that era, you'll know what I'm going to be getting at. The 2002-2003 era was Kagerou as they were gaining steam--nowhere near their peak popularity with Rakushu and not as polished as their endroll Kurohata. What it was, a raw, aggressive synthesis of alternative rock, 90's visual kei and alternative metal. If this mix sounds familiar, that's because it is, with some of today's hot bands including DEZERT, Xaa-xaa, R-Shitei, Kuroyuri to Kage and Gossip in addition to some legendary names of yore, Girugamesh, Awoi, Sel'm operating on the very paradigm that Kagerou had worked to create--with more than a bit of imitation between them. It's not always songs note by note being ripped off, but rather several stylistic elements that function as motifs in Kagerou's discography that come up time and time again among kouhai bands. Trying to claim the influences of newer bands is an exercise in caution, as while something may sound like a rip off, it could be a rip off of a rip off and you can't know for sure. I won't claim Kagerou's influence as universal, original, or unique (although if you disagree with the latter I'll kick your ass), but I will argue that their 2002-2003 run was the most influential two-or-so year run of any band in the early 2000's. While MUCC and DIR EN GREY were equally prolific and influential in this era, Kagerou's contribution has been overlooked in the greater scheme of visual history, which I hope to address here. If you children think that Vulgar invented visual kei, you're in for a fucking surprise because I've heard more nods to old Kagerou from 2013 onward than anything from aforementioned album in the past half-decade. I think this has more to do with the old school revival we've been experiencing as of late, with bands foregoing bland metalcore rehashes and instead embracing the roots of the genre from the late 90's and early naughts. Some historical context will be missing from the following ~mini~ 'dissertation', because I'm not a vk historian (unfortunately), but I'll try to go through everything as clearly as possible. Now without further ado, lets track Kagerou's discography in this era. The marker I'll be using to start my history is Kazu's addition to the band in late 2001, shortly before the release of Iro megane to scandal in January of 2002. If you recall, Kagerou have been around since the end of 1999, and they were active for almost two years with two other bassists before Kazu. He then stayed with the band 'till the bitter end in 2006, and in all honesty I don't see Kagerou without him. As a bassist, he was skilled in accenting Shizumi's percussive line while also playing second guitar at times to Yuana's loose riffs. He's written some totally hummable bass leads and composed more than a few amazing songs with these at the center of the composition. The moral of the story is that Kagerou became a well-oiled machine with Kazu's contribution, and I find Kazu to be instrumental in their later success—hence starting the timeline with his addition. While some great tracks came out of the pre-Kazu era, and @Disposable might kill me for omitting the 2000-2001 period, the best tracks that came out were re-recorded (as you'll soon see), for singles that fit our era of interest. The only stickler was “Nawa”, which was first released in 2001 and wasn't re-done until 2006's Shinjuuka best-of album. Now that we've set up a start, the end coincides with the self-titled album's release tour finale at Kawasaki's legendary Club Citta, filmed for the live DVD/VT Zekkyou Psychopath at the end of 2003. Is this is the end as we know it? Of course not, Kagerou wrote their biggest songs well after this and their signature album with its wide foreign and domestic distribution, Rakushuu came after in 2004. However, this is where the visuals were more scaled back, with the band no longer looking like they just raided a consignment store on acid after a bad domestic spat. The metal edge changed as well, although not gone—as seen with “XII Dizzy” and other notable heavier outtakes—the band embraced a more clean alternative/visual rock aesthetic and sound. They were still vicious, putting on insane live shows as usual, but with greater maturity and restraint. If you're a fan, you kind of understand how their sound changed from 2003-2004 and onward, and while it wasn't a bad change by any means, it was a change that I don't feel fits in with the period of interest. Okay now we can actually get to the discography, sorry! 01/09/02 色メガネとスキャンダル Iro megane to scandal 1.) 夕暮れの謝罪 (Yuugure no shazai) 2.)エキゾチックな感染症 (Exotic na kansenshou) 3.) 葬失 (Soushitsu) 05/04/02 蜉蝣事典 <大人の書店> Kagerou jiten <otona no shoten> 1.) アイドル狂いの心裏学 (Idol kurui no shinrigaku) *note that there was no single ever titled after the track, this is a frequently misreported part of the discography in the west 07/10/02 水浸しの数え唄 Mizubitashi no kazoe uta 1.) ゆびきり (Yubikiri) 2.) 企画モノ (Kikaku mono) 3.) R指定 (Rshitei) 07/10/02 火炙りの数え唄 Hiaburi no kazoe uta 1.) 午前三時の太陽光線 (Gozensanji no taiyou kousen) 2.) 鬱 (Utsu) 3.) リストカッター (Wrist cutter) 02/08/03 叫び Sakebi 1.) 叫び (Sakebi) 2.) 鬼畜モラリズム (Kichiku moralism) 05/07/03 過去形真実 Kakokei shinjitsu 1.) 過去形真実 (Kakokei shinjitsu) 2.) 説教 38.5℃ (Sekkyou 38.5℃) 3.) 過去形真実 [remix] (Kakokei shinjitsu remix) 4.) 説教 38.5℃ [remix] (Sekkyou 38.5℃ remix) 07/23/03 蜉蝣 Kagerou 1.) 十戒 (Jukkai) 2.) 迷走本能 (Meisou honnou) 3.) 根暗高速子守唄 (Nekura housoku komoriuta) 4.) 冷え性の女 (Hieshou no onna) 5.) 闇に笑う黒 (Yami ni warau kuro) 6.) マーヴェラスな首飾り (Marvelous na kubikazari) 7.) 雨の海岸通り(Ame no kaigan doori) 8.) 所詮、自分は犬であります。(Shosen, jibun wa inu de arimasu) 9.) ピチ崇拝 (Pichi suuhai) 10.) 過去形真実 (Kakokei shinjitsu) 11.) 渦(Uzu) 2002's string of singles are a perfect introduction to early Kagerou, featuring them at their most extreme and also at their softest. While some of the tracks were lost in time, others became eternal fan favourites and live staples until the very end. As for the killer live tracks, both “Yuugure no shazai” and “Wrist cutter” were exemplars. On studio, they're brief, rough and tumble tracks: “Wrist cutter” is a flurry of blast beats and thrash-y riffing and “Yuugure no shazai” a more punk-y styled early 2000's/90's throwback. In a live setting however, these ~3 minute tracks were stretched to 8-10 minutes at a time, building up tension in the audience with Daisuke's insane onstage antics and Shizumi working overtime while Kazu and Yuana either played off of each other or also dicked around with the audience. This is more or less the contemporary gyakudai number which is now a staple in any band's live repertoire. Common among the two tracks is the influence their guitar sound had on the scene as well. “Yuugure no shazai”'s guitar line almost deserves its own article, because there's an extensive list of bands who have ripped off the style and structure of the riff. What's unique about the riff is the way Yuana plays with the phrasing and pitch and how it interacts with an effect-laden guitar tone. The guitars are abnormally distorted and clipped, both in the context of visual kei and Yuana's sound overall. It almost sounds like someone put his rig through a bass distortion pedal, and the end result is this beefy and robust sound that has yet to be replicated in a visual band...think something along the lines of Dinosaur Jr. or something. This distortion also lingers a bit, almost suggesting a delay effect is thrown on as well. Anyone trying to cover the song has probably run into some difficulties with that sound, as it throws off the way its played—I know I have. The riff is a simple series of power chords, but the way they move up and down the neck in tandem with the furious rhythm, both in the verses and chorus are evocative of being shaken back and forward. Yes, a single riff made me think of being physically moved—physically and emotionally. What's cool is how completely fresh this sounds in the context of 2017 as well, it's kind of a jaw dropper to think this was released in 2002. That is in huge part to many bands taking a liking toward—what I'll now call—the shaking riff. You hear it all the time, In Xaa-xaa's "Shinitai", DEZERT's "Himitsu", Shellmy's "Katou zakuro" and so on. It's not the exact same, but that principle of moving up, down, and back up is eerily similar. “Wrist cutter”'s structure is more so notable than a standout riff, especially the rhythm work as a alt-metal track. The bass plods pretty high up in the mix along with incredibly busy drumming from Shizumi, which carries the track as it moves through it's iconic thrashy riff and Daisuke's mad vocalizations. The jumping part toward the end (you'll know what I'm talking about) is notable too, as a fragment of the kote-kei era being repurposed