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Found 7 results

  1. It was announced at DADAROMA 2nd Anniversary One Man Tour Final 「造花とカラシニコフ」 (1/14) that they will release their 3rd mini-album '「dadaism♯3」' on April 19. In addition their tour 'MASTURBATION.' will begin on 5/20 (SAT) at Shinjuku RUIDO K4 (Yoshiatsu's birthday live) until the tour final on 7/9 (SUN) at Shinjuku RENY. Pictures on Twitter but I'm too lazy to copy them. If anyone has the setlist from tonight I'd love to see it.
  2. Hello dear monochrome heaven community I'm a Japanese studies student and I am planning to write my seminary paper about Visual Kei this semester. To be concrete, I would like to analyze modern Visual kei lyrics (language and contents) and thought about analyzing them according to subgenres and take e.g 5 bands per sub-genre. Now my problem is that there are so many especially recent bands where I don't know which subgenre they belong to and also, there are so many subgenres and everyone writes about them a bit differently. The ones I found out in a Japanese master thesis and in the internet are: 1) Kote-kei (90's bands, so I probably won't need that one as I'm focusing on modern VK) 2) Oshare-kei (I guess the samples explain it) An Cafe, LM.C, SuG, Kra 3) Koteosu-kei (mix of Kote kei and oshare kei) Bands: the Gazette, Nightmare 4) Sofubi-kei (natural make-up, softer music that is catchy and easy to listen to) Alice Nine, Vivid, SID (late era) 5) O-tanbi-kei (Influenced by the renaissance in Europe) Versailles, Misaruka, D, Kaya 6) O-warai-kei (I guess the examples explain what this subgenre is like) Golden Bomber, this is a Pen 7) Wafuu-kei (costumes & setting traditionally Japanese, also using typically Japanese instruments) Kagrra, Kiryu, Zin, Memento Mori, Orochi 8 ) Angura kei (also traditional Japanese setting& costume but usually very dark) MUCC, cali gari, guruguru eigakan, Plastic tree, heidi, Waggakki band sub-sub genres: misshitsu-kei, chikashitsu-kei, shironuri kei, eroguro kei, showa kayou kei 9) Kirakira/host-kei The Sherry 10) Nagoya-kei Avel Cain, Deathgaze So if anyone knows any more bands for one of these subgenres it would be very helpful to me Mainly bands formed after 2000~ would be great as I want to focus on modern Visual Kei. Also, as I mentioned, there are some bands I would really incorporate into my paper but I'm not sure to which subgenre I could add them. Dadaroma, Scapegoat, Mejibray, Killaneth, Balalaika, Grieva, DIO, Kuroyuri to kage etc- which subgenre might darker bands like this belong to? Or recent bands like Clowd, Belle, Gigamous, Chanty, Staa-ku, Pentagon, Sibile-bashir (probably o-warai-kei though) or Anfiel (maybe kirakira kei?)- I have no idea where I could add these ones. Or R-shitei, Royz, the Raid, Sick2, Purple Stone, Screw, Black Line, the Lotus, Fest Vanqueur, Neverland, Gossip, Blaive, Initial L/Lycaon, HERO, Astaria, BORN, Diaura, ViV etc etc So if anyone knows something more about one of these subgenres, or just knows any band to add to one of these (doesn't have to be one of the ones I mentioned) or could guess where one of the band mentioned above might belong to- any little comment would be helpful I hope I posted this in the right category of the forum, please tell me if not or if a post like this is unapproprite (>///<) Thank you very much in advance
  3. 「造花とカラシニコフ」[初回限定盤Type A] Single, CD+DVD, Limited Edition Disc: 1 1. 「造花とカラシニコフ」 2. ディレンマとキャンド Disc: 2 1. 「造花とカラシニコフ」 (MUSIC VIDEO) 「造花とカラシニコフ」[通常盤Type B] Single Disc: 1 1. 「造花とカラシニコフ」 2. ディレンマとキャンド 3. クワイエットレッド
  4. DADAROMA 「スタンチク」(Stanczyk) 01 オープニング (Opening) 02 「リズリーサーカス」 (Risley Circus) 03 「最終電車」 (saishuu densha) 04 トレンドアイデンティティ (Trend Identity) 05 融け込めないざらざらな芸術を君が殺してくれないか (tokekomenai zarazara na geijutsu wo kimi ga koroshitekurenai ka) 06 「雨のワルツ」 (ame no waltz) 07 ベルカとストレルカ (Velka & Strelka) (Re recording Ver.) 08 モルヒネ♯1 (Morphine 1) 09 モルヒネ♯2 (Morphine 2) 10 SEX!! 11 「溺れる魚」 (oboreru sakana) 12 MONEY 13 月のうた (tsuki no uta) 14 imitation hero. 15 「ルシッド•ドリーム」 (Lucid Dream) <16 KURT (piano Ver.)> Before we begin I’d like to note that I picked up both versions of this album at the band’s tour final last week, so it’s already had plenty of spins for me to base my opinion on. Now that the rest of you guys can hear it, I figured it's a good time to post my thoughts. So here we are at last – a full album release from one of the fastest growing bands in recent memory, DADAROMA. Led by frontman Yoshiatsu, who also has the talent of knowing exactly how to market his band to maximise interest, these guys appeared on the scene last January with nothing but a music video for their first song, ‘oboreru sakana’. The heavy but dramatic introduction to this mysterious new band drew the interest of many both within and without the visual kei community. However, unluckily for even national fans, their first mini album was and remained limited to sales at lives: a strategy that undoubtedly helped the young group take off by tempting fans to head on over to their lives and pick up a copy, but equally alienated those who couldn’t attend, especially foreign fans with no way to acquire this rare debut release. But of course, this is the age of