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  1. 24 points
    In that case visual kei might not be for you
  2. 21 points
    spockitty

    VK grandma represent \o/

    Welcome my dear children! How's vk doing these days? 😎 I see you can even listen to your weird japanese metal on Spotify, kids have it way too easy nowadays... BACK IN MY DAY I had to hunt single songs in 92kbps on dial-up Limewire and half the time ended up with "I did not have sexual relations with that woman.mp3". Funny story, that's how I got into vk! 13-year-old me was browsing the wide web, probably for some quality Britney Spears, and found a grainy Miyavi's Jibun Kakumei PV instead. With a 20MB download limit per day, I thought CLOSE ENOUGH and the rest is history. Now I'm back after over 10 years of impersonating a Serious Adult™ and I have Opinions™ to share. Some bands that I used to listen to (some of which are surprisingly still around!): Miyavi (duh), MUCC, Merry, girugamesh, 9GOATS BLACK OUT, Hora, Kaya, Schwarz Stein (can't believe they got back together, it's like I never left!) and the whole shebang, Aural Vampire, Kagrra,, Yoshiki's classical stuff~ And some bands that I've discovered in the past few weeks and absolutely love: Initial'L and consequently Lycaon, DIMLIM, Xaa-Xaa~ Also, I'm Anna 💩 P.S. I also listen to a lot of kpop, all kinds of electronic and celtic music; don't expect there to be much overlap but you never know! if your music taste is as all over the place as mine, hit me up, we can share obscure recommendations!
  3. 21 points
    Greetings, Monochromians! I hope everyone is doing well! After publishing our list for albums that turned 10 years old in 2017, we thought it would be fun to keep it going and do one for 2018 as well! I actually intended to publish this before 2018 came to a close, but it's all good! It's been a busy season for us all, and we ain't gonna let that stop our flow!!! So let's take a trip back to 2008 and see what J-rock was poppin' a decade ago!!! LET'S GET IT! 夢中夢 イリヤ -ilya- You're a few songs deep into -ilya- before you realize you're listening to something truly unique. 夢中夢 were nice enough to ease you into having your mind blown. At first the album sounds like it could be Mouse on the Keys with an operatic female vocalist. Full of catchy, lilting piano leads and swirling drums. Before too long, however, 夢中夢 are spicing things up with demonic snarls and sharp metal riffs. Now the fast, underproduced drums and organs are working with the dual vocalists and guitars to create an enchanting melange of viciousness and baroque post-jazz that's just downright hard to describe. Sure, unabashedly pretty, ethereal black metal is all the rage now; but 夢中夢 had a softer take that has yet to be replicated. It's the only album I own that I can imagine portions acting as the soundtrack to a knock-off Disneyland kiddie adventure ride, and other portions being played between sets at the Roadburn Festival. by @The Reverend DIR EN GREY UROBOROS 10 years and a month ago, DIR EN GREY released their seventh studio album UROBOROS amidst much fanfare. The album was instrumental in bringing JRock to its height of popularity in the west, during an the era that saw them tour extensively and receive airwaves in Europe and North America. Released off the back of their 2007 album Marrow of a Bone, UROBOROS delivered a theme that represented the cycle of birth and death, marking a shift from the old Dir en grey to the newly incarnated DIR EN GREY. With it, they carried their sound to new experimental heights, melding western metal with oriental influences resulting in classics like “Vinushka,” “Dozing Green,” “Inconvenient Ideal,” “我、闇とて…” to life; even inspiring former Deg roadie Wataru's band 12012 to pay homage in their very out-of-character 2012 self-titled album. by @helcchi 9GOATS BLACK OUT devils in bedside A singer everyone thought was long retired appears from the ether. He announces a new band, two new musicians, and new music, but no samples or even a frame of reference was provided to set expectations. All we get is a name and the imagery of a goat. This sounds like the opening to a really corny joke, but this is how 9GOATS BLACK OUT erupted onto the scene in 2008; with neither a bang nor a whimper but a six track mini that commanded everyone's attention. In a time where metalcore was the most common style of music played and costumes were vibrant and gaudy, 9GOATS BLACK OUT is responsible for injecting both post rock influences and a new sense of fashion into visual kei. In the process, they birthed a sub style unlike anything anyone had heard or seen before. devils in bedside is a timeless affair that sounds fresh even in 2018. In fact, this album was a little too good; no matter the quality of the music that came after, 9GOATS could never escape the shadow of devils in bedside. This is visual kei for people burned out on visual kei, and still functions well as a springboard into various different projects and labels in the scene. by @Zeus The scene back in 2008 was littered with shiny brand new things for us to look at. When a murky and dark 9GBO emerged, it sure did stand out. People seemed very excited to have "ryo" back. Who the hell that guy was - I had no idea and the pictures and promo released prior to the album revealed little of the member's faces, that is, there was no eye candy to keep young me interested. Regardless, something about the melancholy of 9GBO caught my attention. Even your more mediocre metal vk band would be donned in extravagant hair or clothes, because of this, 9GBO's simplicity was hard to digest, they offered little to look at but also their melodies were unlike anything we'd heard before. It took practice to appreciate devils in bedside. It wasn't long before I was deeply hooked, replaying raw over and over gain because I simply couldn't get enough of how it felt. Without a doubt, this album has shaped my music taste into what it is today. If I need to get away into a mysterious and sultry fantasy world, I always come back here. by @platy ONE OK ROCK 感情エフェクト It's rare my memory of listening to a band for the first time is remotely clear, especially 10 years later, which is a huge credit to ONE OK ROCK being as I have the memory of a goldfish. A friend played the music video "恋ノアイボウ心ノクピド(Koi no aibou kokoro no Cupid)" for me way back when and it was love at first listen. 感情エフェクト (Kanjou Effect) was a landmark album in a chain of releases that skyrocketed OOR to international popularity. Unfortunately, its legacy became slightly marred with the arrest of the band's lead guitarist, Alex, that caused much of the album's promotions to be halted and deleted from the internet, including the previously mentioned music video. Kanjou Effect still stands strong in OOR's discography, despite the bad press surrounding it. It has all the melodic staples of their later work, but the vigor of youth added a rawness to this album that they were never quite able to capture again. by @doombox school food punishment Riff-rain school food punishment made their official debut just a year prior to 2008 and they'd quickly established themselves as one of the most promising new indie bands around with the two EPs they released. So when "Riff-rain" came out, I thought it would be pretty good, but I did not expect it to be THIS DAMN GOOD! True to the EP's name, "Riff-rain" is like a non-stop downpour musical goodness, as the band is playing is tighter than they've ever played before, and there's a noticeable intensity and drive to their songwriting that was only hinted at in their previous EPs. The band had finally came into their own. Unfortunately, this was their final EP as an indie band before going major and embracing more of an overly poppy, anison sound. But for many fans, this is regarded as their best work - an EP that captures SFP in perhaps their most promising era. (this EP gets bonus points because if you put it on repeat, it plays in a perfect loop! ) by @CAT5 ギルガメッシュ MUSIC It blows my mind to reflect on how far girugamesh have come. MUSIC was a very polarizing release at launch because girugamesh courted a particular type of visual kei fan with their affinity for all black clothes and depressing metal core music. These same fans didn't appreciate girugamesh going full Linkin Park and electronic, which was the CliffNotes consensus at the time, but a lot of the apprehension was also rooted in a fear that they would leave their old looks and sound for brighter pastures. That fear was very real; had we known what the next album would be at the time, we would have prized MUSIC a little more. MUSIC is a transitional period in girugamesh's history because it fits snugly at the intersection of the dark and heavy tone of earlier releases and the fun and lightheartedness of later releases. This was an album they clearly designed to have fun playing live, and this is an album that I throw on whenever I need a burst of energy. I also believe this is one of the earliest - and probably most influential - albums that used a heavy dose of electronic elements, which would go on to influence not just this band, but also inspire countless other acts such as MUCC, D'espairsRay, REALies, and 2nd Dyz. by @Zeus My fondest memories from the last decade would not be complete without Girugamesh. Truly a definition of the times, it was their album Music that cemented recognition to a young fanboy like myself. Sure, some might say that music was a far-cry to the hardcore rock they were known for at the time, but I like to think that this small experimentation worked. Seamlessly mixing in beats and melodies into their already amazing rock style, as an alternative to having Satoshi keep wrecking his vocal chords, you could say Ryo was a genius and believe it lol. It’s an experiment gone right, and I can definitely tell you this was my most played album in 2008. by @YuyoDrift Versailles NOBLE The official full-length debut of the band of ultimate beauty took place in July, 2008, about one full year after they released their debut single, The Revenant Choir. This album marked something new in my own VK fandom as well as a very large amount of fans around the globe. These five individuals had presented themselves as pure art, something other than human. Most importantly, everything sounded new and fresh. An album like this had seemingly not been done, even by previous projects. The album proper was over an hour long and never lost momentum. The associated music video, "Aristocrat's Symphony", perfectly pictured what this project was going to be about. Now, 10 years later, it is still one of the defining albums of my youth. In hindsight of the overall project, however, they absolutely should have let Teru compose more! by @ShanethVarosa Plastic Tree ウツセミ When I think of Plastic Tree's album Utsusemi, I think of the mellow guitars, peaceful synths, and calm tambourines. Being released a year after their album ネガとポジ (Nega to Poji), Utsusemi gave a much softer sound in comparison with only a few upbeat songs like "テトリス" and "GEKKO OVERHEAD". But even those songs were still considered soft when comparing them to songs like "不純物" or "無人駅" from Nega to Poji. Utsusemi, in a sense, was less edgy and more poppy, which might have drawn away some fans, but to me listening to a Plastic Tree album was like reading a book with its own story. Utsusemi made me feel like I was floating in a clear body of water on a breezy summer day. I can say the same for the album art as well. Everything felt light and airy, and Ryutaro's soothing vocals kept my heartbeat to a calm. In fact, Ryutaro rarely strained or raised his voice during the entire album, which made it all the more calming to listen to. Despite saying that, there are several interludes of human background noises slipped in between tracks that break my small reverie and remind me of the real world I live in. Utsusemi may not hold up as well as other Plastic Tree albums, but it carries a consistent blissful and tender tone making it a unique album of its own. by @plastic_rainbow SuG n0iZ stAr SuG have a certain reputation in the scene, some say their music is bad. But regardless of how you feel about them, their first album is proof of how far they've come as musicians. It's a mixed bag with poor production and insufferable vocal work. But the worst sin of it all, are the visuals that came with n0iZ stAr. The pv for Vi-Vi-Vi is a fun yet ugly affair full of sparkly silver fabric, leopard prints and ruffles. Believe it or not, fangirls around the world were going crazy for Takeru's star spangled bald patch and insane murderer smile. The tracks vary from sugary happiness to some pretty heavy tunes considering SuG's repertoire at the time. Looking back, Chiyu's bass was the backbone to most of the album, which is probably why I still kind of enjoy it to this day. On one hand you have decent tracks like the lovely ballad "RomantiC" and the fast paced "ヤミツキディレイ" (disregard the use of autotune) and on the other hand you have "うえすとふぁいとすと~り~" and "pikaLIFE". The former should be used as a form of torture, the latter would have been better off if time had erased it from its bland, meaningless existence. Not much later in the same year, SuG released the mini Punkitsch which blew n0iZ stAr out of the water with it's clear direction and heavier and more polished sound, and once again, outstanding work from bassist Chiyu. n0iZ stAr laid out what fans should expect from SuG in the future, always wandering between light and darkness, treading the line between shitty pop and decent punk rock. (don't @ me, I still love them) by @platy ミドリ あらためまして、はじめまして、ミドリです。 