Jump to content


  • Content count

  • Joined

  • Last visited

  • Days Won


Zeus last won the day on January 29

Zeus had the most liked content!

About Zeus

  • Rank
  • Birthday 09/07/1991

Profile Information

  • Gender
    Not Telling

Recent Profile Visitors

30886 profile views
  1. @xrikoI am in front a real keyboard so now I can help explain this. I will be writing my examples in SQL Server SQL, which is very similar to MySQL but a few small things are different. I will start with the SONG table, because that's going to be your most important table. ID_SONG will be in every other table (or almost every other table) so the work we do here will make it easier later. When thinking about it, a song can belong to one artist and a song can belong to more than one CD or sometimes no CD at all. I would add two values, ID_DISK andID_ARTIST, so that I can link a song back to the CD or CDs it is on and the artist that recorded it. I would also think hard about how you want to represent a song performed live that is never officially released (either live distributed or only ever played live). Also if a SONG is on more than one release it should have more than one row in this table. That is okay. CREATE TABLE SONG ( ID_SONG INT NOT NULL, TITLE_JP VARCHAR(300) NOT NULL, TITLE_ROMAJI VARCHAR(300) NOT NULL, ARRANGER VARCHAR(100) NULL, WRITER VARCHAR(100) NULL, ID_DISK INT NULL, ID_ARTIST INT NOT NULL ) For the ARTIST table, you can add other fields that you want to track like years active or the label they are signed to. CREATE TABLE ARTIST ( ID_ARTIST INT NOT NULL IDENTITY(1,1), ARTIST_NAME_JP VARCHAR(300) NOT NULL, ARTIST_NAME_ROMAJI VARCHAR(300) NOT NULL ) For the CD table, you want to add another column so that you can join back to the band that released the CD and any other columns that you want. I would also heavily advise against storing images in your database and find another way to represent them, because that can cause your database to get big really fast, but if you still want to use the special LONGBLOB data type. Also, instead of maintaining a list of tracks that belong to an album in your CD table, store the ID_SONG value next to a new value called TRACKLIST_ORDER, so you can reuse the data in the other table and also keep the order that it was released in the album. It's up to you how you want to store different versions of the same release. CREATE TABLE CD ( ID_DISK INT NOT NULL, ID_ARTIST INT NOT NULL, FRONT_COVER LONGBLOB, TITLE VARCHAR(300) NOT NULL, TITLE_ROMAJI VARCHAR(300) NOT NULL, RELEASE_DATE DATE, RELEASE_CODE VARCHAR(100), PRICE NUMERIC(3,2), ID_SONG INT NOT NULL, TRACKLIST_ORDER INT NOT NULL, EXTRAS VARCHAR(1000) ) The LIVE table can stay exactly as it is, except I would change SET_LIST to ID_SETLIST, and BANDS to SUPPORTING_BANDS. ID_SETLIST is a new column that you will use to join into another table (I will explain why shortly) and SUPPORTING_BANDS has the same values as the column ID_ARTIST in your ARTIST table. This means that a live that has two supporting bands before the main act will have two rows in this table. That is okay. CREATE TABLE LIVE ( ID_LIVE INT NOT NULL, DATE DATE, VENUE VARCHAR(100), TOUR_NAME VARCHAR(100), TOUR_INFO VARCHAR(500), SUPPORTING_BANDS INT, DOORS_OPEN DATETIME, SHOW_STARTS DATETIME, PRICE_RESERVED NUMERIC(3,2), PRICE_DOOR NUMERIC(3,2), ID_SETLIST INT NOT NULL, ) Now all you need is a SET LIST table that has the ID of the set list, the ID of the band, the IDs of all the songs played, and the order they are played in. You want another table for SET_LIST because you do not want to store the set list as a string. It will be a lot of work to get the answers back later, especially if you want to look at all the concerts for a particular band. You can get back all the other information such as dates and albums by joining the tables that you need together, so there's no reason to store anything else here. CREATE TABLE SET_LIST ( ID_SETLIST INT NOT NULL, ID_ARTIST INT NOT NULL, ID_SONG INT NOT NULL, TRACK_ORDER INT NOT NULL ) I hope all of this made sense.
  2. Just when I was thinking of getting into them too.
  3. They're re-recording THE WHIRL for the fourth time...
  4. This is where age-old manga expertise comes in! I haven't read "Goodnight Punpun", but I've read a lot of other manga, watched some depressing tragedies and psychological thrillers in my anime binging days, and I'm a little familiar with some Japanese spins on horror, insanity, and sadness. Like I said in my review, I wanted to read "Goodnight Punpun" but I never got the chance to go through all the volumes. The closest I got was your synopsis, a Wiki summary, and slight snippets of each chapter so I could understand the artist's drawing style. I guess all of those different medias was able to translate well into the setting of your mix tape. It wasn't too hard to guess what you were going for, especially if the manga is as sobering as your mix tape was. When I listened to it the only colors I saw were black, white, and