Qliffot

In my humble opinion best thing, You could do, is to make some official regulations of approved and unapproved ripper's software. I fancy it would be a paradise, if everybody used solely EAC, CueRipper and dBpoweramp, simply because they are probably the only applications, which can submit results into CueTools and AccurateRip databases. Banning WMP, Winamp and all similar applications would easily eliminate, or at least limit the issue with bad rips to sporadic, separate cases (I obviously know my suggestion be never put into practice though). Personally, just like I stated so many times before, I just do not use MP3 at all. However, recently I was thinking so often about making some new topic, where I could explain, how important should be for everyone not only the quality of rips itself, but also the possibility of obtaining certainty that: 1) a particular rip is not bad somehow anyway (one could lose some bites because processor had a lag for a second; anything can happen and one never knows for sure); 2) a particular rip is original disc, has not been somehow spoiled; 3) a disc itself may have scratches, perhaps even microscopic, which influence playing. To avoid all this and many more similar accidents, I would strongly suggest everybody, especially ripping discs in lossless, to submit their rips into CTDB. You cannot do this through WMP, I-Tunes, or Winamp; even Easy CD-DA Extractor cannot submit results anymore, even if rips will appear as accurate, if somebody else has submitted them previously (although initially it was capable of submitting, for some reasons has been formerly banned out of doing this). Wherefore, if somebody would share such a lossless rip, even in case it would be terribly produced, if one check it with CueTools, it's possible to obtain at least confirmation that it's not only this particular disc, but that other discs have been produced identically; thence it's not a single case of this particular rip. From my Japanese recent downloads, it reminds me about Linh-san's Girugamesh's "Monster" case. I already mentioned it in that topic, but I can repeat it here as well. This disc looks just horribly. Half of tracks seem to be mpeg by auCDtect and Audiochecker. However, it has been submitted into CTDB and we at least know that two other persons (not counting Linh-san, since she didn't do this because it's rip made with Easy CD-DA Extractor) had have exactly the same discs submitted. Moreover, I fancy, sincerely, that I don't need any disc to be perfectly produced, and I don't care of music quality itself anymore, since I must listen to music using actually really poor, cheap headphones, as my speakers do not work anymore. The only thing I need is however to obtain this little confirmation that the rip, I'm actually listening to, has been made properly, sans issue and that it's just a copy 1:1 of actual disc itself. The question for persons listening to mp3s which comes to my ridiculous mind is always the same: why should one lose one's precious, the most precious of all things in this earth, so quickly fleeting time of life for listening to something without obtaining at least this little certainty that one's time is in fact dedicated for contemplation of original product, in quality, wherefore has been wished by the artists themselves to contemplate their work? And to listen to this so called "transcodes", bah! even to download them, seem to me like in some way an offense of the artist. Of course, I don't talk about piracy, and let's put this subject outside; but generally, if one is condemned to download music because of inability to buy original albums out of various reasons, then one should, methinks, at least listen to music in format and quality close as much as possible to the original product. For this way one at least comes closer to the holiness of associating oneself with the original product itself. And in this personal, ridiculous, naturally, philosophy there's no place for mp3s at all. Whence, to somehow conclude my above confessions, I strongly believe Monochrome Heaven's users should use EAC and CueTools (and perhaps some similar applications for the usage at Linux and OS X) more often and abandon WMP, Winamp and I-Tunes at all in usage of ripping discs; although I don't force anybody to stop listening to music via the above mentioned programs. Sometimes I'm still listening to music through Winamp, if the disc has no unicode/utf8 titles, but ascii only, since this application screws cue sheets with all special diacritics, etc. However, despite the all of above reflections, I truly know this will never happen and there's no way everybody would ever come to mind and start to care of no quality but accuracy of the rips itself

