Zeus

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Zeus last won the day on May 21

Zeus had the most liked content!

About Zeus

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    PIMP PANTHER and the master of disassociation
  • Birthday 09/07/91

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  1. My partner for this mix was @qotka, and the title of this mix was "Angled Chaos". The goal of this theme was to make a mix that made me feel things, so judging from the title I was expecting a cacophonous, over-the-top affair. Judging from qotka's note to me, this mix is "literally edgy, like geometric shapes and broken lines" I can say I was pleasantly surprised at what I was given, but sometimes I was confused to the theme qotka was going for. This confusion didn't impact my enjoyment. 1. Charlotte Hatherley - A Sign qotka begins the mixtape with my biggest weakness: soft female vocals over a chill beat. It's a bit softer than I expected for a mix with this title, but after a minute or so I don't really care. Hatherley's voice gets this mix started with an ethereal bend to its atmosphere, the beat slowly building up while she crows about looking for a sign and moving towards the light. Lyrically, it's a brilliant way to start "Angled Chaos". 2. La'Mule - Wing A shot of visual kei from yesteryear kicks this mix into high gear. The tempo doesn't pick up any, but the mixtape gains some substance here. La'Mule is one of those band names I've seen time and time again, but I've never listened to them properly. This slayed for a first impression and it has a very timeless quality to it; a band could release this song in 2017 and it wouldn't sound that out of place. The portion at the middle with the crowing voices was also very unsettling, and perhaps why qotka chose it. Wing leaves me with a curious combination of both nostalgia and unease. Good stuff! 3. cali≠gari - その行方 徒に思う・・・ Are you ready for a heathenous confession? Ok. I've never listened to cali≠gari. They are a band that never appealed to me directly enough to want to check them out. I see now that I should go ahead and do that, so anyone willing to drop the albums I should prioritize would be greatly appreciated. I feel that その行方 徒に思う・・・ so far gets closest to what I envisioned the mix to start on (or the note I would have started it on if this were mine). I love the riff but it's over before it really begins. 4. 大森靖子 - PINK An example of a track that feeds into the theme of the mix perfectly, but is unenjoyable. I'm a man that requires a wall of sound or at least a solid melody. Random acoustic strumming does nothing for me. 大森靖子 sounds like Miya from 385 without the music to complement her, and at points she just sounds like she's losing her mind...which I guess is part of the appeal? Feels more abrasive than edgy to me, like a brick to the face. The only one I actively skip each time around. People lose their shit over Seiko Oomori for this? Shiina got dethroned by this? Now I see why this turns @CAT5 off... 5. Limited Express (has gone?) - No Mean A wonderful palate cleanser after the hard to digest "PINK", No Mean shows a lot of rap influence in the first half but noise experimentation takes over the second half. What would you describe this as genrewise? This is the first track where I really begin to feel out the geometric shapes this mix was based around. Each of the sections has a different feel and the first time around, the transitions are unexpected and rough. Much like cali≠gari, it ends a bit earlier than I'm ready for. 6. 左右 - ネイキッド Best described as a less annoying version of "PINK", but a song I warmed up to over time instead of just actively hating. 左右 (Sa Yuu, Left Right) is a two-piece alternative band from Japan form by 花池洋輝 and 桑原美穂. The guitars are a bit anemic but there's thought behind clearly defined transitions and the vocalist does a bit more than scream bloody murder for three minutes. I can see the broken lines aspect with this one. Not my favorite, but thematically relevant. 7. Develop One's Faculties - Silent Silence Ahh...the best visual kei band I don't listen to. I love everything I hear from DOF - as I should, because it's formed of members from excellent bands - but I'm too lazy to download music or check new things out on the regular so I miss gems like this. Thanks for putting this here. Thematically, "Silent Silence" comes at a time when I'm craving a breather as the last three tracks have been hard to digest. For the third time though, this track could have used another 45 seconds to a minute. Why do all the fun tracks end so soon? 8. JUDY AND MARY - POWER OF LOVE I'm not sure, but my mind doesn't travel to the same place the rest of this mix took me. I'm in the back of a convertible on a nice summer day, straw hats and laughing friends in the backseat as we speed unsafely to destinations unknown. JUDY AND MARY is a legendary band whose name has acquired some cobwebs since their appeal didn't cross over for us the same way other bands did, but their music feels timeless in that early 90's sort of way. The thematic oddball, but doesn't bother me too much. 9. The Turtles - SWEET CANDY If the last track was summer girls, this is the greaser equivalent. Both of them being throwbacks to The Greatest Decade Ever is also a bold and calculated move. At some point, the bottom fell out the mix entirely and we took a step back into a completely different place. The distortion in the middle is the most notable section of the song for me, generating images of multicolored, differently sized polka dots. The rest of the song makes me think of biker gangs trying to slang some cuties on a hot summer day. Not sure why. 10. te' - 夢魔を操り『煉獄』の夜を駆る恍惚。その忘我が時の幽閉を破る。(改) We end "Angled Chaos" with an instrumental outro and with no words to spare imagery takes the wheel. This works well as a closing track because I can see elements of every track in this one. Whether it be the prominent bass of "The Turtles", or the rough jangle of the guitar, all the imagery in my mind is a combination of what the rest of the mix provided (sans "PINK") before it lifts off into the stratosphere and leaves all of those behind. te' successfully conveys the feeling of rushing headlong up a mountain towards the clouds, and the emotion is outstanding. Easily my favorite track of the mix. This was a fun mix. I was able to get a good idea of what qotka's taste is all about, and I was also able to derive at least some of the imagery described in the summary of the mix. Most times I come across mixes that go on forever (like mine does, sorry in advance ^____^) but this is the first time I can honestly say I wanted more. Some of my favorite tracks here don't crack three minutes and the first time I listened to this mix, I was surprised by how quickly I was able to get through it. To be able to do all this in a little less than a half hour is impressive. Good work!!
