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SaToRu (ex-EZZI-->JILLED RAY-->グラムヘイズ (glamhaze)) Solo Project new mini-album "The CORE" will be released at 2017/1/25. (2 TYPE) Limited edition will include CD+DVD (including "シルエット (Silhouette)" MV) (5 tracks, 3,000 yen) and regular edition will be CD only (6 tracks, 2,500 yen) Recording band members: Gu.GAKU (FEST VAINQUEUR) Gu.I'LL (FEST VAINQUEUR) Ba.Rei (DaizyStripper) Dr.&Piano.風弥～Kazami～ (DaizyStripper) 風弥～Kazami～ (DaizyStripper) will also produce the mini album. [track list] 1.JOKER 2.シルエット (Silhouette) 3.The Last Judgement 4.Silent Crime 5.奈落 (Naraku) 6.繭 (Mayu) (included in regular edition only) btw he will hold his one man live "The CORE〜僕を呼ぶその先へ〜 (Boku wo Yobu Sono Saki e)" at Shibuya REX at 2017/2/4.

臓器のノゾキ穴。(Zouki no nozokiana) Track list: 01.チョコレート階段(Chocolate kaidan) 02.「洗脳」(Sennou) 03.液状部屋 (Ekijou heya) 04.絶倫フルコース (Zetsurin full course) 05.「腐乱腐乱」 (Furanfuran) 06.すてきな唄。 (Suteki na uta) 吐瀉物 (Toshabutsu) 01. 吐瀉物 (Toshabutsu) 02. 「便所2」 (benjo2) The great part of being a visual fan is all the unpredictable wackiness that happens behind the scenes. I don't think anyone would have predicted that one of the best visual albums of 2015 would have come from a band that had only a demo-tape before their full album release. This band burst onto the scene with a foul sound: even among their contemporaries who borrow from the early 2000's visual-kei sound, Kuroyuri to Kage were different. Their songs moved along with a hauntingly heavy feel, more akin to the sounds of sludge-metal than the hyper-sanitized metalcore/djent hybrids currently reigning the scene. It was especially wild considering this was the new band of Memento-Mori, a band with a heavy japoneseque leaning. Their image was as dark as their doomy sound, led by the particularly enigmatic and freaky vocalist Karasuna Mei. Themes of perversion, darkness, rape, murder and anything else you wouldn't ever want to see unless it was in a horror movie make up the lyrical themes and concepts of their releases. A period of long inactivity towards the later half of 2015 had stans suspicious, so the news that they'd be dropped from AINS and losing two founding members to retirement wasn't all that big of a shock. That said, they chose to continue independently* on their own label Yamikakumei with a four member lineup, recruiting a support drummer. What did the future hold for a once very promising band on one of the best labels in the scene? Kuroyuri to kage return from flopsville after some label drama and losing two original members, releasing Zouki no nozokiana and Toshabutsu in 2016, slaying our existence. What could have been a recipe for disaster has been whipped into a yummy two course meal by the master chefs behind KTK, albeit made of human flesh and blood. Dinner is the mini-album Zouki no nozokiana, the band's second mini album and first formal release after the departure of guitarist Koyomi and drummer Mutsuki, released on the 10th of August, 2016. Dessert is Toshabutsu, the band's second single, released on the 2nd of November. So without further ado ladies and gentlemen, let's say grace and sink our filthy forks into this! These releases are similar enough stylistically to fall under one review, they could have been recorded in the same sessions—that said, Kuroyuri are quite consistent with their sound. Make no mistake, this is the same band from 2015 for the most part, the differences from their prior output are quite fine, but still prominent. The most notable difference is the more direct sound: all the tracks here follow the same mid-tempo crawl Kuroyuri have been known for, shedding the ballads and faster songs from their debut. The blast beats are entirely gone, and so are the eerie music box ballads. The single guitar setup has pushed more of an emphasis on electronics and less on lead guitar parts, the surprising old-school solos Koyomi whipped up in the past are noticeably absent. To compensate for the missing guitar, along with the newly added bleepbloops, the bass is turned up to 11—and I mean it. The bass pummels like no one's business. I haven't heard basslines this obnoxious since like...ever. The way the bass is mixed is also fascinating, on the surface it's just a lot of clacking, trembly bass work. The magic comes when you crank the volume up; the low end is massive, almost like a subwoofer was dubbed over the bassline. The bass and guitar almost occupy the same amount of space in the mix, so you will hear every bass hit and every note K plays. The end result is a more pummeling sound, less Kagerou and more Slipknot or Korn. It's all less dynamic than their first two releases, which is a bit of a loss for me, but it's an interesting way Kuroyuri have chosen to advance their sound and adapt to the member changes. Onto the individual releases, Nozoki... is a 6 track mini, half featured in the prior mail-order/live-limited singleうろんなチョコ冷凍。