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…。【サイレンス】(Silence) new single, "baby butterfly" will be released on March 10. The single will also be distributed to those who attend their 10th anniversary oneman live on the same date. [tracklist] 1.baby butterfly 2.散歩にでかけよう (Sanpo ni dekakeyou)

Their new album will be released in June 2018.

me right now.

2018 IS THE YEAR OF GOTHS

wow, great ; )

I love Milk but it was time to go, any longer and she would've had some kind of break down. Yeah that actor dude is hot but the real gem here is Chi Chi. In and out of drag this bitch is like my ideal bae and I can't get over that LOOK. 💦 I hope she can get over her insecurities because I know she's talented but she's a self saboteur. Also Kennedy gets my respect after her whole performance this ep. STOP doing one on ones. It's stupid, just get to it.

RAZOR will release their 3rd single in May. They will also hold their tour from May 5 to June 27.

There's been a lot of negativity in this thread recently (not sure if troll or not). Just throwing my hat in the ring with some positive (but hopefully fair) mini-reviews. You do not have to agree with my opinion. GAUZE: Slightly awkward in places. Much of this is generic for a VK band. Unlike almost anything later, this is basically a true Visual Kei album, with strong pop hooks, light, bouncy instrumentals, and some exceptions. Mazohyst is the first sign that the band want to go conceptual, epic, and darker than their peers. The Mode of... tracks do little more than just exist, possibly a throwback to La:Sadie's or perhaps Malice Mizer. I find Schwein no Isu and MASK very forgettable. ZAN is gigantic; the remake doesn't stand up to Kyo's insanity in the original version, yet it makes up for it by being br00tal (or something). Also, the video for Yokan is fucking hot. Fav track: アクロの丘 MACABRE: This album is the seed of what is to come. It's almost a proto-UROBOROS in its concept, yet maintains the playful pop of GAUZE enough that it isn't totally bleak. You can tell that they wanted this album to be truly epic, but their immaturity as a band means that it doesn't quite hit that mark. It's still great, though. The only song I'd lose here is audrey (too predictable/tedious). Fav track: egnirys cimredopyh +) an injection ain't afraid to die: Just this one song alone is better than many albums out there. Glorious. Kisou: I guess some people love this and some loathe it. For me, it's the former. This is the first time we see DEG try something totally new. It's like Experimental Industrial Electronic Punk; really raw and in your face. The amount of sonic variety means that there should be something here for everyone. The interludes are cool, although I can see why maybe they're disliked. I'd say that this album is almost perfect, with only The Domestic Fucker Family being weirdly out of place. Oh, and PINK KILLER is amazing. Fav track: 鴉-karasu- six Ugly: Strangely, there are two remakes here, with Children being only 2 years old at the time. However, everything here is good. Excellent, in fact. It'd be cool to see Hades back in the live show. Fav track: HADES VULGAR: OBSCURE is enormous. That's not to say that this is the only reason to listen to the album. When this first came out, I was a little disappointed, as every track sounded more or less the same (just guitars, barely any electronics unlike Kisou). It quickly grew on me, though. There's very little to dislike here (at a stretch, maybe Sajou no Uta is a tad forgettable). At this point, there's almost none of the old DEG sound left. Fav track: NEW AGE CULTURE Withering to death.: I was so not excited when this was announced and I have no idea why. I dithered on the purchase until I heard a clip of 愛しさは腐敗につき, and then instabought it just for that song. Wow, this thing is great. Some people criticise the production (it sounds too clean?), although it seems fine to me. This is a return to a more playful aesthetic for the band that I still really wish they'd touch back on. Aside from the rather blah Jesus Christ R 'n R, this album is solid. dead tree to the end is basically perfect. Yes, even Beautiful Dirt. Yes, even GARBAGE. Love this thing. Fav track: Spilled Milk THE MARROW OF A BONE: Weird Engrishy titles, weird Engrishy lyrics, Kyo's voice steadily getting worse with each successive live, and the band just suddenly went very dark and angry. This album turned a lot of people away from the band. I listened once and almost threw away the CD. Didn't listen to the band for months. Then I gave it a second try, and it made sense. I spent an entire Summer listening to nothing but this while painting. It was truly something else. Yes, it's messy, ugly, and raw as fuck, but that was the point. It's grotesque and Kyo sounds like a cat in a blender. But alongside all this rage, we have moments of utter spellbinding beauty, too; songs that are some of the highlights of DEG's entire career up until this point. Just fantastic. My only complaint might be that some of it feels a little undercooked. A little repetitive, perhaps. But it feels honest and true in its message. Fav track: 艶かしき安息、躊躇いに微笑み UROBOROS: Hoo, boy. This one. This is the album that MACABRE wanted to be, but wasn't. It's also possibly the most complicated album in terms of song structure and writing techniques. This thing is an absolute beast; a monster. In my opinion, this may be the band's finest moment. Every track here has a reason to exist. It's marvellous. Possibly my favourite album next to Kisou. The initial release was plagued by slightly dodgy mixing (didn't notice how bad it was at the time). Another big problem with the original version was the inclusion of the atrocious English versions of Glass Skin and DOZING GREEN. The remaster fixes these things, but also adds in the remake HYDRA 666 for absolutely no reason. It doesn't really fit and already had its place on the single. Fav track: VINUSHKA DUM SPIRO SPERO: Thought UROBOROS was complex? Think again! Here, the band decided to cram as many ideas as they possibly could into each song, resulting in some completely bizarre Frankenstein's monster of an LP. This is the sort of album that you could probably hear something different in every time you listened. In the studio, it works very, very well, but live, the album falls short, with the band's meagre 5-piece unable to fully re-create the enormous sound they created with computer magic. This album is good, but it's also quite bleak, dreary, and at times a little tedious. It tries to push the UROBOROS idea too hard and goes a bit off the deep end, for better or for worse. This was also the time where the band's output became glacial. Hageshisa to... was released two years prior to this, and I was already bored of it when the album finally came out (and the mixing was terrible). Also, side note: the 'symphonic' versions are absolutely rubbish. They should have hired an orchestra or some actual performers to play with them (not necessarily on stage). Also, second side-note: this is the beginning of the polarising 'Kyopera'. Fav track: 「欲巣にDREAMBOX」あるいは成熟の理念と冷たい雨 ARCHE: On the surface, this is a return to the band's old sound... sort of. It's like looking through a gloomy telescope at that old material and reminiscing on it. I'd say this is more mature, more measured. Less spontaneous. It's really very good. I have absolutely no complaints here. Fav track: 濤声 TL;DR: I am a Dir en grey fan and I like the band's music. So there.

