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Himeaimichu
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Everything posted by Himeaimichu
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It was a joke. Don't take it too seriously
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New Kuroyuri album (Hopefully) Kyo, being the eternal teenager he is, gets over his deathcore scene phase and decides to go Emo and tour with AFI. (Ok, not a real prediction, but I felt like making the joke xD) Kiryu releases a few singles, and then another album. Kon (La'Mule and Cell) will probably start another project, since he occasionally still preforms both La'Mule and Cell songs with Nao. New Kisaki project with a bunch of people who are 10-20 years younger than him, but somehow look a little older. Karma and Zen from AvelCain return with another project. Sibilebashir disbands, then reforms on Kuroyuri's label (There have been multiple rumours around about them joining Kuroyuri's label) Yukika snipes another band, puts them on a sublabel Kebyou releases first non-live distributed single Yoshiki decides to do another business venture, and epicly fails A bunch of small Tokyo based Vkei bands that look like Meteroid and Diaura play the stylish wave countdown, and become popular, and we won't stop hearing about them for the rest of the year as labels pick them up. CrowXClass still doesn't return, or even give any clues to whether they've disbanded or not. (The next predictions are just jokes) AKB-48 releases their 666th single, with so many versions, that there aren't enough letters in the alphabet to label them all, so they use IPA letters. But it turns out just to be the same stuff, as usual, because.. well.. it's AKB-48. Some big JPop scandal that honestly is nothing huge, but people gotta complain over anyway, fills all the J-music news sites. AvexTrax will start losing more money, as Nightmare goes on hiatus, and a bunch of other Avex bands will decide to follow Nightmare and do the same. (I mean, have you seen how Avex treats their bands?) And finally, Hide rises from the grave, just to say "Ok, look, the Vkei industry is not the same anymore. There is something that the industry lacks. I think we all know what it is. La'Mule should have never disbanded"
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This is probably the most helpful thing I've seen all day~. Thanks so much! I really do wish to get a teacher someday to help me reach my full potential. The way I try to notice my flaws is I record myself and I see what I need to improve on. I also try to research the techniques as much as possible, and learn different techniques that even if I may not use, will still really help me. Like, for example, I learned Tuvan Throat singing because I knew it would help me learn to scream and growl correctly (Also I happened to go through a small phase where I had an interest in Mongolian and Tuvan music xD) I can actually hit the high notes of Saku without falsetto, but I prefer to use it since it makes me sound more feminine, though I can also hit a pretty lavender sounding tone without falsetto, but it involves me singing similar to how Karma from AvelCain sings, and I don't think I should try to sing like him, since I'm not completely sure whether he sings correctly.
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It's also worth mentioning unlike Kyo, I haven't had numerous vocal surgeries, growl incorrectly, or had an alcohol and cigarette addiction, so while it's apparently hard for Kyo to hit highs, it's quite easy for me. Though, no live performance ever does Kyo any justice. In the 90's, he sang through his throat, and didn't go into the high range a lot. In the modern era, he holds the mic incorrectly, making him sound derpy, despite now being able to sing properly. Of course, I never had any proper vocal training (Though I'd love to have some) so I don't even know if I'm personally singing correctly. One day, I'll record myself for you all to judge yourselves. It's too late at night right now, but if I remember, I'll do it tomorrow
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Yeah. In my opinion, I think anyone of any biology, with enough practice, can hit pretty high notes. I mean, I've seen some people hit quite good high notes on tune, who normally have gruffy, or deep voices. I've heard some pretty sweet sounding vocals come from people you wouldn't expect to hear them from. For example, the lead singer of AFI looks pretty masculine now that he has facial hair, but can still hit those feminine notes in songs such as "Girl's not Grey". Of course, he's not known for having a deep voice though xD. Of course though, Kyo is also not known for having a deep voice either, so high notes are to be expected of him too. I think speaking voice also can tell what kind of range someone has. My speaking ranges from sounding pretty deep, to sounding genderless, to sounding falsetto (I swear it's not because of hormones xD. It's just the way I am xD) and half the time, I'm not even trying xD. The key to hitting high notes in general (no pun intended) is falsetto. I mean, of course you'll sound weird at first, but practice makes perfect. The way I learned to sing high notes was through falsetto. And not only can I hit those notes, but according to my friends, I sound pretty feminine too. (Which is totally what I'm going for xD)
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IDK how to describe my range. I can go from singing some of D's songs, to singing Saku. I work best with songs done by Kuroyuri To Kage, since I listen to them most and Mei's high notes are quite easy to hit for me. I learned how to hit highs though from Kiryu's "Etsu to Utsu", which took me a few weeks to nail. It's worth mentioning I'm a transgirl (AKA born a male) with lavender linguistics, so, yeah xD
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So my thing is primarily vocals, and I work with my high range a lot for multiple reasons, and I commonly find myself turning to Dir En Grey songs for that. I haven't known of the song Saku for a while and it was since last year I learned to actually sing on tune and do vibrato. But now, I find myself perfectly harmonising to the song "Saku", which uses a lot of Kyo's high notes. Obviously, Kyo has gone higher, but "Saku" does demonstrate a lot of his high range. But it has me wondering, is what I'm doing unique, since Kyo literally holds an official record of having one of the highest ranges in all of Metal, or does anyone else find it easy? I doubt myself about this, mostly because I'm just normally humble, but also because it's only since last year that I was actually able to find a range that I could sing on tune with and use vibrato. I have improved a lot and also find myself singing songs I thought were impossible for me to sing not 6 months ago.
