Jump to content

Laurence02

Hot People
  • Content Count

    211
  • Joined

  • Last visited

  • Days Won

    1

Reputation Activity

  1. Like
    Laurence02 got a reaction from mizumi in Hi!   
    The pillows is amazing too! My favourite album is Little Busters:
     
    I listen mostly to the more recent Concerto Moon, which may or may not fit your needs. This song, Savior Never Cry, is amazing, and the singer of it is the new vocalist of Jupiter!
     
  2. Like
    Laurence02 got a reaction from PIZAZ in Miyabi (ex. Gellonimo, Kuroageha etc) hospitalized   
    It seems that he is somewhat OK now.
     
     
     
  3. Like
    Laurence02 got a reaction from suji in Miyabi (ex. Gellonimo, Kuroageha etc) hospitalized   
    It seems that he is somewhat OK now.
     
     
     
  4. Like
    Laurence02 got a reaction from keilu in Miyabi (ex. Gellonimo, Kuroageha etc) hospitalized   
    It seems that he is somewhat OK now.
     
     
     
  5. Like
    Laurence02 got a reaction from asagaos in Miyabi (ex. Gellonimo, Kuroageha etc) hospitalized   
    It seems that he is somewhat OK now.
     
     
     
  6. Like
    Laurence02 reacted to suji in livehouse 神楽坂 (Kagurazaka) TRASH-UP!! has closed   
    livehouse 神楽坂 (Kagurazaka) TRASH-UP!!, established in 1982, has closed as of October 2.
     
     
  7. Like
    Laurence02 reacted to nick in [UPDATE] グラスレ (grass thread) is back (kinda)   
    Well, I have it up in the link below.
     
    There was an issue regarding encoding being in both UTF-8 and Shift-JIS, but I got it fixed by configuring nginx to respect the original character set of each html file. If you encounter a 404 not found page, it means the page doesn't exist to begin with because my backup is incomplete but most of the artist pages should be available.
     
    https://yunisan.boxjapan.com/
  8. Like
    Laurence02 got a reaction from dovesi in My Introduction   
    Hi from Sweden!
    It's very much a niche thing here as well - I know of less than ten people actively listening to (at least, older) VK here.
     
    You have nice taste! Do you prefer indies-era X or major-era X Japan?
  9. Like
    Laurence02 got a reaction from Alucardius in Miyabi (ex. Gellonimo, Kuroageha etc) hospitalized   
    This shit is scary. I hope that he gets better.
     
    Update: 
     
     
  10. Like
    Laurence02 got a reaction from Crimson in My Introduction   
    Hi from Sweden!
    It's very much a niche thing here as well - I know of less than ten people actively listening to (at least, older) VK here.
     
    You have nice taste! Do you prefer indies-era X or major-era X Japan?
  11. Like
    Laurence02 reacted to jaymee in Why do you think that J-rock never really broke through in the west?   
    I was around during the j-pop/j-rock/VK "boom" in the U.S., if you can even call the small subculture following it had for a short time that.
    I feel like it really comes down to a combination of these three things:
     
    1.) Lack of availability/promotion
    When j-rock was at its "peak" popularity overseas, it was still somewhat difficult to purchase official releases outside of Japan, especially for indies acts. Most CD shops didn't ship overseas, if they even had English language sites at all. Labels and bands were late to utilize YouTube and SNS to promote their music, and introduction into the scene still relied heavily on music sharing networks or download sites. There was too little official information available/properly translated into English. By the time labels finally started getting around to reaching out to overseas audiences, people were moving on (to K-pop or in general). In general Japanese artists/labels just weren't committed to attracting overseas audiences or embracing any audience they did have.
     
    2.) Touring issues
    Most bands ended up performing at anime conventions, despite if they had any real connection to cosplay or an anime show. Much of the time these acts were being consumed by people who were curious about the artist because they were from Japan, with few actual fans assembled at one place in comparison. Exoticism may get people to see you once or twice, but it usually doesn't compute into CD sales, especially when the value of the yen was so high and the cost of Japanese music so expensive compared to Western music. These acts, and even the rare show booked outside of a con was subject to poor management, planning, or promotion. Often they were cancelled. Perhaps if more acts had gone Dir en grey's route of performing at festivals, it would have made a sizable enough movement to have an impact, but it's hard to say.
     