into a metal track. I'm pretty sure any band guy that heard it, with the gang shouting vocals, screaming and start stop drumming was permanently entranced. Drawing from some recent releases, DAMY's “Eikyuu ni puppet” is like that brief section of wrist cutter being dragged out into a full song. Another track that (I think) rounds out the holy trinity of 2002 Kagerou songs is “R-Shitei”. The takeaway message is not that R-shitei named themselves after this track (they probably did, lets get real sis) but rather the contrast between unhinged, chaotic verses contrasted with a saccharine chorus. While this is a common complaint with the current indies sound...don't get mad y'all, Kagerou did it first. That said, I understand why people see this as a cop-out, but with “R-shitei”, it doesn't come at the expense of a jarring key change, rather it fits into the contrasting structure of the track. Speaking of that chorus, it's damn glorious; Daisuke is at his finest melodically in the track—in stark opposite to his crazy talk/grumbling in the verses. Among these big hits, there are many underrated gems waiting to be overturned as well. “Utsu” is a weird pick, especially as the band chose to play it at their last live—much to the possible confusion of those who were there (the footage looked awkward). Stylistically, it's closely aligned with “Wrist cutter” through the busy sense of rhythm, despaired chorus and insane end section freak-out. It's also a bop of the highest order, and a shame I discovered it so late. The little jazz break in the middle is somehow funny in the greater context of the track, but a great example of the varied and quirky compositional style of early Kagerou before they ended up toning it down. The two main ballads “Gozensanji no taiyou kousen” and “Soushitsu” pale a little bit in comparison to the band's later, Kurohata-era balladry as they go on for a bit too long and sound a bit messy. That said, the ideas they offer are the backbone of their later work. “Soushitsu”'s acoustic core is reworked into “Shizumu sora”, and “Gozensanji...”'s delicate lead guitar and percussion is heard again in “Wakaremichi” and “Kusatta umi de oborekaketeiru boku wo sukuttekureta kimi”, all of which were composed by Kazu. They're worth the listen for hardcore fans, as they're rewarding despite some of the fluff—but hey, not everything is perfect all the time. Moving onto 2003, we see Kagerou releasing some more melodic singles compared to the 2002 era. “Yubikiri” and “Sakebi” are two tracks I often confuse for each other, partially because they're both beautifully melodic, bittersweet-sounding (although quite different) and a slight departure from their previous work, hinting at their future outlook. “Sakebi” was also their last pre-album single release, and from then on, the band's discography structure would change. Kagerou were an indies band up until the very end, despite being signed to their own sublabel under Free Will, Lizard, supposedly distributed under Sony. The Japanese wiki is in conflict with the English one, and even among Japanese fans there has been question as to whether Kagerou were indies or major. Their releases were big enough to have charted on Orikon's major charts, which began with Kakkokei shinjitsu, the band's second highest charting release at #40, just behind the 2006 Kusatta umi... 3 ver. maxi single release at #21. I'm bringing this up because while their label affiliation didn't change, they began followed the western/major band style of singles featuring lead tracks from upcoming/preceding albums, with a new b-side or two thrown into the mix. This was kind of a bummer and why their 2002-2003 era was so unique, partially because of the insane speed by which they were writing, recording and touring their songs, and also because of how much original music came out. Aside from “Meisou honnou” being featured in a 2002 VA, and the obvious “Kakkokei shinjitsu” inclusion, all the tracks from Kagerou were unique and unreleased. No 8 old songs on a 10 track release, no cashgrab compilation or mini-album, no bullshit. As an indication of what was to come, “Kakkokei shinjitsu” was misleading. A TBS nightly sports show closing song, it is a bright and pretty song without the carnal, rhythmic flair that was overflowing on the S/T. It comes across as kinda boring, and even the cheap, skittery b-side on the single doesn't help much. It works better in the overall scheme of the album though, which is a truly dazzling piece of visual history. Kagerou is a heavy, dark, cohesive, grinding album with sharp poppy, melodic sensibilities in the mix, along the lines of DIR EN GREY's VULGAR, D'espairsray's Coll:set, and MUCC's Homura uta. To talk about individual tracks is kind of against the ethos of the album, as all the pieces work best within the context of the album. This is the opposite of their prior output, which was a bit spotty from release-to-release, and while the album comes without super standouts like the aforementioned tracks, what the band gained was a stylistic voice. This was the sweet-spot between their now waning old-school visual influence and alternative rock, alt-metal and post-hardcore songwriting, with a fair dosage of jazz, blues, and pop in the mix. Kazu most notably came into his own in this release, with a lot of punchy basswork—especially some notable slap sequences, as seen in “Yami ni warau kuro”. While this is an older album, the riffs here slap harder than anything DIR EN GREY released back then, and I'm still confused why they eat up all the acclaim around here for inventing alt-metal in Japan. What about that poly-rhythmic breakdown in "Nekura housoku komoriuta"? The opening lurch and howling despair of “Meisou honnou”? The tension-release in “Marvelous na kubikazari”? The DEZERT-core bass and guitar in “Ame no kaigan doori”? Bitch...this shit slaps. Speaking of DIR EN GREY, Shizumi always reminded me of Shinya in his earlier days--around the time both bands were active. His attention to detail and fills and frills, especially cymbal work and spacy drumming on ballads is a close parallel with Shinya's MACABRE-era drum work. The bands were close however, as they were both the big shots on Free Will at the time, with DIR EN GREY on the cusp on mainstream success. Kagerou's OHP is still open, both in English and Japanese, and it's heartbreaking to navigate. The site hasn't been touched since 2005, with the copyright frozen in time, and a website design that must have been gorgeous for its time serving as a reminder of just how old we've gotten since then. Whats especially sad to me is how much they invested into making things accessible for their European/English speaking fans, considering no one does anything like that anymore. It's a kind of haunted place on the internet and in the fandom, but also a beautiful relic that continues to stand of a legendary band. July 31st has passed, happy belated birthday Daisuke. He would have turned 39 this year, and the weight of his passing isn't lost on me, especially in the writing of this article. Daisuke certainly talked the talk and later walked the walk with his depression, as it manifested in grotesque, macabre narratives within his music, but it's often times too easy to separate the artist from the art. I don't think the news of his passing came as that big of a surprise to die-hard fans, as he had documented his struggles in his poems for a while, but it didn't make it any easier a pill to swallow. At times, it's hard to read his lyrics knowing his eventual fate and partially why I avoided going into detail about his lyricism (spoiler alert, he's an amazing writer). As I've said, this was the end of their proto-indies-whatever-the-fuck-era. Everything past this deserves an article of its own, and while I chose to explicitly focus on 2002-2003, it doesn't mean that the other eras are not as important—just that this period was the most influential by far on the current indies scene of 2014-2017. I'd love to hear what current visual fans who have no clue about Kagerou think of the tracks linked here, as I hope that you hear the bits and pieces of songs, think “Hey, maybe this does sound a bit similar” and maybe lend your ear toward the classics of the genre or venture beyond your post-2011 comfort zone. I've refrained from making this all about individual comparisons, but I welcome them as it's always interesting to compare and contrast present with the past. With the anniversary of his passing almost two months ago now, Daisuke touched many musicians and fans alike and to see the legacy of Daisuke and Kagerou, a full 15 or so years later in full bloom for 2017 is an amazing treat.
  2. 14 points
    The Piass

