Leaderboard

Monochrome Heaven's 2019 Banner Contest The window for banner submissions has closed, so I present to you now all of the banners our lovely members have submitted for consideration. I will be giving them all a number and please vote for the ones you like in the poll. You can vote for as many as you want. The poll will be open until June 1st at noon, so you have some time to get your votes in. 0. 1. 2. 3. 4. 5. 6. 7. 8.

Being in nature always blows my mind. it's kinda hard to believe that those things emerged by itself without any kind of intelligence behind it. I'm not the religious guy,I actually hate it,but nature always makes me feel that something"divine" really exist.

stream verxina sisters this is pure shit

Everyone's debating pro-choice and pro-life, but it seems like not many people are willing to discuss all of the of issues that lead up to abortion in the first place.

Please cast a vote on what banners you like!

Moshi moshi, Doppio desu i'm trying to act like an adult... but fckn jojo

1. PIERROT - heaven ~the customized landscape~ 2. Angelo - HETERODOX 3. Janne Da Arc - DNA 4. Golden Bomber - Golden Album 5. Ensoku - 5 jigen yori no shisha (F-ban) i think.....🤔🤔

cuz we dumb

Also, a lot of western visual kei fans don’t speak/read Japanese, so they don’t know what’s happening in the Japanese part of the fandom at all. So if all these fans are only interacting with other western fans, then you’re only going to hear about problems with western fans.

Japanese fans get hate too, but for different reasons. There's a lot of elitism in the west about who's a "real" fan and who ain't which leads to a lot of silly arguments that make us all look bad, whereas in Japan, it tends to be more about "hE's MiNe AnD hE cAn'T gEt MaRrIeD bEcAuSe I sAiD sO rEeEeE". Granted, that does happen sometimes in the west too, but to a much lesser extent. You're right about following the rules, and that is one of the other big reasons western fans get hate.

For me I've found that the best way to deal with being single is just accepting it and finding other ways to fill that void. I've spend my free time learning new things or building on my hobbies. And in between, spending time with friends and family. And if all else fails, I find that music is the one thing I can always go back to in any number of circumstances. Dating apps are fun from time to time, but there's just this ambiguous wall that I have a hard time getting past when I match with people. I try to just have fun with it and use it as a platform to meet interesting people, even if we don't meet irl. You figure with a population of over 5 billion people and a large number of those people seeking a relationship, finding a potential mate would be somewhat within the realm of possibility 😂

Dallas did the numbering system too, which was nice. Were a few people who tried to cut in line though and even threw attitude when they found out it was fans enforcing it and not staff. I wish I had gone to New York because the setlist they got was my dream one, but I'm happy with what I got anyway because they threw back with Hyena and I loved that song when I was in High School just because of Reita's bass and it was amazing to hear live. He really is great to watch live. Lines for GazettE shows are wild though so that's half the experience lmao

btw love how this headline implies that the girl got her p!$$y p*pped and pooped out a baby all while still in her wedding dress 👌