May I join the discussion and share with You my thoughts? First, I'm personally deeply convinced that the most important in process of re-uploading is giving credits to original ripper, and/or uploader. I do not consider it as much important to ask personally everybody for an official permission though; in my recent practice I mostly omitted the latter in case of re-uploads from Jpopsuki and honestly I did not feel too much guilty until now. However I would never upload anything I obtained from someone privately without asking my benefactor at first. Wherefore I am not certain, if You would consider me as a person harmful or useful for our community. But of course I have never posted anything but here and my faith is simply to gather as much good Japanese music rips in highest possible quality in one place, without necessity to look for something throughout the whole web. In fact, I fancy I could confess that I'm in some way considering myself as a foul leecher despite everything. I'm visiting Monochrome Heaven only to exchange, well, not to lie, mostly to download, since I have not enough money to buy original albums by myself, music, especially in so called lossless formats, and if this section vanished forever, I would perhaps never come back. If some discussion interests me, I can read and sometimes participate, but frankly, I do not need to spend hours talking with people. The life is short and to lose it in such a way seem not funny, especially when one is so frail like me; therefore I have some better things to do than dedicate all my day for pointless discussions, namely to pray, to read poetry and mediaeval sources, and of course to listen to music itself. Thence the sole and most important reason of visiting this place is just to download more, not too much since I download only highest quality lossless music though, and, perchance, to share something which has previously given me a lot of enjoyment, what I took from Jpopsuki, or some other forum, or tracker. I could in no way be useful for this community and, if, let's say, download section became wholly somehow private, or closed, and if I just tried to talk with You to obtain access to this theoretical private section, or just to grow closer to You, I strongly feel and fear that I would never become truly accepted, and You'd all hate me, if I would only try to talk more often, so different seem my thoughts and daily life than that of most of You. That's also one of reasons why I'm sticking mostly to the download section. Perhaps, there are also other "leechers", who do the same out of similar incentives. What else can I say? I humbly think it's not good reason to talk about music particularly in download section. I recently even talked about it privately with 5tranger from Gakuon. The latter community were devoted strictly for sharing music, wherefore it would be in some use to talk about shared releases in their topics themselves. However our forum is so rich in separate sections that it seems to me not necessary to force "leechers" to talk about things they are taking from here. But to force everybody to click "like this" button, if one want to take something sounds far nicer. I also liked the idea of passwords. Why should they be offensive through? I would personally suggest for every uploader making passwords with their user names. If some "leecher" wouldn't care to re-pack downloaded rip and re-upload it, one would even unwillingly give credits to original uploader, and/or ripper. In case of persons who like me re-upload things from Jpopsuki/Gakuon/RuTracker et al., we could of course make passwords with names of original uploaders as well. I believe this last way would seem the best, if uploaders of original content would eventually resign from their expectations of private request for permission to re-upload anything of theirs, satisfying their souls with obtaining credits. Of course, even this wouldn't always work, but in some cases would perhaps seem at least effective. OK, that's all for now. And please, accept my sincere apologies, if my above words hurt or offend some of You.

Hey, I have no idea, if it was really difficult to find this lyrics in web and fix all errors according to booklets, as I have never been looking for La:Sadie's lyrics by myself, but You surely had tired Yourself with this job and I wanted to say I appreciate it a lot, therefore thanks for delivering them.

Hey, please excuse me being so annoying, but I have one more doubt around pronunciation. At this time it's about 楽園の黒霧. You know, I wouldn't tire You with similar questions, if there be unanimity about how to pronounce the second part of the title, but it's not like this and I hope it's the last time, when I'm spamming this topic. In most cases the compounds including 霧 (kiri) as second kanji seem to be read mostly as む, like 雲霧 (un'mu), 煙霧 (enmu), 海霧 (kaimu*), 濃霧 (noumu) or 氷霧 (hyoumu), as most of You surely know. However, there are also compounds, where 霧 is read also in ordinary way, although the phenomenon of rendaku appear changing the initial 'k' into 'g', viz.: 夜霧 (yogiri), 夕霧 (yuugiri, but also 'sekimu'), 山霧 (yamagiri), 朝霧 (asagiri) or 川霧 (kawarigi). Because of kind of apparent inconsistency in this matter I feel so much confused, which way should I choose to pronounce this title properly. Search in google also didn't help. "くろぎり" "黒霧" gives 616 results, "くろきり" "黒霧" 973 and "くろむ" "黒霧" 3850, so I would perhaps choose "Rakuen no Kuromu", even if normally when Japanese would like to say 'thick fog', he would use, I fancy, 黒い霧 (kuroi kiri) instead, just like Hisui recites in the beginning of this track and whence some translated this title into romaji as 'kuro kiri'. Therefore, which way is most probably the true, most certainly used by the band? 'Kurokiri' (Kurogiri), or 'Kuromu'? * This in fact can be pronounced as well as 'umigiri'.