    The GazettE new album release

    This album will be released in spring 2018. There will also be 4 dates for Halloween called "HALLOWEEN 17 SPOOKY BOX 2" which can be seen in the images. The lives on 2017.10.25/30 will have the concept of Abyss while the lives on 2017.10.28/31 will have the concept of LUCY.
  3. 13 points

    Show Yourself (again)

    I cut a wig for the first time and I love how it came out !
  4. 13 points
    following seikun's impeccable logic all the bangyas in vk are actually secretly lesbian because there's absolutely no reason why straight girls would be attracted to 'feminine' bandmen while we're on this topic, i also don't get: - why there's still the weird division dictating that guys must be into vk as "ongen-gyao" who only collect cds, and girls only go to lives to swoon over hot bandmen - why the former is somehow usually conceived as more superior to the latter.... almost every guy who's an armchair connoisseur of vk i've encountered exudes the insufferable air of making themselves sound like consumers of vk who are more sophisticated than "those bangyas over there" aka the "necessary evil" that keeps the scene afloat - why the two are even mutually exclusive in the first place, as if being into the bandmen themselves somehow diminishes or effaces one's ability to appreciate/talk about music intelligently ...and i can go on. basically i feel that people (mostly guys, but also girls who are concerned with being viewed a certain way) who actually have the money to spare AND want to participate are given pause because of these problematic assumptions. i've been saizen for bands (mostly very small) and have no problems with the girls or the bandmen themselves so i can't help thinking a lot of these strange ideas are self-imposed. people should just enjoy the scene in whatever way they want (yes, even if you're a guy who go to lives to fantasize about bandmen - what's wrong with that??), instead of losing sleep over what the bangyas in the same row are potentially gossiping about you.
  5. 13 points

    I'm back baby

    What's going on MH. I was on a short haitus while putting my life into order. I was working a life-consuming job that left me no time and energy for myself while planning a spontaneous move to start a brand new life. I had to find a new job and adjust to the new city and I just wasn't in a place where I felt like I could devote any time to the forum. I've finally worked everything out and I feel that I'm now in a place where I can be a part of this community with a free mind and heart. So, I'm excited to say.. I'm Back Baby
  6. 11 points
    explaining VK to your parents/normie friends:
  7. 11 points

    [VK Nightclub] Klubb Lunacy

    Klubb Lunacy is one of Europe's oldest Visual Kei nightclubs, which originally ran between 2004 and 2010. After a 7 years long hiatus, I'm happy to announce that I'm the one who is carrying on the torch and together with the old owner I'm reforming it and intend to make it stronger than ever. The first date is set for 1 of September in Stockholm, Sweden. Six hours of old and new Visual Kei music, a Visual Kei outfit competition with an amazing prize sponsored by RarezHut, and the chance to hang out with over one hundred other fans of this increasingly rare style of music. And while we hope that some of you might be able to attend this grand revival, we don't intend to limit our activities to Sweden, and would be glad to bring it wherever enough people who are interested might be located, mainly in Europe. So if you have any connections or ideas please feel free to message me and we'll see what can be done! The clubs Facebook is located here: https://www.facebook.com/KlubbLunacy/ And the event itself is located here: https://www.facebook.com/events/1435508826514161/ Most posts have an English version after the Swedish text, so please scroll down if you want more info! We're glad for any and all support we can get from you guys as we try to bring back some community and party to the fandom! Also a special thanks to @orange~ who designed our logo!
  8. 11 points

    Karma (ex. AvelCain) new project

    Karma ex. AvelCain announced a new project on Twitter. Not much has been revealed yet except for that there is a song titled "愛の特異点" (Ai no Tokui Ten)
  9. 11 points
  10. 10 points

