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Hot take: The initial seed for a lot of people is seeing cute boys in crazy makeup. We need to start spamming Twitter threads with slow motion gifs of [insert guitarist here] sticking his tongue out while looking to the side.

Before people mentioned it here I had totally forgotten that not even that long ago they were using pretty much none of the social media platforms used in other countries. The Japanese are just not interested in investing time in figuring out how the market here works and then investing money in those foreign markets if it doesn’t work out practically by itself like when manga and anime did the heavy lifting for them, and that’s it. I doubt most of these labels have any business savvy other than the yakuza school of street entrepeneurship that was beaten into them. They’re about as clueless as to how things work here as most of us are about how it works there. You can’t really blame them for that when things are lucrative enough domestically, and everything else is a great unknown with big risk and mediocre reward at best.

This goes back to the Japanese style of fandom vs Western style of fandom. Which was one of the major barriers when bands started coming over here. I read an interview at the end of 2007 with Warped/Taste of Chaos organizer Kevin Lyman, where he was explaining why he went with the Visual Kei bands for Taste of Chaos 2008. He explained that MUCC/D’espairsRay/The Underneath weren’t even his first choices, initially. He approached several other bands, and said that their management just didn’t understand why they would benefit from being invited on a 50 some stop North America tour with seven other bands. To them, their fans are their fans. Not some other band’s fans. So they didn’t understand why people who wanted to see Avenged Sevenfold would ever consider listening to their band’s music, let alone paying for it. To them, playing a gig with seven other bands is what you do when no one on the bill can fill the venue by themselves. So by brushing off the demographic of “people who could be interested in our music, but they aren’t devoted to us exclusively, so fuck them”, they didn’t exactly win any friends. Instead, they just made things harder for themselves by not connecting with either Western bands or even other Japanese bands. Dir en Grey seems to have been the exception, but even they’ve stopped touring with other bands for these last couple of tours.

I still have more hope in Mana than Yoshiki, lol.

Send Ru Paul Drag Race back in time, when rock music and Japan were the cool kids, and make Kaya win it. Profit. 😎

Agreed. They could have had an important ally in someone like Kevin, but even MUCC, D’espairsRay and The Underneath’s management teams messed that up by screwing him over while he was planning the Canadian leg of that tour. Somewhere along the line, they told him that they weren’t doing the Canadian dates, which caused him to try and scramble to salvage something to no avail. The attendance at his Canadian shows never recovered, and Taste of Chaos only lasted one more year, with record low attendance. He’s invited other Japanese bands onto Warped Tour after that, but *never* another VK band.

As much as we would like that VK worked like western pop in terms of marketing it's never gonna work and it's pretty futile to argue over a what if. That is the reality of Japan's culture and we've seen how reluctant they are to mingle with the west, much less adopt their customs. As an example, Dobe did it right when engaging with the fans and easily supplying their music to the international fandom and for a while everyone was super vocal about them. Then the second Suica was fired no one was hyping them anymore. Merch or no merch involved, teens just don't get invested beyond a cute member and/or lyrics that speak about their struggles (hence why they get popular easily among menhera chicks in Japan). As someone who has co-organized tons of fan projects that require little to no monetary effort, what I've experienced is all those social media fans who talk non-stop about X or Y bandman disappear once you ask them if they want to take 10 minutes to write a message for a fanbook they won't even have to pay for. They generally don't care for any fandom activity beyond hyping looks and that drives away newcomers interested in music. Is there any way for bands to market themselves (while remaining VK) to make people interested enough? I doubt it. Even for popular artists the fans who are a little bit more invested are a lot fewer than the ones who just comment on who was on Taylor's latest videos and leave it at that. Kpop artists do thrive on sales and western ones I'm willing to bet they live off advertisement rather than their music since everyone streams it to the point where music is their platform to jump to some unrelated brand to sponsor them and actually give them cash. I see your points, however I disagree with artist seeming more unattainable. They are FAR more attainable and approachable than any mainstream artist. I'll agree with you on the elitism part, but not quite regarding sharing rare material. Edit: something else came to mind. Most of the world is pretty casual about listening to music and won't go out of their way to even go to a gig. What makes people care on a deeper level about it? Habit. An early exposure and thus attachment to artists. Some sort of connection and/or the music somehow filling some void (hence why people tend to get harder into bands during their 10's and 20's). I think we can all assume that the more attached we are to an artist (whatever the genre, think about beliebers and directioners) the more fucked up we are somehow. It's been widely debated in other threads the common 'fucked-up-ness' most vk listeners had when encountering it and getting themselves attached to what we all agree is mostly crap we hate to love. That might just be another barrier. The rest of the world just doesn't have that hole in their hearts (mental health) that fits VK perfectly.

