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doombox

10 Worst Disbandments of 2016

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Due to my hiatus this list was horribly delayed and I'd like to apologize for that, but I still feel like a lot of us are not over the hard hitting band break ups in 2016 so the wonderful users of MH as well as the awesome ORz members got together to write up some memorials for them. So without any further delays, here are some words for the great bands that called it quits.

 

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10. 凛-THE END OF CORRUPTION WORLD- (2010-2016)

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Love him or hate him, Kisaki's bands have always made waves in the VK realm and Lin was no different. Even with the member changes, the band was able to put out strong releases at a surprising rate during their six year run. Lin's classic sound is also something that will be sorely missed in the throngs of metalcore and EDM inspired groups of the current vk wave.

@doombox

 

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9. Sel'm (2004-2016)

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I know I wasn't the only one shocked to see Sel'm call it quits last year. After the member changes that plague many long-running groups, they had seemed to be on the up and gaining popularity again. But ultimately, the combination of the band never quite reaching success coupled with chronic back problems slowing down the band's drummer (who is also the band's leader as luck would have it) proved to be too much. Sel'm wrote aggressive, dark, beautiful music with great melodies and deserved so much more recognition than they received.

@doombox

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To this day I'm shocked that Sel'm never had more of a following in the VK community than they did. Managing to stick around for more than 10 years in the scene should almost rocket you to the top almost by default. Managing to do that while constantly putting out quality music? I'm at a loss as to why they never made it bigger. Sel'm is one of those bands that at this point I kind of thought would carry on forever. In 2011 they lost their vocalist, Tora (who will forever remain as one of my all time favorite VK vocalists), I thought it would be closing time for the band. But somehow they managed to recover in a spectacular way with a new vocalist that somehow managed to live up Tora, which is damn impressive. After surviving what I thought was game over, I kind of pictured this band being able to overcome anything. But alas, that didn't happen, and in 2016 we parted with one of the most underated VK stalwarts.

@Ito

 

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8. FoLLoW (2013-2016)

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More than a decade ago the acclaimed essayist Louis Menand contributed a memorable piece to The New Yorker in commemoration of the 50th anniversary of J.D. Salinger’s The Catcher in the Rye, in which he noted that the reason why Holden Caulfield continues to endure in popular imagination is his possession of “an attitude toward life.” While the numbers involved are of course on a much more modest scale, one could conceivably make a similar case for the appeal of FoLLoW’s music to their fans. 

FoLLoW’s music doesn’t trade in unadulterated moods, bottled and lined up in a row like distilled extracts in various flavors (this song here is about “loss”, that one over there “hope”), and they are happy to acknowledge that music will never be a panacea that can magically salve all our pains and exorcise every ghost standing in the way. While the vicissitudes of our lived experience are well-represented across FoLLoW’s entire oeuvre, Masashi would strongly reject, on one hand, the naiveté of unbridled optimism, and on the other, the seductive mire of some vague existential ennui. (In the case of the latter one need not be reminded of how much of today’s entertainment industry thrives on the ceaseless need to conjure sorrow kings in various guises to feed the population’s disillusionment with just about everything—visual kei, one could argue, is hardly exempt from this state of affairs.) 

Often, what we get from FoLLoW instead is an invitation to be brought to places that at first glance seem perfectly distant, from the imaginary world of The Little Mermaid in “Ningyohime” to the theosophic plane of “Akashic Records.” But this isn’t Masashi’s nod towards the trap of solipsism, nor is it a call to insulate oneself against the world so we can sanguinely wish our problems away (this was the accusation Marx had famously made of religion, and countless others after him of "art" in general), for we’re reminded, always and at all times, that we are not alone in this—that is, in life. “I want to create music that makes all of you feel like we’re with you,” a teary-eyed Masashi told the audience at one of FoLLoW’s first lives, in Osaka Muse if memory serves me right. No elaborate theory is required to grasp the significance of the name Masashi had picked for his band. The variety of human emotions subsisting in our subjective interiority that energize so much of FoLLoW’s music is always tempered by our instinct for seeking out communal relations forged externally between human beings as social creatures. Neither of which is sacrificed in the service of the other. 