good fucking lord ((i WISH this was sarcasm))

Latest review on Arlequin! Just in case anyone was interested!

Made this playlist inspired by this coffee shop in K-Town in Tokyo where I would go pretty much everyday and one day even spent literally a full day there with my friends. In our defense, they had bomb coffee and waffles and after a certain hour they would serve soju cocktails made with soju and frozen berries puree or kiwi (it was pretty much a smoothie with alcohol). Some of the songs in the playlist were often played in the coffee shop and some of them I added because I though they would fit the mood. I would always listen to these songs on lazy days when I just want to sit in bed and listen to music, so there you go, hope someone likes to do that too XD

✨ 🌟 Status ⭐️ Update ⭐️ Game 🌟 ✨ 💯 💯 💯 👑 Final 🏵 🏵 🏵 Round 👑 💯 💯 💯 replace [xxx] in a band name with a token word and I'm starting with 💖Dir en RAT💖

ORZ has been cooking up a topic that a good bunch of you would find very interesting but it is not ready yet. Visual en grey had a lot of good moments, but their early albums also have a lot of weak moments. MACABRE is the most consistent of the visual trifecta and has the least amount of filler, which is why a lot of fans hold that album up in particular as a favorite. GAUZE has the biggest collection of listenable tracks, with a side of help from YOSHIKI when he was still relevant, but it also has it's fair share of tracks that I wouldn't listen to more than once. "MASK", "Mazohyst", and the "Mode of.." tracks are examples of things that drag out the experience and add nothing. Kisou ... should have been an EP. I can go on and on about just how bad that album is, starting with the inconsistent track list, the recycled B-sides, literally filler instrumentals, and too much of an effort to be vulgar and provocative, but I won't. Even then, that had its good moments. But regardless, what it comes down to for me is that I prefer to listen to certain tracks over going through an album from start to finish, and this holds up for a lot more of their albums than I would care to admit. I liked Vestige of Scratches precisely because they cut out a ton of their filler tracks and distilled all of the things I liked about Visual en grey into 80 minutes. Dark en grey suffers from its own unique set of problems. For as much as the fans shat on six Ugly when it came out, it's the most consistent release they've had with zero filler tracks IMO. VULGAR was playing it safe, trying to show their visual fans that the sound may change but the core of the band is still intact, but in exchange there aren't a lot of stand out moments. Nothing good, nothing too unlistenable, nothing really memorable not named OBSCURE. And "Child prey" is a lazy single. Withering to death. sounds like a rebellious teenager proving that they can be metvl with the rest of the older Western sempai bands that shamed them for their interpretation of alt-metal on their previous albums. It starts strong and ends strong, but the entire middle of that album is the most forgettable Dark en grey experience ever released. TMOAB is even more of the rebellious phase, going all in on the metalcore, and it's okay, but it still feels like the band was trying too hard to not be visual when the only people they were really trying to convince were themselves. UROBOROS feels like the band discovered Tool & prog metal & could begin embracing their roots again without having to look effeminate and go all in on the leather straps and thigh high boots like they used to. It's no surprise that this is the period when they begin re-recording their old tracks again. DSS just feels like they went too hard in the prog metal direction, biting off more than they could chew and ultimately crumbling under the weight of their own ambitions. Both of these albums has pretty questionable mixing decisions, and UROBOROS was exposed with that R&E version which pushed all the flaws to the center and sounded even worse. DSS had that farting bass which was a cool experiment but became really annoying by the end of the album, and it really lacked ballads to break up the pace, which is funny because Dir en grey at their visual days were best at ballads and failed at almost anything else. ARCHE is them trying to find a happy medium for themselves, but in the process didn't create an album with any engaging moments, just like VULGAR. Ultimately, I feel that the band's albums would be much better received if they axed the four weakest tracks off each album.

I love that everyone is vocally BIG MAD when they go home. idc about Milk's delusions, I'd still sit on his face

new band, "Sarcastic" has formed and they will hold their first live on February 17. [lineup] Vo.RotM (twitter) Gt.???* Ba.HAKUA Support Dr.優 (yu) *Their guitarist will be announced at a later date...

DracoVirgo A band project of 女角兎 MAAKIII (VOCAL), 重弦龍 mACKAz (BASS) and 打楽龍 SASSY (DRUMS). These three are the principal axis of creation. They are destined to evolve as a group of mixture rock artists who are to keep incorporating with various creators of the world who resonate with this project. Holding unlimited possibilities, they freely swing by the world of "dream and reality" and "yin and yang". "DracoVirgo" members: vo.MAAKIII ba.mACKAz dr.SASSY Their first single "KAIBUTSU" will be released in 2018/02/26.