It's your boy emmny…I’m not dead yet. It’s been almost two years since I dropped my last reflection (Kagerou 2002-2003), and I’m back for moar. It’s not that I’ve run out of ideas (real life is really busy btw, sorry!), but rather I’ve been thinking about particularly notable eras for bands I followed. Some bands are consistently good, and some bands have peaks and valleys which are kind of obvious. Choosing a band and time period to profile is challenging—I don’t want to give you anything obvious, but I want to bring light to eras which are underrated outside of a bands immediate fandom. Kagerou’s 2002-2003 phase was legendary—but the majority of their fame (esp in foreign fandom) came after. It was an era ripe with pickings—an avant-garde sound, striking visuals and some of their best songs—but I’d argue Kagerou are more closely associated with their 2004-2006 eras. The argument of placing their earlier days in the spotlight made the article interesting, and I’m not sure how much other eras are interesting in band histories. Selection is tough too—especially with bands that release intermittently and not giving enough musical ‘meat’ over the course of 2/3 years—which happen to be the most interesting (albeit financially strapped bands---*cough* yazzmad *cough*). Good music alone doesn’t cut it either—a reflection piece (in my own asshole opinion) is warranted by impact—Kagerou’s early years had influence literally a decade after they had moved on from that sound. Whether the following will have the same impact is TBD, but I will make the case that late-era Moran defined the zenith of art-kei, managing to sell out massive venues for a subgenre which was otherwise relegated to the underground and situated in a genre largely declining in popularity. In their dazzling sound, visuals, and approach, Moran kept their contemporaries on their feet and inspired subsequent kohai bands which continue to carry their flag, almost half a decade after they called it quits. Moran have a storied history, but getting into it would take 1) skills I lack as a visual historian and 2) too damn long. 2013-2015 covers most of Moran’s second lineup output, and I’ll briefly get into the timeline. This is where I’ve drawn the rough boundary of time, so to coincide with Moran’s third-era all the way up to their disbandment. I’ll delineate three main eras: 1) 2007-2009, 2) 2010-2012, and lastly, 2013-2015. Era 1 is Moran’s original lineup (and probably their most beloved), which formed ~2 years after Fatima’s disbandment. Era 1 came to an end with the original guitarist Velo departing the band in 2009, and bassist Zill’s tragic death in 2010, following a short-term leave from the band in 2009. The only permanent members of the band’s history (and the OGs from Fatima), vocalist Hitomi (FKA Sanaka/Kanoma) and drummer Soan (FKA Towa) were left to carry the band. Moran took a huge beating, but as one of SPEED-DISK (Free Will subsidiary)’s flagship bands, they pushed on into their second era with support bassists and Sizna (ex-Sugar) taking over as kamite guitarist in summer of 2010 and a full-reboot at the end of the year. There was a substantial lull in activities, with almost two years passing between the two eras without music. They proceeded as a three-piece until the summer of 2012, with Ivy (ex. Dio) joining as a full-time bassist and vivi (ex-DragonWAPPPPPPER) as shimote guitarist. The band formally rebooted in December of 2012, and they released their first piece of music as a five-member group in early 2013 with Jen:ga, and that’s where this story will start. Moran (2007.12.05 - 2015.09.21) Vocal: Hitomi Guitar: Sizna Guitar: vivi Bass: Ivy Drums: Soan Jen:ga (2013.02.20) 01 Barairo no jigoku / 薔薇色の地獄 02 benisashi / 紅差し 03 L'oiseau bleu / ロワゾ・ブルー 04 Bulbs 05 Melancholia / メランコリア 06 yakouchuu / 夜光虫 07 Wing or Tail 08 ReCover 09 Maybe Lucy in the Sky 10 Eclipse 11 Aru sakushi to no yuugiroku / ある策士との遊戯録 12 Fuyuubyou / 浮遊病 13 The last piece of the jen:ga Hollow Man (2013.07.10) 01 Hollow Man / ホロウマン 02 Fukamidori / フカミドリ 03 Esther / エスター Mousou Nikki (2013.12.11) 01 Mousou nikki / 妄想日記 02 Lyric of the DEAD dark (2014.03.19) 01 Nozomenai to shiru ketsumatsu ni, riyuu ga boku o nagusameru / 望めないと知る結末に、理由が僕を慰める 02 The Hermit 03 Negai to uta / ネガイトウタ 04 Fairy Tale 05 Ikou, hakushi no chronicle / 以降、白紙のクロニクル 06 Haru no yoru no, hitoshizuku / 春の夜の、ひと雫 but Beautiful (2014.07.16) 01 but Beautiful 02 Byouma / 秒魔 03 Break the silence Daraku e to Tsuzuku Hen’ai no Kanshoku (堕落 へと続く偏愛の感触) (2014.10.08) 01 Daraku e to tsudzuku hen'ai no kanshoku /堕落 へと続く偏愛の感触 02 Memorable 03 Grotesque Ride / グロテスク ライド Yoake Wo Mae Ni (夜明けを前に) (2015.07.01) 01 Koufuku ni tsuite no shakudo / 幸福についての尺度 02 Reverse 03 Yoake o mae ni / 夜明けを前に 04 The scent of dreams Moran have the distinction of being a pretty damn consistent band throughout their 8 years of