It would be too audacious a claim to say that FoLLoW is unique in managing to achieve this vital richness of experience in their work, but in my opinion what sets them apart from other bands is the sheer simplicity and frankness with which Masashi communicates his thoughts and emotions. In Masashi’s letter to the fans which he read aloud from the stage at their final live, he mentioned that he had decided to form FoLLoW because he felt that he still had unfinished business even after brief stints in previous bands. He wanted to give it one last go. For me, what had changed from Masashi’s time in Seek of Liberty was his ability as the frontman of FoLLoW to do a tremendous amount of work by doing surprisingly little. In some sense, this reflection I’m writing is already a couple hundred words too long for something that simply has to be so palpably felt. (As an aside I heartily recommend reading @echo ‘s report of their last live in the FoLLoW artist thread if you never had the opportunity to see them for yourself.) Standing right in front of him and being appealed to with such affective fervor is quite the experience: he looks at you, he addresses you, and you respond. One one level it’s all wonderfully simple, it’s shockingly immediate. Yet the emotional transaction in that instant would turn out to be life-changing for some. 

We may have seen the last of Masashi as a bandman, but for all the painful times they have had to overcome as a band (something he’s been candid about in his blogs), I can’t help thinking that Masashi would look back on the 3+ years with FoLLoW with more than a tinge of satisfaction. If you aren't acquainted with FoLLoW, it still isn't too late. It never is too late when there's an open invitation, buried in the music they have left behind, addressee unnamed, extended unconditionally to whoever it is that might chance upon the name "FoLLoW" even in ten, twenty years' time.

@hiroki

 

 

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7. SCREW (2006-2016)

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I have a very weird standing when it comes to SCREW because I wasn't a very big fan of anything they released when they went major, yet for some reason I continued to listen to them. I loved them in the start of their career with insane thrashings of songs like "Vanquish" and "Raging Blood". But for some reason they seemed to hit a dead point for me after releases like XANADU and barely released anything that I particularly enjoyed. I respect them greatly for their longevity as a visual band and I still go back to their older releases such as X-RAYS and Fusion of the core.

 @tetsu_sama69

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SCREW is one of the most controversial visual kei bands to ever grace the scene because fans' opinions of them are everywhere. A vocal minority think everything they've ever done sucks and that they're a terrible dime-a-dozen visual kei band. Some love all of the music they've ever done and legitimately miss their presence. Most of us cherry pick the songs we like. But as the saying goes, hindsight is 20/20. After their disbandment, I went through a good majority of SCREW's discography and I found a lot of songs I didn't even know I liked! To be fair, they sucked really badly at the beginning - vocalist Byou couldn't hold a note and one guitarist limited the melodies they could explore - but songs like "KAIROS", "FIREFLY", "DYSPNEA", "Deep six", and "Gather Roses" are recent additions to my rotations that surprised me with the amount of thought that went into them. This is the very definition of improvement! Their later periods see them moving away from metalcore into a more commercial rock feel, but post X-RAYS SCREW never quite captured the intense energy they were known for. Also, none of their full-length albums are worth listening to as they were an extremely inconsistent band that embodied the term "quality over quantity", but no one can say for sure how much of that was their choice and how much of that was external pressures.  

@Zeus

 

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6. DuelJewel (1997-2016)

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This band brought me to tears when they announced their disbandment because they have been a long time heartbeat when it comes to the visual circuit of music. Even though vocalist Hayato had gone through a lot trouble when he had to get surgery on his vocal cords, they seemed determined to continue as he seemed to have recovered but sadly it was far from the truth and lead the band no longer able to continue. Even though to some DuelJewel just felt like 'budget Gackt', they were a whole lot more to me when I got hooked on them with their mini-album VISIONS and the song "Hana Uta". I was going through a lot at the time just having moved out of my parents house and letting go of a past relationship and DuelJewel; along with a few other bands, got me through my struggles. They also have some downright iconic visual songs that any fan of the genre should enjoy such as "azure", "Iolite", and "es" along with many more that are just too many to list. It was extremely difficult to accept their departure since they had left with the amazing album STORY and thankfully gave us some form of closure with mini albums properly named as Duel and Jewel.