I just wanted to share my Top 5 of overall favourite vocalists 1. 砂月 (ex-Rentrer~). For everything. For his way of self-expression, his splendid falseto's, sincerity and sensitiveness of his voice. 2. 京 (La:Sadie's, Dir en grey, Sukekiyo). For his squeaking, howling, rumbling and making all kinds of other passionate noise. I'm so much devoted to his achievements that I listen to Dir en grey only on my knees. 3. 紫 (Baiser). Just because they influenced Rentrer~ so much in their early era. In fact, I hate their くちづけ single, but everything else is true masterpiece in my ears. 4. KeÏ (Eliphas Levi, Vinett). Eliphas is my most cherished truly 'gothic' Japanese ensemble, I know all their lyrics by heart and could perhaps recite them even after sudden awakening from bed at 3 AM and the way how this vocalist sings emotionally and sensitively is very important element of what makes this music so magically accessibly for my poor soul. 5. Tetsu (Malice Mizer, Nil, Zigzo). I was thinking about choosing Sakito (Dué le quartz), or 翡翠 (Madeth~, Schwardix~), or even 狂華 (Aliene Maφriage, Chaos†System), but I finally stayed in Tetsu. His style of singing was for me very important since my beginnings with visual kei scene. No other Malice Mizer vocalist could create similar gloomy, depressive atmosphere like him and their early songs like 記憶と空, Speed of Desperate, Seraph, バロック or Sadness are classics mostly because of how he's singing therein. Additionally, for honorary reasons I could also mention some other vocalists, which I adore since first time I've listened to their voices and which had not been yet mentioned: 翠 (Metis Gretel, Megaromania), 龍夜 (Syndrome), 狂鬼 (リロード, グリーヴァ) to list just a few more.

It's very interesting topic, thank You @paradoxal for founding it. Personally, I fancy it's in some way kind of general properties of Japanese language, it's nasality and accent, may it be, even not of one kind, as there are various dialects on various Japanese islands and it's somehow audible, when You listen to ensembles from various remote places of Japan's archipelago. Wikipedia dedicated the whole article to explain some differences between them in detail. The other thing is when one vocalist inspires his way of singing from the other one and in this scene it seems really often happening. Let's focus for example in this, as You called it 'feminine way of singing', as it's kind of my favourite one, for my own voice is also pretty high and it's easier for me to sing with vocalist, when I listen to such a music Look, when You @seikun, e.g. state that Yukari and Satsuki have similar way of singing, don't forget that Yukari was first producer/manager, not sure, of early Rentrer en Soi recordings till mid 2005 and his last work with them was Keinの棺/Astreの絲 EPs. Besides, Kyouka's capability of various methods of singing is very broad and he could sing more femininely in past as well (viz. chorus in 古の愛物語 ～エンドレス). Some Japanese vocalists always seek to choose more difficult way of singing, like our commonly beloved maestro Nishimura, whose voice patterns mostly remind me of what Zorn does with Patton on his less free-jazz concerned recordings, and Kyo proved explicitly that even after about 20 years of singing, since I'm sure he had to exercise his singing amateurishly even before La:Sadie's era, his voice compass is still pretty enormous. Very noticeable in this genre of singing is in my humble opinion also that, what Atsushi Sakurai did on Buck-Tick's Stalin's cover おまえの犬になる. And the other "genre" is mentioned above deep, dramatic, or faux baritone way. I don't know, which group first chose this way, or if it comes from some older, may it be folk tradition, but I guess, it's rather older, as 'dramatical' way of singing has been already chosen in mid 1980s by ensembles inspired by gothic movement (Madame Edwarda is the most famous Japanese goth band) and I can hear some influences on psychedelic recordings of J. A. Seazer from early 70s... However, I may generally agree that such a simplified division is at least decent. To somehow summarize my conclusions, I think it's necessary to separate various kinds of phenomenons, existing on visual scene. As far, as there are many genres, which do not correspond to each other, which are sometimes most generally counted into an umbrella term of visual kei, as there's no one common motivation of singing for every vocalist therein. Sometimes their origin (i.e. if a group is from Tokyo, or from e.g. Nagasaki etc.) leads vocalists to spell the same words differently than anywhere else, and in other times the biggest characteristic is things that influenced them mostly, their own idols, the "schools" or "genres", which members they feel they are. I cannot give the one and true answer for this question though. Just a few loose thoughts...