midori were at the top of their game in 2008. They had just made their major debut with their shimizu EP towards the end of 2007, and were already amassing a cult following of international J-rock fans. This album was their first major full-length, and for the time being, it seemed like the band had successfully avoided the dreaded 'indie-to-major curse'. In fact, the transition was seamless. The band's cacophonous Jazz-Punk sound that had brought them this far merely flourished on this album. Hell, it's a wonder that a major label even signed off on an album like this with practically no commercial appeal. Sadly, this was midori's last great work before they released their DISMAL final album and disbanded in 2010. by @CAT5 exist†trace Recreation eve You may not know it, but exist†trace were among the top acts in 2008, becoming the most recognized all-female Visual Kei band of this era. Providing a satisfying sampling to the band’s usage of melodic death metal, the band’s first full album Recreation eve contained distorted guitar play and riffs that were very appealing during this time, with the girls aggressively providing the dark undertones necessary to promote their Visual Kei aesthetic, as well as shock factor. Lead Vocalist Jyou could growl and scream like you wouldn’t believe back then and it was tracks like “Water”, “Judea”, and "Venom" that showcased her versatility as well as the entire band's potential. It was with Recreation eve that the band gained wide stream recognition both in Japan and the West, leading to a European tour that same year. If you wanna feel this era of VK to its fullest then you'll give this album a listen. by @YuyoDrift exist†trace has had an amazing run for the last ten years, much better than anyone would have expected back in 2008. Women then and now are still uncommon in visual kei, and the acts that did exist were small and had infrequent releases, and maybe only one female member. There was a niche waiting to be explored here, and exist†trace graced the scene in 2003 with an unexpected heavy goth sound inspired heavily by D'espairsRay. The inspiration was so obvious, they had the nickname of "budget D'espa" among fans for a few years. Recreation eve is a collection album that captures exist†trace at the end of this five year period, shortly before they underwent the visual and sonic transformation that turned them into the band we know them as today. The name of the compilation even hints at it (although no one thought much of it then)! The production feels a bit thin compared to what we can expect from them now, but the song writing and some riffs still hit hard. exist†trace made the right call in switching up their sound when they did because I don't think they had enough ideas or flexing room to continue in their original sound, and reinventing themselves gave them the breathing room they needed to make music more quickly. I miss this version of them, but sometimes we have to let a good thing go. by @Zeus kacica MOSAIC By 2008, the Japanese post-rock scene was booming and there were plenty of bands to go around with new ones surfacing every day it seemed. kacica was one of the more interesting fringe acts to emerge from the scene...Like 101A and downy - they had a definite post-rock element to their music, but they weren't necessarily easy to classify as such. The band claimed influences from post-rock progenitors Sigur Rós and Mogwai, and while their impact is palpable, kacica has an extensive musical palette that draws from psychedelia, progressive rock, and the avant-garde as well. All of these different elements coalesce brilliantly on the band's sophomore album "MOSAIC" which is downright otherworldly! This album is such a strange and wonderfully immersive listen that it'll make you feel as if you're on a massive intergalactic tour visiting different planets and experiencing bizarre new worlds. I love it! Definitely one of the coolest albums released in 2008 and a personal all-time favorite for me! (also one of the few bands who sing entirely in "Engrish" that I actually don't mind ) by @CAT5 the studs and hate 2008 marked a great turnaround for the Nagoya Kei scene as Daisuke of Kagerou and Aie of deadman had recently formed the studs in an effort to bring the genre back to its roots, as well as continue the already existing Visual Kei influence internationally. Along with Yukino from GULLET and Hibiki from Blast, it was during this year that their first full album and hate was released. This album successfully represents what each of the very experienced members in the Nagoya Kei scene had to offer as Aie had carried over the raw alternative sound that existed in deadman, and Daisuke with his heartfelt and emotional vocals that were once heard in Kagerou. Even greater than this was the musical arrangement and rich execution of instruments from all the members that allowed naturally beautiful melodies to be the very definition of their musical genius. Even after 10 years, this album's release still holds its acclaim as a must-listen, and truly grasps how great being a VK fan back then was. by @YuyoDrift DELUHI Surveillance DELUHI had an incredibly explosive beginning to their activities in 2008, spearheaded by vigorous touring and practice and supported with the release of their first album Surveillance, which was a seminal moment for visual kei and was recorded in less than two months. Before Surveillance, power metal and visual kei didn't really mix. DELUHI - and guitarist Leda in particular - crafted the blueprint for what I'll affectionately dub "power metalcore dipped in the dressings of visual kei". Perhaps the greatest success of this album is neither how good it is, nor how an indie band's first release shamed other acts - indie and major - into serious action, but how effortlessly the band was able to market power metal to a crowd that these sounds never appealed to. Take one part power metal, add some distortion to the guitars and a few harsh vocals, staple a saccharine chorus on top, do that four or five times with minor variations, and you have a formula for success. It's borderline genius in retrospect. Leda is a renowned and prolific guitarist today in his own right, but ten years ago was best known as the ex-bassist of Galneryus with a penchant for writing sick riffs. This is the album that put Leda on the radar, broke him out of those definitions, and blazed the trail that later acts like GALEYD would follow. by @Zeus LM.C SUPER GLITTER LOUD BOX LM.C was easily accessible for those who were too afraid to go deep into the world of vk. Their music was harmless fun and super catchy, they used to wear a lot of stuff that people going through their emo/scene phase could relate to. Stripy half gloves, anyone? For those reasons, in '08 LM.C was nearing the peak of their popularity in the west. SGLB is the perfect album to go crazy to and when compared to more recent releases from the duo, it's bursting full of life. Headbangers like "METALLY" and "@FUNNY PHANTOM@" and classics like "OH MY JULIET". Come on, we all belted along to that song at least once. This is the LM.C formula at its best. by @platy THE BACK HORN パルス One of the prevailing criticisms that I've heard about THE BACK HORN over the past decade or so is that the band started off strong with their first few albums, but quickly lost their spark afterwards. It's true to an extent: they originally hit the scene with a raw, fresh rock sound, and they DID eventually mellow out into a kind of mainstream mediocrity - HOWEVER, the band got a much needed second wind on Pulse. As their 7th major album, it was clear at this point that the band's songwriting had been tempered to suit the industry, but somehow, they managed to resurrect the passion of their early days and perfectly assimilate it into the refined and polished sound that they'd developed since. Fans were definitely pleased with the band's revitalized energy and this album marked the start of a new leg of inspired music from THE BACK HORN. Unfortunately, that energy only lasted for a few years before the band fell back into a mediocre slump, but THE BACK HORN has still had an incredibly solid career for a band that just celebrated their 20th anniversary this year. Pulse is one of their best. by @CAT5 Sadie UNDEAD13+2 I have an intense sentimental connection to UNDEAD13+2, despite the fact that I'll only listen to select cuts from it whenever the urge grips me to give it a spin. UNDEAD13+2 is a relic of its time, an age in visual kei where being a good indies clone of Dir en grey was acceptable and even encouraged, and it's what everyone and their mother flocked to Sadie to hear. Believe it or not, there was a time when I considered Mao to have better gutturals than Kyo! Sadie knew their market well, and part of their rise into prominence is because they played off fan expectations to deliver something familiar but new every time, and UNDEAD13+2 hits that sweet spot. For all of the material that Sadie would release after this point - and that's eight to nine years of singles, minis, and albums - nothing defines Sadie for me as well as UNDEAD13+2. Unlike all of their other albums, UNDEAD13+2 represents an entire era of the band's activities distilled into its best parts, and feels more complete and realized than any other album of theirs bar Master of Romance. by @Zeus Sugar SWEETEST Visual Kei bands have always dabbled around with jazz influences, but more often than not the results were a mess. Sugar was one of the few exceptions to that rule, forming their entire sound around this dark jazzy rock sound and actually pulling it off. The result of this melding of genres felt natural as opposed to forced. Loki's deep and nasally vocal tone oozes "VK", but seemly with a greater grasp of the control needed in order to provide a dynamic delivery than a lot of his peers in the scene at the time. SWEETEST was the first and only full length album the band would ever release - the band did not survive long past this album's release (disbanding in 2009) - which is a damn shame as their sound still feels fresh and unique today. by @Ito lloy 遮断 Yoooooo, big shout out to ghostorgan from livejournal (you know this is from back in the day if i'm mentioning LJ ). I'm not sure if that user is still around, but I'm like 99.9% sure I have that person to thank for putting me on to this band! Either way, lloy were a peculiar bunch. We all know that Goth is a prevalent element in Visual Kei, but bands that identify solely as Goth or that play strictly Goth music seem to be a rare commodity in the modern J-rock world (whether vk or not). So lloy being a female-fronted J-goth act automatiically made them stand out. It also helped that their music was actually good, too haha. 