grey. Anime pages, the color of the mix, and the colors I associate with clinical depression. Don't beat yourself up too much over the inclusion of that Mono track. It's actually one of my favorites. Com(?) from One more step and you die is my legit favorite track by Mono, because they do away with the pretentious six minute post-rock stroke off and jump straight into heavy, crushing post-rock riffs. It's maybe the only Mono song, with almost immediate impact. "The hand that holds the truth" is up there because of the section at the end, but like I said in my review it takes too long to get to. Also, when compared with Envy who does the same thing but better in the next track, I feel like so much more could have been done with the vocals and the opportunity was wasted. Hmm I might start with Last Waltz.
  5. There's raw as in sushi, which is good for consumption. Then there's raw as in water, which isn't good for consumption. Raw as a descriptor for music isn't always a good thing for me. It has to bring together the intended effect and the actual effect. Tsuzuku may have been going for seductive, sensational, or even some weird mix of sexual and creepy, but he was unable to execute what he heard in his head. Terrible execution does not get points for trying in my book. This is a problem I've had with MEJIBRAY for as long as they were active, and is why I fell off the MEJIWAGON early. They have plenty of ideas - ideas I wish the rest of the scene would have - but they are barely ever able to translate those ideas into results for whatever reason.
  6. I'm not sure about HYDRA. To me, the defining aspect of that song was the gregorian chant in the middle, which was relegated to background SFX in the remake. Tsumi to Batsu is more recognizable, just slow & sludgy as hell. I'm hoping this "Ash" remake sets a new bar for how little the band changes a song when they re-do it, since it's technically a re-do all they need to do is play it a tiny bit faster at a slightly lower guitar tuning and they'll get the effect I am looking for. But knowing these guys they'll try something more amazing and fuck it up in the process... Are you sure there isn't anything else you are missing? Some B-side or something?
  7. My partner for this mix, "May you Never Forget Me" was @plastic_rainbow and the mix is a soundtrack for the manga "Goodnight Punpun". I have never heard or read of this manga, and my original plan was to binge it before getting the review in. Life happened, and after a few listens I felt like I didn't need to anymore. plastic gives me a very good summary and this mix is the interpretation of the themes of the manga. Genre: Drama, Slice of life, Psychological, Seinen Synopsis: Punpun Onodera is a normal 11-year-old boy living in Japan. Hopelessly idealistic and romantic, Punpun begins to see his life take a subtle—though nonetheless startling—turn to the adult when he meets the new girl in his class, Aiko Tanaka. It is then that the quiet boy learns just how fickle maintaining a relationship can be, and the surmounting difficulties of transitioning from a naïve boyhood to a convoluted adulthood. When his father assaults his mother one night, Punpun realizes another thing: those whom he looked up to were not as impressive as he once thought. As his problems increase, Punpun's once shy demeanor turns into voluntary reclusiveness. Rather than curing him of his problems and conflicting emotions, this merely intensifies them, sending him down the dark path of maturity in this grim coming-of-age saga. (MAL) Intent: I created this soundtrack mostly based on the mood and feel of the songs, and not so much lyrically, that I felt would express Punpun's brief innocence as a child and, for the most part, his harrowing journey to adulthood through a feeble love relationship, self-doubts, and depression. The mix is exactly that of a soundtrack, with mostly ambient tracks and a number of piano instrumentals that express different moods. Before I go track by track into this mix, I wanted to break down the structure of this mixtape. Structure is something that's become more important to me the more I engage in these Trade-Offs, and @CAT5 bent the rules for the mixtape structure for this event, so it's a good idea to talk about it. The rule of having more than one artist on the mix allows for a lot more freedom and creativity - I didn't take advantage of that rule because it was too much freedom for me - but the downside is that one artist can begin to "dominate" the feel of the mix. It all then becomes a matter of liking or disliking the artist, because if two artists take up half a mix and I'm not into either it could really harm the point I'm supposed to get out of it. Does this affect "May you Never Forget Me"? Read on and find out! 1. COLD KITCHEN - 憂鬱な羊達 (OP) The lone slice of cold chicken strays the closest to rock along with THE NOVEMBERS. 