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Showing content with the highest reputation on 08/31/17 in all areas

  1. 7 points
  2. 3 points
    Tokage

    the GazettE new album, "NINTH" release

    visual kei """"""celebrities""""""
  3. 3 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
  4. 2 points
    emmny

    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.
  5. 2 points
    Mega has a dl limit for unregistered users, free registered users and then PRO, as you can see on your own screenshot. I get that sometimes. Which is why I try to download from mega only the stuff I can't find anywhere else. There used to be a way to bypass that with MegaDownloader but it doesn't work quite well right now, I think MEGA changed something.
  6. 2 points
    Bear

    The general Metal discussion thread

    Thought I'd just throw out a few rcommendations for overlooked death metal releases of 2017. Just a few that seems to have flew under most peoples radar: Venenum - Trance of Death An album hard to decribe. Death metal with some progressive elements. For fans of Tribulation, Morbus Chron, Excoriate, Necrovore, Invidious. Venenum - Trance of Death Death metal with some progressive touches. For fans of Invidious, Necrovore, Venenum, Obscure Burial. Obscure Burial - Obscure Burial This feels like cheating, but this is a compilation of their two demos. Most excellent! Black/death metal for fans of Necrovore, Incubus, Invidious, Ensnared. Rude - Remnants... Old school death metal with a new sound. For fans of Pestilence, Morbid Angel, Death, Autopsy, Possessed. Cryptic Brood - Brain Eater Death/doom for fans of Autopsy, Coffins, Winter, Druid Lord and Anatomia. Vampire - With Primeval Force Epic, Castlevania-sounding death/thrash. For fans of Possessed, Tribulation, Necrovore, Repugnant, Merciless I've got more to come.
  7. 2 points
  8. 2 points
    I will never get tired of the mouth-agape-and-looking-away pose
  9. 2 points
    All Ima say is this.... There's a been a bad trend of people getting uber hype for a GazettE album, with some false hopes that it'll be something totally innovative and new and then get bummed out and turn super negative when its not. the Gazette has shown us time and time again that Visuals and aesthetics don't mean much when it comes to their music so in that aspect, that trailer did nothing for me. I'm just happy they gonna drop some music soon and keeping my expectations at a minimum.
  10. 2 points
    Bruh ! Someone call BPRecords these guys stole Royz's outfits
  11. 2 points
    I have to agree with @jaymee that when you have a problem with a specific person at the live you shouldn't confront them directly. If you don't know anyone there talk to the staff if the problem is really bad, or at least relocate. It's better to enjoy the band from the other place than spend time fuming being close to the stage. Personally I had more good than bad experiences with other gya. My Japanese friends sometimes joke about me getting more attention, but never in a bad way. Nice thing to do is also to remember about the whole give and take rule. For many gyas exchanging small gifts at lives is part of the culture, so you can have some small sweets for the time in the line (especially if you can bring something from your home country), if your band was ever abroad and you have some pictures from that time many girls would love to see them. Wouldn't not paying for a reserved ticket make that account not worth keeping? I think some sites have penalties (as in getting a worse number or less chances of winning the lottery) if you don't pay for the ticket? And also agree about jouren - when 9GBO was still around no matter in which city I went to see them I always saw the same few women in saizen... The other thing I really disliked about their concerts was that the first few rows would have so much space when the fans in the back would be absolutely squeezed. No matter how many times venue staff might ask for fans to move the first few rows would never do that. I know gya want to look all pretty and pull their awesome moves, but it's counterproductive for getting their favorite band new fans and is very inconsiderate towards other gya. I guess this is similar for many other bands as well.
  12. 2 points
    ArtFart

    random thoughts thread

    No, but at least you will have more chances to be alone and not around people who make you want to become a serial killer all the time.
  13. 2 points
    Tokage