遮断 was a great album full of bass-driven goth-rock tunes, often with a dark, jazzy flair to them. Songs like "消えたサブリナ" and "吸血鬼" even reminded me a bit of British rockers QueenAdreena. This seems to be the only release of theirs that's widely available, but it's well worth checking out. lloy has a timeless sound, and one that's unique within the world of J-rock. by @CAT5 DEATHGAZE AWAKE-evoke the urge- Marking a pivotal change in direction for the band in 2008, AWAKE -evoke the urge- was the first album where Ai, who had recently left his position as bassist, now stood as the vocalist and leader of band. What was amazing about this album was that Ai managed to retain the same deep vocal sound from before (trust me this was mind-blowing at the time lol) but in a cleaner, and much more defined manner. The heavy and fast execution that was iconic to DEATHGAZE was also retained, while introducing slower melodies and softer arrangements for the first time to their repertoire, adding more weight and melancholy to the band's usage of the term "heavy". AWAKE -evoke the urge- was a magnificent release that 10 years ago allowed DEATHGAZE to come back from the brink of what we all thought was going to be a disbandment, while being able to go toe to toe with their long time rival band lynch for the next few years that followed. by @YuyoDrift Lillies and Remains Moralist S.S. Ten years ago, despite Japanese indie becoming increasingly less accessible to overseas fans at the time (many major forums were dying off, streaming wasn't really a thing yet, and music wasn't as widely available to purchase) - I was in a rather fortunate and unique position to have access to new J-indie on a weekly basis. As a result, I spent A LOT of time listening to new and obscure J-rock bands that year - many of which were average, forgettable, and never saw the light of day (both in Japan and in the overseas fandom). So when Lillies and Remains appeared amidst the mire of humdrum bands I was coming across - they stood out like a sore thumb. Their debut EP Moralist S.S. sounded like nothing else in the Japanese Indie scene at the time, and the only comparable band (their friends PLASTICZOOMS) wouldn't debut until a year later. Here you had a new, young band playing raw, energetic, and technically sound 80's new-wave/post-punk that could easily pass for material from a "Western" band (especially if you weren't listening close enough to discern Kent's rampant 'Engrish' ). But not only that - the quality, maturity, and polish of their songwriting far exceeded what you might expect from a band that just debuted - and it certainly stood meters above the stuff I was constantly running into. Needless to say, this EP instantly turned heads and made fans, as it was a big hit with the J-rock heads on communities like J-salad and Tainted World (which later became our beloved Monochrome Heaven). Lillies and Remains came is strong and they've been a consistent force to reckon with ever since! by @CAT5 新興宗教楽団NoGoD 夢幻教 There was a time long ago when the band now known as simply NoGoD was a unicorn of a different shade. Unlike many visual kei bands that start activities first and band activities second, 新興宗教楽団NoGoD practiced in secret for half a year before officially beginning activities. With such a strong start, powerful aesthetics and sound, and controversial anti-religion band concept, 新興宗教楽団NoGoD went from relatively unknown to indie powerhouses in only three years. I find their period from 2006 to 2009 to be their most creative, with 夢幻教 (Mugenkyou) acting as a powerful anchor for this era. It debuted at #6 on the Oricon indies chart upon release, cementing NoGoD as a rising force among their contemporaries. With its powerful melodies, varied compositions, air of mysticism, and undeniable inspiration, this album holds up even today. 夢幻教 is my favorite NoGoD album and always has been. Examining the NoGoD of today with the band as it was then leaves me dispirited, because there's an undeniable element and aura to this album that has been missing from their music since they went major. None of their other albums grab me like this one does. by @Zeus シンディケイト (噂の)アウトサイダー As far as oshare kei goes, cindykate had a certain authenticity which was unique. Uwasa no Outsider starts with a chaotic bang in the form of "bubbly kakumei" and ends with the surprisingly endearing "[ALICE]". People's first reaction to this album would usually go something like "woah, they suck. But they're actually good". Yuui's almost tone deaf vocals are charming and essential to cindykate's signature playful style. In a scene full of strawberries, bunnies and fairylands the group avoided cliches and kitsche, overdone ideas, instead focusing on more urban concepts such as tokyo night life and pop culture, always with a tongue in cheek, somewhat more adult approach. This album showcases some of the viral positivity and humor which they were known for. It may leave you confused, but it won't leave you bored. To those who may not know, this is your chance to hear the president of GOEMON RECORDS in action. by @platy RENTRER EN SOI MEGIDDO Ten years ago, RENTRER EN SOI was the golden child of the visual kei scene that had everything going for them until their untimely disbandment. Their slow and unpromising start sporting an ethereal take on a 90's sound in the 00's gave way to a promising career in the indies circuit after a few years, but the band ended up pulling a Dir en grey and taking their music in a heavier direction after the release of Sphire-Croid. This was a rough transformation that birthed an abomination of a second album we shall not speak about, but things would stabilize in a more promising direction by their third album THE BOTTOM OF CHAOS. Then, internal struggles tore this band apart and they released MEGIDDO as a parting gift. I remember that at the time this mini was considered perfect and many proclaimed that RENTRER EN SOI is a band that people would discuss even in 2018. Unfortunately, that is not the case. Time has not been kind to this band. Satsuki managed to stain his solo career and the reputation of this band with his many embarrassing scandals, Mika and Takumi took forever to resurface in a notable band (sukekiyo), and the others dropped out of music altogether. No fan after 2010 really listens to this band - and if they do they sure as hell aren't listening to Sphire-Croid - and with time the cracks in MEGIDDO show themselves. It's a solid listen if you can forgive Satsuki's weak ass growls and skip tracks 3 and 4. It's a perfect representation of this band's identity struggles, because half of it sounds like their old period and half of it sounds like the metal core sound they could never convincingly pull off, and its apparent which half I prefer. Given time, I'm sure they could have worked all the flaws out, but we will never see that happen. by @Zeus LITE Phantasia Along with toe, LITE had already been recognized as one of Japan's premier instrumental bands with the release of their 2006 album filmlets. But it was with their 2nd album Phantasia that the band truly solidified them as standard bearers for the scene. Up until this time, they'd been playing very tight, intricate, and engaging math-rock that was well above par, but on this album, the band took a bold leap forward by amping up the intensity with distorted chugs, ferocious drumming, and commanding, yet groovy bass-lines - while still incorporating those smooth, post-rockish elements that were prevalent in their previous releases. This album is a BEAST and ten years later, it remains, perhaps, LITE's best outing - if not their most raw, and unrelenting. A highlight in both the year 2008 and in the history of instrumental J-rock as well! by @CAT5 vistlip Revolver It's been 10 years since vistlip formed as a band and although I haven't been keeping up with anything they've done since 2010 or so, their debut mini-album Revolver remains as one of my favorites. Back then when VK was still fresh and appealing to me, I was always on the lookout for new bands to try. Then I came across the PV for "EDY" and was instantly hooked. Looking back at it now, the PV looked pretty cheap with chains hanging everywhere in one small dark room. But hell, that was what made me love VK and I was so hooked that I practically made gifs of the whole video. (If you remember all those icon gifs from LJ that was me....). But enough of the PV. Revolver was a solid first release by the young vistlip and not a single track fell short. You've got the robust and aggressive track "EDY", the slower track about longing "BLACK-TAIL", the energetic and zealous track "the surface", the wintery ballad "Moon Light Snow Rabbits", and the band's sentimental theme song "July VIIIth" of which I prefer this version more than the rebirth version. Revolver gave me such a strong impression that no matter what other album I listen to by vistlip, I seem to want to go back to it instantly. by @plastic_rainbow ∀NTI FEMINISM 狂葬録 狂葬録 (Kyousouroku) is a badass album that took quite a few years for me to unpack. I didn't get it at first because I had no proper appreciation for punk, and I have this band to thank for really opening my eyes. ∀NTI FEMINISM is absolutely mental and one of the few bands deserving of the legendary moniker. There's only one official member, that being vocalist Kenzi of THE DEAD POP STARS, but since 1991 over 100 musicians have played as support members. That's a lot of punk, and that's exactly why 狂葬録 is such a dense experience. Sitting at 27 tracks with a run time of almost one hour, it has almost all of the cuts ∀NTI FEMINISM put out since 2001, featuring a few re-recordings, a few rare tracks, and two new tracks. Considering how ∀NTI FEMINISM do releases - which is infrequently at best, featuring anywhere between two and six tracks that were probably no longer than 140 seconds a piece - this is the closest to a proper album that we are ever going to get. This also marks a turning point in this band's trajectory, because after this release Kenzi would take this band into a heavier direction. After so many years, the best way for me to enjoy this album is to start just about anywhere and ride the punk wave to the end, because even ten years later this album still bangs hard. I still recommend this album to anyone looking for hardcore punk, an injection of musical adrenaline, or an idea of what the fringes of visual kei sound like. by @Zeus 嘘つきバービー 問題のセカンド Before 88Kasyo Junrei, there was Usotsuki Barbie....is what I want to say, but that wouldn't be technically correct. 88Kasyo were actually active in 2008, but their music didn't reach overseas ears until around 2010. So for us international J-rock fans, Usotsuki Barbie served as a bit of a spiritual precursor to them. They'd released 2 mini albums prior, but most of us got our first introduction to the band via their first full album Mondai no Second. These guys instantly won us over with their zany rock&roll fraught with weird, angular psychedelic riffs, spazztastic instrumentation, and quirky vocals. Their sound touted the perfect mix of crazy and catchy, but it was undoubtedly polarizing. To this day, Mondai no Second is an album you'll either love or hate. by @CAT5 Sel'm brilliant force Sel’m were well within their early indie years in 2008 with vocalist Tora still within their lineup of members. The band’s music style was well known to be more hardcore and aggressive during this time, and their first full album Brilliant Force allowed them to finally gain an identity within the Visual Kei scene. Due in part to the zest that existed during this time, the band could experiment with smoother and more melodic songwriting, while retaining that vigor and intensity that vocalist Tora had been known to convey when singing. As an early fan I think they were still in the zone when they released this album, and whether you know about their years together as a band that followed, Brilliant Force was well received by fans and helped change the musical direction for them. by @YuyoDrift MUCC 志恩 A common theme among a lot of visual kei bands that last long enough is that they have distinct eras that do not resemble each other in many ways, and that the first transition is usually a painful one. 志恩 (Shion) does not chronicle MUCC's redemption arc - that would be the previous album 極彩 (Gokusai) - but the pressures of what comes after. 志恩 sees MUCC experimenting with Indian and tribal themes, an uncommon but not unfamiliar trope at the time, and it resulted in some good tunes like "志恩" (Shion) and "梟の揺り篭" (Fukurou no Yurikago). This is also where I first heard of MUCC and worked my way backwards. I also happen to not find it very accessible, and it's not the best place to begin exploring MUCC, but it's not the worst either. It's tribal motif is betrayed by its inconsistent application and a few tracks could have been cut to slim the package. As later albums have eclipsed it and MUCC has moved their sound into a new dimension, 志恩 has become a touch point of its own in MUCC's discography: a familiar album that people speak fondly of, but don't speak of often. by @Zeus SPIRAL CHORD サ・ヨ・ナ・ラ・セ・カ・イ Consisting of Gendo Takebayashi from COWPERS on vocals/guitar, HERA from 200MPH on drums, and Kentaro Nakao from NUMBER GIRL on bass, SPIRAL CHORD were somewhat of a J-Indie supergroup. They only released 2 albums, playing a raucous hybrid of garage-rock, punk, and post-hardcore. SAYANARA SEKAI was the second of those two albums, and while the first was altogether rough and characterless - on here, the band seemed to be settling into their groove. Their songwriting had GREATLY improved, as they added more melody and soul - actually crafting songs that stuck with you. It's unfortunate that these guys did not go on to further hone their sound - as Gendo is now in a band called zArAme, and Nakao went on to form Crypt City - but they left behind a kick-ass memorial. Not to mention, the PV for "Disitance to Substance" is one of the most iconic J-rock PVs ever! Check it out below! by @CAT5 THE NOVEMBERS picnic With an impressive self-titled EP the year prior, it was no surprise that a band with a name like THE NOVEMBERS could follow up with an even more impressive album. Practically timeless, picnic held an atmosphere in every track that grew wider and deeper as you listened, almost