憂鬱な羊達 paints cold white and grey skys and the compelling but also depressing melodies does a good job at setting the mood. It's a good mix of catchy but also forlorn and somber, Most of all, I can see a minute and a half cut of this song working very well as an anime opener for "Goodnight Punpun". This might be one of my favorite tracks of the mix. 2. 小西香葉、近藤由紀夫 - 花容 This is where the anime starts thematically, but this is a 51 second piano interlude from Elfen Lied. I've heard of Elfen Lied but never checked it out, so I have no attachment to it otherwise. This is best taken as an opening for the next track. 3. Takashi KAKO - Communication The Elfen Lied intro moves into this track seamlessly, and "Communication" is an instrumental piano ballad that slows the mix down from the energetic opening. KAKO sets the musical theme for the rest of the mix tape, which is many flavors of post-rock. The piano is the main focus here, and explores some interesting ideas and patterns that I would vaguely associate with the feeling of fleeting love, but no climax makes the song pretty but forgettable. I could see this used as background music for various scenes of the anime. As an active listening piece, Communication is a bit difficult to sit through. 4. THE NOVEMBERS - 彼岸で散る青 I can always count on THE NOVEMBERS to deliver an average experience at worst. This is from one of their older materials, To (melt into), back when this band still had some bite to them. If the last track was puppy love, this is the snap back into reality, home troubles, and the difficulties of a first relationship showing up. It keeps the depressing mood of the opener while also being more raw. 彼岸で散る青 roughly translates to "Blue falling on the shore", which has me imagining the MC thinking about life while looking out to the sea. Could this be the end of a first relationship and hormonal teenage angst? 5. world's end girlfriend - 少し早足になって world's end girlfriend is one of the few post rock bands that I cannot get into. I stumbled across them near the end of my most recent post rock binge and my tastes started to lean towards the more complex and heavier side of the genre. In comparison, WEG's compositions sound superficially pretty with no direction or climax to it. In many ways, I have the same complaints about this track as I do about "Communication", but I think that "少し早足になって" does the feeling of love a bit better. If it were to link back to the manga, this would be a moment where the MC is older, wiser, and ready to try love again. This song gives me a message of "it's okay to try again" and it sounds very white and optimistic, brighter than the tracks before it. 6. Cokiyu - Textured Clouds The melancholy picks up where "少し早足になって" left off. The piano is replaced with various pulsating noises that numb the mind and remind me of a bleak day. "Textured Clouds" is a very easy track to get lost in. Depression can feel at its worst when it strikes after you think things are finally better. This whole track oozes a type of despair that happens when you get really bad news that you feel in your gut, like if your parent died or if your close friend got raped. It may be minimalistic but cokiyu does a good job at keeping my attention. 7. múm - Now there's that fear again "Now there's that fear again" sounds like a religious experience, or that feeling that sets in on a dark, wet, and lonely night. It's the kind of song where I want everything to be quiet so I can bask in the atmosphere. The synth organ gives the song a solemn vibe and it goes well with the hushed vocals. The way the middle cuts out all the instruments but the bass entirely as it plays the first melody before transitioning into the second melody has to be my favorite part of the mix. Reminds me of some of Mutyumu's early material, and that's a really good thing! 8. Takashi KAKO - Un Pressentiment The rule for having more than one artist works to plastic's favor here, because the piano melody for "Un Pressentiment" is much more memorable than the last one. Multiple listens have improved my opinion of this artist in a way one of these tracks could not. I think its because of the tempo and delivery. There's this rushed feeling behind the music like something important isn't complete on time. I could see this reflecting general life pressures and the need to always impress and deliver bigger and larger accomplishments as we get older. I see how this is stressful for someone that things never go right for. The song does the cardinal sin of fading out before establishing a clean ending, leaving the song feeling unfinished, but the mix isn't over yet so it's not as bad as it could be. 9. MONO - The Hand That Holds the Truth MONO was one of the bands responsible for introducing post rock to me. I used to love them and I haven't for three years. This track (and any track of theirs really) is the perfect example why - it overstays its welcome, it is built like every other one of their songs, and it takes too long to get started. The first minute and a half of this track is just sound effects that don't do anything, and then the song builds up slowly over three or four more minutes, and then it cuts out again before it comes back enveloped in noise and harsh vocals that's supposed to emotionally resonate with me but doesn't because they've worn this trick out so much for over nine years that it'd be more surprising if the song didn't crescendo into something meaningful after six minutes of foreplay. The screams are the only thing that separates "The Hand that Holds The Truth" from every other MONO track, and gives it some flavor and identity. Everything before five minutes is snoozeville. As far as the mix goes, it fits, and I guess our MC is in his mid 20's dealing with the harsh realities of adulthood and feeling lost and overwhelmed. 