    the GazettE new album, "NINTH" release

    trying to enforce the dumbass ''rules'' of the vk scene overseas is a ridiculous idea anyway tbf', but i feel like we've seen this discussion before already
  14. 2 points
  15. 1 point
    In a video, the band has announced that its new single will be released but its details are still unknown. They also post a new look which will be used during their one man live on 2018.01.01
  16. 1 point
    So, today news came out that Yonezu is gonna release a new album titled "BOOTLEG" on November 1st. It's gonna have 13 songs, including the previously released: - LOSER - number nine - orion (3gatsu no lion ED) - peace sign (my hero academia S2 OP) And self-covers of: - Suna no Wakusei/Dune (Hatsune Miku "Magical Mirai 2017" theme song he released as HACHI) - Uchiage Hanabi (originally released along w/ Daoko for this anime movie) I wanna see how he's gonna go about this album, since it includes very different songs. I hope it doesn't live up to its title though. Lol oh and for anyone that cares, he's gonna start touring again Source
  17. 1 point
    On 2017.08.31 the bassist 羽堂 ケン has joined Linaria.
  18. 1 point
    Delkmiroph

    Finally September <3

    Finally September <3
  19. 1 point
    One of the most horrible look I saw this year
  20. 1 point
    allisapp

    random thoughts thread

    I have interesting internship place... I make other people's Visas and apply for them! So far it's super fun, plus it's different kind of customer service that I am used to. I have worked in grocery stores for years where the main thing is RESULTS. It was funny how in this place they complained that it was really busy day - I felt like I could have naps between each customer. Also, in the past four days I have made visas for three different bands for their tours :DD
  21. 1 point
    If he releases an omnibus track or something called ハッフルパフ I'm quitting MH
  22. 1 point
    AwesomeNyappy

    random thoughts thread

    Upps, sorry. I actually do know what an university of applied science is, but I was just very tired when I wrote my post....I can actually guess what country you're from But Business IT is great as well! you go! Oh, and don't worry about all the things that you don't know yet. I needed around two or three semesters to finally get settled into university life. At the beginning, it's confusing, not knowing where certain libraries or offices are, but there was always someone around to help. I'm glad you've enjoyed it so far!
  23. 1 point
    chocobuzz

    random thoughts thread

    Thanks for the encouraging words ^^ My first week there is almost over and I think most of the people there have been very nice and easy to talk to. I'm still a little lost with how everything there works, what I'm supposed to do and where to go but hopefully I'll learn all that quickly, too. Beginnings are always hard, haha. (I'd like to correct though that I'm not actually studying science, university of applied sciences is just the name of the school/institution or whatever, it's a bit different from an actual university. The whole education system here is just so weird compared to other countries so these translations and all are often a bit misleading and hard to explain... I'm actually studying Business IT there. ^^)
  24. 1 point
    The guy with the crown I'm 99% sure is Xavie from revenge my LOST.
  25. 1 point
    nekkichi

    MH gays//me

    MH gays//me
  26. 1 point
    Kuroha

    the GazettE new album, "NINTH" release

    hope they release it in BD and DVD soon <3
  27. 1 point
    Just out of curiosity, how are you having issues with Japanese bangya outside of Japan? Is this like with the gya who follow bands overseas? Because as you can probably tell by their willingness to drop everything and follow a band to Europe or whatever, they probably are pretty obsessed/may be crazy lol. When a (Japanese or foreign) gya slights me, I usually don't do anything back. Often they are just ignorant or they often do the same to other people, so they start off with or already have a crappy reputation with the members, other gya, or both. Once some newb fan (I say newb because she didn't seem old enough to have been following the band extensively) tried to run up and push me and another girl out of saizen and Tanuki was real quick to shit on this person the next day. Since then, I haven't noticed this girl trying to aggressively push her way up, or really sticking to the front much, since she got burnt. As a foreigner/minority, unfortunately you will also come out looking like the aggressor if you escalate the situation or actively try to pull other gya in to mediate. This goes for work relationships and stuff here as well. Also, I feel like bands who give a ton of visibly unnecessary attention to foreigner (girls) are kind of shitty themselves. They should know better that this behavior will pit you against the crazier types. Guys tend to get a free pass because they're not seen as "competition", but not always. Also, fan cattiness gets worse the younger/more immature the fanbase is. All of this! And yeah sometimes some of the worst gossip in the scene back in the day was perpetuated by foreign gya themselves.
  28. 1 point
    evenor