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Well Memento Mori and Kuroyuri To Kage are basically that. Memento Mori never focused on releasing singles (Or full albums) and have only 4 full singles, half of them having years in between releases, only one full album with barely 9 songs. (There was almost a 10th one named "Mosaic Jishukisei", but for some reason that never made it on their only full album) and 2 mini albums released a year apart. Then when they reformed into Kuroyuri To Kage, they only have one full album, 2 Mini Albums, and a few singles, and went silent for a long time until it was announced Koyomi and Mutsuki would be leaving, and Kuroyuri would be kicked from Ains. Memento Mori has only made 26 unique songs (Including their demo to Aka-On records, which they preformed live and have on live DVDs) Kuroyuri so far has only 34 unique songs.
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Hopefully, he does debut a new project, and hopefully, he'll keep his Japanese folk influences. That's what got me into Avelcain~
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Same. I still listen to them all the time~
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Yeah, and also knowing you were the only one there for Byakura, I don't think it would be either them, or JyuLie, on second thought. xD
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Since they taped pictures of him all over the music video, he must have some importance xD. Have you checked any interviews from around the era?
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Oh how I long for a translation of this xD
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I'm putting my money on them being the members of JyuLie/GossiP xD Either that or the members of Orochi. (I at least think Orochi was still a full band at that time.)
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With me, a band can get away without an official drummer as long as they have someone who plays it in studio, or use good samples. Meanwhile, I think they definitely need 2 guitarists. I mean, yes, they could go the AvelCain way by having Kuro record two guitar parts, and have a prerecorded track of the 2nd guitar live, but that makes them feel a little fake. And you're right, Kuro and Koyomi were like Kaoru and Die. Partners that can't be separated.
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I'm really curious to that one, since they look like an interesting group. I tried image searching them but couldn't find anything. Has anyone cropped out the individual pics from that one and image tested it?
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I remember hearing from a guy who attended their farewell live that he overheard some people saying they were going to continue as a 4 member band. Of course, this could mean a replacement for either Mutsuki or Koyomi.
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Yeah. Knowing the song where the music video featured pictures of the man taped EVERYWHERE was about Juvenoia (The fear of "kids these days"), I'm pretty sure it's some politician who really doesn't like younger people xD
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So we all know the GazettE's awesome second single, Kichiku Kyoushi (32sai Dokushin) no Nousatsu Kouza, but does anyone know who the guy on the cover art is?
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I have done the research and GossiP is NOT a GazettE copy.
First, I'm making this as a status rather than a forum post, because I don't want to start a toxic forum post. If I get flamed, I'll just delete this status.
Second, to the main point. I hear people say GossiP is a copy of The GazettE, and I can kind of see where they're getting at, but let's look at the facts. GossiP is very influenced by the GazettE, specifically their early, heavier era. Saku's vocal style is very similar to Ruki's, and they both share similar makeup. HOWEVER, Ruki's has a more child like quality and is meant to represent insanity, whereas Saku's is more aggressive, and has influence from traditional Japanese singing/narration. While The GazettE did play around with nostalgiac Japanese elements in the early days, GossiP's full on aesthetic is basically Japanese Nostalgia (Though they have gone outside a few times, like with Psycho Pass and Darekasan Ga Koronda). What I mean by Japanese Nostalgia is basically mixing of old Japanese (Edo period to be precise) with pre-modern (Meiji restoration to 1945) elements. Like, old military outfits, calligraphy everywhere, archaic dialect, traditional houses, etc.
In terms of sound, that's where things really diverge. Most of GossiP's influence comes from their old band "JyuLie", which had pretty much the same sound, just sometimes with Japanese Instruments. Now what are JyuLie's influences? Well, it's mostly a mish mash of Byakura (whom they collaborated with once), The GazettE, R-Shitei, Ningen Isu, etc. In GossiP, the Byakura influence is a bit less, but you see a lot of Punk Rock and Hardcore Punk influence in GossiP. Yes, while there is a lot in The GazettE too, The GazettE is more conventional in terms of sound. GossiP kind of takes things further. Like "Baka Aho Manuke Banzai". It has a full on Hardcore Punk sound. And even in songs with direct Gazette influence, like Akudoukai Kusottare Koushinkyoku, they make it a bit more heavier, adding more metal elements.
Also, I have not heard a GossiP or GazettE song that use the same melodies. Also, The GazettE has a genre which I haven't seen in GossiP. Metalcore. I haven't heard a GossiP song that I would call Metalcore. Only Metalcore influenced.
