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About libertine

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    Kiwamu's Bitch

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  1. libertine

    I believe that I don't need to support any artists today, because I spent so much of my parents' money in Japan in 2009.
  2. libertine

    It better. Otherwise people who've bought a ticket for June 14 show are going to be pretty disappointed.
  3. libertine

    I checked their Facebook from 2016 and it seems like some of the North American shows like NY may have actually been sold out. Which would make sense, since I think that was their first NA tour. All the pictures for European stops had that "some tickets are still available at the door" message underneath. Which also makes sense, since the novelty of VK has definitely worn off after the 2006-2010-ish craziness. They must have played well over dozen shows in Germany alone, some at venues larger than most of their Japanese shows. Helsinki, probably didn't sell out in 2013 either, because I remember eyeing those tickets for a very long time. On the other hand, part of that sudden drop from selling out in under 30 minutes to not selling out at all might just be an illusion. The Circus is clearly a bigger venue than Tavastia and I haven't seen a Japanese artist at Tavastia in ages. I don't know if Tavastia's reported capacity of 700 and The Circus' 1500 are for the main hall or the whole venue, but the difference is significant enough that you can easily go from selling out one show to playing for a half empty room. Last year Dir en Grey sold out one show: Le Trianon in Paris. It must have been the only one, because they made a separate post about it. Would they have sold out if they'd went with Bataclan instead. Probably not. Obviously there's been a huge decrease in excitement over VK in Europe. The bubble burst so long ago, it's not even news anymore. But it is worth noting that these bands also aren't playing at smaller venues or lowering prices to compensate for lower demand. They're kind of doing the opposite. And personally I think that's as much a reason for not selling out as many shows as losing fans is.
  4. libertine

    VK is dead. Rock is dead. Electric guitars are dead. It's 2019. What we have in place of all those things is Fortnite.
  5. libertine

    Did they? I thought the sales for Division and Dogma were already quite slow. They certainly didn't sell out everywhere for Dogma.
  6. I guess TV stations are slowly getting out of biz and leaving it to the venue companies. There's still at least Shibuya O-East and Liquidroom around that 1k capacity. Seems like most of the action is happening at those smaller places and then at the 2k+ venues like Studio Coast, Zepp Tokyo + DiverHall, Toyosu Pit and so on. Koukaidou is going to reopen soon too?
  7. libertine

    The thing is though, none of this matters, because Kyo's voice was replaced with a Vocaloid in 2012 when his vocal cords got scrambled. That's why he suddenly started "singing" high. That's why it was such a big deal when they "lost their tracks" mid-live. That's why it takes so long to make these records. Prove me wrong.
  8. libertine

    The artists left in PSC depart from the label - sign with Heresy Inc.
  9. I wish this reality catches up with Yoshiki's irrelevance sooner rather than later. There's some weird time dilation shit going on and I don't like it.
  10. I guess this is the year of mystery bands, huh?
  11. libertine

    I appreciate Gazette's ability to stay cool year after year. They're kind of bearing the mantle of Kuroyume into the 2020s. That said, I do think they suffer from being so Ruki-centric. Not only does he have his hands in the concepts and visuals, it seems like he also composes all the important songs too. The other members just make their parts their own and the track gets credited to "the Gazette". But you can't just have the vocalist do everything and not expect it to affect the end product. The songs will sound like they were made by the vocalist for the vocalist with the other elements just kind of there to justify the singing. The songs will be limited by the songwriter's lack of specialization and technicality with other instruments. And the compositions will also be informed by a more narrow set of influences. I believe that is Gazette's weakness and why they often seem to fall behind other bands with more technical songwriters and decentralized creative processes.
  12. libertine

    Yeah, but let's not forget Kisaki too.
  13. libertine

    I think it's a combination of timing and good choices made along the way. They started out playing the then extremely popular X-Japan, Luna Sea, Kuroyume-style of music when those bands were going out at the peak of their popularity. I think they applied that style to their music better than most "tribute" bands of the time and rose to the top because of it. While they didn't stay with that sound forever, it gave them a solid foundation to start building their own style. The more experimental records after Gauze probably grew them as artists quite a bit early on, so when they switched to nu-metal and started making an effort to go overseas, they were ready for it. It cannot be overstated how important it was that the internet, social media, video sharing and anime were also taking off at this time. They would have been nothing without the sudden interest in Japanese culture and the opportunities to share it online. They were very quick to take note of this and went all in with the new style. Unlike most visual kei bands that were also beginning to test the waters, Dir en Grey didn't feel a need to stay true to their origins in VK. They were like fuck all of that. We'll do everything to be taken seriously as Western style musicians instead. I think that choice really paid off. They were more approachable that way, but their own interpretaion of metal still felt fresh to the Western audiences. I guess the music the pioneers of the genre were making was maybe beginning to feel stale too. So everyone, including these important bands, took notice and gave them that "great metal band from Japan" seal of approval.
  14. I'm almost wishing they don't reveal their faces. They should just the guys that play with paper bags over their heads.
  15. libertine

    I guess being surprised is just a very subjective experience. Especially when not everyone studies the previous setlists . It's good that not everyone is as cynical as me. I just wish they'd pull one oldie like Wife, Ito, Sentimental Na Onigokko, Anata no Tame no Kono Inochi or Zakurogata no Yuuutsu from their back pocket. A track like that would surely make the tour special even if the set is otherwise short and predictable. Anyone know what's up with the international tour set lengths? In 2007-2008 it felt like a given that a band with a decent amount of good songs under their belt would give their European audiences the same length sets as in Japan (usually around 20 songs, a few more at tour finales). Gazette, Dir en Grey and MUCC all did 20 track sets in 2007. Girugamesh (2008), the absolute madmen, did a 21 track main set and 1 track encore. It was dope and you felt like you'd had the complete experience. Then, a year or two later, all these bands come back, make the tickets more expensive and only play 16 or 17 tracks. Why? Did they all suddenly realize that the travelling was too much to handle when you played a full set? Or are they in a hurry to sample all the local beers?