    3.) The general demise of rock music as mainstream
    Sure, rock will never get old. But rock is not nearly as mainstream as it was in the 90s and early 2000s. Even as certain indie rock sounds/artists flourish, it's a much different style than what a lot of j-rock (especially VK) is doing. So on top of less people listening to rock in general, there are less people interested in the style of rock Japan is making. Even I'm not as fond of most of the rock that's popular in Japan ATM (VK or generally speaking).
     
    Generally speaking, a lot of overseas VK fans I knew at the time eventually moved on to K-pop. Unlike Japan, Korean artists/labels were much more insistent on pushing for international success. They also swooped in taking advantage of YouTube and SNS promotion where Japan didn't. While this lead to a flood in the market for some time, it also give the genre the momentum that j-rock (or j-pop tbh) never had, eventually making it a powerful force to be reckoned with it's turning into today.
  12. Like
    Laurence02 reacted to Peace Heavy mk II in Homage-系 - The Art of Being Someone Else   
    The visual-kei scene is full of its own quirks and oddities that make it stand out from any other subculture in the music world; these hallmarks also appear to resonate at a national level, in spite of the culture stemming from several metropolitan hubs, each with their own small variants. One of these traits, for better or for worse, is how willing the scene is to reference itself. Since 2013, “willing” has become the incorrect word. “Obsessed,” “addicted,” “driven,” “obligated”; these words seem to fit the bill closer. References to older material is not uncommon in any medium of art, but visual-kei takes it four steps further to emulation. Today is the day we talk about homage-系 (Kei), kids.

    “Homage-kei” is a made up word. It isn’t a real category to anyone else other than people who use this board, to be honest, but it is an apt descriptor for this phenomenon. This is when a band reuses melodies, thematic, aesthetics, and even titles from an older, typically more successful, band or bands. However: their music also contains many original elements, which sets them apart from being a literal cover band. It also needs to be more than a single occurrence as well: Dir en grey “””borrowing””” the main riff of Luna Sea’s “G” is not enough, but borrowing the front-man of 黒夢 (Kuroyume)’s aesthetic for several music videos is.
     


    There are several bands that would fall under this umbrella from the late 2000’s. Two I want to touch on are Ru:Natic and the infamous Vajra. The first was one of the earliest examples I can think of that tried to revive the aggressive and bloody punk-meets-goth-meets-pop style popularized in the mid-90’s. They wore black clothes, had neon hair, and sang about being a crazy person invited to dinner parties that they had no business attending. While they weren’t the only group doing this (re: Sadie’s Mary and Sadie’sla), they were the first to start reusing melodies from older bands, namely La:Sadie’s, Madeth Gray’ll, and Aliene Ma’riage. There was even a hard-to-come-by single that was a reinterpretation of Baiser’s “undersea” and they had a demo tape that contained covers from some of the bands previously mentioned. They even lost a bunch of members, changed record labels, and released a lot of rare material: all cornerstones of “what an old school band does.” In my memory of the scene, this was the first time we got a real taste of bands reinventing the 90s sound that many people liked, but had fallen out of favor.
     



    Vajra was fun for the wrong reasons. Their costumes were kind of similar to UnsraW and thematically they were a bit too close to Dir en grey for the fan base at the time’s comfort. One of their singles was apparently a near 1:1 facsimile of another Dir en grey track and that caused a shitstorm on last.fm . For days people were arguing back and forth about whether it was a copy or not. Our own dear @Zeus requested someone overlay it with the original so we could see how similar it was. I personally did not have a horse in that race, but for hours or entertainment seeing the bickering between the hordes of people in outrage vs that one person who apparently went to their shows regularly and gave sympathetic updates about how this was affecting the band personally. Take his with a grain of salt, as it is only a Western interpretation of what happened and I cannot speak to how it was received by fans who could actually go see them in person. Regardless of where you stood in this fight, history’s take is that it did not end well for Vajra; they broke up shortly after only to be remembered as “that band that tried to be Diru.”
     
    Both examples were, in retrospect, unsuccessful. Ru:Natic, in their heyday, missed the boat on people eating up old-school revival acts by about 3 years, then only played again in one-off events. Vajra, on the other hand, failed for a couple of reasons. The first is that the fan base wasn’t ready for their style of tribute-meets-original-works. Secondly, there wasn’t enough time passed between what they performed and when their source material was released. Based on later act’s success, time helps prevent “a homage” from being seen as “a rip-off.”
     