So in conclusion, is GossiP is GazettE copy? Nope. Very influenced and obviously looks up to the GazettE? Definitely. I can understand though why Gaze fans may be worried. With how influential the GazettE has gotten, there are GazettE clones everywhere. GossiP however, is not one of them.
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I swear people are only telling me I didn't do research only just look at what I typed, but didn't read and jumped to conclusions. Either that, or actually trying to explain things to make them easier to understand is too "opinionated". I tried to make this a little easier to understand so people would know what I mean, instead of just compiling everything into a boring list. However, I tried my best not to put opinion in this. If I did, I would have went on about how I like both bands. I actually took the time to analyse the music of each band, and to tell me that I didn't do research and just put a bunch of opinion personally offends me as not only a person who took the time to do research and compile it, but also as a musician who plays guitar and sings, and actually does research on music genres so I know what I'm talking about.
You want to assume I didn't do research and made only opinions? Fine, but prove it. Prove it so I can improve how I compile my research. Don't just say that it's just a bunch of opinion and no research. Actually prove why.
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@Disposable I never said it was vague influence. I actually said there was a lot of influence, but there is also a lot of differences that set them apart.
And if you can come up with a Gazette song that is completely the same in both melody and composition to a GossiP song, tell me the songs and I will personally listen to them both.
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Oh wow. It's weird how they never got popular, even though they were very influential, and paved the way for GossiP and AvelCain, which probably have a spot on some of the most popular neo-VisualKei bands.
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Anyone remember Byakura? You know, that really influential Folk Metal VisualKei* band with the female vocalist and no official guitarist that influenced Kiryu, GossiP and Memento Mori? In fact, GossiP's old band, JyuLie, even appeared on a collaboration single with Byakura. Yeah what exactly happened to them? Their last 2 releases were a year apart, and they just simply disappeared some time in 2013, with no announcement of disbanding. Also, their official website is now nonexistent. Does anyone know exactly what happened to them? xD If no one really knows the truth, if anyone has any theories, please do share them too (But don't use any theories from Tanuki (ew) ) * I'm trying not to refer to them as AnguraKei, because I don't want to start an argument over the definition of AnguraKei
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Actually, when Kuroyuri formed, Kuro and Koyomi traded places, Kuro becoming the main composer for most songs. Though it is worth mentioning that all members wrote their own parts, so Koyomi leaving did affect the song writing in that the guitar parts had to become simpler. Which is totally fine, but it doesn't excuse the reuse of a simple song structure. Then again though, they were probably also rushed, which I can understand. If you're being rushed, you can't take as much time. I have immense hope though, since I was blown away by Toshabutsu's awesomeness xD
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Same, tbh. Like I said, there needs to be a balance between simple songs, and complex songs~ I just really find it annoying though when a band barely has any solos though, or even lacking instrumental breaks. Like, if a song has very simple composition, usually a solo, or a very well executed breakdown can save it from sounding formulaic. An example I like to use is Gichigichi. For me, none of the songs on the Toshabutsu single needed a solo anyway, because the instrumental compositions were complex enough, and the song structures were creative enough that the songs feel perfected. I guess what I'm trying to say is, I like a variety in complexity and song structure, and I like songs that feel like a lot of effort has been put into writing it. If Kuroyuri still used traditional Japanese instruments, like in Memento Mori, I would honestly have my standards a bit lower, since I can deal with simple guitars behind an amazing synth line on a Shamisen or Shakuhachi or Koto xD
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I felt as if the composition of the songs got way too simple for my taste. I mean, Zetsurin Full Course and Ekijo Heya were the only songs on the Zoki No Nozokiana single that had solos in it (For me, solos aren't a requirement, but they definitely do make a piece feel way bigger) and a lot of the songs just were paled in comparison to the awesomeness that were the songs "Yokusou", "Kimi No Kusuriyubi Wa Boku No Stew", "Gesshoku", etc. Though, that's not to say simple songs can't be amazing. In fact, a few simple, but fun ones are necessary, like "Gichigichi" or "Misui". Basically, what I'm saying is that there needs to be a balance between complex and simple songs, so that they complement eachother, like Yin and Yang xD The first album and first mini album from Kuroyuri definitely achieved that balance. But in Zoki No Nozoki Ana, I feel as if "Sennou" could have been given an extra verse, and maybe a solo (Though I do like the electronic breakdown), and Chocolate Kaidan could have been lengthened and given a proper solo. I guess that's why I loved Toshabutsu so much. Both songs on that single had compositions that were complex and had creative song structure. Kuro is an amazing guitarist and K is an amazing bassist and Mei is an amazing soloist, so I hold them to higher standards than I would hold any other Vkei musician, because I've seen their amazing potential. For me, Toshabutsu showed that potential. But, that's just my opinion, and I could be completely wrong and just spilling out a bunch of random stuff xD IDK anymore.