  2. If I don't have control over it, it's not mine. that's been the philosophy I've carried for the better part of ten years, and it's one that hasn't failed me yet. The only time it comes to bite me in the ass is when I don't heed it. I learned my painful, personal lesson not with the loss of my music library, but with the loss of my cyber locker. The death of MegaUpload meant that things I had backed up on that site are lost for good and I'm not getting them back. @fitear1590's example of the movie is another aspect to this conversation. Industry support of streaming standards stems from a place of profit; with any technological revolution there are bound to be inventions which do one simple thing that upsets the natural order of the ecosystem. One early example is how casettes could record the radio and the head of the MPAA (at that time) complained that the invention was going to kill the radio and introduce rampant piracy. There are plenty more, but the general point I want to get at is that these technologies allow the individual consumer to exert some level of control over our products that was thought infeasible at the time of its creation. This is the first result of a technological revolution where control shifts back to the company owners and away from individual consumers. Companies can determine when something is available, where it's available, and for how long it remains available. I can rip a CD as many times as I want as long as I own it and the tools to do so, but when Netflix or Spotify or some other company can just decide it's no longer profitable to market and remove my access to it, that's it. If I don't have control over it, it's not mine. There's also a compound effect here, one I've noticed outside of music circles. "The cloud" is nothing more than someone else's computer and hard drive. If it's stored elsewhere, I don't need to store it locally, right? So by now, I thought we would have terabyte iPod models to hold all the media we could desire, but we don't. Manufacturers everywhere have taken a slide back in the amount of space they are willing to ship with their products by pushing "streaming" and "cloud services" as an alternative. If I wanted any half-decent media device with internal storage, I have to either buy something that supports SD cards or import the device from Japan and pay a heavy price tag. Shrinking local storage only incentivizes people to give in to streaming, which I think is a bad development even if it's not pointedly malicious. (Not to mention most of these companies introduce data caps to limit the amount of streaming you do, also shared with other forms of "data", effectively putting an upper cap on how much music you can listen to...as opposed to having the music on an MP3 player where you can listen to it until the hard drive dies. Even if the former limit is technically infeasible, it's still there...) Note the emphasis on "control". I don't have the obsessive need to own something as long as I can do with it what I want, when I want, where I want. Buying CD's versus buying digital copies is one and the same to me, especially when my entire collection lives and breathes digitally. I can control my digital collection and it's something I know all of us here have in common. If I pay for streaming, I'm not paying for a copy of the music. I'm paying for the right to stream the music at a predetermined bit rate for a set amount of time, in specialized locations. I can't even stream and take the subway because the signal will cut out once I go underground! Perhaps I'm more sensitive to this because I've identified with a music scene that thrives and depends on ownership of physical media, but streaming is just not for me.
  3. I thought this was the jazz band for a second lmfao
  4. That's strange, because for some people I just moved their name and for others, I actually typed it out. In case you missed it @Hohchicano96, @filth_y, @Original Saku, @gekiaiit's time to swap mixes
  5. But you are still here, so you'll find a way.
  6. I sent my mix to @qotka
  7. Partners have been revealed!
  8. I've adjusted the dates to make it a bit longer. I'm taking sign ups for 24 hours and then we'll get started.
  9. Tracklist: 碧落の暁り (Hekiraku no Satori) 鴉食 (Togui) | A visual band interesting enough to pique my interest? Cue one disbanded Tokyo-based visual kei act IIII-Ligro-, active around the turn of the last decade to fill the throngs of indie metalcore bands best remembered as a footnote in the context of newer projects. I've never harbored ill will towards IIII-Ligro-, but they always struck me as a band that lacked a fully fleshed concept. The quartet self-destructed into the ground by losing members and direction despite the small amount of buzz they generated here during their literal fifteen minutes of fame. I was one of many fans disappointed at the outcome and left wanting more. Vocalist ヒナタ(hinata) and guitarist kazari must have felt similar, since it didn't take them long to form a new session band. Nicking a rotating cast of band members from obscure visual kei acts such as Dianslave, ino, and se-ya, 時限式:uadjet (jigenshiki:uadjet) is everything I thought it would be, and by that I mean it's the natural continuation of IIII-Ligro-. This is great news for fans looking for a substitute band, but 碧落の暁り does not address my lack of confidence in the direction these members want to take this project. This criticism does not cloud my enjoyment of what are essentially unused demos. My lack of confidence in IIII-Ligro- is a result of reflecting on their history. They never came as an immature band, but their music always felt constrained by 'what it means' to be visual kei this decade. Tropes are made to be subverted in order to create a memorable experience, and IIII-Ligro- toed the party line too carefully. But where IIII-Ligro- was an official band with a schedule and activities, 時限式:uadjet is a session band with only two stable members. To put them on the same level right from the start indicates that there's more than meets the eye to this session band. 時限式:uadjet is blessed to have hinata as a vocalist. He has interesting gutturals and an instantly recognizable singing tone that manages to be distinctly visual kei while avoiding nails-on-a-chalkboard levels of annoyance, which means this indie band won't immediately crash and burn on undelivered hype. He reminds me a lot of Jey from FIXER. kazari's guitar riffs and musical chops also received a buff; both tracks on this single are described best as standard scene metalcore with a cum shot of progression. For example, the contrasting tone of the main riff of "碧落の暁り" (Hekiraku no Satori) lacks a bit of polish, but otherwise exemplifies the strides in musicianship and adventurous approach to composing that IIII-Ligro- needed more of. I am definitely not the person that you should come to if you want visual kei recommendations, as my honey moon ended in 2011 and most bands get fifteen seconds with me before they meet The Recycling Bin. These guys have persisted through that, so I guess that means I like them. Perhaps it's a little too soon to draw all the comparisons I did between the two bands, but it's as difficult to resist doing as reviewing la la larks without mentioning school food punishment or siraph once. Also, 時限式:uadjet surfaces on the positive side of enough of these comparisons to make worthwhile conclusions from them. I am interested to see this duo develop this idea into a fully functioning unit, but when that happens they need a concept and musical identity to guide their path and differentiate them from their competition. Give them two years, enough hype to kill an elephant in one injection, one really good PV, solid production, and an official mini-album with more than 100 copies available that brings it all together and I can see them rubbing shoulders with the likes of DADAROMA in a few years. * This was a live-distributed release limited to 100 copies *
  10. If they don't release the album on the 30th the scene should just boycott all X activities until it's released. Enough with this dick teasing.
  11. i know its not an official rule, but if you are posting more than 2 youtube videos in a post please put them in spoilers. it helps everyone load the page faster. thanks