    Earlier I had mentioned 2013 being the starting point for “homage-kei,” in a more official (but still unofficial) sense. That’s because グリヴァー (GRIEVA) happened and caused a shift in the scene. For those unfamiliar, Grieva’s whole schtick was that they dressed like a modern version of 1998 Dir en grey and made music that sounded like it could have came from from the same time frame. However, after people got a hold of their first album, it became alarming clear that it was one big tribute to “Gauze” (Dir en grey’s first album). A lot of songs “borrowed” the melodies of Gauze-era songs, their music videos were kind of like high school kids reenacting their idol’s work for a class project, and you were even able to draw parallels to the lyrical content. Grieva handled this clearly stating their theme is to bring back the feeling of the old days, and even fabricated a whole interview about how they went on a quest for band members that held the same ideals. Unlike Vajra, when people confronted them by saying “You’re just stealing,” them saying “Yeah, but that’s like the point???” it worked. Granted, there were plenty of people who weren’t buying this act and loathed the whole idea, but there was more than enough support for it to keep them at the forefront of the scene up until 2015. In fact, it worked so well that their label made it happen AGAIN, but this time with a band that pretended to be The GazettE and another that mixed all different concepts from the eroguro scene and western nü-metal together. This was the first time in visual-kei where blatantly copying on purpose wasn’t met with more backlash than praise.

    Several other acts spawned at the same time, due to a strong desire for “bands that sound like old school groups.” This was in part due to Cell, an offshoot of La’Mule that made somewhat similar music, Lin, a Kisaki band that came after he swore he was retired, and a general sense of boredom from the run-of-the-mill bands that dressed like host boys. Other groups that come to mind include Gauzes (a La’Mule homage-kei group), DEZERT (their first singles were nü-metal interpretations of groups like D’espairsRay and Nega), and AvelCain (who took more influence from groups like Lamiel than their fan base wanted to admit). Suddenly, it was cool to be like someone else.
     



    Eventually, the hype waned a bit. Grieva started writing their own music and then eventually split after being worked to death by their label. It was mostly the same case for AvelCain, Cell went on break because frontman Kon can’t keep focused on one thing, DEZERT found (and then killed) their own style, and most of the other old school sounding bands weren’t big enough to really make a lasting impact. This was the death of homage-kei.


    Or was it???


    Interestingly enough, in recent years, this scene metamorphosed along with the scene at large. We started seeing groups now begin to “take influence from” more recent acts (which I guess are still old if you’re younger than 20??). We had メディーナ (Mediena), who took a lot from Phantasmagoria, ガンミ (Ganmi), which sounded like an early 2000s band without a real influence to pin point, and Mamireta, who tried to restart the subculture in high gear with their refreshing takes on 蜉蝣 (Kagerou)’s music. There are even big acts forming side projects that “sound like a 90’s band!!”, like Diaura(who are not guilt-free themselves, when it comes to Pierrot worship) and ぞんび (Zonbi). Even Gossip-ゴシップ- went from copying The GazettE to emulating their label owner’s old band (albeit at gunpoint (allegedly!)). It is worth noting that another significant change: aside from a few examples, the current trend has become "I want to sound like ___," rather than "guess which ___ songs I combined!!!" Arguably, the style should have started with this mentality, but controversy creates buzz.
     


    Unoriginality in the visual kei scene is nothing new. We even have an entire thread dedicated to specific instances where someone took a riff or theme and matches it to the exact source material it came from. But homage-kei really takes it to the next level. Bands want you to know who they’re sounding like. Could it be for nostalgia sales? Or because recreating a well liked motif makes it easier for someone to like a new creation (they’re already emotionally invested)? Or is it just a lazy cash grab, which requires 40% less effort to produce material? Maybe it is fulfilling a fantasy to reenact what you love about your idols? In spite of how much I adore everything mentioned throughout this article, I would be lying to you if I didn’t say that it is probably a mix of all four.
  13. Like
    Laurence02 reacted to jaymee in Kisaki Drama 2k18   
    Every time I think Kisaki has reached peak shitty person level, he sets the bar a little higher. This time, much higher ugh.
     