activity. Their art-kei trademark of jazz/oshare/indie-rock/dream-pop/shoegaze/swing sound was a constant in their discography, with the specific flavour depending on the release. Moran largely presented a polished version of the ideas originally leveraged through Fatima’s output, which was largely experimental and toyed with combinations of genres and sounds. In my opinion, this polishing process continued into Moran’s first eras, with highs (most of Heroine and Replay) and lows (“Sea of Fingers”, “Stage Gazer”, “Party Monster”), but nowhere near as bipolar as some of Fatima’s highly questionable tracks. Early compositions were mostly Zill and Velo pieces with some Soan contributions, which diverged from their later eras which saw Sizna and Soan as key composers, with some vivi tracks here and there. Zill and Velo made some magic, but Sizna and Soan really made the band shine and polished all residual traces of odd melody and some awkward compositions. If you’re unfamiliar with art-kei, Moran laid the template for the sound in their early eras—give “Onaji yami no naka de”, “Element”, “Kimi no ita gosenfu”, “Helpless” and “Arikata” a listen for exemplars. Hitomi’s voice is a gorgeously husky and also quite nasal, a total acquired taste. If you liked Moran, you probably loved what Hitomi did on their tracks. If you disliked Moran…you were probably deaf or just didn’t like Hitomi’s voice. Hitomi’s contributions toward 3rd era Moran were notable, as he actually composed a track on dark (“Fairy Tale”), and veered into some more experimental, spoken word type tracks like “Vega no Hana #2”. True Hitomi fans know he had a poetry column throughout Fatima and was an incredible lyricist, so it was amazing to get more longer-form musings. I will say that Ivy as a bassist was a downgrade from Zill, who basically set Heroine on fire with the most fascinating basslines, counter melodies, and solos to come out of a visual bassist in a while. He played with electrifying gusto and a sharp ear toward rhythm; I can only think of a few bassists in his era who had comparable basslines. His departure and subsequent death was truly a waste of talent, but Ivy did a job well done given the high standards Zill set. That said, I think Ivy definitely had his moments (holy shit “Eclipse”), and will be glad to point them out. Soan has a nicely jazzy twang to his drumming with some great fills and cymbal work. He’s far from a perfect drummer—don’t ask him to do anything technical, but his flavour suited Moran perfectly and Ivy danced around him with ease. Also notable among his repertoire is his piano skills for which he’s credited in Moran’s releases—I wouldn’t be surprised if a lot of the string/piano/other instrumentation arrangements were through Soan’s background as a classically trained musician. Moran’s more baroque leanings came in around the time Soan took the wheel, so I see it as no coincidence and attribute it to his taste. In case you live under a rock, Sizna is a guitar god, and he basically carried Moran through pretty miserable circumstances and may or may not have been the glue that kept Moran together toward their end, with dueling egos from Hitomi and Soan leading the band to implode. Sizna’s instrumental and compositional prowess led Moran through what would have basically made any other band disband, and he had the tracks to back it up. I think vivi basically followed his guitarlines, and I wouldn’t be surprised if Sizna wrote all the guitar parts himself, but vivi was an excellent rhythm guitarist. While the newer members were arguably weaker musicians, they breathed life into Moran and revitalized their sound—magic happens somehow somewhere—right? I want to talk about individual songs, but Moran released almost 30 tracks between 2013-2015, so that’s kinda impossible too. I will speak more about major themes across the releases, with particular attention to stand-out tracks and larger releases. Moran, while playing with a unique, multicoloured palate, did release music that could be understood as variations of a broader theme. The 2013-2015 era saw Moran release their best party songs (because IMO, the prior ones sucked). These tracks are characterized by upbeat tempos, cheeky and catchy, jangling, dueling guitar lines, heavy yet tasteful synthwork, and soaring vocal melodies. These songs are Moran’s most accessible, but far from tepid, generic pop songs—take the funky bass/drum solo break and ascending vocals in the bridge of “but Beautiful”; the wailing synths, bridge breakdown and verbose sing-along chorus of “Eclipse”; the start-stop-instrumentation and killer guitar solo of “L’oiseau bleu”. The 1 minute 30 exuberance of “Melancholia”, sugary sweetness of “Bulbs”, “Reverse”, “Break the silence” are also exemplars of their charismatic charm. Across these songs, traditional structures are subverted, pacing is played