I can admit I've read this thread with big interest, so after some time of consideration I think I may at last express my opinion, although I have some strange feeling of dejàvu, that I did it before, but somehow my post disappeared. Anyway, I fancy it's kind of strange for me to read that some of You prefer not to understand the meaning of lyrics and especially about kind of "allergy" for English, or - in general - for understandable languages, as I would take liberty to call this phenomenon. Personally, I have no problem to listen to music with lyrics sung in languages comprehensible to me more than Japanese. In the latter one like most of You, I do not speak fluently, however since my earliest conscious experiences with Japanese scene I have been always trying to seek for such music, which lyrical themes and tropes would move me, even if my capability to understand any Japanese lyrics completely were scarce. But would not one be sure of possibility to identify with lyrical subject, if the song titles themselves talk about suicides, blood, roses and pale skins and madness? Absolutely! More seriously, through long time I believed I already know Japanese good enough to understand most of favourite bands' lyrics. Actually I'm aware how wrong I was in such a ridiculous pride, but I still fancy my ability is sufficient to appreciate the beauty and richness of language. Naturally I can agree with conclusions from above: yes, the fact that almost every syllable ends in vowel really affects the poetical and musical properties of any work written in this language and second yes, the fact that this language is so rich in specific expressions (like with this snow-example by @237Q) leads to conciseness sometimes almost unattainable for users of many other languages. But I don't agree that uniqueness of Japanese syntax makes it somehow ideal and perfect. Since I prefer to listen to and to read poesy in many, mostly European though languages, I couldn't say that this or other language is in general way 'better' than the other ones, as I understood statements of some of You, as in my case it's absolutely not true. Except of Japanese, to my personal favourite languages used in music and poesy belong Latin, Occitan, Finnish and Middle High German. For I read a lot of mediaeval poetry, it may be reason, why it's for me difficult to agree that Japanese is the only nation which didn't lose strong contact with nature as well. I don't think that it's the only language with such a richness of expressions about nature, as works of some troubadours or minnesingers are comparable in this matter, but it's only my personal statement. I think in my case the choice of Japanese music is partially because of lyrical themes used by my favourite artists and partially because of their sound and both are equally important to me. Probably I wouldn't listen to even my most beloved artists, if their lyrics wouldn't move me (the reason I listen to solo Satsuki so rarely). About my capability of understanding Japanese. I understand mostly nouns and verbs. I have problems with whole sentences and sometimes misunderstand persons and times. It doesn't disturb me to enjoy lyrics and identify myself with some best quotes. But I would never think that if this favourite quotations of mine were sung in English or German, would they move me with themselves somehow less than in case that they're in Japanese, as I have also a lot, or even more, since my ability to comprehend this languages is better, similar quotations from ensembles, or poetical works, or even novels, written in these mentioned tongues too. The point is that Japanese visual scene, or even Japanese music in more general meaning, is not the only one I am devoted too and it influences my look at referred problem.

Sailor Moon in early childhood distorted my personality irreparably. Then through long time nothing, but about 2005, as I were kind of true goth these days, I've accidentally discovered Malice Mizer, Moi dix Mois, Schwarz Stein, Velvet Eden and Dué le quartz shortly after I've obtained internet access. Some of them became my favourites. but I weren't really into this scene in more general sense before two years later, when I listened to, let's say Protoplasm, or 太陽届かない場所. Therefore, if there were no Rentrer en Soi, it's kind of possible I wouldn't be here at this moment.

OK, thank You very much, @hyura. As I confessed somewhere else on Monochrome Heaven, I do not study Japanese grammar regularly anymore, so this case presented to me a real problem.

I'm experiencing some difficulties with reading the following title: "「Zwei」 堕胎者ト盲目ナ中絶児・・69日目ノ阻害" from "悲劇ノ終幕" compilation. Particularly wondering if "69日目" should be read as "Rokujuu Kyuu Hi Me", or as "Rokujuu Kyuu Nichimoku", which would make kind of pun with first part of this title, viz. "Dataisha to Moumoku" (the whole title I'd read as follows: Zwei Dataisha to Moumoku na Chuuzetsuji.. Rokujuu Kyuu Hi Me [or: Nichimoku] no Sogai". Would somebody be so kind to tell me, which way (if any) is the proper one?