    Also re: having this woman list CDs/merch for him, could she have been the one selling behind that Yahoo!Auction acct that was selling rarez from his previous bands re: that whole conspiracy thing?
  14. Like
    Laurence02 reacted to cvltic in Tanuki thread: “About the era in which visual-kei was like a gang of jocks”   
    big ol reminder that i'm not writing this as an insider or anything but as a nerd who reads a lot of tanuki rumors
     
    Kyo's drinking party was ハーコン/Harcon and the members are sometimes called ハーディー/Hardy, for anyone who wants to look it up themselves.

    I can't say I remember everyone who's been mentioned as a member but:
    Kyo
    Daisuke & other Kagerou members
    Gara & other Merry members
    Tatsurou & other MUCC members
    Satsuki
    Kisui
    Wataru (ex. 12012)
    Some combination of baroque/kannivalism members
    Byou (as Kagerou's roadie)
     
    Daisuke and Kyo are probably the ones you'll read the most about. A lot of the stories seem to indicate the old vertical hierarchy/roadie culture (e.g. Kyo bosses around Daisuke, who bosses around Byou) which seems to have died somewhat with the idolification of visual kei in the last 10 or so years. There are threads specifically about Harcon but I don't really know how I feel about translating them because they have some fairly serious allegations...

    The story about Ruka getting his ass beat by Yayoi/Yuuga is pretty famous too, but the details aren't really clear. Just everyone seems to know Yayoi and Yuuga wanted Ruka's ass beat and then it happened. One version I read is that Kazane from the Anarchist Records band Misery took the blame for it for a while, but that was because Yuuga pinned it on him after Yayoi ordered Yuuga to beat him up. Folding chairs were allegedly involved in the beating in the most often retold version of the story. Kisaki may or may not have intervened. The only reason I ever heard for this was that Yuuga and Yayoi got tired of him having a stank attitude and not greeting them properly.
  15. Like
    Laurence02 reacted to qotka in Current pictures of old vk guys   
    oh yeah that's definitely her. the shop is called yellow house and last time i went in the granny told me something along the lines of 'i don't go to yoshiki, he comes to me'. 
  16. Like
    Laurence02 got a reaction from Katt in Watching out for Bootlegs?   
    Don't worry, unless you buying stuff from bands such as Rosenfeld or X Japan. You (probably) won't find a single genuine copy of anything then...
    Watch out for qld96 on Yahoo Auctions, who definitely bootlegs tapes. The same for jnsyn936.
  17. Like
    Laurence02 got a reaction from Zeus in Watching out for Bootlegs?   
    Don't worry, unless you buying stuff from bands such as Rosenfeld or X Japan. You (probably) won't find a single genuine copy of anything then...
    Watch out for qld96 on Yahoo Auctions, who definitely bootlegs tapes. The same for jnsyn936.
  18. Thanks
    Laurence02 got a reaction from Arkady in Your last music-related buy!   
    That Noble DVD seems to be from Puresound (ピュアサウンド).
  19. Like
    Laurence02 got a reaction from Katt in Hello everyone, Hi!   
    Welcome, nice to see another old-school fan here!
    (Though I am on the more underground side of things).
  20. Like
    Laurence02 got a reaction from dovesi in Beginning.   
    Hi and welcome!
     
    Do you like indies (pre-Hide era) X too?
  21. Like
    Laurence02 got a reaction from VESSMIER in Your last music-related buy!   
    Some stuff by Real. This wasn't too expensive. All sealed.
     
    REAL - Viridian (two copies)
    REAL - Radiant Evolution Antique Liberty
    REAL - Elegance Law (replica from master)
    REAL - 黙示録 (Mokushiroku) (two copies)
    + a CD-r with some misc. stuff.
     
    With this I own their discography.
  22. Like
    Laurence02 reacted to suji in 5 Things I Hate About VK   
    I agree with just about everything here; the live-limited releases, the multitype releases, the downloads, the fan jealousy, the conditional disbandments, ...everything. It's pretty different than being into general bandom back in the day. A lot of shit like this has been sitting in my head for a while, so I'm just gonna spill it here, so excuse the sloppiness...
     