It's nearing twenty years together for one of the most prolific bands to come out of the visual rock movement. MUCC were able to start out as a band of ragtag oddballs to become one of the most eclectic and resilient bands in the scene today. Though, they still manage to fly under the radar for many, especially newer, visual kei fans. Even with the string of anime themes they've worked on, MUCC seem to have their own corner of the market they had to forge for themselves and have never settled fully into any trend or label. Maybe it is that unpredictable nature that scares prospective fans off, but this list is here to tell you that it shouldn't. MUCC have covered enough ground with their career that there really is a little something for everyone in there. You just gotta dive in! So to help we've gone ahead and ranked every MUCC album from worst to best! It should go without saying that this list is subjective and an artist that has been around this long with such a wide spectrum of influences is hard to pin down. So we welcome discussion about your own favorite albums from MUCC and why you love them! Worst to First: MUCC Albums 15. アンティーク (ANTIQUE) [1999] Depending on which pressing you have of ANTIQUE could determine how you feel about this release (since the tracklist for the second pressing a year later was rearranged and included a brand new song) or you could have been stuck with much of the foreign fan-base who had to wait until the re-recorded re-release 哀愁のアンティーク(aishuu no antique) allowed us to finally get our hands on the sought after tunes. It's no stretch of the imagination that ANTIQUE ranks low among fans due to the combination of its rarity and shoddy production quality. However, as far as quality of first releases go, it's not the worst any of us has heard, that's for certain. You can still find all the core MUCC melody traits in this release, especially when you compare "九日(kokonoka)" to the updated version on Cover Parade years later where only a few small updates were necessary to bring the song seamlessly into their modern sound-- mainly Tatsuro's vocals and Satochi's drum fills. But fans of MUCC at their quirkiest will easily see the merits of ANTIQUE, even if the band themselves had not come to their full potential just yet. Highlights: オルゴォル(ORGEL), 四月のレンゲ草(shigatsu no rengesou) - @doombox 14. 哀愁 (Aishuu) [2001] Aishuu wasn't so much a 'new' release as it was a collection of MUCC's demo songs re-recorded. Ironic that this collection would also become so rare the re-recordings would be recorded yet again in just over 10 years time. This does seem to be a theme with MUCC. To find re-imagined versions of songs and remixes on their B-sides is a pretty common occurrence. Aishuu offers probably the truest sense of MUCC's humble beginnings and musical roots. Though, it suffers mostly the same issues as ANTIQUE with muddy guitar tones where Miya had not yet perfected the nu-metal low-end he was going for or how to level harmony vocal tracks into the mix properly. However, diversity of the tracks was a step in the right direction and it helped this album feel more creative despite its shortcomings. There's also the live staple of "ロバートのテーマ (Robert no theme)" (Robert being the frog puppet and companion of Yukke that was a part of many performances over the years) that helped make this release a must-have for early Muckers. Highlights: 花(hana), 狂想曲(kyousoukyouku) - @doombox 13. カルマ (KARMA) [2010] Even though KARMA ranks fairly high in its home country, it did not resonate as well with many fans outside of it. Part of loving MUCC is accepting their wide range of musical styles and experimentation, at least until they ventured further into electrorock and EDM than they ever had before with this release. MUCC's albums flirted with dance-pop influences leading up to it, yet KARMA pressed on past the point of no return. Outside of layering dance beats and synth on many of the songs, there wasn't much new, creative songwriting going on. Though one could argue that MUCC's main foray into new territory is how they blend outside genres onto their core sound. And in countries where rock and dance genres couldn't be more separate, this choice alienated a large portion of their audience. The greatest crime on KARMA is perhaps that the definitive MUCC sound simply felt lost. They took a risk trading in their emotional, passionate approach for a colder, computerized one and it didn't quite payoff. However, this may be the album for curious listeners who never could get on board with the "old" MUCC style as it's the antithesis of earlier works such as Kuchiki no tou. Highlights: ケミカルパレードブルーデイ(CHEMICAL PARADE BLUE DAY), A., フリージア Karma Edit(FREESIA Karma Edit) - @doombox 12. 