with, and the listener is taken on fuckin’ journeys through textured verses, dazzling choruses, and layered instrumentation. No one is close to touching Moran on these tracks, and they stand out as highlights in their discography. While these songs are Moran at their most polished, rough-and-tumble Moran is fun too. “Maybe Lucy in the Sky” is a rioting, gang-vocal mosh track meant to get the crowd jumping around, and “Esther” is a hella odd take on something between metalcore-kei and deadman, all ran through a lo-fi cassette playback---I’m not kidding. “Byouma” is also one of their darker tracks (not saying much, Moran are softies), marked by ominous synths, moody riffs, and a rap-sung chorus. It almost sounds like Moran doing Mejibray…in their own twisted way of course. I think what contributed to Moran’s longevity was their ability to stay true to themselves while still playing amongst basically everyone—oshare, abare, and art kei alike. They were chameleons within the visual circuit, and probably had a setlist for every occasion, reeling in curious fans of other bands with a range of styles and sounds. They weren’t outsiders playing to the same crowd at Ikeburkuro Chop every week, and they were able to spread their sound accordingly…the residual fame/notoriety from Fatima (and ikemen good looks/fanservice) likely helped as well. Next is the jazzy/bluesy/swing/calypso (yes) bangers, being fellow A-side singles “Benisashi” and “Daraku…” and “Hollowman”, which to me, always had a more jazzy flavour than the other upbeat bangers, but was too rock-ish to fit in among the jazzy tracks. Another nice crossover honorable mention is the band’s cover of SiD’s “Mousou Nikki”, which they infuse with extra urgency through tremolo picked riffs, complex lead fills and extra dramatic vocals from Hitomi. SiD’s early years were notable for jazzy leanings, and Moran’s cover picks up with even more jazzy touches with an extra quirky rock flavour—which fits the stalker fan concept of the lyrics. Of special note is the calypso flavoured interlude of “Hollowman”, which they took all the way in the romantic mid-tempo “Daraku”. Hitomi’s vocal line is delicate as the acoustic guitars and tempered percussion, with an energy that hearkens back to the more rock-but-pretty-acoustic “Ningen no ningen no ni yoru ningen no tame no koiji”. Moran, throughout their lineup changes and style fluctuations, were always conscious of their roots, and for them to revive that sound is a treat. “Benisashi” opens up with tight bluesy, melodic-yet-dissonant lead guitar work from no one but Sizna, leading into Hitomi’s crooning over the jazzy verse and bombastic chorus. I wish I had more words in my vocabulary to describe the nuances of their sound, but I’m not well versed enough in jazz/blues lingo. What I can say is that its fucking awesome, give it a listen. The jazz tracks on Jen:ga are by far the most balls-to-the-walls, with the elegantly restrained smoky cabaret opener of “Barairo no jigoku”, to the maddening swing-your-partner-by-the-arm jig of “Aru sakushi to no yuugiroku”. This is easily some of the jazziest/bluesiest music I’ve heard from a visual band—far from the shitty metalcore-swing transmutations of recent years. Moran also had a good repertoire of slower, dreamier tracks. Jen:ga outtake “Yakuchuu”, “Wing or Tail”, “Fuyuubyou” and Hollowman b-side “Fukamidori” compliment each other well in their delicate, romantic style and . Speaking of midtempo (and slowwww), Moran pulled out all their stops for the ‘ballade’ concept mini-album dark. They literally made my art kei dreams come true and dropped A WHOLE FUCKING MINI ALBUM’s worth of ballads. I will preface this by saying that I’m a ballad person—If you’re not *cough* like @saishuu *cough* then you better sit tight because I’ll try to fuckin convert you. There is nothing better than some sad fucking guitar chords layered over some slow, moving rhythms and subtly ornamental basslines and a beautiful comforting vocal line. Moran give me all that and more with dark. “Haru no yoru...” is the spiritual successor to my all-time fav Moran ballad “Snowing”; “Negai to uta” is a quasi post-rock, spoken word-y duet with female vocals complement Hitomi’s crooning; “Nozomenai to…” is driven by charging drums over weeping strings, bringing to life a heartwrenching narrative of lovers split by the sea shore. The whole album stands out for being a dazzling display of Moran's compositional prowess, with each song having its own taste despite the otherwise monotonous theme of balladry. "Fairy Tale" is a barebones acoustic track, "Ikou, Shirakami..." plays with dynamic shifts and swelling delayed guitars like Mono, while "The Hermit" is a shoegazy piece with a hard-ass breakdown toward the end. Moran's ballads are removed of visual cheese, with attention paid to maintaining a bitter sweet sound, in