 @tetsu_sama69

 

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5. BORN (2007-2016)

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I remember being shown this ragtag baby of a band back when the first started. A close friend of mine at the time sent me "felony" and I couldn't let go of them since. I mean I had an autographed poster of this band, I stanned them pretty damn hard. Granted I wasn't aware of their band composition at the time and I was just getting deep into visual kei, so that little gem of info hit me hard much later especially with ex-members of エトセトラ (Ecetera). They just felt like a staple solid visual kei band to me even in their early days. Ryouga's harsh vocals just didn't sound like anyone else and I don't think any other vocalist could match up to his unique styling. It was a time when heavier metalcore bands weren't too strong in the scene and their music stood out and had time to become more polished. They definitely grew a lot during their career and even though at a point I was severely concerned that were going to become a rather stale band, they showed me otherwise with a surprisingly fresh release. They lasted longer than most thought they would with the departure of bassist KIFUMI and made some awesome releases that were showing much hope for the bands future such as Alternative Tarantula. Sadly shortly after it's release the band announced it's disillusion and the hope for a solid future with born in the visual scene became a far-off dream.

@tetsu_sama69

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To me, BORN was one of the pillars of the visual kei scene. They, like DuelJewel, were a band that I felt would always be around forever. I took their presence for granted. I didn't expect much when they first formed as RENNY AMY in 2004, sporting a decidedly old-school sound with a new-school twist. Caught in the crossfire of a scene taking more and more cues from metalcore and less from punk or goth, the band eventually refocused their efforts as D&L and then later BORND&L was their most inspired period in my opinion so go check out the single The Public Circus they released under that moniker. They fell off the wagon for me during their end years; they could never settle on a style that could convince me they weren't phoning it in. Some songs sounded cool, others sounded like the result of serious brain damage, and consistency was nowhere to be found. By the time they called it quits I was both elated that they would be moving on to better things and sad that they could never get back on the horse and continue making depressive metal....but now we have RAZOR set to deliver more of the sound I was expecting from BORN, so all my hope is not lost yet.

@Zeus

 

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4. AvelCain (2012-2016)

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AvelCain was a band I felt really built themselves from the bottom up. When they formed back in 2012 they were a five member group who dropped a demo called "ARROW OF THE LIGHT". Being as in to VK as I was at the time, I absolutely had to download it. This specific demo was very raw, stale, and dry. Despite the quality, the was something about them that showed potential. Their music to date had gotten progressively better, but their music direction wasn't the only thing that changed. While the member (doll) Seiko remained a big part of their theme, their overall look became rather dark fairly quickly. With their music change and new visual direction, I felt that they really discovered who they were as a group. This band had grown so much and built such a strong fan base that I was rather surprised to hear about the disbandment announcement. My absolute favorite song by them was "千羽鶴(senbaduru)" which I think works as a good farewell song. When I first listened to this track after not having heard much from them for a while, I was completely blown away. This is a band I stopped following unintentionally for some time, but I'm still sad to see them go. I wish the members the best on their new journeys and hope for them and their fans that they all join another successful unit.

 @togz

 

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3. DIV (2012-2016)

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After four years, DIV have called it quits due to the classic ‘musical differences’ excuse, though in this instance the argument is actually plausible. Their recent releases have been delving ever deeper into a self-coined EDR (‘electronic dance rock’) sound—one that bassist Chobi and drummer Satoshi obviously weren’t too keen on. But first, let's travel back to the beginning. I did not care for DIV's debut mini-album, 無題のドキュメント (mudai no document)--fairly generic rock, overall.  The following four singles thankfully showed progress—albeit inconsistent—but they were enough to string me along and keep me excited enough for whatever they had in store next. Thankfully, I stuck around for the first album, ZERO ONE, because it has proven to be the glorious culmination of all the band’s potential into one cohesive rock record. Despite occasional missteps (their anthology collectionsecond album, SECRET), they also produced a number of great tracks after the first album! I will always remember them for work like the darkly beautiful “BUTTERFLY DREAMER,” the electro-gasmic “東京、熱帯夜につ (tokyo nettaiya ni tsuki)” from their last mini, and my absolute favorite: the unmatched heavenly dreamscape of “漂流彼女 (hyouryuu kanojo).” Moreover, all of these songs have visually stunning PVs, showing further refinement in the band's aesthetic—seriously, go watch them right now. I may have had a rocky relationship with DIV over the years, but ultimately, their disbandment this year is a huge blow. Like 'em or not, they've left an indelible impact on the scene with their deft electronic influence. They will truly be missed. Fortunately, vocalist Chisa and guitarist Chobi are already back with a new band, ACME, so the DIV spirit likely isn't gone completely.

