GreatNorthernVK

what a joke

they do features once in a while...
 
 
it's typically an ojisan member helping a start-up band or an approaching irrelevancy act to get up from their knees:
 
miyavi's debut lives with Pata and later having a sugizo feature before parting ways with PSC also come to mind, or random one time session bands that play for a night or two and never record anything.
 
soan project was a temporary project with bandmen from various active/semi-active bands that released stuff in two different line-ups so it's not the same, but it still more or less fits the mold
 
crystal lake fronteuse seams to contribute his vocal effort pretty lavishly around 
 
sukekiyo b-sides and bonus disks are stuffed with features
 
starwave is often shat on, but their acts provide more or less asinine self-covers with different vocalists every once in a while
unless it's a legacy act providing the feature, there's little point in doing this in vk: gya stanning is typically focused on a single band or a particular member and his projects, and most bands regularly playing/socializing together would rather do split VA comp albums (which as a tradition seems to fade away as legacy labels close and major ones typically not bothering with this at all.)

I only say this > 8P-SB richardland for the win.

So erm yeah, after watching this let me just say
 
Kids, stay away from drugs ❤

Love collecting LPs. So far, I have
 
- Buck-Tick - Hurry Up Mode
- Buck-Tick - Sexual XXXX
- Buck-Tick - Seventh Heaven
- Buck- Tick - Romanesque
- Dir en Grey - Uroboros
- Dir en Grey - Dum Spiro Spero
- Gackt - Remix of Gackt
- hide - Hide your face
- hide - Psyence
- hide - Ja Zoo
- Kuroyume - Live at Shinjuku Loft
- L’arc en Ciel - Ectomorphed Works
- Malice Mizer - Sakai no chi to bara
- Miyavi - Firebird
- Moi Dix Mois - Lamentful Miss
- MUCC - Myakuhaku
- Nookicky - Pinhole
- Rouage - Mind
- Rouage - Soup
- Seikima II - End of the Century
- Shazna - Gold Sun and Silver Moon
- Sugizo- Replicant Prayer/Replicant Lucifer/Replicant Truth
- Thee Michelle Gun Elephant - Gear Blues
- X-Japan - Vanishing Vision
- X-Japan - Blue Blood
- X-Japan - Dahlia
- Zilch - BastardEyes
- Zoobombs - Welcome back Zoobombs
 

Guess he got tired of LARPing as an Idol.

Y'all haters. This is gonna SLAP. I can't wait for the full PV where he moves his webcam around to show his room.

Guess he got tired of LARPing as an Idol.

Yeah, and this scammer even managed to copy all that.
 
This is honestly the most believable part lol

that dude is like Kyo from wish.com 
boy gtfo here tryna scam our grumpy kyo

Echoing what a couple of people have gotten at, the turnover of VK fans to K-pop is largely due to the accessibility of the fandom (or lack thereof, in VKs case).
 
The main difference is... the Kpop industry actually wanted the west’s engagement. Even if it’s just “share the fuck out of our music videos, and spam pictures of us on Twitter”. The VK industry’s response to this was “How did you get those music videos!? How did you get those magazine scans!? Region lock everything!!”
 
Eventually, western fans got tired of having to beg for crumbs, spend twice as much as Japanese fans for half the experience, and having any rare overseas lives still be more about flexing to their domestic fanbase than about catering to the foreign fanbase.
 
The irony here is that the “boom” of VK in the west was precisely due to the same promotion methods that Kpop acts use today (though on a smaller scale, as most of the groundwork occurred prior to the popularity of social media). The management of the bands that came over, however, were largely oblivious as to why this happened. So they just assumed they could do exactly as they did in Japan, but half-assed, and their fanbase would continue to grow.
 
This just built up hope that VK would eventually be more accessible, only for the momentum to die down once management realized that it wasn’t as simple as they thought. This discouraged many, and they lost interest after ~2010, even if they had been a fan long before 2007. Most of my friends fall into this category.

I think this picture fully summarizes this project in a nutshell.

https://eplus.jp/caligarideadman-s/

Setlist of the 2020/07/28 gig which can be viewed/purchased via streaming from 08/08:
 
deadman
01. dlof facs
02. please god
03. 溺れる魚
04. blood
05. monster tree
06. follow the night light
07. ドリスからの手紙
08. through the looking glass
09. quo vadis
10. re:make
11. 蟻塚
 
cali≠gari
01. 死は眠りを散歩する
02. オーバーナイト ハイキング
03. その斜陽、あるいはエロチカ
04. 動くな！死ね！甦れ！
05. ママが僕を捨ててパパが僕をおかした日
06. 暗中浪漫
07. -踏-
08. 淫美まるでカオスな
09. セックスと嘘
10. エロトピア
11. セックス オン ザ ビーチ
 
encore session
01. 死刑台のエレベーター

Echoing what a couple of people have gotten at, the turnover of VK fans to K-pop is largely due to the accessibility of the fandom (or lack thereof, in VKs case).
 
The main difference is... the Kpop industry actually wanted the west’s engagement. Even if it’s just “share the fuck out of our music videos, and spam pictures of us on Twitter”. The VK industry’s response to this was “How did you get those music videos!? How did you get those magazine scans!? Region lock everything!!”
 
Eventually, western fans got tired of having to beg for crumbs, spend twice as much as Japanese fans for half the experience, and having any rare overseas lives still be more about flexing to their domestic fanbase than about catering to the foreign fanbase.
 
The irony here is that the “boom” of VK in the west was precisely due to the same promotion methods that Kpop acts use today (though on a smaller scale, as most of the groundwork occurred prior to the popularity of social media). The management of the bands that came over, however, were largely oblivious as to why this happened. So they just assumed they could do exactly as they did in Japan, but half-assed, and their fanbase would continue to grow.
 