which they remain melancholic but not absorbed by melodramatic displays of emotion. If you've been shy to approach ballads because of the affective excess ever so present in visual kei, I'd urge you to give Moran a shot. You can’t talk about ballads without their goodbye single, “Yoake wo mae ni”, which places Hitomi as the proverbial prince in the fairy tale that was Moran. While he was going to close the chapter of Moran, he wanted to leave their fans with something to remember and his hand to hold on to. The PV reaches Malice Mizer drama heights, with the band members disappearing one-by-one as the song comes to an end, a-la "Au revoir" or "Le ciel" (an ironic touch, given Hitomi's entry into VK as a MM roadie). My favourite part is the end interlude where most of the instrumentation cuts out and Hitomi delivers an uncharacteristically dynamic vocal solo, which is even more goosebump-inducing in the footage for their last live (linked below!). As Hitomi delivers the vocal line, the audience belts it out with him, and you can clearly hear them holding back tears as they sing “I silently listened to your heartbeat; its very steady; in this way, I can share the loveliness of the night with you”. English translations (thank you translation blogger) don’t do it justice in the least; the verbs used in the Japanese version like “resonance” and the use of “beloved” with “night” sounds like Hitomi kissing his fans goodbye in his ever-romantic, poetic style. With that, Moran bid us farewell. Basically, the tensions between Hitomi and Soan probably drove the band crazy and they peaced out. I’m no expert on Moran’s member drama, but a glance at the band news threads on here should offer a healthy dose of visual tea. Hitomi and Soan are apparently good now, with Hitomi’s solo projects Ameyasame and Umiyuri having played with Soan’s solo project (Soan Project with Akuta; Temari) on occasion. Should Moran come back? Vivi’s hands are tied with DEZERT’s current fast-track to visual major fame, Ivy is juggling side projects with Yoru (Temari, ex-amber gris’s solo project) and Tenten’s Lack-Co. Sizna has mostly left visual outside of a Sugar one-night revival, and is now teaching guitar in his own business. The funniest part of it all is that Velo had a guest appearance on Umiyuri's debut EP and is currently playing with Ivy in Yoru. I’d like to think of this as no bad blood between the art-kei dudes. The talent that graced visual kei from 2013-2015 is still present in some form in the indies circuit, although no solo project has reached the heights of Moran’s fame; routinely selling out AREA, playing onemans at O-East and ending their career at a packed Zepp Tokyo. Oldheads on here will remember that amber gris died shortly after, and with the deaths of cocklobin and 9GOATS BLACK OUT in the near past, no major art kei band was left to carry the scene, the splintered solo projects and off-shoot bands haven’t been able to drive up interest like before. This may just be that the bands aged out of the super-touring style of SPEED-DISK bands—Hitomi and Soan were around 40 when Moran called it quits, and by then, most of their fans that followed them since Fatima were probably retiring as bangya. Luckily, the youngins behind Develop One’s Faculties have been able to carry the torch of Moran, reaching similar peak venues without members deeply rooted in art-kei like Moran. Yuya’s charismatic vocals, perplexing lyrics and intricate guitarlines certainly give him the starpower to take over Moran’s legacy while being different enough. I’d argue there are lots of parallels between current DoF and later day Moran, especially with DoF’s ability to be visual chameleons while staying true to their sound. The same can be said for Chanty, who have a distinctly indie-rock crossover flair and straddle the boundaries between j-indie and visual kei. Hell, Akuta, the vocalist of Chanty is also the star of the more rock-flavoured part of Soan Project. Belle has a slightly jazzy twang to them too, but they remind me more of classic Oshare than the former three bands. I can’t think of any other notable bands that followed in Moran’s wake, but I think as visual’s popularity continues declining—there will never be another Moran. I’m not entirely okay with that, but DoF and Chanty are doing god’s work. In the meanwhile, we can look back fondly at Moran’s later years, smiling, dancing, bopping and shedding tears with some of the best visual kei of the 2010s. I want to hear your opinions? Are you a holic? What are your fav Moran songs? Are you with me and think their best era was 2013-2015 or are you a diehard first lineup fan? Will art-kei live forever? Do you happen to hate Moran (YOU MONSTER!!) for some odd reason? Let me know! Ps thanks to @peffy for the lyrics and @The Moon for literally being a whole Moran street team in one person. xx emmny