@fitear1590

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DIV was a band rooted in sheer talent. They managed to take the best elements of several genres and combine them into one band who could do no wrong. With a career lasting a mere 4 years, they had managed to create one of my favorite Visual Rock albums to this date: Zero One. Seemingly every rock genre was represented in one experimental masterpiece. The GP pleasing tracks like "夏の行方" and "Zero One" could've gotten a non-VK fan inspired; but the true magic of the album took place in heavier tracks "Vanish" and "Teddy." These two showed how diverse the bands talent was, especially Chisa's vocal skills: the man can sing like an angel and scream like a demon. Sure, their second album was almost just a collection album sporting only a few new songs and mostly singles, but let's talk about the singles. DIV gave us some of the most interesting B-Sides of any band in recent memory. My favorite overall remains "蛍火" for it's lyrical content, but it has the added bonus of being catchy along with being meaningful. Honorable mentions: airy track "青空にパラシュート," electronically manipulated epic-lengthed "新世界の黙示録," and heavy-hitter "Cocktail Color." With all this in mind, I think it would be an incredibly regrettable loss if Chisa did not continue activities by any means necessary.

 @ShanethVarosa

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All of the members, in my opinion, came from very small "cookie-cutter" indie neo-visual groups. However, with their powers combined they created something really unique. Their songs were always fun and catchy and they gained popularity rather quickly. Their album ZERO ONE was probably one of the most well-received visual kei albums of the year 2013. In fact, it was so well-received that their releases after just didn't seem to meet standards for a lot of people. They had reached their wow-factor with stellar out-of-this-world songs like "VANISH", "ASTERIOS", and other songs included on the album from singles released before it. Because they grew and developed so quickly, even their solid releases after seemed like yesterdays news before it was even digested. DIV's members are people that I feel believed in what they were making, they just grew up too fast. I'm forever an E子 (E-ko/DIV fan/the E that's missing from their name).

 @togz

 

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2. 少年記 (Shounenki) (2011-2016)

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I listen to a lot of bands, but very few truly resonate with me on such a deep level. Shounenki was my golden gem, my sole addiction for the last couple years. They were a band who single-handedly spawned a support group for their 4th single on this very forum because the 60-second snippet was like cocaine for a lot of us. When news broke that they were breaking up and bassist Rei was leaving the scene, I was completely devastated. It’s a very sad reality when the band you treasured the most arrives at the decision to call it quits. Regardless, I’m still happy that Kou, Eiki, and Nao are still together in Sweet Violence and I’m looking forward to what’s next!

@Mihi

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I got into Shounenki very late into the game, unfortunately. What drew me to the band, however, was their flair for the dramatic--this is something I've always seen as a potential strength of the visual kei scene. I'm talking about their histrionic compositions, release titles like Bloom -In my withered garden-, and band photos like you see above. They really tread the line between cheesy and emotional in an impressive way. If I'm not mistaken, the group was composed of entirely new faces to the scene, making it all the more commendable how they managed to become so iconic.