    Show Yourself (again)

    hi i finally did my own makeup and it looks great
  11. 10 points
    I think that this situation sort of showcases the discrepancy between the western and Japanese fandom, in some ways. We in the west have sort of built up our own subculture surrounding VK that isn't the same as it is in Japan. In Japan, attending VK lives can have connotations that a lot of guys would want to avoid, the informal rules surrounding the lives can also make the shows less enjoyable to men too, as in the whole staying put in your spot, allowing time and space for the girls to fix their hair between each headbang and stuff like that. The western VK fandom treats it more like any other alternative subculture whereas I feel like in Japan it has unhealthy connections with the host ideals. I went to a VK bar in Tokyo and talked to the bartender and he said that the regular girls scared away other customers on the weekends by refusing to let him serve others, since they "paid for his company" by buying drinks, and they would demand from him to play only the one band they listen to the entire night. I think for a lot of guys who are into VK, most Japanese men who are into VK are CD-only by the way, as in they don't attend the shows but just buy the music from stores and might occasionally show up to onemans and stand in the back, this doesn't create a fun atmosphere since they would prefer to just hang about and talk shit about music and listen to a dozen different bands. I realize that the bangya culture is what keeps the bands afloat, but I think it's also this culture that sort of kills the fun for a lot of guys who enjoy the music and enjoy the scene aesthetically but isn't just invested in one band and wants to enjoy some host fantasy with them. And this is why guys have a larger part in the western fandom because ours really isn't connected much to the Japanese one beyond listening to the same bands. To be fair though, quite a few bands try to remedy this by doing those male only shows, and I think that's an awesome thing, although I wish it weren't necessary.
  12. 10 points
    Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman. I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic. So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.
  13. 10 points
  14. 10 points

    Show Yourself (again)

    With the Vivarush guys. They're so fun that i couldnt even stop laughing and had to concentrate a lot to don't laugh while tooking the picture hahaha Love this boys
  15. 9 points
    Die-hard MUCC fans are probably the luckiest ones ever due to these several reasons. - 20 year music career and still on going. Never once went on a hiatus - Lineup has never changed (if this doesn't count.) - Never forget their roots whether their newer stuff sometimes sounds disappointing probably because of experimenting, they still know how to make good music as if it was originally from their initial era. I believe only very few or even none can do this. - Regularly releasing new songs unlike other big bands from the same league. - Older and way older songs are re-recorded from time to time. What surprised me most was when the original version of NO!?, their first demotape ever, was included in Ieiji. How did they manage to maintain their first song when the band's future wasn't in sight during the past 20 years? This is from a casual MUCC fan's perspective like me. I'd have a lot to add if I were a hardcore one.
  16. 9 points
    ah yes, iconic X-Japan hits such as Golden Globe Theme... epic bangers... also love how they describe the guest vocalists as just being ''from overseas''
  17. 8 points
    OK here's the story as complete as I could find it... EDIT: I added the long blog post about finances! --- Let's just start with the 2 tweets and the blog post that kicked this all off... Massive post about bandman finances: Anyone who has ever followed any serious jouren drama or otherwise been privy to how jouren spend their money should rightfully have their suspicions about the truthfulness of these tweets, because it simply doesn't mesh with the well-known behavior of fans of bands with even the remotest success. The knowledge of the "underground" practices of bangya is not required to see how the second tweet went viral for all the wrong reasons; it actually attracted ire from music fans outside of the visual kei scene as well. If you read the replies the common thread is essentially: "Why is it the consumer's fault that you're unable to generate any profit?". Some fans also can be seen generally protesting the perceived popular notion among bandmen that bangya can be treated as ATMs. Some less savory replies even chastise him by telling him if he can't even attract a mitsu then he has no hope of building a fanbase. (BTFO) I really don't think the blog post was the crux of this drama by the way, although HERESY might get asspained if anyone less than the Emperor dares to talk about Reita, it's a relatively innocuous account of the reality. It was the tweet that "blames" bangya for letting bands die that caused the shitstorm IMO. Visual kei blogger/archivist Atsuhiko Kamiya wrote a lengthy article analyzing this sort of "Visual Kei Mafioso" attitude towards and the expenses associated with bands, if you're fluent in Japanese and interested in the topic: see here. Anyway, this series of tweets was rather ballsy as he was biting the 3 gya hands that feed him and alienating potential fans, but I think what really sealed the deal was his behavior after this tweet. It was abundantly clear that his bandmates (particularly the vocalist, Masaki) wanted nothing to do with the massive controversy that this generated, as the vocalist even went so far as to hold an "apology twicast", and posted many apologetic tweets, even individually replying to people to apologize long before Ryuusei commented on the issue. However, Ryuusei did eventually apologize, tweeting: However, this didn't last long. The next day he posted a blog post where he essentially rescinded his apology and attempted to better explain what he meant, as well as to fuel the absolute torrent of threads about him on tanuki resulting from his statement. (TN: 'netogya' is a derisive term for visual kei fans who don't attend shows or instores but instead support bands strictly through online means. They're considered lesser fans by some other fans and as you can see above, by some bandmen. You might see some threads on tanuki where bands get laughed at because while they seem popular their fans are all netogya and foreigners living outside Japan... like KILLANETH :^) ) Ryuusei was castigated for constantly undoing his bandmate's work to move past the whole issue, and for (what was perceived as) backpedaling and then baiting tanuki. This was where I personally saw the writing on the wall for kyogetsu -- his band was going to have to kick him out if they wanted to move past this, and the name "kyogetsu" was virtually unheard of until this happened. That brings us to the news of their disbandment -- I have a few thoughts about this but a lot of them are the same about how I feel about the grown ass vocalist of 0.1 no gosan feeling like it's his god-given right to tell people what they should do at shows...
  18. 8 points

    Bangya Hacks!