(Uronna Choko Reitou.) from April 2016. “Chocolate kaidan”, “Zetsurin full course” and “Suteki na uta” are all remastered from their original demos, sounding noticeably sharper and less lo-fi, while the rest are new tracks. That said, the production job on the mini is far from perfect, it's rather obnoxiously clipped. “Chocolate kaidan” isn't too notable a track but serves as a solid into for the rest of the album. Tt follows from Kuroyuri's original formula of clean, reverb-y guitar parts paired up with a heavy chorus and clean vocals, originally featured to brilliant effect in “Yokusou”. “Sennou” takes no prisoners, melding djent-y riffage (!!) with an alt-metal crawl, dubstep breakdown (??) and insane vocals. The subtle shifting of the track's rhythm and Mei's contrasting vocals make it an album highlight and totally addictive. “Ekijouheya” isn't as interesting as the rest, but is notable for the wild Korn-esque scat vocal breakdown and amazing slap bass solo in the middle. The new emphasis on electronics/manipulation is on full display here, as the buzzy synth duels against the guitar and bass in the verses. “Zetsubou full course” features some disturbing child choir echoing Mei's vocals in the intro and chorus, and is home to the sole guitar solo on the album. The track overstays its welcome at just over five minutes long, but it is one hell of a freaky track. My favourite track, “Furanfuran” follows right after, opening with a barrage of alt-metal riffage and slap bass all while Mei goes insane in the back. I'd like to think this is a really fun live song, as the rhythm goes perfectly with moshing furitsuke, or choreography. The track builds in its noisiness while Mei goes back and forth between a hypnotic vocal melody and utter madness, all before coming to a pretty end. “Suteki na uta” is more or less a different variation of all the flavours already offered on the prior tracks. Toshabutsu is where shit hits the fan (harharhar), by way of the title track; the best song Kuroyuri to Kage have released since “Yokusou”. The track opens up with trippy, oddly manipulated and dissonant chords (Inquisition, anyone?) backing the usual alt-metal crawl. It segways into the typical effects-laden clean guitar+bass passages Kuroyuri have basically trademarked at this point. The tension mounts with some operatic vocals, all before melting back into the same intro passage while Mei delivers the chorus. It's an odd chorus in that it's long and not all that catchy, but the way the guitars drop and Mei comes in with the lyrical delivery is so fucking addictive. Listen to this on blast and I guarantee you'll be slow headbanging like a maniac. This is so, so heavy in a way only Kuroyuri can do. Also notable is how Mei sticks to mostly clean vocals throughout the song, but ends up heavy enough to demolish your head. “Benjo2” is the b-side for “Toshabutsu”, and it sounds nothing like the original “Benjo”; rather serving as the manic release for “Toshabutsu”'s composed heaviness. These releases aren't enough to convert Kuroyuri naysayers, but definitely warrant a listen from people who might have written them off in the past. In that same length, Nozoki... and Toshabutsu are stripped down enough to possibly alienate old fans who might not like their new, meatier sound. That said, if you're tired of the mass spawning of Deluhi clones, try-hard deathcore bands and oshare kei, and you reminisce about the days when MUCC were actually heavy and when Slipknot and Korn ruled MTV, then give this a listen. Dinner and dessert were delicious today, thanks for joining in on today's feast. Now, if you'll excuse me, I have to the wipe the blood off the corners of my mouth and get to cleaning up this mess. I think i'll need more bleach. Until next time. Both Nozoki no nozokiana and Toshabutsu are available for sale at CD Japan here and here respectively. 8/10 *the question remains as to whether they were actually dropped by AINS or whether something else is going on behind the scenes that we don't know; so for the intents and purposes of this review assume they're independent