    Reflection: Kagerou (2002-2003)

    Jikasei Full Course changed my life!!
  29. 1 point
    AwesomeNyappy

    random thoughts thread

    How much would that cost per semester? I know that universities in the UK or the US can be veeery expensive. I already have a bachelor's degree, but decided to change plans during my master's, so now I'm starting another bachelor's programme (it's related, so I only have to take a few courses to finish it), but my university is located in a federate state that does not provide a second education for free (they will pay for a higher education at any point in your life, but not for, say, 2 bachelor degrees), so now I've changed universities. I did not want to pay 650 euros per semester (+ around 300 euros for the train ticket that my university provided.) But I'll just take a guess that these are peanuts compared to what you would have to pay. But, I guess, go for it. Education is always valuable.
  30. 1 point
    AwesomeNyappy

    random thoughts thread

    I hope everything worked out fine for you! Also, don't worry, everyone around you is probably as clueless as you are...usually all the newbies help each other out. University can be hard at times but I found it to be the most amazing time in my life so far. You can meet so many different people from all over the world, enjoy yourself without the restrictions of strict working hours. And, hey, you're definitely studying the right thing....science, wow! Your career chances will probably be splendid. I wish my brain and science had agreed in school, so I could be one of the cool science kids (a few of my friends and I once pondered studying in the library for maths and science, just so that people would think we were incredibly smart.) Good luck to you
  31. 1 point
    Chi

    random thoughts thread

    sounds completely intentional and i'd love to call myself a Proud Boner
  32. 1 point
    violetchain

    random thoughts thread

    I still find it kind of puzzling that despite Jesse from RIZE speaking fluent English the best name they could come up with for fans of his other band The BONEZ was "Boners".
  33. 1 point
    I'm sorry for people who have had bad experiences with bangya. However, like any people, there's as many good as there are bad. It really depends on the band and the fans that they attract. Personally speaking, while I've had some bad experiences, overall I made a lot of wonderful friends and memories when I was living in Japan. Didn't matter if we liked the same band guy or not, and if anything it just gave us something to talk about. I've gone to eat with them, they've made me gifts, I helped to buy those flowers you see outside the lives sometimes - everyone's mileage will vary, but not all bangya are awful. Give it a try, and if the interaction isn't worth pursuing, then drop it. Simple as that. (I've honestly had more trouble with foreign fans than Japanese fan in this respect tbh.)
  34. 1 point
    Well, as a fan not living in Japan, band members will dis your ass if a Japanese fan make a problem with you. Because they never would tell the Japanese fan to shut up. because well, they Japanese fan is more important than you living 100000 of kilometers away, because the Japanese fan will support them by going to the lives and buying band shit. They even could tell you "I love your support, but because to not having trouble you will be banned from our gig". Even tho they actually have to "ban" that Japanese fan. They only ban "Japanese" fan if they also make trouble to other "Japanese" fan. But they wouldn't protect a gaijin that fast. So I highly recommend to never ever be a friend with any fan of the band you want to support. If those "bitches" complain, it's almost impossible to win. After all it's about money. Just stay away from any female "visual kei" fan. male fans are okay. Just don't befriend the female fans. and I mean NEVER. even if a girl looks so nice. Even if she doesn't support the same "guy". Of course there are fans who never would be "jealous" and really would love if a band would be kind to gaijin. But in my life I only did meet 2 so far. But I still need to "watch out" what I say. I even have deleted my personal twitter, because I got crazy because of those stupid woman, who always get jealous about everything.
  35. 1 point
    AwesomeNyappy