    I figured it would be cool to have a thread like this for people just starting out going to lives, or maybe even some of you veterans out there that are always trying to make the most of your time and/or maximize efficiency getting in and out. Hack #1: Getting Good Ticket Numbers Hack #2: Getting a Locker Hack #3: Have Everything Ready Hack #4: How to Bring Your Own Drink/Keep It Out of the Way Hack #5: Buying Goods Hack #6: Trying to See Better if You’re Short Hack #7: Showing Your Spirit Hack #8: Making gya friends Hack #9: Saving Money on Transportation Costs Hack #10: Finding Cheap/Close Accommodation If you know of more tricks, please add to the list. Maybe this thread can get a sticky at some point. ^^;;
  19. 8 points

    Show Yourself (again)

  20. 8 points

    鬼ON (ONION) will disband

  21. 8 points

    random thoughts thread

    A pigeon couple made a nest in my balcony so now we have a baby pigeon. - he's surprisingly quiet, I guess I was expecting a baby pigeon to be noisy as fuck like the baby seagulls around here. So thanks for that buddy, I appreciate it since you're right next to bedroom window. -He's 3-4 weeks old now and holy fuck, he's ugly. -I go from feeling sorry for him because his parents leave him alone most of the day, to feeling fucking repulsed when a parent comes down to feed him. Like, what the actual fuck. It's disgusting. Picture from a while ago. WHY DOES THIS BIRD HAVE A BADLY CUT BLONDE WIG FROM THE DOLLAR STORE Recent pic. Better but still ugly
  22. 8 points

    Show Yourself (again)

    most recent, salaryman-kei
  23. 8 points
    Plastic Tree has announced that their major debut 20th Anniversary DVD, "1997.09.15" (6500 yen, 120 min) will be released in October. Footage will feature the band's reproduction of their major debut performance at their live on June 25, 2017 at YOKOHAMA Bay Hall. Songs featured: 痛い青 (itai ao) 本当の嘘 (hontou no uso) twice 割れた窓 (wareta mado) クローゼットチャイルド (closet child) スノーフラワー (snowflower) 銀ノ針 (gin no hari) リラの樹 (rira no ki) まひるの月 (mahiru no tsuki) 水葬。 (suiso.) トランスオレンジ (trance orange) アブストラクトマイライフ (abstract my life) ねじまきノイローゼ (nejimaki noiroze) エンジェルダスト (angel dust) エーテルノート (ether note) 鳴り響く、鐘 (narihibiku, kane) psycho garden クリーム (cream) サーカス (circus) http://plastic-tree-special.com/114/
  24. 8 points
    With all due respect to yoshiki can eat my ass
  25. 8 points
    The Piass

    Karma (ex. AvelCain) new project

    Let's hope that he learnt to sing. Well, after listening to the song, he did not learn to sing.
  26. 8 points

    Karma (ex. AvelCain) new project

    @emmnyfound dead in miami
  27. 7 points

    Recommended Tracks: August 2017!

