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Everything posted by saiko

  1. saiko

    Wow. Never seen something like this before... What's the point of this?
  2. saiko

    Same happened to me with this song.
  3. Wtf is going on with those Dir and Maximum covers???
  4. saiko

    My god.
  5. They are totally ripping off themselves in every track. Now I'm lazy to look up the songs I'm saying they are copying, but any careful fan should know them well. Btw, the chorus for 'Ikari' is totally sweet and dramatic, so it's nice, but surely not something I would put on repeat.
  6. saiko

    Imo the quickest solution to this problem of whether X band copied Dir en grey or not is to think that, although Dir was, proofly, one the few projects that had the power to mark the aesthetics of a whole scene for almost a decade, that doesn't mean that the other bands in it copied them. At least, not in the case of Nega and Sadie (I won't speak so much for 12012 and ReS because I haven't listened enough to them to judge); they don't have any song like sounds identical to a Dir song (that actually screams plagiarism, like Grieva's, for example); in the other hand, part of their setlist incorporates aesthetics Dir doesn't (for example, the draggy outfits of Nega, or the hard J-pop-driven sound of Sadie's chorus-centered songs). That said, that this bands listened at least a bit of Dir back in the time is an obvious fact provided by their level of historic relevance for VK, but I won't assume by it things like Nega or Sadie decided to go nu-metal/metalcore because of Dir, or even they actually loved Dir and looked up at them... Aside from obvious things that scream admiration like Mao's vocal inflections, I'll think that they perhaps made some aesthetic decisions after listening to Dir's output at the time, otherwise we'll have to interview the members to get their words on this to fully confirm that hardcore inspiration.
  7. saiko

    Seems like naming your band "as.milk" was the begining of a cringe-worthy career.
  8. saiko

    @Disposable I really appreciate your way of figuring out things and putting them into words. I love reading you!
  9. saiko

    This is soulless as it comes. Btw, I feel you are all going surprised right now, while Kiryu has been for years now on a career of releasing this kind of horrible formulaic music (and yet manages to pack Budokan whenever they want to).
  10. saiko

    The ad is awesome. Wish I live in Japan!
  11. saiko

    Kyouki sings really good. He has that visual kei color that is very difficult to treat, and seems to do it smoothly and with almost no effort. He is ready for something more than Grieva. I hope he comes back in another format that doesn't imply reaping off somebody else's work shamelessly in the name of 'nostalgia'.
  12. saiko

    Dimlim and Kizu. I'm surprised by the amount of 2012+ born artists you follow!
  13. saiko

    D'erlanger is by far more interesting imo. Buck-tick started to be a thing since 'Aku no hana', then with 'Kurutta taiyou' their classic sound embraced its true form. No wonder why the most part of their hits come from this albums, and not from their prior ones. Speaking of them, they are a wank of formulaic pop punk rock, same as other acts like Boowy.
  14. saiko

    Daigo from Breakerz?
  15. saiko

    I felt betrayed with that radical harmony change in the chorus! It sounds horrible! Even if they take it back for the last play of the chorus... Man, that progression was the dramatic climax of the original song! Definitely gonna skip this. Overall, yeah, they surely adapted the song to their own style, there's all their recent sonic clichés put in there. But listening to this helped me to realize once again that I've grown bored of their musical decissions in the past years. Listening to TIW, TWoM and this keeps bringing to me the thought that they've entered a phase of difficulty on getting into new realms of sound. They need to stop living on dirty guitar chunks on the A-string with diminished fifth, clackling-bass riffs that can't be undertood a fucking note and Kyo's "uo-ho-ho-ho-ho-hooooo" theatrics. Yeah, it's cool actually, but it ceases to be so when you try to put to everything you make in order to match it with your style. They used to be more fresh in the past.
  16. saiko

    Just what the hell is momma goth doing? She just made a killer comeback with Malice Mizer last year, and now opens a Youtube account to upload this... don't know how to name it. Now I have less doubts over if it was the right decision for Közi and Yuuki to leave her alone... Also, Seth is a really talented singer, what the hell is he doing joining this madness!!!
  17. I've readen the name 'Devil Kitty' a lot in this forum, and I started considering to go and look up for them. What songs do you recommend to try their style? An Cafe deserves much more recognition than what they already have here. They've put out really good music in every point of their career. The "ow but they are not br00tal brooo" 2007 otaku fad must end soon for better in this scene. Now speaking about their first era, 'Touhikairo' is a excellent example of its sound's core: they had the genious to bring out everything of a catchy and memorable track from a radically simple base of punk riffing over archetypic Jpop harmonies and song structures. This song and 'Tekesuta kousen' are masterpieces.
  18. saiko

    Nothing outstanding at all, but they definitely already have a nice amount of funds to deliver a decent quality song and video, so I hope they use their potential to challenge themselves to amaze us in the future.
  19. saiko