the internet, and it wasn’t too long before ‘dadaism 1’ was available to all to hear free of charge, if not exactly legally. And this is my main cause of disappointment, not in ‘Stanczyk’ and DADAROMA’s decision to include that entire first release, which is itself commendable to please their ever-growing fanbase, but in the community which lessened the value of it, and by extension of this so-called ‘best album’ that is unfortunately fairly packed with tracks we’ve heard before. The album opens with a short introduction that sets up lead track ‘Risley Circus’, named for 19th century performer Richard Risley Carlisle, who pioneered the act of juggling with feet rather than hands. Indeed, Yoshiatsu packs many intriguing cultural references into DADAROMA’s songs, with the album itself a nod to the possibly mythical Polish jester Stanczyk and a generally pierrot-inspired theme running through both the band’s visual stylings and the lyrics of several songs. Risley displays some experimentation with electronic sounds and vocal distortion which may divide fans, but it’s undeniable that the catchy chorus will stay with you even after the track ends. Next comes single track ‘saishuu densha’ (Last Train), which is notorious for its highly erotic promotional video being removed from YouTube not once but twice, despite the band’s efforts to pixelate offensive material. DADAROMA have dabbled in jazz a fair amount, but this is in my opinion one of their best attempts (see also: the sensual ‘urei libido’ from the ‘ame no waltz’ single). Once again a catchy chorus and a steady pace held by the percussion parts make for a memorable track. ‘Trend Identity’ is the shortest track the band have produced to date. It recalls ‘kusatta mikan no houteishiki’ with the heavy riff matched with synth stylings, and was clearly made for live performance, but it sets itself apart a little with Yoshiatsu’s first attempt at something approaching a rap. Not particularly memorable itself, but it was fun at the tour final last week. Next we have a ridiculously long title that I can’t be bothered to type out again, but which is important to the album as a whole because it relates to the theme of art (Yoshiatsu’s final screams ‘kore wa geijutsu/this is art’ adorn the album’s obi strip). The bell-like motif immediately creates an interesting atmosphere as Yoshiatsu whispers his way through the verses, and from there the song builds into a powerful chorus. While initially the verse portions didn’t do a great deal for me, I do really enjoy said chorus and this track has grown on me a lot with repeat listens. Single number two, the red herring ‘ame no waltz’ that, quite unlike a waltz, breaks out of the soft music box and raindrop opening into a brutal chugging guitar riff, fits pretty well here after the raw scream that ended the last track. Somehow this song made its way onto a Japanese TV drama as the ending theme, which is somewhat of a mystery to me but I appreciate it nevertheless as the sole DADAROMA song that actually appears at karaoke. I have an ambivalent relationship with this track – it’s a good song, but sometimes I just want to skip it and get on to something else. YMMV but at any rate it's another song we've heard before. At this point we enter the cluster of tracks that is just ‘dadaism 1’ in a different order. While I appreciate that now fans who couldn’t get hold of that first live limited release (ie most fans) can now hear all those songs they’ve been playing for 18 months, it’s a little disappointing that they didn’t try and blend them more into the tracklist rather than just dumping them all together. For this reason long-time fans such as myself may be tempted to skip through this portion of the album, at least to the songs they like the most. This unfortunate situation is compounded by the fact that in this day and age it’s impossible to keep that limited CD from appearing on the internet sooner or later, diminishing the novelty of finally hearing these songs for the first time for many. DADAROMA have made some attempt to change things up a bit though. The most obvious of these is the re-recording of ‘Velka & Strelka’, one of my personal favourite songs the band has released so far. However, for me the original is still the superior as it takes more vocal talent to reach and hold those notes at the end than the re-recording, which is easier on Yoshiatsu’s highs (and fair enough; if you’ve seen him live, he can struggle with them on a rough night). This retake of the vocal track is just slightly lazier, and ultimately it seems as though little other than the clean vocals has actually been re-recorded. There are subtle changes in the other ‘dadaism 1’ tracks though. All of them have seen some editing at the mixing desk that brings the production more in line with the new tracks – the guitar is slightly less crisp at times and more distorted in the style of ‘Risley Circus’, but on the other hand the bass is more prominent, including a couple of additional samples Tomo seems to have recorded for this album, especially the final note of ‘Morphine 1’ that was particularly conspicuous. As to which version of each track is better, YMMV; ‘oboreru sakana’ and ‘SEX!!’ benefit somewhat from the changes in mixing, but I personally like the cleaner guitar in ‘MONEY’ much better on ‘dadaism 1’. We return to new material with one of my favourite tracks on ‘Stanczyk’, ‘tsuki no uta’. It’s an emotional ballad that retains its energy through the steady drum beats and powerful chords that support Yoshiatsu’s gorgeous vocals in the chorus. Despite lyrically presenting itself as a ballad, it’s a surprisingly short track that lends itself well to repeat listens. As an aside, I think this was the only new song the band didn’t play at their tour final; I look forward to the opportunity to hear it live some time in the future. ‘imitation hero.’ didn’t quite capture my attention in the same way as ‘tsuki no uta’, but it’s also an accomplished ballad in its own right. For me this is a rare case of the composition in the verse being far stronger and more enjoyable than the chorus. The always present piano is a welcome change to the common electronic elements in the rest of the album, and Yusuke’s confident drumming is one of the song’s strongest parts. DADAROMA’s first full album draws to a close with the dramatic masterpiece that is ‘Lucid Dream’. Easily one of my favourite tracks from the young group, the balance of head banging downtuned guitar chugs and a powerful chorus makes this a stellar composition in my eyes. It also wonderfully displays Yoshiatsu’s vocal prowess in both cleans and screams, comprising a wide range in the former and a variety of styles of the latter. Despite the surprising lack of pretty much any kind of audience participation at the band’s recent one man, it was a truly amazing ending to the main set when the band left the stage in awed silence as the last of the fake snow drifted to the ground. Of course, this review wouldn’t be complete without mentioning the bonus track on the regular edition of the album. The piano verison of ‘KURT’ amplifies the emotion in Yoshiatsu’s clear voice, while retaining the best of the instrumental support in a beautiful piano arrangement. I would actually love to hear a purely instrumental piano solo of this track at some point. It’s a fitting, end-credits-style addition to round off DADAROMA’s ‘best’ album. Ultimately I’m divided when it comes to giving this release some kind of score. On the one hand, there’s a lot of old material in here, but none of it is just there to pad out the run time, and in any case it’s all great material. As someone who has been a fan of DADAROMA since the very beginning, and also bought all of their releases and listened to them countless times over, it’s easy to act like we deserved more new material with ‘Stanczyk’. It wouldn’t even be unreasonable to be disappointed that live limited songs like ‘neji’ didn’t make the cut (although to be fair there’s still copies of that sitting on the goods stand at their concerts). However, if I were to imagine this album as my introduction to DADAROMA, this is easily a contender for album of the year.
  5. 「螺子」 朝焼けオレンジに染まる空 僕はまだ眠れない 隣で眠る裸のソレに 愛は無くて 抜け落ちたネジ 埋めようと夜に溺れ また明けた朝 まぶしいから目を閉じた あなたが僕に残した 「過去」後悔が消えない 塗り潰す事もできず 今でも 誰かに重ねてる 大人になった あなたを前に 未熟な愛は 何も言えず ただ 俯いていた さよならなんて 離れるなんて 認めたくない それでも あなたは背中で答えたね あなたが僕に残した 「ごめんね」が今でも鮮やかで 眠れない僕はひとり 今夜も 誰かに重ねてる 花を添えた窓辺に 雨が注ぐ あの日が 今でも 今でも ‘neji’ asayake orenji ni somaru sora boku wa mada nemurenai tonari de neru hadaka no sore ni ai wa nakute nukeochita neji umeyou to yoru ni obore mata aketa asa mabushii kara me wo tojita anata ga boku ni nokoshita ‘kako’ koukai ga kienai nuritsubusu koto mo dekizu ima demo dareka ni kasaneteru otona ni natta anata wo mae ni mijuku na ai wa nani mo iezu tada utsumuiteita sayonara nante hanareru nante mitometakunai sore demo anata wa senaka de kotaeta ne anata ga boku ni nokoshita ‘gomen ne’ ga ima demo azayaka de nemurenai boku wa hitori konya mo dareka ni kasaneteru hana wo soeta madobe ni ame ga sosogu ano hi ga ima demo ima demo ‘Screw’ The sky is dyed orange with the first rays of sunlight, and yet still I can’t sleep There’s no love in that empty space beside me Whenever I try to fasten the loose screw I end up drowning in the night Dawn has come again, but it’s too bright so I close my eyes My regret for the past will not disappear I can’t fill that hole you left me with Even now I can’t forget you Standing before you, I couldn’t tell you how much I love you So I just hung my head in shame I don’t want to accept that it’s over But you gave me your answer when you showed me your back That ‘sorry’ you left me with remains vivid even now Tonight again I’m alone and can’t sleep I can’t forget you Rain pours against the window, adorned by a lone flower I can’t forget that day Even now…
  6. Hello~^^ I'm searching for someone who's going to DDRM's live on Tomo's bday (January 30th) and is willing to help me get the bday live limited poster of Tomo~ I'm gonna pay you of course. Thank you in advance~^^
  7. Hello!~^^ I'd like to know if there's anybody who's going to see DADAROMA's live on Tomo's birthday (January 30th) and is willing to help me to get the live limited poster of Tomo. I'm gonna pay you of course~ Pretty pleeease ;-; Thank you in advance~
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