    Greetings, MH! Another month, another batch of recommended tracks from the amazing ORZ team! Check them out and let us know what you think! (We apologize if some videos aren't available due to region restrictions!) @doombox's Pick "Black owl" by Leetspeak monsters I'm a bit regretful I didn't hear about this band until they stepped up their monster-inspired theatrics and landed on the visual kei circuit this year. Especially as "Black Owl" isn't exactly a new song. It's been around for a few years now, but thankfully Leetspeak used it as the promotional track for their new mini album set to be released through GLK Music. And with how catchy the track is, it totally deserves a second spin for a new audience. Monster costumes and rap rock aren't the most original concept at this point, but it's been a while since a darkly-themed band came in not abiding by the hackneyed VK song structure. It was also a nice surprise to see an uncredited guest feature from Xavie (vocalist of revenge my LOST) even with his leftover fabric scrap cape (gold star for effort, I guess). If you're down for a bit of early Halloween fun, you should give this song a shot. @CAT5's Pick "ANGELNOIR" by 青葉市子 "ANGELNOIR" by Aoba Ichiko I might just be a hopeless Ichiko Aoba fanboy (and I am :P), but I don't think it would be farfetched to call her one of the most outstanding Japanese musicians active today. Wielding virtuosic, classical guitar skills and an angelic croon that could melt even the toughest of hearts, she's paved her very own lane in the industry with a folk sound that could only be described as otherworldly. Even when she ventures outside of her usual, acoustic dwellings, she still invokes that same magical quality - whether she's working with quirky, electro-guru Cornelius or Jazzy hip-hop instrumentalists Ovall. Such is also the case on her latest collaboration "ANGELNOIR", produced by little-known indie-pop outfit detune. for the supernatural anime 18if. Ichiko's warm, yet enchanting vocals lead us through a mysterious mirage of intricately layered electronics and orchestral flourishes, underpinned by a calculated rhythm section. The song culminates beautifully in the chorus, with the backing guitars employing an airy, shoegazy effect for good measure. It's yet another testament to not only Ichiko's choice of quality collaborators, but her ability to create viable music regardless of context. @qotka's Pick "わたしみ" by 大森靖子 "Watashimi" by Oomori Seiko Oomori is a tough one. She's been referred to as everything on the scale from 'nice/terrible meme' to 'the next Shiina Ringo' (still searching for clarifications on this last one). "わたしみ" was not what I was going to write about this month, but the magnitude of its punch when I first listened to it forced me to. This gust of raw energy is the coupling track for singer-songwriter's Seiko-chan's latest single, "draw (A) drow", a song composed by TK of Ling Tosite Sigure, and it's as astonishing as you'd expect a power combo of this caliber to be. But if you want to hear what Oomori Seiko really is all about, I'll recommend starting from the b-side "わたしみ", because while it's not readily digestible, it lets a certain raw, soul-baring essence, something that usually dies once a song is recorded, shine through. This simple and mellow acoustic pop ballad starts with Seiko sounding really tired, and just as it builds up to a point of crushing breakdown, she literally breaks down into a shrieking a capella mess that to some may sound painful but also full of emotion. This is perhaps one of the best translations of how her songs sound live into a studio recording. If you like your singers-songwriters messy and over the top, you've found the one. @Seimeisen's Picks "盲目であるが故の疎外感" by MUCC "Moumoku de aru ga Yue no Sogaikan" by MUCC The absolute banger of 新痛絶 (Shin-tsuuzetsu)! On the original 痛絶 (Tsuuzetsu), "盲目であるが故の疎外感" was the penultimate track; on the second pressing, entitled 痛絶〜印象違〜 (Tsuuzetsu - Inshouchigai), it was the post-intro opener and really didn't feel like an opener at all. On 新痛絶, MUCC managed to take a 'near the end of the album' type of song and make it an exciting opener bursting through the doors to the "New Absolute Pain" that's ahead. All it took was a different key, a new 40 second intro, and an incredible new atmosphere. You don't even need that static intro track on 新痛絶, not with this gem. "僕が本当の僕に耐えきれず造った本当の僕" by MUCC "Boku ga Hontou no Boku ni Taekirezu Tsukutta Hontou no Boku" by MUCC The greatest difference 新葬ラ謳 (Shin-homura Uta) has to offer. They really took this song and breathed life into it. I never really paid attention to the original on 葬ラ謳 (Homura Uta), it just never interested me, but this new one is absolutely outstanding! Another example of how playing a song in a different key can make quite a difference. Frankly, I never paid much attention to 葬ラ謳 in general, but the release of 新葬ラ謳, especially this new version of "僕が本当の僕に耐えきれず造った本当の僕 (Boku ga Hontou no Boku ni Taekirezu Tsukutta Hontou no Boku)," sparked a great interest in the album, both the original and the new, leading me to 'get to know' and grow to appreciate it. Some re-recordings may not live up to the originals, some might be just on par, but just a few, especially this track, blow the original out of the water. @tetsu_sama69's Pick "紅い意図" by CLØWD "Akai Ito" by CLØWD I'm writing judgement tickets for anyone who's been passing up the chance to listen to anything CLØWD has put out. At the start you think with the slow opener this is just going to be another boring visual ballad, but that peaceful set-up is thrown out the window once the guitars kick in. CLØWD definitely shows off their veteran badges with "Akai Ito" by composing a song overflowing with powerful emotions. You can feel the tension of a struggling relationship within the flow of fervent instrumentals and passionate vocals. I've been hooked on CLØWD since they first popped up on the scene in 2015, and since then they've grown exponentially with every release. If "Akai Ito" is anything to go by then there's little stopping CLØWD's momentum with future releases. @plastic_rainbow's Picks "夕轟" by マルコ "Yuu Todoroki" by Marco With two of the members leaving in September, Marco is living on the edge as they continue their way up. Thankfully, the remaining members have already stated that they will not disband just yet. If you are new to these guys, Marco are often compared with early Merry, mostly due to the strong similarities between the vocals, but I think listeners who enjoy VK from the 2000s, especially the mid-2000s, will enjoy Marco just as much. In fact, all of the members were previously in bands that were fairly well-known around the time, such as CindyKate, Order Made, JIVE, and SectMa. Marco sounds nothing like the aforementioned bands however, but the mid-2000s vibe is there. Before their lead guitarist and drummer officially leave the band, Marco drops in a phenomenal track one last time as a 5-piece band. "Yuu Todoroki" is less energetic than their previous works and instead brings out a soft retro rock sound. The impressive guitar work has always been a strong point of the band, and here they emit a luscious blues tone. Top it with Rei's alluring and rough vocals and you've got a feast for your ears. But let's not ignore all the splendid work done on the jazzy bass lines and guitar chords along with the soft drumming as well. It may be hard to imagine how Marco will manage from now on with their drummer and lead guitarist leaving, and a very talented guitarist at that, but I look forward to hearing more stuff from them again. "ワールドエンドサイレン" by lical "World End Siren" by lical If you haven't been checking up too closely on the Japanese indie scene like me you might have missed these guys. "World End Siren" comes from lical's new album titled Koto no Hanataba, Suisou to Kaisei that released not too long ago in June. It immediately opens with some mellow guitar chords and a distant train alarm, building a rush of energy. The jumping bass lines and light female vocals sound quite pleasing to the ears, but the blaring eccentric guitar riffs are the ones that take the cake. A few mathy influences can be heard as well and the distant train alarm from the beginning comes back again like a gentle warning. "World End Siren" for the most part may sound like a typical indie rock song, but the bouncy and hopeful depiction of a path full of risks makes it worth a listen and a fun track to jam out with. @fitear1590's Picks "螢の瞳" by アンフィル "hotaru no hitomi" by anfiel I'll try not to bore you with the nitty-gritty of my love-hate relationship with anfiel (please don't report me to hiroki). Essentially, they're a band I've always wanted to like, but after their first two singles, something just hasn't been clicking. Well, their latest single "hotaru no hitomi" might just break the spell. Stripping back the band's sound does wonders, especially because one of my biggest gripes with their past work has been the production of their electronic arrangements. With the setup in this track, the melancholy guitar riffs and robust basslines get to shine. The best compliment I can give this track is that it reminds me of UNiTE.'s similarly 'au naturel' single "ハートレス クラシックメモリー (Heartless Classic Memory)."If you're fed up with the hyper-screechy synth'd up VK of today, anfiel's newest single provides a breath of fresh air. "夏の客船" by ウワノソラ "natsu no kyakusen" by Uwanosora Uwanosora have been putting out music in various interconnected projects for a couple years now. My personal favorite is the side-project Uwanosora'67, which, if the number cued you, puts out tunes with a classic 60s girl-group flair. Now back in their original form, regular Uwanosora is gearing up for an album release later this year. To generate buzz for that, their first single from the album "natsu no kyakusen" is a beautiful, laid-back ballad and the PV's blue skies and ocean match the heartfelt soundscape perfectly. The entire experience is as calming as sitting on the coast and taking in the gentle breeze. I'm hoping the whole album will be on par with this! @emmny's Pick "愛という、変態" by gibkiy gibkiy gibkiy "Ai toiu, hentai" by gibkiy gibkiy gibkiy Love, a pervert. Another year, another mind-blowing release from experimental rock provocateurs gibkiy gibkiy gibkiy. "Ai to iu, hentai" is their first MV and a macabre look down into the rabbit hole (literally). Slick, sexual and more than a bit perverted, the song lives up to its namesake. The repetitive, skittery instrumentation reminiscent of merry go round spars with Sakura's challenging, rolling drum line while Kazuma's maddened crooning envelops the air. The song moves with a flow not unlike intercourse, coming to crashing climaxes and sudden halts before starting again and coming to another roaring blitz of noise. The first half of the song is foreplay, and the second half is whatever else you want it to be--an onslaught of sound and sensation. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Thanks for checking out our recommendations this month! If you have any thoughts on the list, or if you have any recommendations of your own, we look forward to seeing your comments below!
  28. 7 points

    Do Japanese men dislike visual kei?