as if you became a part of it. My opinion on the album has not changed from years ago, and if anything picnic has aged VERY well for what it was. by @YuyoDrift MIYAVI This Iz The Japanese Kabuki Rock Forever the black sheep of Miyavi's discography, This Iz The Japanese Kabuki Rock marks an interesting turning point in Miyavi's career. Based on his activities since this was both a very influential and personal point in his career. I sense faint hints of this style in his more recent works, and I remember reading a translator note about how disappointed he was in the sales of this album. He expected a much bigger, more positive response. Takamasa, if you are reading this, I want you to know that ten years ago I was an idiot and I wasn't riding the same wave you were. Nobody was. At that time, I wanted more of what he was doing between 2003 and 2005 without realizing that what he was making was infinitely more creative. International fans didn't know what the Neo Visualizm theme really was and probably still don't. A small but vocal minority was getting tired of the Kavki Boiz in general, and that sentiment buzzing around didn't help any. When I examine this album ten years later without any of that associated baggage, I hear some of the most creative music penned under the visual kei flag ever. Nothing like this came before it and nothing has come after. The album is deceptively deep and varied, effortlessly bouncing between rock, pop, electronic, hip hop, and visual kei. I find that now I like this more than some of his recent work because the creativity feels authentic and unrestrained. And, in an ultimately cruel bit of irony, I wouldn't mind if he returned to this style for a song or two. by @Zeus FOX LOCO PHANTOM CHAOTIC MONSTER I actually can't recall if I heard FOX LOCO PHANTOM's first album before or after CHAOTIC MONSTER (their second album). Whatever the case, I do know that I heard this one around the time it was released, and it left a distinct impression on me. Particularly because this band seemed to fit in a grey area within the J-rock fandom. They were like Psysalia psysalis psyche, and Lillies and Remains in that they seemed to appeal equally to both VK and J-indie fans alike (who at the time were diametrically opposed for the most part ). The vocalist even has a shaky, vibrato-ridden voice that somewhat reminds me of Gara from MERRY lol (tho his overall cadence is different). But besides their multi-fandom appeal, FOX LOCO PHANTOM just has this highly energetic and danceable rock style that's insanely infectious. CHAOTIC MONSTER does a fantastic job of encapsulating all of that youthful vigor, and it still rocks to this very day! by @CAT5 Viored (バイオレット) 最終音源集 Their names may have faded into dust with time, but I'm one of the few who still remember Viored was a thing in 2008. Definitely deserving of the underrated moniker, their strong guitar sound, melodies, and frequent release schedule put them on the radar for the two years that they were active. Unfortunately, they were checked by fate just as they began their ascent because the vocalist was convinced by his girlfriend to leave the band and run away. Releasing a compilation album and disbanding was all the remaining members of the band could do. 最終音源集 is still good in 2018, but their sparse discography meant some lesser tracks had to be included to fill up the disc, so some tracks are in a league of their own and others are merely serviceable. Viored is a solid band to sample if you are into visual kei anthropology, but looking back I'm not surprised that no one is talking about this band. by @Zeus 雅だよ雅 self-titled I was blessed to discover this duo about a year after 2008 via THE J-INDIE KING HIMSELF - Steven Tanaka (organizer of the NEXT MUSIC FROM TOKYO Tour). As someone who flew to Japan six to seven times a year simply to indulge in the scene, Steve was consistently discovering fresh and new acts that we international fans had no idea existed. I give him all credit for truly opening up and deepening my perspective of the J-indie scene. Masodayomasa were one of the many bands he put me on to, AND MAN!!!! Do NOT let their looks fool you! These two unassuming women were an absolute POWERHOUSE! Their self-titled album took me by complete surprise. It's literally just one girl on guitar and the other on drums with both sharing vocal duties, yet their sound is compelling and full. I mean, simply calling these two "girl rock" - wouldn't do them justice, as they play as loud and ferociously as the best of them. This album is a relatively short collection of noisy garage-rock, but their songwriting is varied and creative enough that they cover a enough ground to make it a truly satisfying experience. by @CAT5 8-eit Glamorous 8-eit is one of my favorite visual kei bands of all time, and I wish things turned out better for them. 8-eit was (and I guess still is) a jazz fusion visual kei band unlike any other, but a lengthy hiatus at the apex of their career killed any steam this band had. They exist but they don't have the presence they did before, and several members of the band have been replaced. The scene has also forgotten them, and their sound has also changed to a more guitar oriented one, so I'm not sure if 8-eit still consider themselves visual kei or not. 8-eit as it is today is not the same band as it was on GLAMOROUS, as the album captures an image of 8-eit recently after they acquired keyboardist Hiroshi Matsubara, who I will credit for adding much texture and melody to their jazz with his piano skills. Those piano melodies, along with the pumping bass, are the vital components that transport the listener into a smoky lounge in a different time. This album is often overlooked in favor of their second album swingy swindle, which I will admit is literal perfection, but GLAMOROUS is what jump started their band activities and is worth checking out too. by @Zeus LOTUS GUITAR second tide Oh man... here's one TRAGICALLY overlooked album by a TRAGICALLY overlooked duo! I'm not entirely sure why - but this one managed to slip through the cracks. LOTUS GUITAR consisted of solo artist Ash, and clammbon's drummer Daisuke Ito - but even being linked to such a prominent band, this release still managed to fly under many a radar. It's all good, though - despite the obscure nature of the release, this is an absolute gem! The scope of this record is actually pretty expansive - spanning a variety of sounds and genres from straightforward rock, indie, jazz, post-rock, folk, and even to psychedelia - but it's all done very organically. Nothing here seems forced and the diversity simply comes off as second nature to these guys. As a result, this album has a sort of humble grandeur to it. I also love that these guys did not restrain themselves or try to adhere to strict song structures because they spend plenty of time jamming the hell out on this album, and it's awesome! second tide is a fantastic collection of straightforward, non-gimmicky J-rock songs from two seasoned musicians playing straight from the heart! by @CAT5 UNLIMITS 夢幻シンドローム Back in 2008, UNLIMITS' female fronted vaguely skate punk influenced rock felt fresh to me. Coming back to Mugen Syndrome a decade later and the music feels a little more stale than I remembered. This album is a little rough around the edges, and while the mediocre production helps some with a punk image, it just ends up feeling a bit unpolished. That isn't to say that this album is bad but instead speaks more to how inflated my memory of this album is. While the energy of the vocals call feel a little dull at time, overall this album has a lot of energy and is packed with memorable tunes. Part of why this album stands out so much in my memory is that Mugen Sydrome marks the last full album before the band slowly devolved in to mediocrity as the band felt like they were aiming more of mass appeal. Compared to their later offerings, Mugen Syndrome is a clear highlight in my mind by @Ito me-al art Exist 2008 was around the time that I started exploring music outside of visual kei, and @CAT5 was responsible for introducing me to me-al art, a post-rock band with a powerful female vocalist and some banging melodies. I was immediately hooked and felt that this indie band had all the tools they need to become bigger, but I was disappointed to find out that they didn't have a huge following and didn't release music frequently. me-al art disbanded in 2016 after the release of their fourth album NEW WORLD, but that never got the claim or attention that Exist did. I don't even think I've listened to it in full yet. Many fans consider Exist to be the band's most solid effort and containing some of their most memorable songs, such as "term", "exist", and "target". This band actually contains a lot of the trappings of 2008, but in a good way, and Exist is a great way to experience new vestiges of the late-00's rock sound. by @Zeus machine BEAUTIFUL OUTSIDER Machine always felt like a band that never managed to get any attention. For a band consisting of visual kei legend Hakuei of Penicillin and Kiyoshi of hide with Spread Beaver, you would have thought that band would be on more people's radar. Yet even though BEAUTIFUL OUTSIDER was their fifth album, the band didn't receive a ton of attention. Their specific flavor of VK with its strong industrial and electronic elements with upbeat vibe created this interesting sci-fi feeling rock which was truly unique in the scene. That said, BEAUTIFUL OUTSIDER perhaps was where the band took the lightest approach to these elements, with the vocals feeling a little cleaner and less robotic and metallic than they had in previous releases, and the electronic elements pulled back a bit. That isn't to say that they were removed, as the album still has a distinct sci-fi sound. To this day the sound Machine put out was very much their own and I haven't really heard it replicated, at least not in the visual kei scene. While their music is hardly for everyone (hell, I think Hakuei's voice takes some time to get use to by itself), BEAUTIFUL OUTSIDERS is certainly worth going back to and listening...though personally I might pick a different Machine album to listen to first. by @Ito Demetori 闡提宗祀 ~ Offering to The Sukhavati For as much as we lament "the death of visual kei", it was the doujin scene that withered up and died. For those not in the know, doujin music is a moniker for any band (called circles, don't ask) who covers video game themes in their own style. The themes could be from any game, but the most popular one was Project Shrine Maiden, an isometric bullet hell shooter known for it's cute anime characters and devilishly hard game play. The doujin scene died off because of several reasons; the low cost to investment meant there was a lot of uninteresting music to wade through at each convention (and there are several a year), most circles focused only on Project Shrine Maiden and had no inspirations beyond that, some circles just disappeared, and many of the more successful circles left the scene to make original music and no new acts could fill the void. One of the only constants in the last ten years has been Demetori, who have never strayed from covering Project Shrine Maiden themes and constantly find a new way to iterate on the same themes by making these jingles into their own. 2008's 闡提宗祀 ~ offering to the sukhavati was the next step on their transformation from a classic rock band into an extreme metal band, and they have only grown more complex and ambitious with time. Demetori's melodic power metal sound is so defined and clean, it sounds good even today. Offering to the sukhavati does not sound ten years old, but yet it is. by @Zeus Praha Depart Check! Yet another band introduced to me via the great Steven Tanaka! Praha Depart, despite their unique sound and having toured both Europe and North America, is a band that has gone largely overlooked by the overseas J-rock fandom. Granted, their music isn't for everyone, and this EP makes that fact abundantly clear. On Check!, Praha Depart plays an intriguing style of avant-garde kraut-rock, which some have described as "gypsy-punk". Whatever you want to call it, they're definitely in a lane of their own. Their vocalist/bassist is absolutely schizophrenic, and equally prone to girly squeaks and squeals, weird mumbles and grumbles, manic screaming, and powerful wails. Something like a cross between Jun Togawa and Kyo from DIR EN GREY, ahaha (minus the pig squeals and gutturals) Musically, Praha's songs are fraught with intoxicating riffs and rhythmical drumming that subtly escalate into explosions of raw intensity, and it's just wonderful. Check! only consists of 5 songs, but it's worth every minute! by @CAT5 .... What did you think of our list? What are your favorite J-rock releases from 2008!?!? What was 2008 like for you musically? Comment and let's discuss!
  4. 18 points
    helcchi