  12. XAA-XAA and DADAROMA are killing it as far as I'm concerned in visual kei, so coupling tours and new music makes me happy.
  13. This theme is all about senses. Ever listen to a song multiple times and always think of a certain color? Or does a song transport you somewhere, like a beach with a nice breeze? The idea is to make a mix tape where all of the songs cause you to think of, feel, see, or taste certain types of imagery. So for example, you could make a mix tape where everything reminds you of white drapes blowing in the wind.
  14. I only play this game during Nexus events when there are cool Overwatch unlockables which then get added to the commons pool loot box after a month. Otherwise, I absolutely cannot stand this game. MOBAs are not for me. I like a gaming experience with a quick investment and mediocre to great returns. I hate the feeling of having to drag out a losing match for fifteen minutes longer than I need to just because the game is designed to take 20 to 25 minutes a round. Ain't nobody got time fo' dat.
  15. It's past-due for another trade-off, and I've got an interesting theme for you all! This trade-off will revolve around synesthesia, the production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body. It can take many forms. With one type of synesthesia, letters or numbers are perceived as inherently colored. The number 7 may always be purple or the letter G may always be orange, for example. Another type exists numbers, months of the year, and/or days of the week elicit precise locations in space (for example, 1980 may be "farther away" than 1990), or may appear as a three-dimensional map. Synesthetic associations can occur in any combination. Your task is to build a playlist which triggers as many senses as possible from you, and see if it causes a similar reaction to your partner. It can be around senses, colors, numbers, taste, etc. Try to get as creative as you can! Partners: @Zeus x @qotka @Hohchicano96 x @filth_y @Original Saku x @gekiai @indigo x @chemicalpictures Partners will be revealed 6/12. Mixes must be sent to your partner by 6/19. * Please PM your mix to your partner. Don't post them in this thread. The *NEW* deadline for final reviews is 6/25!