The title of the single has been finalized as "傘と雨" (kasa to ame) and it will be released on February 1, 2017. It will come in 3 types (type A ￥2,315, type B ￥1,800, regular edition ￥1,204) Type A tracklist & DVD: CD 1. 傘と雨 2. 傘と雨 -Acoustic version- [DVD] ＜ライヴ映像＞ Merry Halloween Party 〜Trick or MERRY〜 2016.10.29 クリエイティブセンター大阪 1. イエローガール (Yellow Girl)* 2. 赤い靴 (Akai Kutsu)* 3. バイオレットハレンチ (Violet Harenchi)* 4. ビニ本２丁目八千代館 (Binihon 2-chōme yachiyokan) 5. 絶望 (Zetsubou) 6. Carnival 7. 千代田線デモクラシー (Chiyudasen Democracy) 8. 平日の女 -A面- (Heijitsu no Onna -A men-) OFFSHOT *O.A. スーパーメリーズ (Super Merries) Type B: [DVD] 傘と雨 (MUSIC VIDEO) MAKING OF 傘と雨 Regular edition tracklist: [CD] 1. 傘と雨 2. Happy life -幸福論 Acoustic version- 3. Zombie Paradise ～地獄DISCO mix〜

I'm enjoying this read a lot, particularly the historical stuff. It's funny to see people admit to thinking fondly of this stuff, because I loved this sound when it was current and I assumed I was in the minority. Around 2004 when I was just getting into VK, I was exposed more to D'espairsRay, UnsraW, Gazette, and of course Dir en grey, and that was the sound I associated with VK. I really didn't discover the "classic" sound beyond Dir en grey's early stuff until a few years later. I played in metal and -core bands in late middle school and high school so the heavy vibe spoke to me more. Truthfully I did listen to some nu-metal like Mushroomhead and KoRn but I didn't see much similarity between those bands and this style of VK until later. I'm not entirely sure why. Where does stuff like early Devil Kitty fit in? It has some odd turntable usage (0:43) and some awkward, sort of metallic riffing but I have no idea what to make of this weird garbage. While not as nu-metal as most of this thread, it's a fairly early example at 2003, and I always enjoyed this song more than I care to admit: I'm not familiar with this version of the song which is apparently a more recent re-recording, but I always dug the original's riffs: This is a good example too. It's like if Coal Chamber was fronted by a child:

Only one new song ? I need more new MERRY !

It's the same cesspool it always has been, we just now know more details and can follow all the dramas, thanks to social media.

LIRAIZO new mini album will be released on 2017/03/22. Additionally, 2 new full albums will be released in 2017 summer, and their new maxi single will be released in 2017 winter. They will hold their 3rd anniversary one-man live at Takadanobaba AREA on 2017/11/18.

i think l'eprica is a good examples of what you're looking for. zodia are more heavy and less atmospheric, but i think this song of theirs might also fit into what you're looking for. if anybody else knows more i would like to know as well.

I expect a new single announcement during the time period after the last 2 STUDIO COAST shows.

I know... On the one hand, their last albums got some criticism for half of them appearing on singles first, so if they are saving their song ideas and an album appears soon, it will be fine. If they simply can't come up with anything though, that spells trouble.

The single sounds perfect and I am dead. Acoustic! And I wasn't even hoping to see from the Halloween live!

Since it hasn't been posted yet: They will hold their 4th one-man "GAK祭" at 2017/01/13 at Shinjuku Ruido K4

Got an apartment and a school place PLUS also a job interview. Moving out of this shitty hole in a month. Feels so good.

These guys always seemed pretty openly influenced by MUCC's older nu-metal-influenced sound, so I think they deseve to be mentioned here. There's 100% better examples for these dudes out there on the YT-sphere as well, they were basically to old MUCC what Grieva was to old Dir en grey at some point, so similarities are inevitable. heidi. sometimes went full nu-metal as well. As far as I know, it didn't happen too often tho. :^) And since I posted the previous one, I feel like this band also brought the nu-metal riffage from time to time. Just fucking come and DARE tell me that that bass doesnt have the nu-metal sound my dudes. Honorable mention also goes out to the angura band Uma, I remember them having a rap rock/nu-metal type sound as well, can't find any samples on YT though, sadly.

MERRY and rain usually means retro-goodness. Let's see just how much the new single changes in the studio version.