That's the thing, though - I think that a lot of visual kei fandom is rooted in buying merch/etc. when that's just not how most music fans operate these days. The problem with visual kei's accessibility doesn't begin and end with their merch-selling capabilities - it starts with getting people on board in the first place and keeping them engaged. I think a lot of that is rooted in a strong internet presence. As unfortunate as it is, we're not living in the era of CD sales and purchased merchandise any more - at least outside of live shows (and even then, arguable) - and while I understand the importance of those things (trust me, I spent 10 years of my life on the road as a down-on-my-luck-broke-as-a-joke DIY musician), I think we're expecting far too much of the average consumer to conflate fandom with opening one's wallet. (again, not arguing for rightness, just reality) Past that, I still find that a lot of the lack of international interest in VK is that it is classically very difficult to enter and navigate as a fandom. Not only are fans classically elitist (visual kei is one of the only fandoms I've encountered where people have actively hoarded content from their faves with the explicit purpose of keeping it from others), the artists do not follow the same sort of cues that most other bands do and they don't engage their fans in the same way, either. I mean really, this conversation can extend into the realm of photo-free gigs and cheki sales - things that I absolutely understand, but are likely doing more harm than good in the long-term nowadays (an easy buck to make from the aforementioned horny fan, but something that simultaneously makes these artists feel very distant and "unattainable," which just isn't sustainable in a world where the concept of the "rockstar" has basically been deconstructed entirely.) Add that to too-expensive albums and merchandise and no matter how interested one is, it requires a lot more cash and die-hard effort to support someone you enjoy. Again, most of this is being analyzed from a strictly Western point of view, but really just trying to answer the opening question. Japan clearly functions very differently from the rest of the world when it comes to music, but VK still feels even further removed. I highly doubt we'd ever see some major international renaissance focused on kote kei groups or something - stuff like that is and always will be incredibly niche - but there are a lot of bands in the game right now that have HUGE crossover potential and if paired up with the right artists would skyrocket in popularity on an international scale.

I know it's been brought up a lot already, but I think social media is probably going to be what sets the heavy-hitters apart from other bands in the scene from now on. I think it's part of the reason why gulu gulu has picked up so much steam so quickly (outside of just being really good) - they're VERY active on social media and also seem very interactive with fans. I've noticed a trend toward more activity (especially on Twitter/Insta) from a lot of smaller artists/bands, too, but it seems a bit further removed from their actual "craft" so to speak. I think there may be a bit more "hype" generated for these artists if they just get better at the social media part of the modern music "game."

I absolutely appreciate what you're saying here, I think it just further sums up how distant VK is as a culture from most other forms of music. 1. Most music fans I know aren't teens (I mean, I'd hope not, I'm in my 30s...), but are people who would probably like a lot of the output of modern VK and don't give it a shot because of how daunting it is. It feels incredibly "other," even bands that fall very closely in line musically with non-VK acts (Western or otherwise - I know dozens of people into Japanese music who still won't touch VK). I've introduced tons of people to bands I think they'd objectively like from a musical standpoint but the second they look into it, they just kinda lose interest based on the density of everything. 2. I think the concept of fan projects, fan-books, so on and so forth are incredibly foreign ideas to most people interested in music, casual or otherwise. I respect the efforts being put into those things and very much understand their place in the world of VK, but I don't blame the casual fan for not participating - it's again just very different. 3. I think the biggest disconnect for me is marking K-Pop or so-called "mainstream" artists as the parallels for VK. I think most VK artists should be thought of as exactly what they are - indie rock bands. Most of them are small-time, most of them are independent or signed to niche labels, and most of them operate on a tight knit fanbase. The biggest difference from most indie VK bands and most Western indie bands is the theatrical element of it all, but even still that's kinda viewpoint dependent. Most modern emo/screamo/etc. (and even a lot of metal) is theatric in its own right, maybe just sans full costumes and production. I think if a lot of VK artists were placed in parallel with those kinds of scenes, they'd find a lot more international success, which is why we saw some more of that happening during the "scene boom" of the mid-2000s. I think when I think "unattainable" I mean that in reference to my third point - I think they seem unattainable when placed against other bands in an independent rock sense. And I mean like...really independent - not like major label artists that still get tagged "indie." I agree that they would be far more attainable than just about anyone in the mainstream. I agree with most of your final point, too. The world is incredibly casual with its music habits now and every time I watch one of those silly "kids/teens react" videos online I'm reminded of the lack of enthusiasm most people have. I don't fault people for being cavalier or just listening to what is easy - that's how most of the world goes about their business and that's fine, but I do see less excitement over "rock" music (I use this term lightly) from younger crowds and it honestly feels like a lot of people consider it to be a relic of another age (which is something I'm still coming to terms with). To the opposite end, VK really connected with me as a kid because I wasn't really that into music otherwise and this was so significantly different from what I knew, so I wasn't someone who was into music and found VK - I got into VK and then found more music, so I feel like that may color my viewpoint on things a bit. All-in-all, I think a lot of my "drive" in talking about this comes from the fact that I think the musical climate on an independent scale is actually quite ripe for VK and there could be a lot of international success for these bands if they detached a bit from the classic trappings of the genre (in a marketing sense, at least). With that being said, I don't really foresee that happening so it's all really neither here nor there, I'd just love to see a few more bands break out and really "take the plunge."