    New band gulu gulu has formed

    烏名 鳴と不愉快な仲間達 (Karasuna Mei to Fuyukai na Nakamatachi) has now become a formal band called gulu gulu Vo. 哀/I [Ai] (ex.Kuroyuri to Kage f.k.a 烏名 鳴 Karasuna Mei) Gt. 凛人/Rito (ex.MIZTAVLA 光 Kou) Gt. Kazari (ex.llll-Ligro-) Ba. 藍珠/Lanju (ex.Grieva 緋雨 Hisame) Dr. 螢ちゃん/Hotaru chan (ex. Balalaika f.k.a カタセ ケイ Katase Kei) They will make their first appearance at cure festival on 4.28 and hold their first oneman on 8.12 at ikebukuro EDGE Their first Single「変なメリーゴーランド」 will be released in 2 types on 5.28 -不味い盤- 1. 変なメリーゴーランド 2. 嗅覚障害 3. 不味い麻酔 -美味い盤- 1. 変なメリーゴーランド 2. 嗅覚障害 3. Rubra
  5. 18 points
    My body is ready.
  6. 18 points
    RESULTS! Thanks to everyone who participated this year! Judging from many of your recommendations, there definitely still exists some talent in the scene! Without further delay, here are the RESULTS! By recent request, I have added the runner-ups for each category! __________________________________________________________________________________________________________ Best Overall Artist/Band Best Album Best Single/Maxi-Single/EP Best Cover Art Best Look Best Newcomer Best Veteran Best PV Saddest Disbandment Most Overhyped Band Most Overhyped Release Most Underhyped Band Most Anticipated Release Band that Changed their Sound for the Best Band that Changed their Sound for the Worse Band that you spent most of your money on in 2018 What the hell were they thinking!? Award Best Revival/Returns An amazing display of results if I may say 😎. Definitely some close calls there, I'll tell ya. Thanks again to the participants of the MH JRock Awards 2018 for your contributions. The staff and I here at MH hope to see you and more future voters here again at the end of the year! Until then, enjoy 2019 😁!
  7. 17 points
    secret_no_03