痛絶 (Tsuuzetsu) [2001] The quintessential release from MUCC's indies period is hands down Tsuuzetsu. Unfortunately, that didn't help many of the songs on it stand the test of time. Even the digital re-release sounds muffled and lo-fi without any of the usual analog charms which makes the repetitious nature of the songwriting near un-listenable at points. But since we're nitpicking the recording quality as the biggest flaw in this release, it still easily tops the rest of MUCC's catalog from this era. It's evident the band finally solidified their foundation working together and for the first time some bass even got its turn in the spotlight since YUKKE's addition. This came in the form of the song "夜(yoru)" which he also composed the music for. Some of Tatsuro's trademark vocal tricks make solid appearances on this record as well. Even though a number of songs were still hit-and-miss for Tsuuzetsu, the band's energy was undeniable-- especially at the time of its release when visual kei was gaining attention in the global market. Highlights: 盲目であるが故の疎外感 (moumoku de aruga yue no sogaikan), 断絶(danzetsu) - @doombox 11. シャングリラ (SHANGRI-LA) [2012] MUCC's Shangri-La was the first album I decided to try out when it came to picking a release from their discography back in 2013. From there I've checked out THE END OF THE WORLD, 鵬翼 (houyoku) and 極彩 (gokusai), but Shangri-La still stands as my most favored. Despite its backlash, it is well worth a shot just as much as their more preferred albums. This is especially true to those who are on the same boat as I was at first. There's so many sounds the guys implemented in such a standard sized album, that it becomes especially enjoyable the more spins you give it. From the hard opening hitter ,"Mr Liar" , to the opposite of the rocking, jazzy "ピュアブラック (Pure Black)", and even anime tie-ins "Nirvana", the opening to Inu x Boku, a pleasant, soft rock number and "Mother", an emotional belter from Naruto. Tatsuro even shows us a powerful and heavy side in the tear-jerking closer of "Shangri-La". While it's understandably not everyone's cup of tea, especially for their fans, this can be a great choice for those pondering where to start with them. There's clearly a lot a variety and appreciation that can come from it. No matter what your taste is, a mixed bag of an album such as this one may have at least a couple of tracks you'll dig (or hate to admit you do!). Highlights: G.G., 狂乱狂唱~21st Century Baby~ (kyouran kyoushou~21st Century Baby~), Marry You, 夜空のクレパス(yozora no kurepasu) - @beni 10. 葬ラ謳 (Homura uta) [2002] Homura uta served as a major transitional album for MUCC. Finally there was solid production which had been the band's largest hindrance up until then. "絶望(zetsubou)" unleashed the most nu-metal aggression anyone had heard from them as yet and it could not have been a more perfect time to rocket MUCC into the national visual kei scene under the wing of Danger Crue Management. Not only was Homura uta their largest collection of songs to date, the consistency of the entire album was an entirely new level for them. With some money backing them and good advice from their management, Homura uta's songs were much more approachable to the average rock listener but that doesn't mean some cringe-worthy moments didn't slip through. Tatsuro still had a tendency to howl out vocals that were beyond his capabilities, certain songs remained too repetitive, and attempts at other genres (such as jazz) weren't integrated very well that felt like distractions rather than proper additions to songs. In spite all of that, it was still a huge step in the right direction and the the industry undoubtedly began to take notice. Highlights: 絶望(zetsubou), 前へ(mae e), 黒煙(kokuen) - @doombox 9. THE END OF THE WORLD [2014] We've cracked the top 10! And even though I'm personally a huge fan of this album, it seems fair that due to its somewhat recent release date and it being one of MUCC's more musically diverse albums it hasn't connected in the way some of the other albums have. THE END... genre-splices everything from metalcore in "ENDER ENDER" (while gaining some street cred by featuring gang vocals from scene veterans ROACH and new poster kids MAKE MY DAY among others) to disco and funk influences in "369(miroku)". There are also some beautiful ballads and mid-tempo numbers that are the heart of the record. It opens up fierce and feisty, but easily half the album heavily pushes the emotional spectrum which is a side of the band that hadn't been in the forefront for a few years. THE END... ultimately serves as a collection of mini-experiments in MUCC's sound instead of a large departure in the way KARMA was. This approach kept the album more accessible for fans of any MUCC era. Electronic bleeps and bloops are at