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GreatNorthernVK

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About GreatNorthernVK

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    Kisaki's Errand Boy

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  1. GreatNorthernVK

    The thing to keep in mind is that Gackt’s solo career was signed by a subsidiary of Nippon Columbia (MM‘s label), where as MM retreated to Mana’s indies label. I don’t trust Gackt when he says that he was the one kicked out in this situation. Everyone else was.
  2. GreatNorthernVK

    About a 50/50 chance of telework next week. The PM’s wife has tested positive, so the government is taking it a bit more seriously now.
  3. GreatNorthernVK

    I agree, they need to consider scheduling, and budgeting. Someone on Facebook was saying “Oh, well if they liked Dimlim, they should have bought tickets no matter the cost! Even if it was more expensive than the Super Bowl!” Yeah, people don’t have that kind of money to throw around. Especially not most people in Mexico. Especially if people have to travel to the city. It’s one of the reasons why Gazette’s Toronto show was only half sold. Because people aren’t just attending from Toronto. They’re flying in from numerous cities. And not everyone can keep doing that for every Japanese band that comes.
  4. GreatNorthernVK

    Eins Zwei Drei Vier
  5. GreatNorthernVK

    Don’t know what they expected. If they’re pushing for an international audience, renouncing VK isn’t it. There are basically four camps: 1) Those that will only listen to VK, because the aesthetics are slightly more important than the music. 2) Those that mainly listen to VK because of an interest in the scene, but who wouldn’t stop listening if a band dropped their image, if the music was still good. Won’t seek out non-VK bands regularly . 3) Those that listen to all types of J-music as long as it’s good. Doesn’t care one way or another if it’s VK. 4) Actively avoids VK, either because “it’s gay”, or “I hate the fandom”. Won’t listen to a band that used to be VK either, because of fandom crossover. So basically, there’s very little reason for a band to drop the “VK” label, especially in the foreign market.
  6. GreatNorthernVK

    If they do release the vinyl, I’ll be the first to buy it, but I’m not paying 3,300 ¥ plus shipping for a CD-R with a photocopied insert.
  7. GreatNorthernVK

    This album sounds like a weird hybrid of Dance Gavin Dance and (new) Bring me the Horizon
  8. GreatNorthernVK

    Sho and Koichi have the same sugar daddy.
  9. GreatNorthernVK

    Still holding out for that LP they teased...
  10. GreatNorthernVK

    Worst: Gackt Job
  11. GreatNorthernVK

    3000 yen for a digital album? Fuck me. Where is this vinyl they teased?
  12. GreatNorthernVK

    That might apply if they were trying for the bro-metal scene. Post-hardcore/metal-core was a different beast entirely.
  13. GreatNorthernVK

    Agreed. They could have had an important ally in someone like Kevin, but even MUCC, D’espairsRay and The Underneath’s management teams messed that up by screwing him over while he was planning the Canadian leg of that tour. Somewhere along the line, they told him that they weren’t doing the Canadian dates, which caused him to try and scramble to salvage something to no avail. The attendance at his Canadian shows never recovered, and Taste of Chaos only lasted one more year, with record low attendance. He’s invited other Japanese bands onto Warped Tour after that, but *never* another VK band.
  14. GreatNorthernVK

    This goes back to the Japanese style of fandom vs Western style of fandom. Which was one of the major barriers when bands started coming over here. I read an interview at the end of 2007 with Warped/Taste of Chaos organizer Kevin Lyman, where he was explaining why he went with the Visual Kei bands for Taste of Chaos 2008. He explained that MUCC/D’espairsRay/The Underneath weren’t even his first choices, initially. He approached several other bands, and said that their management just didn’t understand why they would benefit from being invited on a 50 some stop North America tour with seven other bands. To them, their fans are their fans. Not some other band’s fans. So they didn’t understand why people who wanted to see Avenged Sevenfold would ever consider listening to their band’s music, let alone paying for it. To them, playing a gig with seven other bands is what you do when no one on the bill can fill the venue by themselves. So by brushing off the demographic of “people who could be interested in our music, but they aren’t devoted to us exclusively, so fuck them”, they didn’t exactly win any friends. Instead, they just made things harder for themselves by not connecting with either Western bands or even other Japanese bands. Dir en Grey seems to have been the exception, but even they’ve stopped touring with other bands for these last couple of tours.
  15. GreatNorthernVK

    The reason why VK hype died out is because it was entirely fan driven, and the bands and management themselves didn’t know what they were getting into. They assumed that they could come over here and do everything like they did in Japan, and people would just accept it, because they received x amount of fans without even trying. What they needed was *connections* to keep the western market engaged and active. They failed, because management of the bands assumed that they were too good for trying things a different way and integrating into Western markets. The connections they did make ended up being alienated. Both industry and fans. That’s why only die hard fans are left, perhaps with the exception of Dir en Grey or Miyavi crowds.
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