This just built up hope that VK would eventually be more accessible, only for the momentum to die down once management realized that it wasn’t as simple as they thought. This discouraged many, and they lost interest after ~2010, even if they had been a fan long before 2007. Most of my friends fall into this category.

Echoing what a couple of people have gotten at, the turnover of VK fans to K-pop is largely due to the accessibility of the fandom (or lack thereof, in VKs case).
 
The main difference is... the Kpop industry actually wanted the west’s engagement. Even if it’s just “share the fuck out of our music videos, and spam pictures of us on Twitter”. The VK industry’s response to this was “How did you get those music videos!? How did you get those magazine scans!? Region lock everything!!”
 
Eventually, western fans got tired of having to beg for crumbs, spend twice as much as Japanese fans for half the experience, and having any rare overseas lives still be more about flexing to their domestic fanbase than about catering to the foreign fanbase.
 
The irony here is that the “boom” of VK in the west was precisely due to the same promotion methods that Kpop acts use today (though on a smaller scale, as most of the groundwork occurred prior to the popularity of social media). The management of the bands that came over, however, were largely oblivious as to why this happened. So they just assumed they could do exactly as they did in Japan, but half-assed, and their fanbase would continue to grow.
 
This just built up hope that VK would eventually be more accessible, only for the momentum to die down once management realized that it wasn’t as simple as they thought. This discouraged many, and they lost interest after ~2010, even if they had been a fan long before 2007. Most of my friends fall into this category.

Echoing what a couple of people have gotten at, the turnover of VK fans to K-pop is largely due to the accessibility of the fandom (or lack thereof, in VKs case).
 
The main difference is... the Kpop industry actually wanted the west’s engagement. Even if it’s just “share the fuck out of our music videos, and spam pictures of us on Twitter”. The VK industry’s response to this was “How did you get those music videos!? How did you get those magazine scans!? Region lock everything!!”
 
Eventually, western fans got tired of having to beg for crumbs, spend twice as much as Japanese fans for half the experience, and having any rare overseas lives still be more about flexing to their domestic fanbase than about catering to the foreign fanbase.
 
The irony here is that the “boom” of VK in the west was precisely due to the same promotion methods that Kpop acts use today (though on a smaller scale, as most of the groundwork occurred prior to the popularity of social media). The management of the bands that came over, however, were largely oblivious as to why this happened. So they just assumed they could do exactly as they did in Japan, but half-assed, and their fanbase would continue to grow.
 
This just built up hope that VK would eventually be more accessible, only for the momentum to die down once management realized that it wasn’t as simple as they thought. This discouraged many, and they lost interest after ~2010, even if they had been a fan long before 2007. Most of my friends fall into this category.

Echoing what a couple of people have gotten at, the turnover of VK fans to K-pop is largely due to the accessibility of the fandom (or lack thereof, in VKs case).
 
The main difference is... the Kpop industry actually wanted the west’s engagement. Even if it’s just “share the fuck out of our music videos, and spam pictures of us on Twitter”. The VK industry’s response to this was “How did you get those music videos!? How did you get those magazine scans!? Region lock everything!!”
 
Eventually, western fans got tired of having to beg for crumbs, spend twice as much as Japanese fans for half the experience, and having any rare overseas lives still be more about flexing to their domestic fanbase than about catering to the foreign fanbase.
 
The irony here is that the “boom” of VK in the west was precisely due to the same promotion methods that Kpop acts use today (though on a smaller scale, as most of the groundwork occurred prior to the popularity of social media). The management of the bands that came over, however, were largely oblivious as to why this happened. So they just assumed they could do exactly as they did in Japan, but half-assed, and their fanbase would continue to grow.
 
This just built up hope that VK would eventually be more accessible, only for the momentum to die down once management realized that it wasn’t as simple as they thought. This discouraged many, and they lost interest after ~2010, even if they had been a fan long before 2007. Most of my friends fall into this category.

Echoing what a couple of people have gotten at, the turnover of VK fans to K-pop is largely due to the accessibility of the fandom (or lack thereof, in VKs case).
 
The main difference is... the Kpop industry actually wanted the west’s engagement. Even if it’s just “share the fuck out of our music videos, and spam pictures of us on Twitter”. The VK industry’s response to this was “How did you get those music videos!? How did you get those magazine scans!? Region lock everything!!”
 
Eventually, western fans got tired of having to beg for crumbs, spend twice as much as Japanese fans for half the experience, and having any rare overseas lives still be more about flexing to their domestic fanbase than about catering to the foreign fanbase.
 
The irony here is that the “boom” of VK in the west was precisely due to the same promotion methods that Kpop acts use today (though on a smaller scale, as most of the groundwork occurred prior to the popularity of social media). The management of the bands that came over, however, were largely oblivious as to why this happened. So they just assumed they could do exactly as they did in Japan, but half-assed, and their fanbase would continue to grow.
 
This just built up hope that VK would eventually be more accessible, only for the momentum to die down once management realized that it wasn’t as simple as they thought. This discouraged many, and they lost interest after ~2010, even if they had been a fan long before 2007. Most of my friends fall into this category.

Just pre-ordered the vinyl. I don’t think they’ve actually done a vinyl release since ~1990, so psyched for this.

I've placed my thoughts under a spoiler tag because my fingers got keyboard happy.
 
 
Anyways, a really great topic!

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

IMAGINE KOICHI HAVING TO GET THAT FUCKING TATTOO LASERED OFF NOW LMAO

Code Vein features a few VAMPS songs, but I’m not sure whether that counts as Visual Kei.