    I don't think it's a clear cut division as much as it's a generalization to make the point easier. There's plenty of bangya who are into many bands and have a wide knowledge of the scene, and there are plenty of guys who go to the lives and enjoy them despite not always feeling like circumstances are ideal (I've attended upwards of 100 VK shows, for example.) It's just that the majority fall into the stereotypes, whether it's self-imposed or formed by the strong consensus culture of Japan I don't know, but once something gets viewed in the public eye as being geared towards a specific audience, the threshold to dare to break that mold gets much higher, especially in a country like Japan where this is strongly discouraged in general. In an ideal world people wouldn't care, like you say, but we all know that's not how group psychology works. Also, I think it's pretty normal that people who invest a lot of time and money into something, whether accidentally or not, look down on those who settle for less, but fandom elitism is another topic and far from exclusive to the guys either - it goes both ways, it's just that both groups measure dedication by different scales. I know bangya who look down on girls who attend lives of other bands, for example, because it's seen as "treason" towards their main act. Or look down on the fanboys for not supporting the bands at shows more. Just like I know guys who look down on those who don't know and love that one band that was around for three weeks in '93. It's problematic for sure but I think delving deeper into it is taking the thread off topic? If people want to make another thread to discuss the toxic elements of bangya culture or fandom elitism, I'd be all for it, and I think it'd be interesting topics to discuss in a wider sense, but let's try to keep it relevant to the topic of male fans in the VK scene here. @KomorebiI think it's pretty easy to spot when someone actually cares about the music and when someone is only there to drool at the band. All it takes is a short conversation on the topic of the bands music. And it's not mutually exclusive at all. I have plenty of female friends who can do both, and as long as I can participate in the discussions about the music and they keep the discussions about the bandmens physique with ones that are interested, I'm all good.
  29. 7 points

    Do Japanese men dislike visual kei?

    my friends don't feed into the ignorant gay comments, LOL save it for another thread because we all know the answer to why that is a stupid argument as for why some band throw men only lives, it because the atmosphere for some bands is radically different between their male and female fans. i think this applies a lot for bands who are on the cusp of visual, so women's only lives might have more people engaging in certain furitsuke with a more "respectful" atmosphere whereas the mens lives are probably set up to be more wild, unhinged, "western style" live experiences. This is pretty similar to how gender is portrayed in the scene, with gyao tending to be more there to have fun rather than closely following typical gya conventions (worrying about how pretty their dresses are for their fav guitarist at kamite to see them from 4th row). On the flipside, some bands with male fans (check any DEG live report) can grind female fans (and even some dudes) the wrong way.
  30. 7 points
    After disbanding in 2008, キボウ屋本舗 (kibouya honpo) (successor band of 秘密結社コドモA (himitsu kessha codomo A)) will "reopen" (ie, revive for one day) on November 5 at their live at Tokyo Kinema Club.
  31. 7 points
    I'm meeting Yoshiki for a Q&A session on the 19th of October, if there aren't any news by that point on the album I'll just ask him for a release date. My best guess is that he'll immediately cancel the Q&A and have his guards escort me off the premises.
  32. 7 points

    Show Yourself (again)

  33. 7 points
  34. 7 points
    I think it goes without saying that MH attracts some of the craziest people to ever grace the interwebz. Thank you for your service
  35. 7 points
    Sorry for the slight delay, here's my review of @Hohchicano96's mix.
  36. 7 points

    MERRY (f.k.a メリー)

    Modern garde, Violet harenchi and Gekisei are Merry's masterpieces as far as I am concerned, with Modern garde being one of the very best VK albums of all time. I'm not too fond of cover albums and shit, but the two cover songs on the Gekisei single are stunning and ever since that release I've always wanted to hear a full album with Merry playing that type of music, either a cover album or something original in that vein. Edit: I actually forgot to add that I easily can recommend every single Merry album bar the last one which I haven't heard. I think all albums are fantastic, but Modern garde is just way, way ahead of theo thers. So there's that.
  37. 7 points