@fitear1590

 

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1. ギルガメッシュ (Girugamesh) (2004-2016)

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Possibly the biggest disbandment of the year. Whether you were an avid fan of them, a casual listener, or not a fan at all, Girugamesh was one of those bands we all thought would never really go away. Despite their struggles at times finding their musical direction and their small hiatus, they still had a sense of immortality. The band was fortunate enough to surface during what I believe to be the peak of Visual Kei popularity overseas during 2007-2009. Jrock Revolution was a big event that hosted many bands that are a big deal now in the Visual Kei scene. Regretfully I wasn't able to attend. Even later down the road they played again at Sakura-con which I also could not attend. Regardless of their musical direction there was always something unique and upbeat about their sound. I do feel that towards the end they tried to pull away from the Visual Kei scene, but maybe it was a little too late. I really grew attached to these guys during the later half of their musical journey, I'm going to miss not just them but part of the environment they helped create within the US Jrock scene. "Breakdown" is my jam for life. It's more than saying goodbye to a band that made good music, it's saying goodbye to a part of ourselves too. I know some members have started working on other projects, some taking a different direction with their musical knowledge, and some unknown, but I send all my positive vibes that they find success and happiness in their future.

 @togz

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Over their twelve year run girugamesh grew to become artists that were more than just your run-of-the-mill visual kei band. Their musical versatility and passion-filled lyrics made them poster children for the next evolution of visual kei. Even if you weren't a fan of girugamesh, you probably knew a song or two. With songs as slickly produced and catchy as theirs, it was completely obvious why they were so beloved by nearly everyone in the scene, and while bassist Shuu seems to be pushing on with his new projects KEEL & MR.8 respectively, girugamesh's absence inevitably left a void that no one will be able to fill.  The magic that was created between the 4 members is simply impossible to replicate.

 @doombox

 

Please share with us what bands you're missing this year and let us know what you think about this list!

:lulzz: 

 

Edited by doombox

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I'm still waiting for the next release from some of these bands haha. 

Seriously, its hard to imagine the scene without bands like Girugamesh or SCREW.

ZERO ONE from DIV is an unforgettable release.

 

Thank you very much for putting this together @doombox

Let's hope the list for 2017 is a lot smaller haha.

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I miss and still crying about 凛-THE END OF CORRUPTION WORLD- and AvelCain :'( , and sometimes for DIV :(. Miss them alot </3

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Did Kameleo broke up in 2016? Also does Alice Nine count? For me, it's femme fatale. I wanted to see Toshi (ACE) succeed with this band with Kaya -sama but nay :(

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AvelCain is the band I miss the most from your list even if their last releases weren't that great. To me they had something that made them very unique.

 

The 3rd Birthday is also a band that I'm gonna miss a lot, they were great from start to finish especially because of L's vocals who is one of my favorite singer in the scene. I'm happy that he formed a new band (Balalaika) shortly after the disbandement of The 3rd Birthday. :)

Edited by Kiryu999

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I have to agree with you on most of these opinions. I really hated 2015-2016 it was one of the worst years for visual kei in my opinion with a lot of disbandment and thing. With that not i honestly agree with you on most of these but adding to shounenki and born really quick. Born i feel a little conflicted on there last release and son of a b*tch mainly because they sound different from all the others if you look at Independence Black compared to it idk if its just me but every song has a different feel from what im used to from born's older stuff same with Son of a b*tch. Not saying that there bad but just a different sound from there other stuff overall still an amazing band but probably really did have some problems with musical differences and in a way i did saw there disbandment coming but i didn't expect it when it came the timing on when it ended. It ending on Suicidal Market was a fair single it wasn't there best neither is there worst of singles its just average in my opinion and  in a way makes sense.

Shounenki is perfect but its hard for me to understand why they disbanded with such a good vocalist and amazing combination of sounds its almost scary probally its becuase i forgot the reason but The only single i do find different honestly is GazeruBabel mainly that song despite it being a good song i did find a bit of a difference with it. 

Overall nice job of the reviews of this i like this a lot. It would be interesting to see more reviews on other bands.

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4 minutes ago, sheepprincessgara said:

Kameleo just broke up a couple of months ago. Alice Nine is still together.

Technically, the name Alice Nine is no longer :S

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The diametrically opposed AvelCain and DIV were the only ones to make a dent in my usual apathy towards all these disbandment news in recent years. ZERO ONE was such a stunner of an album, and while they waxed and waned quality-wise after that and then lost me completely with EDR Tokyo and Ikenai Kiss, it was still a bit sad to see them go. At least we're getting some semblance of the band back with ACME, complete with the classic DIV sound I was a fan of. With AvelCain jury's still out on what they'll be doing, but at their best they mastered and delivered the zetsubou like no other at the time and no one else came close to filling their shoes yet.