    The Virginity Topic

    Everyone does things at their own pace, aand that's a good thing. "Virginity" itself is a pretty wild concept. Having sex does not make one more "adult" or "more experienced". And there's also something else that I wanted to throw in: terms such as demisexual or asexual exist for a reason. Not having felt any sexual attraction to anyone yet does not always mean you're "picky".
  36. 1 point
    AwesomeNyappy

    MIYAVI

    THIS. I also saw him live in 2009/2010, and while he was talking a lot during the concert, it wasn't as much/as fake as it was on his last two concerts I've been to (2015 and 2017.) It's always sth along the lines of: "we're a unity", "follow your dreams", yadda yadda yadda.
  37. 1 point
    kannivalism will also participate
  38. 1 point
  39. 1 point
  40. 1 point
    He's not wrong though, they actually had to ask people to not record their shows and people ignored them still. Rules are rules, and if they're broken, the band have every right to think we're disrespectful
  41. 1 point
    ArtFart

    random thoughts thread

    Apparently people thought it would be a good idea to put sunscreen in their eyes for the eclipse.... why is my country full of idiots??
  42. 1 point
    jaymee

    Mix Speaker's,Inc. will disband

    So reading though all of it, it seems that although AYA and seek had no intentions of leaving MSI to continue with PLC, some or all of the other members had their reservations about them continuing with two bands at the same time, and finally in light of this, NIKA and Miki felt they could no longer continue to be a part of MSI. It doesn't seem like AYA and seek were slacking off any in MSI, just that some or all of the members felt everyone's hearts should be in the same place with just their one band. If re-posting this/these translation(s) elsewhere, please link back here/credit me, yeah? [2017/08/23] Imporant Announcement from Mix Speakers,Inc. Imporant Announcement from Mix Speakers,Inc. We’d like to express our sincerest gratitude for your continued support of Mix Speakers,Inc. Following the EX THEATER ROPPONGI performance on February 25, 2018, Mix Speakers,Inc. will disband. We deeply apologize from the bottom of our hearts for this sudden announcement. We are sincerely grateful to all of our fans, staff, and everyone who has supported us during these many, 11 years. Mix Speakers,Inc. [NIKA] [MIKI] [AYA] [keiji] [seek] [ S. ] AYA posted some follow-up tweets in light of the disbandment announcement, and I felt like this one was particularly relevant: "What’s next After MSI’s disbandment was decided, I did a lot of thinking. I thought about retiring, and I also thought about devoting myself entirely to Psycho le Cemu, but I can’t help but still want to keep making my own music. Nothing has changed about wanting to express myself and I still have much to give. I’m not sure what form of activity this will take, but I want to create a new place to express myself." So it seems like regardless of PLC getting back together, AYA didn't want to contain himself to just one outlet of expression. Perhaps seek feels the same way, although he hasn't posted or expressed any thoughts since tweeting about MSI's disbandment announcement.
  43. 1 point
    suji

    Mix Speaker's,Inc. will disband

    They will also be releasing their last mini-album, "JACK IN THE TOY BOX" (2700 yen) on November 1. [tracklist] 1,トイドールの行進 (toydoll no koshin) 2,”as same as…” 3,僕と君のうた (boku to kimi no uta) 4,うらめし屋敷 地下参階 (urameshi yashiki chika san-kai) 5,ダンデライオン (dandelion)
  44. 1 point
    jaymee