ジルドレ (jirudore) first single will be released on August 5!

I’ve recently been obsessed with the Green Day album ‘Dookie’, it’s so good!

are these all by YOHIO

very difficult Not in order 1. Mucc - Kuchiki no tou 2. Pierrot - Private Enemy 3. D'espairsray - Coll:set 4. Dir en grey - Withering to death 5. Kagerou - Gurouiro

01. Scream 02. Snöängelns Rike 03. re:MADNESS 04. GRAVITAS 05. Laundry Service

Agreed. The thirst is real and it can be off putting. We're not gonna get married in the next month or so, chill.

bop

Imma give the album an obligatory listen, but I can't say the samples did much for me.

Watching movies and I am getting so tired of all this wacky CGI use now. It's incredible how Jurassic Park (1993) still looks better than both Jurassic World (2015) and Jurassic World: Fallen Kingdom (2018), despite the fact that the CGI has come a long, long, long way since then. It's all about how they used it, how they mixed it with practical effects and how and when they chose to use it. Probably the best example ever is the T-Rex shot in Jurassic Park. They didn't just throw it out there, they really thought about it. Having it dark and rainy made the whole task so much easier to make it look good, and it still looks incredible. Is there even a decent shot in Jurassic World or Jurassic World: Fallen Kingdom where the dinosaurs actually look threatening, scary and real? Heeeell naw! And this also sums up why movies like Avengers: Endgame and Alita: Battle Angel already look dated, despite being out for only a few months. They use of CGI are fucking disgusting. If you want another disgusting example: Take a look at how Black Panther looks when fighting in his suit in Captain America: Civil War, as opposed to how he looks when fighting in his suit in Black Panther. How you ever wondered why he looked so awesome when fighting in Civil War, and why he looks so fucking awful when fighting in his own Black Panther movie? Three letters: CGI! In Captain America: Civil War you have a guy in a black suit, a stuntman, actually doing stunts. So the physics is spot on. It's real. They just glossed up his suit and shit, but they didn't make him CGI. So they didn't fuck up any of the physics. In Black Panther it's just CGI, and because the CGI is still far from being perfected they still haven't managed to master physics and so on. They're just cartoons fighting, and they're light and can do whatever the fuck they want. It doesn't look OK at all. Compare the non-suited Black Panther vs Killmonger with the later fight where both are in a suit. Just look at the difference. So annoying, and what's more are all the people in the world who actually consider this to be good looking and a fine thing to do. Open your eyes, use them and just think for a second. Christ almighty. Rant over!

it's also on Youtube

I have my last exam of the year in forty-five minutes, then I've just got next year to go and I'm done with college (provided I pass, that is)! University feels so close...

bump, it's today!!! ♥♥♥

Yeah baby, gimme all those fast over-the-top dramatic VK choruses ❤️

Ariabl'eyeS - 響奏輪廻ローゼンレネット 八方不美人 - 愛なんてジャンク!