Brasileiro fazendo tutorial de maquiagem de visual kei old school? Nunca na minha vida eu pensei que veria uma porra dessa. "...e um vestido vagabundo, mas que tenha alguns detalhes. Bom, mas os detalhes podem ser vagabundos também. (...) Eu já passei o pancake por causa que, senão, ia ficar muito comprido o vídeo, e eu detesto ficar enchendo linguiça com coisa inútil." KDFGKJERNFJSNFGORFGVJOKDSNFHVIUSDFBGIDFSJIDFOGJNVOFIDGJPERGJOJOIDRJKGPOIFJGOIDFKGPODFKPSDLPOFSDFVHDIUGHJKGHFDFGEIFGLKJSDFREIFKFDJFIPODFSJSÇDFOSD

Eu só acompanho canal bão: hehehe XD

fuckin hell ryutaro couldn't you release your album a month earlier

Since this topic is about nu metal in visual kei worth to mention also korean bros - the Trax

Consider it a sister thread to the oshare kei one. I think this is a delightful dualism to make, and I am all about that vkei history anyway so I'll take any excuse to make another one of these. The adoption of the nu metal riff and attitude into visual kei's musical framework happened just when the scene changed forever with the implosion of the old labels and bands. In the usual visual kei fashion we were late to the party just about a good five years too. It snuck itself in slowly, making cursory appearances at such places as MUCC's Antique from 1999, Kagerou's Biological Slicer from 2000, Aliene Mariage's farewell album 21st Century from 2001 and probably in retrospect most importantly, Dir en grey's Six Ugly from 2002. By the year 2006 ( which saw the release of both eight's ILLATIONAL and Girugamesh' 13's Reborn ) the nu metal riff had fundamentally transformed the landscape of visual kei. Below are some examples of the development that took place. Before I get to that though, I have to say that there's not many scenes that can even begin to rival the longevity that visual kei bands, venues and its marketplace have enjoyed throughout its history. Still living both in the underground and occasionally even willing to take the L of performing at a half empty Budoukan, it ceases to amaze the spectators that stumble upon it; all the while all the goths of the bat caves, punks of 77' and dadrockers of the whatever, live out their legacies either through grandfathers or hack retro acts that suck by default. Granted it doesn't look the same, but indeed the willingness of its adherents to assimilate new currents have kept the hangman at bay and those nails off its coffin at least for now, which has allowed visual kei to remain a relatively recognisable brand for just about a few years short of three decades. This thread while also about the seminal bands that managed to break through, is just like its oshare counterpart moreso dedicated to honor and celebrate those little bands that everyone other than south american blogspots from 2007 forgot. If you were that angry young man in your mid teens back in 2008 you ought to know this stuff by heart If anyone can name an earlier instance of a just straight up nu metal riff I'd appreciate it greatly. Early Mucc is of course classic vkei and Tatsurou puts in just a canonical performance as the narrator of desperate hearts. Their nu metal sound would get thicker and thicker up until 2004, when they went literally out the deep end, supposedly almost disbanding by the sheer weight of the recording process. My preference however remains the very earliest releases up to 2002. From the band that made one of the best visual kei albums of all time comes a ripoff of "Eyeless" by Slipknot - that's the sound of Aliene imploding into disbandment. While I think it's undeniably shit especially considering merits of their career up to that point, they lowkey took part in pioneering the nu metal sound in visual kei. Keep in mind that at the time of this recording Slipknot's s/t wasn't that old, and it is a sound that vk bands would keep on ripping off for almost a decade afterwards. Another thing of note was that the vocalist Kyoka also ditched the frilly dresses and adopted the nu metal fashion! While his sins are numerous, this has to be his worst offense. Either way an important document for visual kei's metamorphosis. If the disease had only previously been a cough, after Dir en grey got through with it the scene quickly became hospitalised by it. They would continue riding roughshod over the genre until 2008's Uroboros where they'd go on to do more of the scene's pioneering work. Say what you will about them, they've continued to stay relevant through all these years and I think it's only very recently that the scene has stopped riding their coattails as much as it has. I'll keep it at that, though rest assured there's certainly numerous other examples of the early usage of the nu metal riff from around 99 to 2002 of varying importance in the canon. Early Girugamesh is what most people have their fondest memories of, and everything up to 13's Reborn is as good as gold as far nu kei is concerned. Their suit wearing while certainly not the first time it had happen in vkei, it was probably the context in which girugamesh presented it that made all the difference for the future: the blackclad angryman playing just nu metal influenced visual kei. Oddly enough I despised Girugamesh as a child EVEN THOUGH THEY SOUND EXACTLY THE SAME AS ALL THESE OTHER BANDS and it took me deep into adulthood that I finally warmed up to them at all. Unsraw was my Girugamesh in a sense that they were the filthiest band I knew in my seminal vk years. Hearing Unsraw sent me on a quest of finding the most rad nu metal vk band out there, and more often than not it just led me to the disappointments that contributed to the failure I am today. Yuuki's vocals made a huge impression on me and it was ever the more bitter pill to swallow that they got very boring very quick. Their Core the Child hits being contemporary with Girugamesh' early ouvre, they can also be considered of relative importance. This is what this thread is about. Look at those clothes, that breakdown from 2.10 that lasts for an eternity and Since1889 was in general just the quintessential nukei vk band. So bad it's good. Despite this band having just about eek'd past the 2010 limit, they deserve mention being one of those final bands at the tail end of this fad. The look is still very much 00's and not the glitz of the 10's, and more or less free of the soon scene dominating metalcore riff. Glorious vocals as well. There's a million of these bands, AND THEY'RE ALL GREAT. Post favs, early specimens in the scene, anything that fits within the parameters.