    I will admit tho, I'm quite guilty of being jealous of certain people, because I can't afford a trip to Japan just to see my faves, nor do I have any friends who are just as passionate as I am about my faves. I don't know when, or if, that day will come, but I always couldn't help getting pissed off when other people talk about the lives they attended, the shit they got, and interacting with other fans or my faves, while I sit here on my fatass doing nothing but moping (like I am right now ;w; ). VK isn't even hot in the states (and all we get is shit bands at fucking anime cons), and I fucking hate how I have to go to another country, learn to speak another language, and face potential culture shock just to enjoy my faves...it's fucking ridiculous. It makes me feel less as a fan and more of just a outsider, which is why I even dread being in this ass fandom sometimes. (can I also mention how I can't fucking read tanuki and enjoy the shitslinging of various bands, unless I have to visit a blog run by an ELITIST BITCH who barely does jackshit??? fuck that cunt btw)
     
    Even worse, when there's live-limited shit that I can't get, it sucks because the song(s) in question could (1) take ages to be rereleased in a regular release, and I'd have to waste time searching auctions for at least a year, or (2) be lost forever or be sold for like 9000 yen on mercari (and prob end up sounding like taking a shit in the sewer)...it especially sucks when I've amassed most of a band's discography, only to be lacking their live-limited cds and it's so nervewracking for a perfectionist like me. 
     
    As for other shit, I'd say keeping certain things private or vague, like how a member is dismissed from a band, the REAL reason why a band broke up from outta nowhere, label drama, etc., is what kinda annoys me about visual kei. As a drama-loving gal, I'd like to see a LOT of spillT tea, and read even more about these bands other than their general history. Who is the shittiest kusoman of them all? What "deplorable acts" did this shithead commit to get kicked out of the band?! Whatever the fuck happened to Hisui/Klaha/Karma, etc...? It is a mystery...
     
    The multitype bullshit is probably one of the worst things to come out of this genre alone. What's the point of spending an extra 1500+ yen for a release with a different song/discs/purchase bonuses, etc.?! Why can't yall just sell that extra shit individually, or put the songs all together (that'd usually be enough for a FUCKING ALBUM, HELLER??????) None of the bands I care about have really done this much, except for Sui's solo project which is shilling its mini-album with 2 types with different tracklists, AND another edition coming up via webshop only....which I can see having both tracklists combined to add to its uniqueness and basically make it a cashgrab. That also brings me to distributing songs as bonuses if tickets are purchased, which is exactly what David is doing, and I can't help but roll my mo'fuckin eyes..........like what is even the point besides getting asses in seats??? At least it's better than getting 5 tickets to all the tour lives in order to UNLOCK the Grand Prize of TEN THOUSAND DOLLA---a one-coin CD...??? Just another unreasonable cashgrab, which makes me wanna collect even less from this project.
     
    Adding onto buying 50 types of the same release, buying shit when you're in the US, and poor as fuck btw, is fucking expensive, especially when it comes to shipping. HOLY HELL. Usually I have to pay an extra ~$13 or so to have my shit shipped out within a week (and that fucking sucks when the item I buy is initially like, 1 yen). What I keep forgetting however, is when I buy more than just one CD (like mags, posters, etc.), and the shipping price fucking skyrockets to about the same price I'd pay for EMS...not to mention having to pay extra fees like item weight, domestic, service fees, packaging, breathing...it never ends. I'm not good at math, so that just makes it even more stressful just buying shit. But I still love it though 😭😭😭............idc about my wallet's feelings :)))
     
    I may add more later, there's just so much shit about vk that frustrates me....
  23. Like
    Laurence02 reacted to Zeus in 5 Things I Hate About VK   
    In my opinion, there even being a divide between "international" and "local" fans is the root of an entirely different problem. Fans are fans, no matter where they may live, and we live in a time where the world is becoming increasingly interconnected. There's a distinction in my mind between a local artist who has their music internationally available (example: a rapper promoting his first mix tape on sound cloud) and an international artist only promoting their music locally (example: fan-club limited CD's a la cali≠gari). Even if a local artist has to rely on word of mouth to have their music spread to new ears, having it available on a venue such as Bandcamp or Spotify doesn't actually cost them anything to attract new listeners. They upload it once, the big man upstairs takes his cut, and whatever funds come your way through those sources are yours. And think about how many of these artists go viral and actually become mildly or wildly successful because their music was easy to access. This is in contrast to only promoting music locally, which doesn't necessarily take less money to produce, and is purposefully reaching a smaller audience. Sometimes, bands even go out of their way to make it difficult for non-Japanese people to engage with them, like when record labels purposefully prohibit selling releases overseas through second hand shops even though they aren't footing the shipping bill, or when the label uploads a PV to their official channel and then region-locks it to Japan so that we have to use VPNs to watch a music video on an international platform. Stick some fucking ads before the video and make some free money god damn it.