a minimum on this release -mainly the singles- and it's hard to deny that the organic rock feel is the band's strongest suit. Highlights: ENDER ENDER -album edit-, HALO, Hallelujah - @doombox 8. T.R.E.N.D.Y. -Paradise from 1997- [2015] MUCC have always claimed to write music for themselves despite expectations and criticism, though TRENDY is proof the band is not out of touch with their fanbase in the least when it comes down to it, even if they aren't always understood by them. In fact, MUCC wanted to show their fans some love with a release written specifically with the live performance in mind and inspiration from fan favorites over the years. This brought the four main instruments and rock sound back to the forefront and gave a lot of fans exactly what they had been waiting for. Small inspirations from THE END... still carried over in very subtle synth harmonies, and guitar-work dropped the -core and kept it mostly hard rock this time around. While purists could argue MUCC should have pushed the envelope more on this record, it still ends up being a seriously fun release for new and old fans alike as it sits right in a sweet spot. Headbang, jump, mosh, fist-pump, tap your toes, or sway, this release works hard to get you moving along to it and showcases a lot of strong hooks to sing along to. Highlights: 睡蓮(suiren), TONIGHT - @doombox 7. 是空 (Zekuu) [2003] From the first notes of "心奏(shinsou)" you will know you are in for a totally new and improved MUCC. This album marked their major label debut with Universal Music and it was obvious the band put their best foot forward. The down-tuned, distorted, intensity of Zekuu was its own force to be reckoned with as MUCC continued their forward momentum from Homura Uta the year before. Their style-hopping had streamlined and finally fused genres creating the what would from then on the be the 'core' of MUCC's distinctive sound. The album was so well received that "蘭鋳(ranchuu)" became a resident staple of their live sets for the next ten years. As much as MUCC like to re-record their songs and put new spins on them it's surprising they haven't chosen to rework any material from Zekuu. Maybe even MUCC know these songs are too sacred at this point. The album isn't perfect, the bass levels are too high, vocals too low, and the guitars down-tuned to oblivion. But that was also extremely common for the time this album was released and the nu-metal hints were the perfect thing to separate them from the rest of the pack within the visual scene to begin to focus their sights on the much larger mainstream rock stage. Highlights: 我、在ルベキ場所(ware, arubekibasho), 1979, 蘭鋳(ranchuu) - @doombox 6. 6 [2006] How fitting our number six ranking would belong to none other than this release. 6 felt like it was a solution to the band having too many strong songs for their previous album but not enough to make it a double album. So they waited a few months and kicked out this gem. And whereas Houyoku had felt more conceptual and showed the band's softer side, 6 effectively came back swinging full force. It resonated with an underlying sense of power and optimism for how dark and aggressive the compositions were, save for the weirdness of "夕紅(yuubeni)" that was simply the random folk-country visual kei crossover you never knew you needed in your life. MUCC were nearly at the pinnacle of their popularity and their confidence really came across on this record. Highlights: フォーティーシックス(fourty-six), 夕紅(yuubeni) - @doombox 5. 朽木の灯 (Kuchiki no tou) [2004] You could almost cut MUCC's career into eras of three albums each. Kuchiki no tou would round out the darkest era that started with Homura uta and Zekuu. This album was the most poignant of the three, and some of the most down-tuned as well as speedy guitar work in the form of "濁空(dakuu)" really brought it to a caliber all of its own in their discography. Expectations had skyrocketed thanks to the band's recent growth spurt in popularity and MUCC delivered. Kuchiku no tou is full of hard-hitting, near bulldozing compositions that for many fans to this day still can't be topped. The band didn't need any tricks or 'bells and whistles' to sell the album, they had learned their strengths and had enough kick-ass songs for a surprisingly long 15 tracks. I don't think anyone would have complained if they added a few more and went for a legit double album with this one but that doesn't seem to be MUCC's thing. Though the album blazes by pretty quickly at just over an hour, the final track "朽木の塔(kuchiki no tou)" is a strong contender for MUCC's pièce de résistance, as it sprawls out over an expansive eight minutes and sucks you down to the deepest pit of your own soul. Highlights: 幻燈讃歌(gentousanka), 路地裏 僕と君へ(rojiura boku to kimi e), 朽木の塔 (kuchiki no tou) - @doombox 4. 