When I was a child, boldly admitting of being a goth, I thought lyrics meant for me the most and the music itself had only secondary, if not tertiary meaning, as long as it was an underground piece of noise. In these times I mostly admired Batcave, German Neue Deutsche Todeskunst, later some jazzy avant-garde black metal and neo-folk/industrial, the particular genres still important in my so-called life. However since I listen to Japanese music as well, things in some way changed, although during very long period I was too afraid to declare this simply fact before myself. I rather used to pretend I'm studying Japanese with great help of Internet sources and one book I especially bought in this purpose. But all-in-all, once have I found out, I never will be a good translator from Japanese and shall never clearly sense and understand all linguistic nuances. To tell You no lies, I went to some kind of inner reconciliation: the music, especially Japanese, in general means for me something as long, as You've got some beautiful key-words. Let's quote just a few: 自殺、絶望、血、惨劇、狂人、月夜、罪人 and many similar ones. All, what does make this gothic portrait so romantically shivering, mesmerizes me instantly and I'm Your slave, if You just say me such a Japanese noun with dramatic shriek or whisper. And I even don't pretend, it has to possess any exclusive meaning. As if this schematic themes ever any had lol. So concluding, I'm still identifying myself with some of best lyrics (let's say written by Kyo/Dir en grey) and have mad pleasure of reading another ones (recently: LEON yesterday). The thing is that I do not believe in them anymore, ergo not care of any deeper meaning. And if it doesn't have any special meaning worth of research, then why even bother to focus on the topic, huh?

1, "Cruel Sacrifice" Lyrics: 夕慈 Music: LEON ichi de hizamaduki, ni de kubi wo kagamase, san de kubi wo haneru 壱で膝間づき、弐で首を屈ませ、参で首を刎ねる chi no daishou... saa... saa... 血の代償…さあ…さあ… chinamagusai ishuu to tomo ni fureta 血生臭い異臭と共に触れた anata no kurenai ga someru yuuyake wa azayaka ni 貴女の紅が染める夕焼けは鮮やかに demo, ima wa namida de nijinde mienai でも、今は涙で滲んで見えない kaeshite... kaeshite... kaeshite... 返して…返して…返して… gyatei gyatei hara gyatei, harasou gyatei, bouji, sowaka* 掲帝掲帝波羅掲帝、波羅僧掲帝、菩提、僧莎詞* kimi wa damatta mama suzushi sou na kao de, 君は 黙ったまま涼しそうな顔で、 donna sekai wo mite iru? どんな世界を見ている？ soko ni yasuragi wa arimasu ka? 其処に安らぎはありますか？ shibarareta tsugunai aishuu, 縛られた償い哀愁、 yume de saita ore no kijo sae shikai ni nai 夢で咲いた俺の貴女さえ視界にない demo, ima wa namida de nijinde mienai でも、今は涙で滲んで見えない kaeshite... kaeshite... kaeshite... 返して…返して…返して… kimi wa damatta mama suzushi sou na kao de, 君は 黙ったまま涼しそうな顔で donna sekai wo mite iru? どんな世界を見ている？ soko ni yasuragi wa arimasu ka? 其処に安らぎはありますか？ shisou kaerareru nara, donna ni sukuwareru darou? 思想変えられるなら、どんなに救われるだろう？ shiki ga wasuresaseta shiawase wo ima koko ni... 四季が忘れさせた幸せを今此処に… * There are fragments of Hannya Shingyou (般若心経), A Buddhist Heart Sutra, romaji transcription is not perfect though. *** 2. "Kuroajisai" 「黒紫陽花」 Lyrics: 夕慈 Music: LEON shoka... shimeru yoru ni saku usu-murasaki-iro no ajisai wa, 初夏…湿る夜に咲く薄紫色の紫陽花は、 shijou hodo no tatami no mushi ni shokusare mashita 四畳ほどの畳の上蟲に食されました At night that you believed… lie、lie samayou AGEHA ga watashi no mae wo HIRARI HIRARI 彷徨うアゲハが私の前をヒラリヒラリ "watashi ni mo sono jiyuu wo wakete yo...." 「私にもその自由を分けてよ…。」 koko ni... koko ni aru wa kuruizaki no kokoro, 此処に…此処に在るは狂い咲きの心、 yokubou ni karareru mama 欲望に駆られるまま jibun no sonzai riyuu sura wakaranaku natte 自分の存在理由すら解らなくなって "umareta kikei no kuroi ajisai... 「生まれた奇形の黒い紫陽花… sono minikui sama wa anata no kao ni sokkuri ne" その醜い様は貴方の顔にそっくりね」 koko ni... koko ni aru wa kuruizaki no kokoro, 此処に…此処に在るは狂い咲きの心、 yokubou ni karareru mama 欲望に駆られるまま koko de... koko de naru wa fuurin no oto no shita, 此処で…此処で鳴るは風鈴の音の下、 hakkyou suru aegigoe sa... 狂する喘ぎ声さ… *** 3. "Kokou ni Tou Tsuioku no Kagen no Tsuki" 「孤高に問う追憶の下弦の月」 Lyrics: 夕慈 Music: LEON namida to tomo ni shizumu taiyou "oyasumi" to shimi tsukubatta 涙と共に沈む太陽「おやすみ」と滲み蹲った "ohayou" to yami no naka shizuka ni kao wo dasu kagen no tsuki, hoshiboshi wa ore wo terashite warai, 「おはよう」と闇の中静かに顔を出す下弦の月、星々は俺を照らして笑い、 yume yori mo kodoku to kako no gensou wo utsushiteku 夢よりも孤独と過去の幻想を映してく umareta mama no kokoro de irareta nara arasoi mo, ai mo kurushimi mo nakatta no ni, 生まれたままの心でいられたなら,争いも、愛も苦しみもなかったのに、 itsu kara ka ushinau koto wo osorete chikaduku koto mo dekizu ni mata hitori いつからか失うことを恐れて近づく事も出来ずにまた独り inochi ga hora waratte iru. ikura ai wo utai dare ka wo sukutta to shite mo, ai suru hito hitori, aisenai jibun ga iru 命がほら笑っている。幾ら愛を唄い誰かを救ったとしても、愛する人一人、愛せない自分がいる shi wo omoi, kodou wa ima, genjitsu wo kamishime, kawaru koto wa nai kara utau 死を想い、鼓動は今、現実を噛み締め、変わる事はないから唄う nande jibun dake to nageita yoru wa hito shirazu, "shi ni takunai." to sakende mo, kanau hazunai なんで自分だけと嘆いた夜は人知らず、「死にたくない。」と叫んでも、叶うはずない sonna koto mo uwakatte iru kara, semete kono koe dake demo todoite yo そんなこともうわかっているから、せめてこの声だけでも届いてよ kono kodou ni toikakeru. "mada ikite mo ii desu ka?" to この鼓動に問いかける。「まだ生きてもいいですか？」と "mada utatte ii desu ka?" to 「まだ唄っていいですか？」と kodou ga koko ni aru uchi ni... 鼓動が此処にあるうちに… ------------------------------------------------------------------------------------------------------------------ Well, I managed to transcribe this lyrics and put romaji yet today and I didn't experience any serious problems with my task. Although rather convinced, some kanji may still be mistyped, as I don't study Japanese actively anymore, this is my first transcription since about two years and I naturally could make one or two mistakes. So, if someone else would prefer to translate this lyrics, please, check them out one more time at first. Anyway, big thanks to @miyamoto_kasumi for lossless rip and beautiful scans one more time. I'm very happy I could obtain them so unexpectedly - I would never believe I e'er get them, just, let's say, month ago.