In my experience interacting with VK fans outside this forum this isn't really getting them much sales, just horny teens collecting photos who can't discuss the band's releases when you ask them to. That works well for the bands in Japan because those horny teens go to lives and spend a shit-ton on merch. Try offering merch to 'Murican teenage fans and see how many actually want/can buy.

I want to go to Tokyo again ASAP. But I don't know when...

I can't fucking believe this lmaoooo I HATE IT HERE!

Thinking back on all the instances where I mentioned Visual Kei to non-VK fans (usually people who listen to a wide variety of genres, or even to people who love certain subcultures of other J-music), I've had this cumulative sense that the biggest barrier to entry for people is the VOCALS. I think it's easy to think the least accessible part of VK is the visuals, but that seems more like a positive draw nowadays, considering how increasingly trendy anime and Japanese cute aesthetic shit is in mainstream youth culture. I believe there is something about the general style of how VK singers sing that is kind of uncomfortable and dramatic for western rock or metal fans, who otherwise like the instrumentals. Of course, there's a gradient of how guilty vocalists are of this, and I think the more normal (to western ears) vocalists tend to be the bands that do better with general music, but not vk, fans. To help think about how to better communicate this, I clicked shuffle play based on the tag 'visual kei' in my library. Sure enough, a Due le Quartz song comes up, and it has 1) seductive sounding vocal fry spoken word throughout 2) sudden ultra deep voice ad libs coming from far left and right 3) falsetto ghostly vocals 4) whispers 5) gasps 6) whistles 7) occasional gag screams ...on top of the normal sung vocals, which have a typical vk vibrato fetish. Also, I would say bad engrish vocals sound weirder than japanese lyrics to foreigners.

so like how k-netizens spam kpop fancams in irrelevant threads, we just spam embedded vk tiktoks (which is basically just that)...

The lack of translations is insane. I can read/understand Japanese but even I sometimes just don't feel like dealing with having to look up a word(s) I might not know. In the past translations for stuff was easier found but now, either you better know enough Japanese yourself or know someone who can translate for you even if it's a rough translation. Heaven help you if you are fan of bands that don't have a fandom with some translators.

No bou, no care

Love them or hate them, almost everyone's got an opinion about Dir en grey. The scene stops to listen whenever Dir en grey announce a new single or album. As a long time fan of the band, I think it's the perfect time to express how I feel about all of their albums. My feelings will differ from album to album. Some albums have had the benefit of twenty years and others only a few months, so that's always going to be a factor in how I rank things. I will cover this from my least favorite album to my most favorite album, but by no means take this as a definitive list for Dir en grey. Everyone will have their own rankings and their own suggestions for where to start. I happen to think that this also a great order to introduce someone to this band. This is a perfect topic for those that don't listen to Dir en grey or don't know where to start, current fans looking for spicy opinions and a pot to stir, or even old fans looking for a reintroduction into their new era. Not only have I included a PV for each album as a sampler, but I also put together suggested playlists for each album. The playlists are the order that I would have arranged the band if I were them. The songs are the songs that I believe are the best from each period. Some will require more effort than others to construct. To make it simpler, I have included my favorite three tracks and one music video from each album. I will not consider the mini albums MISSA and six Ugly in this analysis, but some of those tracks will appear in the playlists I create. DUM SPIRO SPERO Album No: 8 Released: August 2, 2011 Length: 67:31 鬼葬 (kisou) Album No: 3 Released: January 30, 2002 Length: 69:57 THE MARROW OF A BONE Album No: 6 Released: February 7, 2007 Length: 50:05 ARCHE Album No: 9 Released: December 10, 2014 Length: 68:01 🎖️The Insulated World🎖️ Album No: 10 Released: September 26, 2018 Length: 50:27 🏅Withering to death.🏅 Album No: 5 Released: March 9, 2005 Length: 51:14 🥉MACABRE🥉 Album No: 2 Released: September 20, 2000 Length: 72:57 🥈GAUZE🥈 Album No: 1 Released: July 28, 1999 Length: 64:47 🥇UROBOROS🥇 Album No: 7 Released: November 11, 2008 Length: 58:54 👑VULGAR👑 Album No: 4 Released: September 10, 2003 Length: 57:02 That's everything folks! Thanks for reading all the way to the end! Did you like it? Did you agree? Do you have your own rankings? Leave them below! I'm interested to know what everyone's opinions are, especially since Dir en grey is one of my favorite bands ever. So many people are passionate about this band like no other. If enough people liked this, I may follow up soon with one for the GazettE. Until next time