鵬翼 (Houyoku) [2005] MUCC was one of the bands that did the deed of getting me sucked deeply not just into visual-kei but Japanese music in general. The first album of theirs that I owned and listened to was 鵬翼 (Houyoku) and it sealed the deal on me being a fan of their music. It's a very strong album and takes you on a emotional roller coaster in a way not much artists can. I remember getting it a little after it came out and being completely sucked in from the moment the opening track "輝く世界 (Kagayaku Sekai)" started and not being able to refrain from putting the album on repeat. Maybe that's why 鵬翼 (Houyoku) as a whole has such an impact on me, at the time I was going through a lot of loss and emotional turmoil in my life and music had a big part in helping me move on from that. The album as a whole may have a strong theme of loss but in the end empowers you to move on become a stronger person. At least that's the way I interpreted it when I gave it a listen and if you're going through some emotional turmoil give 鵬翼 (Houyoku) a listen and maybe you'll get some musical freedom from MUCC to help you move on from your pain. Highlights: 1R, 雨のオーケストラ (Ame no Orchestra), モンスター (Monster) - @tetsu_sama69 3. 球体 (Kyutai) [2009] One of MUCC's most well-rounded albums (pun intended!), Kyutai really shows yet another new fire had been lit under MUCC put everything they had on display. There's fist-pumping rock anthems, headbangers, dance-able jams, and even near-religious experiences in the operatic surprise "讃美歌(sanbika)". Kyutai is more rock driven than its predecessor Shion, however there is synthwork layered ever-so-subtly in the background if you listen for it. It truly feels like a combination of their previous two albums worked seamlessly into one plus some interesting experimentation to spice it up. The band showcases all of their best facets without straying far from their core strengths yet kept the album fresh. It's no small miracle MUCC were able to keep pressing out fantastic album after album during this decade leading them to be one of the most prolific bands in modern visual kei! Highlights: 咆哮(houkou), アゲハ(ageha), 陽炎(kagerou) - @doombox 2. 志恩 (Shion) [2008] I remember when I first heard the singles leading up this album and getting so hyped for it because MUCC just fit into the style of music I loved. For me 志恩 (Shion) is my favorite album that MUCC has ever done and it's one I always go to when I need great music to give me life again. From the beginning of the album you're pulled into a rush of chugging heavy instrumentals and rough vocals that take you over to point where you can't refuse the call of the repeat button. There's a lot of flavors put into 志恩(Shion) from the insane harmonica spiced addictive sound of "ファズ (FUZZ)" to the energetic positive powerhouse of "フライト (Flight)". And then it shifts to the emotional rollercoaster of "空忘れ (Sorawasure)" and the extremely touching and dark tinted taste of "リブラ (Libra)". 志恩 (Shion) overall is right in the vein of what represents MUCC's heavier side and is the first album I would go to when it comes to introducing someone to their music. Hightlights: THE ENTIRE ALBUM IS THE HIGHLIGHT YO! - @tetsu_sama69 1. 極彩 (Gokusai) [2006] Were you really surprised? Of course it's Gokusai!! 2006 was such a great year for visual kei and Gokusai was one of the bright shining lights making that year so memorable. It's hard to pick stand out songs on this album when every track from the opener to the twinkly send-off song "流星(ryuusei)" is MUCC undeniably at their best. Admittedly, not as dark or heavy as their previous work, but the aggressive songs had the perfect amount of bite and grit to them, just enough to blend seamlessly when the band changed gears and slowed down for the emotional side of the album. "パノラマ(panorama)" pulled at the heartstrings as a dedication to the break up of ラヴィアンローズ(LA VIE EN ROSE), a brother-band of sorts that members are still close with to this day. And the song is still just as potent 10 years later, even if you never knew what it was referencing. The singles off of Gokusai were all strong, but when listening to the complete album it shows each and every song is just as strong and catchy as the next. Each shows a different side of MUCC leading up to it. Gokusai shot MUCC into the stratosphere to transcend the Japanese music scene, and by their next album they would be touring with some of the world's most famous rock bands of their generation. It would send them to tour the globe and cement themselves as no-longer up-and-comers but one of the pillars of the visual arena. Highlights: ALL OF IT. EVERY SONG. - @doombox Thanks for reading! ♪ Please share your favorite MUCC albums and songs with us below!