Seriously? For me, "少女仕掛????リブレット ～LOLITAWORK LIBRETTO～" was even better than her début. Such cute, sweet songs like "黒猫~" or "マーマレード~" and harder tracks like "??明????" with music written by Mana were very highlights. Not so boring like overvalued "still doll" and similar crap. Really, she's developing herself, I didn't listen to yet kanon×kanon and maybe that could be disappointing since I never was fan of AnCafe, but to call "Libretto" as one of the worst 2010 releases... But I can agree with VAMPS, latest singles of girugamesh, partly about Miyavi. From my own examples... I couldn't say there was something in j-music from this releases I've been looking forward to that seemed too disappointing. Latest The Candy Spooky Theater was too short, same case with Lily Project, but both albums were great anyway. D'espairsRay was average, but I didn't expect next "Coll:set", so their new material was generally rather enjoyable. Not so cool as I thought was also OZ's "Rouge". Best were there only tracks previously released as singles and "Bitter&Sweet". Rest was too monotone, really tiring. Big disappointment was "Destiny -The Lovers-" of Versailles. Nothing special, just like copying still same music ideas, but 10 months before they released very hot "JUBILEE", then there was big concert tour, replacing of bassist in the meantime, so I can forgive Kamijo one, such weak single. All in all it still wasn't the worst at all, as I already expressed at the beginning :-/ OK, that's all I can remember at this moment. If I feel I have something to add, I'll edit this post, or just write a new one.

"Sanctum Regnum" Sanctum Regnum d・i・x　dix Give me the code, shout it out loud The heart, taken from the beautiful sacrifice, is placed on the altar The heaven will split into two When the pale light shines on the ground Father The great king of Angolmois awakes siom xid iom *** Anyway, wasn't published above?