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I haven't got into any of these bands, so I didn't feel the impact of their disbandment. With Lin I was still mourning Phantasmagoria and their sound just didn't work for me. 

Although I was surprised at Avelcain disbanding since they seemed like one of the most popular bands around at the time. 

I'll try out the bands mentioned here and see what I missed, so thank you for putting it together. 

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Man, DIV's disband was something that hit me REALLY  hard... I don't think I'm 100% over it or ever will be, but at least we have all the members active in the scene, which is really something, since after disbands some members retire or just dissapear. I'm really enjoying ACME and hoping some kind of official band will come out of that Twelve Apostles thing.

 

Also felt kinda sad about Shounenki. I still follow the members but their new band is lacking something for me. I got into FoLLoW RIGHT before their disbandment so I didn't get enough time to get attached, but still sucks.

 

It was kinda weird to see long-lived bands on the list go, because even if you don't follow them, you get quite used to them just being there.

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Thank you for writing about FoLLoW @hiroki!! I can't believe how hard I fell in love with them despite knowing they'd disband in only a couple of months T___T I wasn't expecting too much when I went to go seem them that first time, but they hit me so hard. Even though I only knew them for a short time, they've definitely impacted me a lot, and I'll NEVER forget them <3

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Completely missed a few of these disbandments (or misplaced them in time) but Giru's will always stick :( To this day I'm still somewhat sad about that. Some weird emptiness I don't think any other band will ever be able to fill up. Then again, I was there since about 2007 so it's been a while.

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While all these bands certainly left a sore wound and an empty spot on the scene, Malisend is the one disbandment that truly hurt me last year.

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AvelCain took me by surprise but at the same time it didn't because fucking shizumiya. I really want Karma to come back, I really hope he doesn't pull a Natsuki(-OZ-) and just fall off the face of the grid..they were also supposed to appear in a movie..whatever happened with that?

 

Sel'm's disbandment broke my heart...Like SCREW aswell wtf too many great bands have come and gone.

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SCREW is one of the most controversial visual kei bands to ever grace the scene because fans' opinions of them are everywhere. A vocal minority think everything they've ever done sucks and that they're a terrible dime-a-dozen visual kei band.

@ me next time

 

As love-hate as I was with Lin, I do actually miss them.

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When AvelCain announced their disbandment, I was very disappointed, especially because they only released one fantastic album and I was still waiting for a second one. I wanna say that I'm still sad about it, except I'm not. After おまじない, which I still love to this day, they quickly went downhill. With the 輪廻転生 single, they didn't "go out with a bang," they didn't even fizzle out,  they effectively killed themselves, which is rather fitting for this band. I enjoyed (most of) everything up 'til mid-2015, I still do, but they just ran out of juice near the end. I'd still like karma, eve, and maybe one of the early ex-members to form a new band.

 

I am kinda pissed about SCREW disbanding! Sure, PSYCHO MONSTERS and SCREW weren't incredibly fantastic, but 昏睡 was a sign of life and 覚醒 blew everything since 2011 out of the water. Don't you just love it when a band calls it quits right after they show great improvement!?

 

I'm even more pissed about girugamesh disbanding. When I first heard "period," I thought, "how the fuck can these guys leave after something amazing like THAT???!!!!" But, y'know what, they're the ones that went out with a bang!  "period" was holy motherfucking incredible! While I don't think I can say it's their best song ever, it's certainly their best song since 壊れていく世界.

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I still can't accept the disbandment of 少年記. They were so good, and had so much potential. Their new band is good and all, but I miss Rei. DIV disbanding got me sad too, I've some memories with them since seeing them live so it's hard to accept that they aren't together anymore. However, since I preferred ZERO ONE over their releases after it I am kinda happy about Acme, even if it's weird without Chobi and Satoshi. 

 

It's strange that SCREW and BORN are gone too. And Girugamesh.

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