No, this is their tour with GRIMOIRE,, Xaa-Xaa and DADAROMA, and the flyer show just the 4 singers. Their Oneman tour will start in august, and their new single will be released on 2018.05.03

the rise of sarcastikei

RotM? This guy? https://www.tunecore.co.jp/artist?id=205695

You should definitely get the red one. The bonus CD has an incredible song Also, I think the red one has all the past flyers and promo poster images? Or maybe it's the one with the interviews? Or both? I can't remember, I got them both so long ago I forgot which book contains what 😆

in case someone wants to post it in the news section RAZOR got a new look and announced the release of their 3rd single in mai. *just too lazy to create a new topic right now...*

Not actual releases, but I've done a lot of scanning lately~

Sum Mad lip fam. I totally see it xD

Sooooo... One secret member among nobodies? Not very excited. Secretly hoping he's Akira just to continue this trend of fooling myself. Ba. HAKUA Twitter https://twitter.com/HAKUA_sarcastic?s=09

maybe it's used like, "she give some mad lip tho 👌👌👌" ...no? ok well at least i tried

They, the vocalist with his pterodactyl screams especially, sound impeccable. This band is such a character and you'll never catch them out of gimmick even for a second, and it's the best vk band in years so i'm all in on this

an cafe deep lore: miku and mari yaguchi are actually the same person

https://youtu.be/P3ALwKeSEYs

they've been going on for 10 years?!?! but yay for new music, their last album was gorgeous. also yas get that natural snowy pic!

Now that I've finished Ergo Proxy, I'm feeling that big empty space inside of me..............