    MALICE MIZER

    A lot can be said, positive and negative about the legacy of MALICE MIZER, whether it's the abrupt departure of Tetsu after just one year, the GACKT years, the untimely death of Kami or the rise and fall in the Klaha years. There's no better way to understand how MALICE MIZER went from unknown to legends of Visual Kei than to start in the beginning. In the Beginning: The Era of Tetsu MALICE MIZER was formed in August of 1992 when former guitarist of Matenrou, Közi joined forces with the support bassist Mana and the two recruited the former Ner-vous vocalist Tetsu, former ZE:RO bassist Yu~ki and former DATURA (not to be confused with DatuRΛ) drummer Gaz to form MALICE MIZER (a postmanteau of Malice and Misery) with a concept based on the darker side of human nature. MALICE MIZER immediately began activities and released their first demo tape SANS LOGIQUE which had foregone vocals and released Speed of Desperate on the compilation album Brain Trash which featured acts such as ALUCARD, DIE=KÜSSE, THE PIASS and Gazelle. Shortly after Brain TRASH, Gaz departed and Kami joined; Kami being the only other drummer for the band until his untimely death. MALICE MIZER released a few more demos before releasing their debut album memoire on Mana's newly founded label Midi:Nette. Tetsu then left the band at the end of 1994 with a live performance titled Cher de memoire II on December 27th. Taking a Different Route: It's Gackt Time MALICE MIZER went into 1995 without a vocalist, but they didn't let it stop their surge as they performed without a vocalist for a sponsored event titled Dai Goya Higeki no Bansan Vol.5 (第五夜 悲劇の晩餐 Vol.5) before Gackt officially joined the band as the new vocalist with his first performance on October 10th Karei naru Fukkatsugeki. The music of MALICE MIZER took a drastic turn and was the catalyst for the rise of Gackt as a performer and set the stage for his continued success after leaving the band as the band went from a Gothic sound to a more upbeat sound; something that became a signature of Gackt's solo career. In 1996 MALICE MIZER released their second album Voyage sans retour and underwent a nationwide one-man tour culminating in a show titled Sans retour Voyage deux 1996. MALICE MIZER continued their stride in 1997 when they signed a contract with major label Nippon Columbia, a subsidiary of Columbia Music Company as well as undergoing a sold-out nationwide tour with STANDING TOUR '97 Pays de merveilles ~空白の瞬間の中で~ and a regularly broadcast radio show MALICE MIZER no Mayonaka no s'il vous plaît on CBC Radio. Merveilles, MALICE MIZER's third album and second featuring Gackt as vocalist is released in March of 1998, the band announced merveilles ~Shuuen to kisuu~ in which the tickets sold out in just two minutes as well as undergoing a new radio show MALICE MIZER no shisetsu hisho no chojutsu on Chiba's renowned bay-fm radio station. However, things would take a turn when in January Gackt decided to leave the band at the peak of their popularity to form own solo project that he continues to this day, simply called GACKT featuring a backing band appropriately titled GACKTJOB. As if losing their vocalist wasn't bad enough tragedy struck when in June beloved drummer Kami passed away suddenly from a subarachnoid hemorrhage, more commonly referred to as a brain hemorrhage. With the world crashing down around his shoulders, Mana underwent damage control and returned MALICE MIZER to his own label. Malice Mizer went on to release one song after Gackt left, a piano song called Saikai no Chi to Bara. Little did they know that their fortunes were about to change as their savior was right around the corner. From Rebirth to Climax: The Year of Klaha PRIDE OF MIND former vocalist Klaha joined MALICE MIZER on vocals on August 31st and would be the third and final vocalist for the group. MALICE MIZER proceeded to get back to making music right away with the release of their fourth and final album Bara no Seidou and Klaha had his first live performance one week later with Bara ni irodorareta akui to higeki no makuake - Dai icihiya saikai no bara. Sadly, nothing lasts forever and after several singles, a feature length, albeit silent film Bara no Konrei ~Mayonaka ni Kawashita Yakusoku~ and even a concert DVD in 2001, MALICE MIZER went on an indefinite hiatus at the end of the year. Each member releasing their own respective personal messages regarding the hiatus on the bands official website. Post Mortem: An Uncertain Future After MALICE MIZER went on an indefinite hiatus the respective members were quick to move on to other projects, except for Yu~ki who's only activity since the hiatus was contributing to a song on Közi's solo project. The aforementioned Közi went on to be in a managare of bands, first with HARUHIKO ASH in Eve of Destiny, then started a solo project as well as XA-VAT, ZIZ, VAMQUET and joined Ryo from 9Goats Black Out to form a nu-goth band called DĂLLE. Mana quickly formed his own solo project that is still running strong today called Moi dix Mois and launched his own fashion label Moi-même-Moitie as well as becoming a producer for the band Schwarz Stein and cellist Kanon Wakeshima. Tetsu formed several bands of varying styles of music after leaving MALICE MIZER with the most notable being ZIGZO and Nil. Gackt has been active as a solo artist since leaving MALICE MIZER and subsequently ventured into film and television while Klaha released a solo mini-album and full length album before disappearing from the scene in 2004, not to be heard from again. MALICE MIZER may be no more, but the pieces have come together several times since the hiatus, Közi joining Mana's Moi dix Mois in 2008 at Dis Inferno Vol.VI ~Last Year Party~ and again in 2009 for a two stop tour Deep Sanctuary; Deep Sanctuary becoming a staple event for Moi dix Mois from then on. Moi dix Mois and Közi went on another, longer tour in 2010, six shows aptly named Deep Sanctuary II which featured the return of Yu~ki on bass; the three reuniting on stage for the first time in nine years. The show featured MALICE MIZER classics such as Saikai no Chi to Bara and Beast of Blood as well as a cover of shock rocker Rob Zombie's What Lurks on Channel X. Moi dix Mois then held a tenth anniversary concert Le dixieme anniversaire Live 2011~2012 ~Tetsugaku no Hahen Dainana Shou Shinen naru Seiiki Deep Sanctuary III~ which saw Közi performing with his new band ZIZ with Yu~ki returning on bass. Sadly the original drummer Gaz passed away on December 22nd 2017, one year before the bands 25th anniversary and the subsequent reunion show last year Deep Sanctuary Ⅵ MALICE MIZER 25th Anniversary Special which featured the return of the trio as well as former roadies for the band performing their own renditions of classic songs, such as former LAREINE vocalist KAMIJO joining for his own take on the Gackt era songs APRES MIDI and Bel Air ~Kuuhaku no Shunkan no Naka De~, cali≠gari's Shuuji with a riff on the Tetsu era's Kioku to Sora and ILLUMINATI as well as Moran former vocalist Hitomi with Gackt's Madrigal and N.p.s.N.g.s. The show featured ZIZ and Moi dix Mois performing their own songs and MALICE MIZER covers with the show ended with a tribute to the departed Kami and all of the guest vocalists singing together for Ma chérie ~Itoshii Kimi E~. There have been teases for years and the band have come back in several shapes, but whether they will return with the likes of any of their three former vocalists is unlikely or at best up in the air with all of them seemingly content with their careers and lives and consider MALICE MIZER a part of their past. The future of MALICE MIZER is uncertain, but it's safe to say that the Visual Kei scene would be shaken to the core if the stars aligned and the malice and misery rose like a phoenix for a second time. Member History Current Lineup Mana - Guitar (ex-Matenrou, Moi dix Mois) Közi - Guitar (ex-GIRL, ex-Matenrou, ZIZ, XA-VAT, DĂLLE, Solo, VAMQUET) Yu~ki - Bass (ex-ZE:RO) Former Members Gaz - Drums (ex-DATURA, deceased 2017) Tetsu - Vocals (ex-Ner-vous, ZIGZO, Nil, THE JUNEJULYAUGUST) Kami - Drums (deceased 1999) Klaha - Vocals (ex-PRIDE OF MIND, Solo, retired) Gackt - Vocals (ex-Cains:Feel, Solo, YELLOW FRIED CHICKENz) Support Members Shue Sakai - Drums (ex-JACK BLUE, N.S.D.P., Everlasting-K) Kazune - Keyboard (Brain Hacker, Art Cube) Staff Members Hitomi - Roadie (ex-Moran, UMIYURI) MAYU - Roadie (ex-LAREINE, ex-NEW SODMY) MACHI - Roadie (ex-LAREINE, Chanton L'amour) Masanori Yabuki - Roadie (Datenshi Tokyo, Ant1nett) KAMIJO - Roadie (ex-LAREINE, ex-NEW SODMY, Versailles, Solo) Shuuji Ishii - Roadie (cali≠gari, goatbed, EX-ANS) Discography Albums (1994.07.24) memoire (1996.06.09)Voyage ~Sans Retour~ (1998.03.18) Merveilles (2000.08.23) Bara no Seidou (薔薇の聖堂) Mini-albums (2000.02.01) Shinwa (神話) Demos (1992.10.31) Sans Logique (1993.04.05) Sadness (1993.10.12) The 1th Anniversary (1996.00.00) Après Midi (1999.11.03) Saikai no Chi to Bara" (再会の血と薔薇) Singles (1995.12.10) Uruwashiki Kamen no Shoutaijou (1996.10.10) Ma Chérie ~Itoshii Kimi E~ (1997.08.06) Bel Air ~Kuuhaku no Shunkan no Naka De~ (1997.12.03) Au Revoir (1998.02.11) Gekka no Yasoukyoku (1998.05.20) Illuminati (1998.09.09) Le Ciel ~Kuuhaku no Kanata E~ (1999.11.03)Saikai no Chi to Bara (2000.05.31) Kyomu no Naka de no Yuugi (2000.07.26) Shiroi Hada ni Kuruu Ai to Kanashimi no Rondo (2001.05.30) Gardenia (2001.06.21) Beast of Blood (2001.10.30) Mayonaka ni Kawashita Yakusoku (2001.11.30) Garnet ~Kindan no Sono E~ OHP Moi dix Mois Közi Moi-même-Moitie -A huge thanks to @inartisticand the great team over at vk.gy for a wealth of information that without, this would not have been possible.
  8. 17 points
    Tenten is going to announce his new band My CHEMICAL HEAT IsLAND RE:PICTURES KuRt はなむけ my way.co.isthebomb.com
  9. 16 points
    Monochrome Heaven's 2019 Banner Contest Thanks for voting! 56 members casted a vote before the poll was closed. I'm happy to announce the winners: In first place with 29 votes was Develop One's Faculties, made by @plastic_rainbow! In second place with 24 votes was Kyo, made by @platy! In third place was DELUHI, made by @ゼロ(*´з`)! Look out for these banners in our rotation soon!
  10. 16 points
    CAT5

    Show Yourself (again)