I also really love Matenrou Opera, and I've heard so many people hate on them for no reason at all other then to say that they aren't very good. But Sono's vibrato is one of the most beautiful things I've ever heard. Idk, maybe I'm just a sucker for Sherow Artist Society artists lmao

HYPE HYPE This is gonna be one textured mf

- I dont understand what the big deal was about sibilebashir - Why do bands have amazing looks in the beginning and then fk it up in the next release or others - Why do some bands try to do edgy rap when we all know thats Choke's job XD - Why doesn't ryuoga from razor scream that much during lives as he use to when he was in born. - Too many ? bands or unknown bands to try to be edgy what started that trend why it is not needed - So many disbands/haitus could have been avoided many times/ *Insert list of band names here* *Cough cough Nocturnal Bloodlust* - Why are some bands underrated (my list): Develop one's faculties, Archenmi, Akaku somatta kioku, SARIGIA, Liphlich, Amai Bouryoku - Why do people talk about the gazette so much when there are other bands that exist. Yea they are good please move on. - Why was SCHWARZKAIN (シュヴァルツカイン) a thing tokami was fine. Although SCHWARZKAIN had some good stuff. - I hate it when bands not post a best album or last album after a disband or just give 1 song which wasnt that impressive like girugamesh did.

It’s Shoyo

What a bunch of cute fellows we are! Also, surprised by the amount of handsome guys here... 😶 👉👈 Should I point out my crushes? Lol

Decided to quit my current job and spend awesome time with parents and cats before Japan adventure and quest with finding job to get working visa (^w^)

There's so much I want to do with my life and sometimes I worry about not being able to do it all. My main goal for the future is to become a paediatric therapist, but I'd also like to try becoming a singer, learning an instrument (probably violin), making beauty products, developing video games, improving my art, writing stories, learning Japanese and French so I can go to Japan and France... and many more things, but I couldn't possibly say what they all are as that list is constantly expanding and there's too much to recall off the top of my head. Being a procrastinator doesn't help much.

I also emailed them to ask about when this is going to come up for ordering but was told it wouldn't be available through them. Though I also asked about the RAZOR full length and got told the same thing and have seen that's on there to order now.... So who knows? I ordered both through HMV Japan, they ship overseas and you can view the site in English, so that may be your best bet.

I think that whole "standing out" thing really depends on the kind of people you're trying to get. The kind of guys I like tend to be shy to the point of being intimidated by that. I'm pretty shy around new people myself, and personally, I would much prefer it if someone went up to me and said "hello" instead of "what did you eat for breakfast this morning" or something along those lines. Granted, I get that just a simple greeting might come off as bland to most, but if they're not expecting it, it could actually be the best way to go about it, provided you have something to follow up with and gradually build it up.

Tinder is great, and just like irl using it requires a certain finesse and understanding of the code of conduct that applies there. You can’t just walk up to every 10 on the street and be like ”hey baby do you like dir en grey?” and expect them to care. My tip is to set yourself apart by expressing yourself and being a little weird. That way you’ll automatically eliminate all the basic bitches from the equation and you’ll remain with the peolle you’d actually fuck with, with who you share interests and a sense of humour. Tinder is objectively a million times better than daygaming random people like a jerk off creep or rubbing yourself against someone’s ass on the dance floor.

I feel like they're running out of ideas.

Also, is it me or does Aldious look like they're hostesses or just got ready for the prom?

4th single, "murder disease", will be released on May 31"th"

Definitely R-shitei, despite their overuse of the whole suicidal schoolgirl thing.

new arrivals! (first picture is stuff from the last rarezhut auction ♥️)

They do everything so well and this is going to be an amazing album for real!!! I need this!!!! @-NOVA-

I was going to cover this in a separate post later, but I think the reason why no one cares about IIII-Ligro- is because Tomurai was never released. They were good, but as a jaded and seasoned fan I wait until a band's first album before I start activating the hype thrusters. IIII-Ligro- ended activities just as things were getting good.