Cutie picture with my girlfriend (We just started, guys. I'm so happy <3) in a Lolita Fashion Meeting: Edit: It looks like the picture is really low quality here e_e I shall search the picture on my phone and send it to Imgur.

I guess you focused on Mahiro looking like 13 years old, but Takemasa, Hiyorin and Junji has lot of makeup. Especially Takemasa... as always.

which vk singer am I this time? freaking carnivaal in Rio and Im way too drunk

Here was my 2017 Rap playlist:

Back at it again with my review on DEZERT's 「STUDY」 live just in case anyone is interested in watching

I got a sexy slow jams K-Pop/K-R&B playlist going for Valentine's day if anyone is interested.

Jeffrey Bowyer-Chapman stole the entire episode; he is so fucking hot I want him to fuck my brains out. I was jealous as hell of everyone who simply laid a finger on him, Ru making googley eyes and touching his ear, Chi-Chi licking up his chest, even Shangela diving down there (though she may not have touched anything), UGHHH!! Let's just take a minute to appreciate him UNHhhh Anyways, @Jigsaw9your meme basically sums up how I feel about Milk, I was looking forward to seeing her in the beginning of the season, but between her throwing a fit over being safe and BULLDOZING Trixie in The Bitchelor, I am so glad she went, she got real annoying real quick. I'm also glad she left because it's too early to send Aja or Chi-Chi home. The second the top 2 and bottom 3 were announced, I knew if Kennedy won the lip-sync, she would be sending Milk home. I was really hoping Trixie would have made it into the top 2 this time, I LOVED her act in The Bitchelor. I was really conflicted about last weeks elimination, I don't think Thorgy should have been sent home, but at the same time, if Kennedy was sent home, then she wouldn't have stayed to kick Milk off the island, which we needed! Thorgy's elimination was a sacrifice for the greater good haha. I like Ben, but I would like for him to be "safe" next week, I don't know if I like him enough to be in the top 2 e-v-e-r-y episode

bring back the KAVKI BOYZ

I think one of the major standouts recently is Xaa Xaa theyve been extremely active and have released some super stellar stuff definetly worth cheking out +more

Chazz it up! is still basically the only good part of GX.

I don't think japanese bands are overthinking the matter nearly as much as you do. Pretty much all tapes we are talking about here are from 90s bands. These bands didn't release tapes because CDs didn't exist (they did since the 80s), but because back then it was just cheaper and easier for a band to record a tape. So in the beginning of their career vk bands would often start with a few tapes as demonstration, and when they met with some success, they would venture into making CDs. As such, pretty much every tape could be considered a "demo". At least I have never seen a band say "Okay, we released a few demo tapes, and now we are going to release our first "real" tape!" After some discussion among staff we thus decided that if we are going to have a new "tape" tag, EVERYTHING originally released on tape should be tagged as such. Trying to make a distinction between a "tape" and a "demo tape" just seems like splitting hairs, especially if bands use the terms interchangeably anyway. As for the old "demo" tag... we will probably rename it to "Demo CD" to avoid confusion. But it's a really vague tag. There aren't really any inherent criteria that signify that a CD is a "Demo CD" other than the band calling it such. And apparently you can call pretty much everything a "demo CD", whether it's some unlabeled CD-R given away at lives or pretty much a standard single sold at shops. As such I consider that tag to be rather useless and I myself would prefer it if people used single/live dist/whatever else applies instead.

And please add "Demo" tag for the lossless section. I know, it's pretty weird but I prefer to rip tapes in lossless lol.

Don't delete them, just give them a gentle push off of your feed. That's what I did with my sister, who wouldn't stop posting "inspirational quotes" and racist remarks about immigration. I couldn't remove her because, well, she's my sister and that would be very rude. She also didn't listen to me when I pointed out inconsistencies in her "arguments" against immigration (like it's fine when they're white but damn if they're any darker than that it's boot time), so uhh... I saved us both the trouble of arguing and just removed her from my feed. She can contact me if she wants, but I don't have to put up with her proud racism if I don't want to. And I don't. Kinda thinking of doing the same thing to my brother. All I get from him is pictures of dead animals (he hunts as a hobby, and while I respect his decision and have inherently nothing against hunting FOOD, I can't look at the pictures of dead foxes and raccoon dogs) and "funny" gay jokes. God fucking damn it why does my family have to be the backwards redneck one.