Cringing like I've never cringed before. Life was better before this image barged into my life People like that ^ make me NOT want to introduce VK to any of my friends. If you're gonna be the poster-person of 2010's VK, let it die. Also, and correct me if I'm wrong, I'm pretty sure it wasn't ever really "alive." I think there was just a point in time when it was widely recognised by gaijin weebz who have abandoned it for the evil, abominable k-pop, and have become koreaboos.

Outside Japan never worked lol.... In japan still alive.

| From Beehives to Water Lillies illion, is the solo project of RADWIMPS' Yojiro Noda, released his first album Ubu on February 25th 2013 in the UK through Warner Brothers Records. Since the debut of illion, the 2nd awaited album finally surfaced nearly three years later on October 12th 2016. Three years is a lot of time for a musician to grow and learn about their taste when it comes to musical composition. P.Y.L reflects change while staying true to the sound illion represents. This album resembles remnants of Ubu. "Told U So" falls along the same feeling as "BEEHIVE", though that doesn't go to say it doesn't sound new and unique, they're two completely different songs. Both offer complex rhythms (clapping, synths etc), but "Told U So" contains more depth with electronics which makes it feel emotionally heavier. "Water Lily", which was released prior to P.Y.L as a single, has a completely fresh sound. Drifting, or floating is the best word to describe what "Water Lily" should physically feel like. There's a special type of contrast between the echoing synths, the light strum of guitar, and distorted base that carries Yojiro's flowing vocals. The bar was set high for P.Y.L with such a teaser. There is an interactive site here with vibrant and abstract visuals to compliment the aura of this song, where viewers have the opportunity to manipulate the fade in and outs of the song while utilizing the colors and images spread out through the screen. "Highlight (feat. 5lack)" has to be the strangest addition. The beginning sounds extremely relevant to the flow of the album and sticks to the sound illion promotes but it shifts about halfway through when a rap lays over a very sluggish instrumental. This track was also released before the full album just after "Water Lily", but it sounds disjointed from the overall picture P.Y.L should create. A change in musical direction really shines in "85", "P.Y.L", and "Wander Lust". All three introduce unpredictable synth techniques that wouldn't be expected from Yojiro. "85" essentially sounds like something right out of Tron or Outer Space. The combination of soft vocals, an 8-bit bass line, and an 80's synth drum beat makes this the most unique track on the entire album. "P.Y.L" and "Wander Lust" are very similar in a sense that they have distorted synths that sound broken, like when something goes in and out of frequency causing an echo and static. Both have powerful vocal melodies to accompany their peculiar usage of distortion. "Miracle" deserves it's own category for having a very smooth and jazzy vocal melody with a very waltz-y piano instrumental. It's the first of eleven songs and works not only as a great opener but a smooth transition from illion's previous album UBU. There's a singer-songwriter section to this release as well. "Dream Play Sick", "Ace", and "Strobo" use orchestral instruments and progress with a very melancholic feel. "Strobo" combines harp in a circular pattern while the piano reinforces the beat with a few chords here and there making the vocal melody the center of attention. The most emotionally heavy is "Ace" which is prominently piano. It's a very simple track, but the whisper-y vocals are chilling and almost haunting. "Dream Play Sick" is a little more playful with phrase pauses and is mainly guitar and vocals for the most part in the beginning (give or take a few claps, static, disjointed violin and layered choppy vocals that resemble some of the techniques used in "MAHOROBA" from UBU). Overall this album went above and beyond new material. Yojiro Noda really explored and reached a new level with this release even if a few tracks didn't hit home. "Highlight (feat 5lack)" is the weakest but it's forgivable with songs like "85", "P.Y.L", "Water Lily", and "Told U So" that just hit the ball in to a whole other ball park. Support the artist! CDJapan | iTunes (USA)

that's a huge amount of releases.....a mini and 2 albums plus a single.... I'm guessing it will be a collection of those live-limited releases for one of the albums or split into both of them most likely... still that would be a good way to get all the live-limiteds we didn't get thus far