    Can you post here some translated comments?
  20. saiko

    I'm surprised nobody mentioned the hillarious pinned comment the band put in the section of the video: "Let's think about the "ESSENCE"". I want to take Retsu seriously, but they guy puts it challenging. I don't know if it's his awkward use of English, his insistence on the matter in every place of his social media, or both.
  21. saiko

    Well, our passion for Dimlim made us go off-topic but... Despite being a complex matter to approach, and also the fact that there isn't analysis available on the matter (at least in English), VK actually is a genre. There being a lot of variation and diversification both sonically and visually between bands of the scene doesn't necessarily conclude into VK bands don't having a LOT of things in common to make them part of a whole 'scene', in many levels (sound and visuals, but also other aspects related to production of the artists, their promotion, fans' rituals, etc., VK culture per se). 'Genre', 'movement', 'scene', call it the way you like. 'VK', as other things, exists by virtue of patterns of key elements that repeat all over their products no matter their differences between; in the end, that is what make their producers, bands themselves, us the fans, people inside and outside the scene, pick the term 'visual kei' to describe some music projects, and not 'glam rock', 'goth', 'punk' or 'metal' instead, in the way of deciding what music to listen according to our tastes.
  22. saiko

    I'm FUCKING digging this. Excellent mix of poppy J-rock and today's metal progressive sounds, while at the same time keeps delivering Dimlim's trademark sound. Bonus points for Sho's look! The VK vibe's still there untouched!
  23. saiko

    A friend of mine (who apparently had some connections with people involved into the teams that brought Kamijo to Latin America in his lastest tour) told him that Kamijo invited two guys of the crowd to drink wine and perhaps have sex, after the show. But who knows. Btw, Kamijo always seemed pretty non-straight to me. His approach to the androgynous aesthetics differ a lot from what your typical bandoman does with them, imho. Do you have any other info?
  24. saiko

    Talking about another interest of mine, while looking up for old VK dedicated web sites, I've found a translation done for an interview with SOFT BALLET. Here's a quotation that put me into deep-thinking, in which Ken Morioka (their keyboardist/guitarist and, I suppose, their leader), when asked about his thoughts over his flamboyant looks and stage performances, talks about his interest in gender-trascending aesthetics in spite of him "not being gay". When I saw the stage I thought of how you were the weirdest one Ken. Is that because you were thinking of that visual aspect? Ken: Ah, well...(laughs). A large part of that comes from where I'm a narcissist and I'm all like "Lookie, lookie! Look at Meee!". And then there's the part of me that really loves and adores appearing to move in a state that's transcended gender, so I suppose that's where I'm coming from.... Meaning? Ken: It's that I've gotten a lot of influence from various people, but I've been like this from a long time ago. I really wanted to become a woman, and I never really thought to deny that feeling. It doesn't mean I'm gay though. There's a sense that I was building up and developing my own preferences. (If you don't know who Ken Morioka or SOFT BALLET is, next I'll leave a video of them performing live:) This quotation made me revive an old interest of mine on how gender or sexual orientation identities circulate particularly within the people of the VK scene. Till today, there's enough been written about that topic, but taking Japanese society as a whole or some of their products (as anime/manga) as the unit of analysis, but I've never came across something related to VK although I've defintely did a specific search. What always triggered me is that, if we keep in mind the obvious fact that VK aesthetics rely essentially over challenging gender/sexual orientation performances, then it can't not come weird or suspicious that 99% of band members since VK was born --that 1% goes for Kaya and Ao Sakurai- don't actually talk about the matter, while at the same time they are always straight-supposed within the logic of selling out as idols for their gya. And the few times they do so they have the urgence of make clear that they are actually "not gay" -and then in the commentary section fans support this statements by remebering the doubting fans that said bandoman actually has a kid "so he is definitely not gay!!!". Actually, I've read very, very few comments of Japanese fans supposing/acknowledging the LGBTness of their favorite bandoman and nontheless supporting them as artists, but maybe that's because I have a hard time looking up into Japanese web sites and translating. (Also, perhaps many bandoman actually talked enough about the fact in a serious way, but I still don't have the chance to read them since only 5% of the interviews made up being translated). Of course, I've been aware since the beggining of my stay in the weeb fandom that Japan, while not having serious persecussion issues towards LGBT people -at least in their last 50 years of history-, definitely don't finish to get politically open about it, and that's why society decided to treat the matter in a don't-ask-don't-tell fashion. I'm also aware that this fact takes place in a more general tendency of Japanese people to obssesively keep their lives and relationships actually very private, too. But I can't not ask myself if it isn't at least a bit fool of someone, fan or not, to assume that naturally that every bandoman is "not-gay", in a scene where artistic creativity emerges from fantasies of "men" transforming into "women", or even into un-gendered beautiful creatures, even involving into sex with/as them? (On a personal note, although I don't actually know their reasons behind, I always liked @nekkichi and other users attempt here to call every bandoman by "her"). What are your thoughts on this topics?
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