10. envy - Unrepairable Gentleness Like the last minute of the MONO track above but infinitely more enjoyable. envy has always been one of those bands that I want to get into but they haven't clicked for me, but when I'm in the right mood their music is satisfying. The way "Unrepairable Gentleness" picks up the idea MONO only toyed with and turn it into a dynamic and textured eight minute epic is impressive, especially since all they did was take the song structure from above and essentially play it in reverse. This track is the point where events happen to solidify our MC's world view. This song feels like someone is trapped in misery, desperately trying to block out the outside world before they snap and everything stops long enough for them to get their act together. 11. múm - The Land Between Solar Systems Tender and fragile is the way I would describe how this song starts. Sound effects and the lonely accordion accompany soft, breathy female vocals and hums that float along a stormy atmosphere. It gives off opposite vibes of safety and danger, as if our MC is slowly losing his mind. At first listen, "The land between solar systems" sounds repetitive in a bad way, but it wasn't until the noise dropped out that I realized that it was steadily growing and fleshing the track out as it lead me deeper and deeper in. I was totally lost in it. It's the second time this mix where I feel a semi-religious experience coming on. I felt that some of the songs on this mix were too long, but "The Land Between Solar Systems" is worthy of all 11 minutes of listening. 12. world's end girlfriend - LAST BLINK We swerve back to world's end girlfriend to set the tone for the end of the mix and the end of the anime, so they have two more chances to really impress me. LAST BLINK starts out way more interesting than I would have admitted, with the mix of piano keys and glitch noises commanding my attention as more noises and instruments are subtly weaved in. Unlike the last stretch of tracks, I see a brilliant flash of light approaching before the world slowly comes into focus for one last time before slowly fading out into black, as if someone's watching themselves through the eyes of someone else hanging from the ceiling. Weird shit, right? I'm guessing that this means the end of an era before yet another phase of life begins. 13. world's end girlfriend - in Silence / in Siren (ED) The last track also functions as the ending song, and has some vocals! This is a surprise to me, since I never expected world's end girlfriend to have vocals after the first two instrumental tracks. I can see how this would be a fitting ending for a seinen about adolescence and adulthood, but it also helps to lighten the mood after the dark and stormy events. These last two WEG tracks have done a lot to improve my opinion of this artist. Perhaps I'll check them out soon. +++ Overall, this mix was a good, if slightly depressing, take on boyhood, growing up, and dealing with the shitty hand life gives us. TBH, the reason why it took me so long to review this is because in a lot of ways it reminds me of my experiences growing up and the neverending melancholy that envelops this mix is a powerful reminder of how bad things could always be. It's very cohesive and flows a lot, so I know plastic_rainbow put a lot of time into the theme and order of the tracks. The only thing I can complain about is the length at almost 70 minutes! - but my mix isn't much better. "May you never forget me" was tagged as psychological, but that was the only element that didn't come across too much through the mix. I would like to know what tracks were supposed to give off that feeling and what about the original manga had psychological thriller elements to it. Most of all, this mix is a good introduction to Japanese post-rock for those looking for a way in because all of the artists featured are Japanese.