    X Japan new album scheduled for 30th of TBD

    I will allow this
  38. 7 points
    This bodybuilder guy revealed he was a vk bandman on tv (I think he was from アンド (AND))
  39. 7 points
    I'm posting my review now since I'm going to have to work 12 hours shifts for work this week after today. For this trade-off, @saishuu was my partner. I wasn't for sure what I was going to be getting for this trade-off, but I knew it was going to be out of my comfort zone. Then I saw the mixtape tracklisting I got, I swear my boyfriend made this. He likes a lot of these groups, so it got his seal of approval. He rated it 4.5/5, but he doesn't count. My review sucks balls because I haven't wrote a proper music review in 10 years back when I was on my high school newspaper staff. XD Anyways, to the review. 1. 凛として時雨 (Ling Tosite Sigure) - DISCO FLIGHT I love how loud the bass is in the intro. I'm a sucker for bass lines. I really like the song's arrangement with how super messy and chaotic it is through out the song, especially during the bridge. However, I hate how squeaky Toru and Miyoko sound through out the song. Unless it's idol music, I hate squeaky vocals with a passion. Squeaky, squeaky, squeak, squeak. Overall Rating: 3/5 2. ACIDMAN - world symphony During the first listen, I really did think the song sounded like a generic rock song from the 2000s with nothing too noteworthy going for it. I loved Nobou's vocals and the punk grit it showcased. After listening to it a few more times, I started to pick up on some punk undertones in the song structure. I still don't like the slowed down parts in the song as it killed the momentum for me due to how much it slowed down. Like snail pace at the bridge. Please don't do that to me. In the end, the track really didn't stand out much to me compare to some of the other songs on this mixtape. Overall Rating: 3/5 3. Base Ball Bear - SCHOOL GIRL FANTASY Prior to this, I only knew of BBB because Berryz Koubou's Kumai Yurina did a commercial for their (WHAT IS THE) LOVE & POP album and my boyfriend's two month addiction for the group he had a couple of years ago. Anyways, back to the song. "Bubblegum Pop-Rock" is what my mind first thought. A cute catchy tune, but I can totally see how this was a B-side. Lacks a strong hook that would have sold the song to me. However, this is right up my alley for a pop-rock song. I enjoyed Yusuke's vocals as soon as I heard them and I thought they were perfect for this kind of music. By the third or fourth listen, I was singing along with the song. If more of their material sounds similar to this track, I would love to check them out even further. Overall Rating: 5/5 4. RADWIMPS - いいんですか? I'm pretty sure at one time or another, I have checked out RADWIMPS. I just remember I didn't like them, but that was like 10-ish years ago. My taste in music changed a lot since then. This song has strong reggae influence and makes me think of the '90s. I wasn't expecting this at all. Yojiro's vocals is not to my taste when it comes to vocal styles; however, it fits the genre that the track is going for. The "Iin Desu ka" hook in the chorus is an ear-worm. When I found out this song wasn't a single, I was "WHAT!?" as I found it to be single worthy. Overall Rating: 4/5 5. NICO Touches the Walls - THE BUNGY The country bluesy guitar is love. I could go on and on how I love it when a pop song mixes the blues into it well. I was in love with the song as soon as I heard it and that doesn't happen that much at all with me. The hooks in the song are addictive. I could listen to Tatsuya's voice all day if I could. The Bungy is a very good song. Overall Rating: 5/5 6. andymori - ベンガルトラとウィスキー Before I get started with this song, I'm not a fan of Souhei's vocals. It's a little higher pitch than what I like, but I can live with it. My boyfriend loves playing them all of the time, so it's something that I have disliked for awhile. The "whiskey, whiskey" part (or at least I think that's what he's singing) that appears at the 1:45 mark, I would have think it would have sounded a lot better and added an extra punch to the song if Souhei didn't more dramatically or louder. It was very limp and killed the climax that had built up. What a bummer! Souhei probably has a limited vocal prowess that cause the tune to limp to the finish line. I did like the song other than the vocals, the vocals just ruins the song. Overall Rating: 2/5 7. B'z - BANZAI First off: B'z is love, B'z is life. I have a huge thing for Matsumoto Tak. He's up there in my Japanese rock guitar gods list with Takasaki Akira, Yamamoto Kyoji, and Hotei Tomoyasu. My bias is showing, isn't it? Anyways, I love B'z and I love this song. Some of the guitar licks Tak does in this song sounds like they could be in a Loudness or a Bow Wow song, right? I can't forget about Koshi's godly vocals, either. His voice makes me melt...but that's beside the point. The song makes think of Lazy's post-reunion material, which is never a bad thing, IMO. They don't make artists this perfect anymore, that's for sure. Overall Rating: 10 5/5 8. くるり (Quruli) - ばらの花 It was really weird to go from the high energy Banzai to Bara no Hana. It felt like a drastic mood swing. Bara no Hana has this dreamy, floaty vibe going through out the song. Very peaceful and relaxing. I felt like I was on a cloud listening to it. The song isn't really my cup of tea, but it is still a good song regardless. Just not something I would play that often. Overall Rating: 3/5 9. サカナクション (Sakanaction) - ネイティブダンサー I'm going to be blunt and say I never really understood the hype behind this band. After listening to this song, I still don't. The song is very underwhelming. The song has excellent craftmanship, Ichiro has great vocals, but there's something not clicking for me. It's like something is missing from the overall picture. It's driving me crazy. Overall Rating: 2/5 10. Spangle call Lilli line - seventeen This is the only artists on the whole list I never even heard the name prior to the recieving the mixtape. I'm not a fan of Japanese female vocalists and I can go on for days on why I don't like them. (So squeaky. Oh god...the squeaks.) So I was in for a treat that when I heard Kana having this amazing luscious voice. To me, I found the song otherworldly but yet simple at the same time. It's one of those songs that's good, but really doesn't stand out from the pack. Overall Rating: 3/5 11. Leo今井 (Leo Imai) - Tokyo Lights 2 I didn't know what I was expecting when I started this song as I wasn't too familiar with Leo Imai's body of work. I found the song enjoyable. It would be a song I would listen to a lot when I'm in the mood for this kind of a pop song, which would be often. After the second listen, I was starting to dance to the song. It's a real grower. Overall Rating: 4/5 12. school food punishment - sea-through communication We're at the last song of the mixtape. I have never heard anything by School Food Punishment before this but I was aware of them. Sea-through Communication is a super catchy pop song. It sounds like it could have used for an anime ending theme. It's a great follow up to the previous song to keep that dance vibe going. Yumi has a pleasant voice and I think it adds the song's charm. I think it was great choice to end the mixtape on. Overall Rating: 4/5 In the end, the song selections were not bad. I found a few new songs to add to my iPod's playlist and several artists I'm considering checking out. There's a few songs that I won't listen to again after listening to most of these songs 10+ times while I was writing the review. I did like how it did get me out of my comfort zone of retro pop and rock music.
  40. 7 points

    The GazettE new album release

  41. 6 points

    Show Yourself (again)

    Yesterday's ootd, a saku kyo look.
  42. 6 points
    魅裟 (missa) (solo project of 魔琴 (makoto) (Insanity Injection)) will release 3 digital collab singles on November 3. In these releases, he will be collaborating with 3 vocalists for each single. "哀絶綺譚" (Aizetsu kitan) feat. 祈狂 (kikyo) (La'veil Mizeria) "お遊女帖" (o yūjo jō) feat. 浩太 (kouta) (ex-JokArt au Legal) "東京NEO BUSHIISM" (tokyo NEO BUSHIISM) feat. MI (ZRAYD).
  43. 6 points
  44. 6 points
    The Moon

    Do Japanese men dislike visual kei?

    kaya WHO #karmaqueenofgays
  45. 6 points
    BLESS THIS MESS has restarted activites as a twoman unit on August 16. Staying true to their name, they have also signed with Starwave Records. They will hold their first live on September 9 at Ikebukuro EDGE. [current lineup] Vo.YNG (yanagi) Gt.&Prog.立石 恁 (tateishi jin) (ex-BuZZ TRASH (roadie) → auncia → ANSIA → NIA) [support members @ 9/9] Ba.Rega (ex-平成ティーンズヤングマン (heisei teens young man) → トゥーン工場 (toon factory) → SRASH NOTES GARDEN, ANSIA(support) → NIA) Dr.チャーリー (charlie) (ex-イヴ(support) → Seek Of Liberty → LUCHe. → Smileberry)
  46. 6 points
  47. 6 points
  48. 6 points


    Hi! I'm from Russia. I introduced to visual kei fandom in 2015. I like dark and aggressive kotekote >•< My favorite bands (active): Grieva*, La'veil MizeriA, Crucifixion, Ru:natic and many more; (disbanded): gossip (VARYL Hiro's old band), Azalea, MerCurius, Beata, Pyuera, Sadiesmarry, etc. I'm still hard to speak English. For me, staying in an English-speaking forum is a kind of test. I hope that I will not be useless. Peace )))
  49. 6 points
    Female band MARY RUE (fka MARY☆RUE (1994-1997/1999?)) will restart activities at their live on October 8. [lineup] Vo.AKO Ba.YOU (now in THE SOUND BEE HD) Support Gt.RENA Support Dr.静流 (shizuru) (御剣-Mitsurugi-) Twitter Facebook
  50. 6 points
    I have already ripped full song, if anyone wants it I can upload it