Thank you @Jigsaw9 Edit: Thanks again @Jigsaw9 I've been listening to "My BACTERIA HEAT IsLAND" and I really like them a lot. I'm not much for "FAR EAST DIZAIN" though.

パニックパニック トゥナイト!~　パニックパニック ナイト~!

^Haha I love that and this I will get behind ASAP.... I'm so sad about that last album..... nothing really new on it but if he stays active solo then I'll love him long time<3

Great Review! I checked them out during their earlier releases... but I'm curious about this one now. Definitely going to check it out. :'3

Oh shit this is awesome FEST GLAM STRIPPER Combo yaaaaaassssss

Yes, it's a "special concert", by a session band. A session band is a provisory band which consists of members of other bands, created for making performances in events, mostly covers.

i guess we can call that simplicity or irony,or both xD

see, i don't find savage to be full visual core, throwing a thrashy riff into otherwise nu-metal structure doesn't make them x-core all of a sudden. the drumming is straight up unsraw-style blasting, nothing like the speedy sujk/misc deluhi rip offs. it sounds a lot like neo-destruction in the composition. that said, savage have some awful taste and throw in a fuck-ton too many bleepbloops; otherwise their sound is quite similar to their alt metal days, minus all the new mosh songs and electronics which leaves like 3 good alt-metal songs who am i trying to kid

listening to ryutaro's new solo album after a busy and dreadful weekend is the best feeling ever......fuyuu <333

^ that hurr-durr-deathcore vk band is deviloof LOL and they unfortunately don't fit into the description sume7 posted

There was also that fad of oshare kei bands having visual kei alter egos (other than panic channel). Ironically some of them made [arguably] better music than their regular stuff. Ayabie → DEATHBIE DaizyStripper → Frantic Emiry Serial⇔NUMBER → Gothic†Number ZUCK → waruZUCK

^ 迅セッション セトリ 1. -9- （UnsraW） 2. Dust to Dust（UnsraW） 3. under the skin（UnsraW） 4. Crimson（Megaromania） 5. Social Faker（UnsraW） 6. 嗤い鬼（UnsraW）

Disbanding by Christmas

I hope they will keep that name - and twitter - after reveal.

This is the best tour name I've seen in my entire life

Яyu's look slaaaaaaaaaays

queen of recording, queen of mastering, queen of promotion, queen of ghostwriting

SE why are you making me chooooooose?!?!? Aranea's sexy voice doe hnngggg

Anyone know any bands that create a "dark" atmoshere similiar to these bands:

Here's an easy solution: check the topic -> see that they're not japanese -> move along.

loool

I support this idea and I propose that we take it one step further by imposing strict eugenics on all bands, since there might be members of not 100% pure Japanese descent who mask themselves as members of the purported master race. It's time we start a fund to send one of the fine gentlemen who are an expert in this field to Japan in order to meticulously measure the skulls and ensure the racial purity of our Japanese musicians. Perhaps we can make various sub-forums for degrees of Japanese-ness in order to let people decide on their own tolerance for racial deviation? Maybe they're fine with bands who have members who show slightly Caucasoid/Negroid facial traits but not so much as it shows in their skin tone for example? ...Or we just don't care. I'm the last person to think swede-kei and the various other weeaboo scenes are anything to listen to, but honestly, if a band is based in Japan, sings in Japanese, has it's social circles in the Japanese Visual scene, the only thing separating them is race. Kind of silly to make a deal out of, in my opinion.

Re:Re:MY BACTERIA HEAT ISLAND is gonna be their new band name after this.

I'm a fan of the hair and makeup save for ANOTHER Koichi-inspired aspect... LIE and Mese I guess I like the most. The former for the eye makeup and color scheme reminding me of VARYL at least on a glance and latter for the simplicity but marvelous shape of those brunette bangs..