    Here's an excerpt from Bandcamp's pricing page where the explain how they run their business.
    Now I don't suggest this in lieu of signing a record deal, because a deal also comes with other benefits such as free promotion, practice space, and studio time. But for a lot of starting, independent visual kei bands that don't have a lot of funds, this is the more ideal way to go. We don't even know how well this approach would work because no band has ever tried it. I listen to both the underground metal scene as well as the doujin scene from Japan, and both scenes run their affairs completely differently, and both manage to promote their music and ship internationally way more efficiently than visual kei bands. The way the visual kei scene runs its affairs in 2018 is almost identical to the way they did it in 2008. It's been ten years and not much has changed, and the underlying attitudes pervading the scene are even earlier than that. The world is changing, and bands must prepare and adapt.

    You are entirely correct in that most of us would never buy a release. I am guilty of this too, no doubt. Many record companies realize this, and that's why they are transitioning to streaming services. Japan needs to catch up. I don't even like streaming services, and I still prefer to download and hoard all my music, but I recognize the appeal and utility in what they offer. Complaining about being on the brink of disbandment while spending large amounts of money on make-up, outfits, and photo shoots means concessions have to be made somewhere, and if the way that music is distributed has to change then so be it. Visual kei needs to become more consumer friendly, no matter where that consumer may live.
     
    I should make an addendum to my earlier post and clarify that live-distributed releases don't bother me if they function as a preview. If whatever music or DVD or merch sold at a live is eventually included in a store-purchasable fashion, then I'm fine with waiting. I'd have to wait anyway, and at least the luck portion is removed from the equation. Extract your profits up front, and then sell it to the masses later. If pumping out CDs stresses the budget that much, take orders and only sell as many CDs as was ordered so no band ends up with hundreds of unsold releases. Hell, do what Kisaki did and distribute any remaining CDs through auctions online under anonymous accounts at a later date so all the money goes back to the band anyway. But only selling things at lives sucks for everyone who couldn't go, international fan or not, and you don't make as much money as you could have if you just sold it both ways.
     
    This is a ... weird approach to take, but I actually like that masaya cared enough about the international fans to make it available to us in some fashion. BLESSCODE tried something different, and it wasn't at the expense of the consumer's time, money, and effort. Maybe they didn't make that much money off of it, but the alternative was to have a bunch of pressed yet unsold CDs sitting around, which would just mean that's wasted money anyway. Sometimes the sentiment behind actions are priceless, and I know many fans of BLESSCODE appreciated this gesture. I sure do, and I'm not even a fan of them!

    I would really like to understand the logistics behind how this whole scene works from top to bottom, because the more I sit and think about it the more I feel like there's a few people at the top holding back progress for everyone else. A lot of counter arguments I can make to my own points is that some big wig sitting in a cushy office set up a contract expressly forbidding bands from implementing half the ideas I proposed, which makes most of my arguments moot anyway. Record companies may be making record profits these days, but on that same token artists and musicians have more tools and promotion than at any time in history before. The fact that we know about every single upstart indies band in Japan just weeks or even days after they formed is a far cry from how the scene was back in 1999, when only the biggest names in the scene were whispered in noisy American cafeterias with 128kbps sound samples and low res PV snippets available online in two to three places, with a random selection of full tracks available for the pirating on Napster.
     
    tl;dr - a band is both a business and an investment. It may sound harsh, but just because a bunch of pretty boys slap on make up doesn't mean that they can get away with running their business inefficiently. Diversify and adapt, or face disbandment.
  24. Like
    Laurence02 got a reaction from dovesi in Anyone got the score for "Kurenai - Original Japanese Version" by X?   
    I have been looking for the score to "Kurenai - Original Japanese Version" (by X, later-on X Japan) for a while.
    It was included in the same magazine (Rockin'f 1988.6) as the flexi sheet itself.
    Someone uploaded it to xboards, but the link is now dead.
  25. Like
    Laurence02 reacted to carddass in Anyone got the score for "Kurenai - Original Japanese Version" by X?   
    Wow. Didn't even realize Xboards went down. It was such a classic place for all things X - and it's strange it had a long death as X was starting back up again.

    And here's the tab you're looking for:
    https://mega.nz/#!pNYi1SZR!7FeV02dGXStCyk8QLRgAYgUjKVncHYMeOWwQAfUPzQY
×
×
  • Create New...