    Lion tribe
  11. 15 points
    Setlist: 1. 99.999 2. Falling 3. Ninth Odd Smell 4. Gush 5. Vortex 6. Venomous Spider's Web -SE- 7. The Mortal 8. その声は脆く 9. DOGMA -SE- 10. The Suicide Circus 11. Incubus 12. UGLY 13. Two Of a Kind 14. Filth in the Beauty Encore: 15. INSIDE BEAST 16. COCKROACH 17. TOMORROW NEVER DIES I'm in need of facial reconstructive surgery after this experience, because my jaw was on the floor the entire time. I have been waiting for years for the GazettE to visit North America on their World Tour. Last time that I remember making plans to go, the band had elected to skip North America, and then the time after that I had prior commitments and couldn't make the show. I was hellbent on making sure I attended this one, and I made sure to bring my friend Jet with me. We were listening to the GazettE in high school during the peak of visual kei, so he's that one friend I can talk to J-Rock about in real life. He's been waiting for this experience as long as I have. After smashing plates of chicken katsu, bulgogi, and rice, and braving our way across town through weather that threatened to pour (but didn't), the two of us arrived at Playstation Theater and was overwhelmed with the disorganization. There were a lot of fans, many lines for various purposes, and no signs to shepherd people into their place. @YuyoDrift, having bought a VIP ticket, was already in the thick of it by the time that I had arrived, and I was unable to find him. After asking around, we discovered that the line we wanted to be on was down the block and around the corner, and that line itself stretched down the block and around another corner. Organization was easily the weak point of this concert, since it seemed like the staff of the theater hadn't planned on so many people showing up. Joke's on you guys; when a visual kei band shows up in America the scene rolls out! @YuyoDrift had reported some issues and drama near the front of the line concerning miscommunication between VIP members and heresy fan club members on who got to enter first, but all I can talk about was how the other half of the line was progressively pushed back further and further until we were about a block and a half away. While I was in line, no less than five groups of people came up to me to ask why we were all standing here. One of them offered to sell me weed and some papers. None of them knew who the GazettE were, but a couple seemed more than interested in the colorful garments of some of the more hardcore fans in line. I need to take a moment to discuss the people that showed up. What a generational gap! There were easily 800 to 1000 people between all of the lines, and this is just what I saw. The youngest fan I saw on line was 12 or 13. The oldest fan I saw on line was in their 40s, and that person didn't look like they were escorting a relative. Some of the older people on line most definitely were parents. The most common age range was actually 18-25. There were people dressed relatively normally like myself, possibly sporting a band shirt or hoodie from a previous tour. There were some scene and emo kids wearing dark pastels and heavy make up. There were some fans who came in sporting colored hair and face paint, really pulling off the visual kei look. The most striking outfit I saw was a man in his 30s wearing a studded vest where the studs were easily several inches long, who came along with an equally as colorful entourage that could have been easily mistaken for Naruto cosplay. The stereotype about the average visual kei fan was thus dispelled and confirmed simultaneously, and I now have a deeper appreciation for just how many different types of fans there are. I was stuck in line for an agonizingly long time listening to the people around me front their knowledge of the band, which was honestly rather painful. One person claimed that the GazettE formed five years ago, to which Jet and I exchanged glances and laughed really hard. We both were listening to the GazettE ten years ago, so clearly they were mistaken. Another person had asked when the band had actually formed, and it took them several minutes to find out it was 2002. Someone behind me in line claimed that the GazettE were K-Pop. I tried not to talk to many people in line because of this, but when you're outside for 90 minutes it eventually happens. I didn't meet anyone too outrageous and after a long time the line suddenly lurched forward and began feeding into the theater. The doors had opened. Jet and I breezed through security, popped in our earplugs, and made our way downstairs to the venue. The line for merchandise was gigantic by the time we got there, and both of us made the decision to get good seats rather than stand in line. That turned out to be the wise move, because most of the merchandise was gone before the show even began, but not before both of us got a shirt later that night. There was a few cool shirts and hoodies that they ran out of before the show even began. Never underestimate the deep pockets of devoted fans. We were standing towards the middle of the floor at first, but we eventually decided to grab some seats shortly before the show began because we had already been standing for hours by that point. That was also a great idea, because parts of the crowd got really wild and it would have been hard to see over four rows of jumping and screaming fans. The earplugs were also a good move, because this concert was really loud. Limiting the sound to a max of 80 decibels spared my hearing a gory torture session and I was more clearly able to make out the instruments. Eventually the lights went dim and the crowd went insane as "99.999" started playing and the band members walked out to front stage. They played the first four cuts off of NINTH before the first pause, and I gotta say that hearing it live has made me enjoy these songs even more. I have a new appreciation for Reita and just how much his bass adds to the music. Heavy isn't the word for it; the bass itself sinks into the floor and pounds into your chest. He swapped bass a few times over the course of the concert as well, always slightly changing the feel of his bass depending on what songs were coming up next. "VORTEX" is the first curve ball that the GazettE threw the crowd, and then that was followed up with "Venomous Spider's Web", and I think both songs sound way better live than on the record. They fit naturally into the set and shows how much NINTH is a refinement over TOXIC. I wasn't expecting them to reach that far back. One of the standout moments of the show was definitely the combination of "The Mortal" and "その声は脆く". The first cut in really heavy after a second, shorter break and the first live-only interlude, which got the crowd really energized. "その声は脆く" stole the show. This was the first proper ballad of the show, and the contrast on the guitars really changed the atmosphere of the venue for those few minutes. Ruki went all out on the performance here, adding some emotional screams to the end which made this a treat to experience. This entire show was recorded, so I'm really hoping that this exact performance of "その声は脆く" ends up on the DVD. It needs to. After that song was done, the lights fade and sound effects wash over the audience again before the opening riff to "DOGMA" began, and it's at this point where the crowd goes ballistic. No one was expecting this. The energy was insane, but this is one of those songs that I think sounds better in the studio than live. That's not to take away from the performance of this song, which was incredibly stellar, but more to comment on just how dense of a song "DOGMA" is. There was a bit of aural whiplash as the band transitioned into a live-only SE followed by "The Suicide Circus" next, but that set the tone for where the rest of the night was headed. Ruki addresses the crowd briefly before "Incubus" kicks in, followed up quickly by "UGLY". "UGLY" was absolutely dominant and by the end of the song the whole crowd was clapping together as the next song immediately kicked in. "Two of a Kind" was also a really powerful and driving song live, if a bit abbreviated. They went from one song to the next without enough time for the cheering to subside. I think Reita makes one more bass switch before this all begins as well. No matter what, the GazettE made sure those in the front were having the absolute time of their lives. Ninety minutes had passed in a flash, and all too soon Ruki announced that they were playing their last song before cracking a small smile. The opening licks and background vocals of "Filth in the beauty" start up and then the crowd cheers harder than ever, and then Ruki's smile gets even bigger before he begins singing. This was the second curve ball we were thrown, and I'm really glad I got to hear one of their classics live. At this point, I looked to Jet who was already looking back at me, and he just shot me a huge thumbs up. "Filth in the beauty" was the song that got him into the band, so to end on that note was extra special for us. The band took a ten minute break at this point and we got merchandise while the crowd was chanting for an encore. We went separately but got the same shirt for $35 (gotta support the boys) and Jet came back just in time for Kai to come back out. He picks up the mic for the first time, entertains the crowd as the rest of the band comes back, and gives the mic to Ruki for a few more words, some "I LOVE NEW YORK!!!", and then the beginning of "INSIDE BEAST" begins. At this point, we were glad they came back out at all and figured that we had one or two more songs left before the true end of the show, but I was seriously not expecting to get "COCKROACH" during the encore. This was the song that separated the old fans from the new fans, because the old fans were over the moon for getting such a throw back, and the new fans looked a bit confused over what song it was, but didn't really care because it banged so hard. This was the oldest song we got all night, and it was equally as compelling live as it is in the studio. I hope future tour dates get a crack at hearing "COCKROACH" live too. The show ended with "TOMORROW NEVER DIES", which was okay I guess, but I would have preferred "Unfinished". All good things must come to an end, but in this case that end was also good. All members of the band retired from the stage rather quickly; Kai took a picture with the crowd before departing too. Both of us had a train to catch, so we slipped out fast as hell after the show ended, but I heard afterwards there was a meet and greet for VIP. I wasn't on that line, so I can't report much on that. Considering how we've missed some bands that we'll never get to see live and how infrequently the GazettE are in town, Jet and I are both glad we went. We'll definitely be in line for the next visual kei concert to hit New York. If you're on the fence about buying tickets to go see the band, I would say go. If you have even a passing interest in visual kei, seeing one of the biggest visual kei bands of all time live is something words can only partially describe. If you really like the GazettE, you owe it to yourself to go. Just keep in mind that they're going to be playing mostly their new material, so don't hold your breath expecting old classics like "Katherine in the trunk" or "Crucify Sorrow" to show up.
  12. 15 points
    I wanna be open with you all about something, the last couple of months have been the most difficult of my life, I have been very depressed, anxious constantly and I’d go from feeling super fine one minute to incredibly down the next. Things in my life, both work and personal, ended up getting too much for me to handle, I was walking home one night and had a breakdown and was prepared to go out and commit suicide by any means necessary. Thank god I convinced myself not to. Now I’m taking steps to seek professional help, and I’m hoping I can get a diagnosis of what’s wrong with me, but I want to say thanks to each and every one of you here at MH, this community provided me with a sense of escape when I needed it the most, I’m so grateful to all of you. Much love ❤️ If any of you here are struggling with anything and you need someone to talk to, to vent about your problems no matter how big or small you feel they are, I’m here for you, just like the community has been here for me ❤️
  13. 15 points
    Another chapter has been written and filed away into the ever growing library of visual kei history, so we resume our customary annual review of all of the great albums that saw the light of day in 2018. Unlike previous years, we elected to wait until the middle of January so the stragglers of the year had their fair chance to weigh in. This list is also not in any specific order, although DIMLIM's CHEDOARA deserves a mention for getting the most votes internally and therefore kicks the list off with a bang. Even in our most challenging years, there's always something fresh and new around the corner waiting to be discovered. Like always, this isn't an exhaustive list and plenty of the hidden gems slip through the cracks, so if you have anything to add to the list tack it on at the end so the entire community can find something new to enjoy. Without further ado, here are some great J-Rock albums of 2018. DIMLIM -- CHEDOARA @The Reverend @emmny @helcchi Sigh - Heir to Despair @The Reverend @helcchi Dir en grey - The Insulated World @emmny emmurée - lightless @The Reverend キズ - 「傷痕」 @platy Mass of the Fermenting Dregs - No New World @The Reverend @Zeus 陰陽座 (Onmyo-Za) - 覇道明王 (Hadou Myouou) @Zeus The GazettE - NINTH @Zeus グリモア - プシュコマキア @platy DADAROMA - dadaism#4 @helcchi @platy lynch. - XIII @YuyoDrift Thanks for reading!
  14. 14 points
    CAT5