    Mix Speaker's,Inc. will disband

    Actually I'll just go ahead and post a translation of the general announcement and NIKA's message first, because I think it offers the most insight into what is going on. I'll update with the others later. [2017/08/23] Imporant Announcement from Mix Speakers,Inc. Imporant Announcement from Mix Speakers,Inc. We’d like to express our sincerest gratitude for your continued support of Mix Speakers,Inc. Following the EX THEATER ROPPONGI performance on February 25, 2018, Mix Speakers,Inc. will disband. We deeply apologize from the bottom of our hearts for this sudden announcement. We are sincerely grateful to all of our fans, staff, and everyone who has supported us during these many, 11 years. Mix Speakers,Inc. [NIKA] Just as it says, we’ve decided to disband. I’m sorry to surprise you all with such sudden news. I know this must come as a betrayal to those of you who have supported us up until now, and were hopeful about or were anticipating more to come in the future, but as painful and regretful as it is, it can’t be helped. We’ve been together for a long time. We were able to forge many strong bonds during our activities, but we’ve also had a growing number of disagreements between us. Although I’ve tried to bridge these disagreements once becoming aware of them, and it was my intention to put forth my best effort so we could continue together in the future, it was just too much for me. For this I am truly sorry. When we were together, stupid things would get blown up, but we’d stay positive through it all, and united on making our live shows and music the best we could. It isn’t that there’s bad blood or anything like that between us. This is the honest truth. Even bearing the heaviness of these arguments on our shoulders, we pressed on with our band activities, because we love all of you bangya princesses and princes so much. And because of that, I’d like to keep a bright, Mix Speakers,Inc.-like smile on my face until the very, very end. I’ve decided that Mix Speakers will be my last band, so after our disbandment I have no plans to form another band or take the stage again. So I sincerely ask that somehow, you come to say goodbye. In order to make Mix Speakers, Inc. stand out, even if it's just a little bit more, all of us will be putting everything we have into our final tour. Finally, to all of you who have supported us up until this point, you have my sincerest gratitude. I hope you’ll continue to support us for just a little longer.
  45. 1 point
    It could be a mix of those reasons. Perhaps just hunting down another vocalist was already trouble enough before. They're really a niche band and finding another singer could be more trouble than it's worth when PLC could possibly just have more activity to make for it.
  46. 1 point
    Zeus

    X Japan new album scheduled for 30th of TBD

    I will allow this
  47. 1 point
    With all due respect to yoshiki can eat my ass
  48. 1 point
    peffy

    LIRAIZO new releases

    Glad to see they have included all of those 12 monthly 1-song singles they did. Was afraid those would be hard to find. Gonna go pre-order these albums.
  49. 1 point
    Shaolan974

    LIRAIZO new releases

    "PARAIZO" tracklist : 01. period 02. SETSUNAスリップ 03. 妄想攻略 04. 間に合うわ 05. アプローチ 06. LUNA 07. 『現実逃避プレゼント』 08. 真夏A 09. 命短し恋せよ~なんて 10. 忘れないと誓う "LIBERI" tracklist : 01. S.O.H 02. サキアバレ我 03. 嫌い日記 04. アカイト 05. 孤独の理由 06. 反抗期が止まらない 07. ◯○関係 08. 枯らすカラス 09. 絶対病的希求 10. 幾億もの美しく咲く花は人
  50. 1 point
    Champ213

    Rammstein

    Well. They love to go for some "shock value", so quite a few of their songs are about stuff like sexual perversions and obsessions, incest, cannibalism, etc. Not saying that their songs are never meaningful, but I think sometimes they are just trying too hard to be controversial. Actually I would say that a lot of their songs are meaningful, but sometimes they have a very silly way to go about it, it's hard to explain. XD Like, sometimes they have these weird lyrical constructions that apparently are only there to make it rhyme. The most famous example, which was a source of some sort of private meme between me and a friend of mine, is the song "Mutter" which has the lines: "In ihren Lungen wohnt ein Aal, auf meiner Stirn ein Muttermal" which literally translates to "In her lungs lives an eel, on my forehead there [is] a birth mark" - which doesn't make any sense at all, except that they apparently needed some word that rhymed with "Muttermal", and that worded ended up being "Aal" - eel.
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