  8. If you've been in the scene for a while, you've no doubt formed your opinions about piracy in the scene. For better or worse, free music has become the cornerstone upon which Monochrome Heaven - and to a larger extent, the scene - has been built upon. It's worked for a decade, and possibly even before that in less organized terms. For as long as I can remember, piracy was seen as a "necessary evil" to build up the scene and to keep it going, and that was the consensus everyone in the scene came to. But times are changing, and with that perhaps the attitudes of the scene are changing as well. A vocal minority of fans and band members are calling for all fans to put more money into the scene and to support their favorite bands with money. Here's an excerpt from a recent Facebook post that's gone viral within the scene. Many people agreed with this person. I want to understand how people here feel about this same topic. Serious replies only, and if you respond please vote in as many of the questions as you can. I will liberally delete any post that I interpret as attacking another member or otherwise not contributing to the discussion. NOTE: This topic doesn't mean that the staff is planning on doing something. We are simply curious and have been discussing this among ourselves for a day or two. NOTE 2: This topic will automatically close in two weeks on March 16th. If you have thoughts, try to share them before then.
  9. I haven't done enough listening to give @plastic_rainbow's mix justice, so I'll need a couple more days.
  10. ORZ has been cooking up a topic that a good bunch of you would find very interesting but it is not ready yet. Visual en grey had a lot of good moments, but their early albums also have a lot of weak moments. MACABRE is the most consistent of the visual trifecta and has the least amount of filler, which is why a lot of fans hold that album up in particular as a favorite. GAUZE has the biggest collection of listenable tracks, with a side of help from YOSHIKI when he was still relevant, but it also has it's fair share of tracks that I wouldn't listen to more than once. "MASK", "Mazohyst", and the "Mode of.." tracks are examples of things that drag out the experience and add nothing. Kisou ... should have been an EP. I can go on and on about just how bad that album is, starting with the inconsistent track list, the recycled B-sides, literally filler instrumentals, and too much of an effort to be vulgar and provocative, but I won't. Even then, that had its good moments. But regardless, what it comes down to for me is that I prefer to listen to certain tracks over going through an album from start to finish, and this holds up for a lot more of their albums than I would care to admit. I liked Vestige of Scratches precisely because they cut out a ton of their filler tracks and distilled all of the things I liked about Visual en grey into 80 minutes. Dark en grey suffers from its own unique set of problems. For as much as the fans shat on six Ugly when it came out, it's the most consistent release they've had with zero filler tracks IMO. VULGAR was playing it safe, trying to show their visual fans that the sound may change but the core of the band is still intact, but in exchange there aren't a lot of stand out moments. Nothing good, nothing too unlistenable, nothing really memorable not named OBSCURE. And "Child prey" is a lazy single. Withering to death. sounds like a rebellious teenager proving that they can be metvl with the rest of the older Western sempai bands that shamed them for their interpretation of alt-metal on their previous albums. It starts strong and ends strong, but the entire middle of that album is the most forgettable Dark en grey experience ever released. TMOAB is even more of the rebellious phase, going all in on the metalcore, and it's okay, but it still feels like the band was trying too hard to not be visual when the only people they were really trying to convince were themselves. UROBOROS feels like the band discovered Tool & prog metal & could begin embracing their roots again without having to look effeminate and go all in on the leather straps and thigh high boots like they used to. It's no surprise that this is the period when they begin re-recording their old tracks again. DSS just feels like they went too hard in the prog metal direction, biting off more than they could chew and ultimately crumbling under the weight of their own ambitions. Both of these albums has pretty questionable mixing decisions, and UROBOROS was exposed with that R&E version which pushed all the flaws to the center and sounded even worse. DSS had that farting bass which was a cool experiment but became really annoying by the end of the album, and it really lacked ballads to break up the pace, which is funny because Dir en grey at their visual days were best at ballads and failed at almost anything else. ARCHE is them trying to find a happy medium for themselves, but in the process didn't create an album with any engaging moments, just like VULGAR. Ultimately, I feel that the band's albums would be much better received if they axed the four weakest tracks off each album.
  11. this whole surgery thing is overrated x___x

  12. I actually came up with a mix tape for this theme a while back and CAT surprised me with it. I honestly had no idea he would think of this.
  13. can't wait for the 15 second preview