    Show Yourself (again)

    shalom, shalom
  15. 14 points
    Zeus

    Monochrome Heaven's 2019 Banner Contest

    Monochrome Heaven's 2019 Banner Contest Hey everyone! This is a shout out to all digital artists on the website interested in content creation. It's about time to add some new bands into the rotating banner at the top of the forum, and for that we can use your skills! What better way to show off some skills than in a friendly competition? Here's the basic idea: Create a banner according to the rules which I will define in a moment. Respond to this topic by submitting your banner in a post. Since you cannot edit your post after you submit it, make sure your post is the way you want it before posting. You can submit as many banners as you have time / energy to create. The second phase of the banner contest will be anonymous voting from the community. The top three voted banners will be added to the top and the members who created those banners will be announced then. Winners of the contest will get their screen name in a special color in addition to having their work featured at the top of the forum! Rules: Banner should have dimensions of 800x120. Banner should have a thin, rounded white outline. Banner should preferably be a PNG, but a GIF is acceptable if you are interested in making an animated banner. Banner should in some way relate to Japanese music. Normally, we feature a band at the top, but there is room for creativity. Banner should have the text "Monochrome Heaven" on it. Banner should contain material that is Safe For Work. NSFW banners will be automatically disqualified. Banner submission should remain anonymous until the end for fairness. All banners will be shown at the end. Banners can contain anything else you think will give you an edge in the competition. The submission deadline will be open for four weeks, or until May 18th, 2019. Have fun! I'm excited to see what our members can come up with.
  16. 14 points
    Disposable

    Show Yourself (again)

    been a while since there was a face to the name
  17. 14 points
    Welcome to the 3rd annual most notable VK looks presented by yours truly, The Reverend. As usual, we're here to celebrate the 'Visual' in Visual Kei. Suggest your favorite or least favorite or weirdest looks from the past year in the comments below! Thanks to the ORZ team for helping out and contributing, and especially @platy for making like five banners for me and letting me choose which one I liked best. マーブルヘッド (Marblehead) ユメリープ (Yumeleep) キズ (Kizu) lynch. BRATBAX the Raid. vocalist 星七 (Sena) SHiSHi guitarist お花 (Ohana) MEIDARA Virge Dillinger
  18. 14 points
    just gotta drop my 2 cents in a more visible place: i'm of the opinion that visual kei has been dying for a good minute. but rock "died" in mainstream american music too and its still around. vk will have the same fate. as long as there's japanese people willing to be visual kei, and international english speaking fans willing to listen, then mh will always be here. and even if you have fallen out of love with japanese music, we are still here for you too. at some point, we've grown beyond a site for music and we've become a community and a family, and that is the secret sauce that has allowed us to outlive all our competition.
  19. 13 points
    after thirteen years, deadman will hold a oneman live, titled oneman live 2019 -before the dawn-, at Tokyo LIQUIDROOM ebisu on the ninth of September, 2019. the group will consist of 眞呼 (Mako) (Vo) and aie (G). Support members will be Tetsu from MERRY on bass and Asanao from lynch. on drums. nothing about whether this is a full-scale resumption of activities or just a one-day thing. official website
  20. 13 points
    yomii

    Show Yourself (again)

    remember me as the young girl you see in the photo cuz i have final exams tomorrow so its very likely ill age 40 years in a single night
  21. 13 points
  22. 13 points
    Spoiler: her husband is Takemasa Kujou
  23. 13 points
    Gesu

    Show Yourself (again)

    Might delete later but here's me with no makeup and two eyes, what d'you guys think
  24. 13 points
    well I guess he was... レックレス
  25. 13 points
  26. 12 points
    Zeus

    What are you listening to 2?

    Hi guys! Turns out that in the forum there's a limit of the number of pages that can be in one topic, and that is around 950 pages. The first topic was so popular we passed that limit! I'm starting a new topic so you guys can post here.
  27. 12 points
    New band "L'eveil en Roseraie" have formed on 2018/11/11. Next live will be at Nishikujou BRAND NEW on 2019/01/27. The first single "静寂の闇に舞う愛と悪戯の遁走曲" went on sale on 2018/12/31 in his live at Kyoto MUSE. "L'eveil en Roseraie" members: vo. Neue -ノイエ- gt.&pi. Renée - ルネ - ba. 忍(ren)(support) dr. 拓郎(takurou)(support) (ex.Larme d'ange) "静寂の闇に舞う愛と悪戯の遁走曲" CD TrackList: 1. 静寂の闇に舞う愛と悪戯の遁走曲 2. フーガ ト短調 -Organ Choral- ohp
  28. 12 points
    "ロマン急行 (Roman Kyuko)" members: Vo. 和泉隆宏(Izumi Takahiro) (ex.シビレバシル(sibilebashir)) Gt. TøRU (ex.SEX-ANDROID) Ba. 華凛(Karin) (ex.NoGoD) Dr. 豪(Tsuyoshi) (ex.VERY BERRY) ohp
  29. 12 points
    we stan a wedding season 👏👏👏 their incel stans r probably already on a suicide watch
  30. 12 points
    キズ (Kizu) will release their 6th single "平成" (Heisei) on 2019.3.19, it will comes in two types (1,620yen, 3songs each).
  31. 12 points
    KISAKI PROJECT will restart activities with new vocalist ENDIGO (ex-Still Echo --> Overworld --> BaTAAr) as of April 1! Their first single, "And the rest is rust and stardust... " will be released sometime in September, and their first live will be around the same month. "And the rest is rust and stardust" cover art:
  32. 12 points
  33. 12 points
    "Trust me, I'm a photographer"
  34. 12 points
  35. 11 points
    suji

    Goodbye for now

    Didn't you just make a new topic, like, just a few minutes ago? Nevermind that, it's sad to see you go this quickly. Thank you for reviving discussion on MH with your threads, especially since you're a newbie who has lots of questions and there's nothing wrong with that. There hasn't been a lot of discussion on certain subjects before you came and posted about them, so I commend you for that; it really helps other newbies navigate this weird world of visual kei through a newbie's standpoint, followed along by replies of longtime fans with years of experience (which largely makes up the majority of this forum) However, you must also realize that this is an open forum, where anybody is free to dish out their opinion, whether it be good or bad. You don't have to agree with it, but you have to deal with it; that is reality. I know you're young and you stand by your opinions, but I used to be like you, blowing up when someone said something negative about someone or something I care about, and it escalated to the point where I suffered consequences and basically had to grow up and redeem myself. That's basically how it is in the real world; sometimes you can't convince people that you're always right, and they stand by their own ideals no matter what. What's most important however is at the end of the day, their way of thinking shouldn't matter to you. You live your life by your own principles and your own beliefs, and you alone are in charge of that, not anyone else. All I'm saying is, don't let these people get in your head, and you'll be ok. Hope to see you again soon!
  36. 11 points
    Vocals HIZUMI (ex-D'espairsRay) Programming 岸利至 (KISHI) (a.b.s.) Guitar MASATO (defspiral) http://nul.tokyo/ The band has formed on 2019.05.25 and will perform their 1st live at SHIBUYA REX on 2019.08.16.
  37. 11 points
    FJ found my items. I'm so happy rn. Thank you everyone that cared during my materialistic crisis.
  38. 11 points
    Gesu

    Show Yourself (again)

    Hi again~
  39. 11 points
    ghost

    Show Yourself (again)

    Been a minute since I've shown my mug around here
  40. 11 points
    "You may kiss the bride" "Mhh pfhh mhhhff!""
  41. 11 points
  42. 11 points
    libertine

    VK/J-rock confessions

    I only listen to visual kei bands that say they don't think of themselves as a visual kei band, despite looking like one, sounding like one, being signed to a visual kei label and only providing interviews to visual kei magazines. When asked about who their influences are and bands they might have influenced, they answer that they don't have influences and don't know anything about other bands. They do like X-Japan though.
  43. 11 points
    chipathy

    8P-SB new single "8bit boy" release

    Keep it
  44. 11 points
    Seimeisen

    VK/J-rock confessions

    I don't give a shit about X Japan. I've never listened to them and I have no desire to start.
  45. 10 points
    CAT5

    Fuck this break.

    If you leave us again, I'm permabanning you.
  46. 10 points
    Dear Yoshiki, here I gift you the new X album cover, so you can release it. IT'S FOR FREE! No need to thank me. xoxo
  47. 10 points
    suji

    shigatsu. disbands due to infidelity

    I have to thank Serah from Labaiser for posting the link to that article, while also commenting "Labaiser prohibits in-band romances, so we don't have to worry about this". legendddd
  48. 10 points
    Ever took a look at the News section being full of announcements for new Singles/Minis/Albums and thought "Daamn this year is gonna be strong!" Minus the dissapointment when only half of the songs turned out good + all the disbandments we had to suffer This Trade-off is gonna be about creating a mixtape with songs of whatever year you think had the best ones to offer. 2016 was THE year of Visual Kei releases for you? then make a best of 2016 mix tape! You're free to use all kind of songs from sweet-mellow ballads to chaotic heavy metal songs JUST keep in mind that they're all from the same year RULES Partners will be announced on the 3rd of May Mix tapes must be sent by the 10th of May Reviews must be posted by the 18th of May Pairs: @monkeybanana4 I @Ro plz @CAT5 I @ghost @Zeus I @reminiscing2004 @indigo I @yomii @Seimeisen I @Triangle @saishuu I @Komorebi @Shir0 I @doombox
  49. 10 points
    Did he wear a face mask to the ceremony?
  50. 10 points
    Mei from Kuroyuri to Kage and Hisame from Grieva have formed a new band (unknown if permanent, or temporary) titled "烏名 鳴と不愉快な仲間達" (Karasuna Mei to Fuyukaina Nakama-Tachi). Vo. 烏名 鳴 (ex. Kuroyuri to Kage) Gt. 光 Gt. kazari Ba. 緋雨 (ex. Grieva) Dr. カタセ ケイ (ex. Balalaika)
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