O show tem uma hotpage agora: www.dimlimnobrasil.com 29 de Março, domingo e 300 ingressos. É um olho no feed do Facebook pra comprar os ingressos e outro no site da TAM pra comprar a passagem.

Yo thanks. I had no idea about this. A lot of non vkei Japanese bands I listen to have done Warped, some more than once. They most certainly have a better approach to touring overseas. A lot of my favorites have pretty much made Europe their second home.

That really speaks volumes on the whole deal. I'm very used to the concept of bands partnering with other bands (or, in some cases, just riding their coattails) to gain a following in the States, so to see just how dramatic the difference in thought is kind of amuses me - especially in a genre that, we can all probably agree, produces a lot of cookie-cutter artists at a rapid fire pace.

i rly don't get the anticipation for an upcoming dual bluray only (limited 300)/4x vinyl (limited 69) MdM album from 2033, take ur time grandma queen!!!

????

I feel like they aren't coming back x

I like the punkish side of VK, so my suggestion is always add plenty of safety pins, and studs on anything. Especially on leather. Jackets, your creeper shoes, belts, suspenders, bagpack, anything!

I feel like some of my best moments of exploration (musically) for me are the ones where I get completely thrown out of my element and neurons just fire off trying to hear something familiar. That internet frenzy/journey where you get the "familiar" things piecemeal and have to immerse yourself in new stuff is really stimulating, but that process requires time that I'm constantly having to shift around b/c life. While not trying to sound r/imverysmart here, it's hard to find other people who appreciate the granularity and variability that music has. I'm not just talking about the music theory or "sound quality", but culture and lyricism -which by the way, includes more than just diction (which can be one of those make or break things for some people), but ideas. I find most people paint you as "liberal" (which while accurate by definition, is now packaged with political leftness) or an "oddity" if you show interest at my level. (not saying either term is bad, but it's that snap judgement stuff that is bothersome) Going from "niche" places like certain video game music and visual kei to finding appreciation in the main "bastions" of hip-hop, jazz, bluegrass, folk, etc. (and explore diff. sub-genres/"flavors" w/in them) was the best thing I ever did. Beyond making things more exciting, it has (as I've mentioned in other posts) helped me build connections easier. I just wish that enthusiasm or interest in exploration was reciprocal, but maybe i'm expecting too much.

I just wanna to rant about bands using platforms like youtube/spotify/twitter (thank god, fuck ameblo) but don't even trying to communicate without using moonrunes.

The reason why VK hype died out is because it was entirely fan driven, and the bands and management themselves didn’t know what they were getting into. They assumed that they could come over here and do everything like they did in Japan, and people would just accept it, because they received x amount of fans without even trying. What they needed was *connections* to keep the western market engaged and active. They failed, because management of the bands assumed that they were too good for trying things a different way and integrating into Western markets. The connections they did make ended up being alienated. Both industry and fans. That’s why only die hard fans are left, perhaps with the exception of Dir en Grey or Miyavi crowds.

I'll just say it? Visual kei as an international music scene is and has for many years felt incredibly elitist and gatekeepy. There are very few places to interact and discuss it, very few reliable international news outlets, and even as those things do pop up or grow they seem to fade away just as quickly or come off so dense that it's hardly worth the effort. Add to that the fact that it has a very high cost of entry for supporting bands with your wallet ($15+ for a single? $30+ for an album on CD? Multiple types?) and a minimal chance of ever getting to see your "fave" live, it often feels like more effort than it's worth in a world where there is basically an endless supply of good music and over 90% of it is much easier to consume. I respect the idea of wanting more people to enjoy something you enjoy - but I don't think it's effective when packaged in a way that makes it seem "better" or "more valid" than other things. Hell, I'm pretty sure most of the people on here enjoy visual kei with a certain level of self-awareness that it's extremely niche (and kind of goofy) ((and often honestly kind of really bad)) but we still dig it for our own reasons.

Visual kei is a great genre if you think about it. It's so expressive, there are almost no rules of how the music is supposed to sound, what the artists should look like etc. People who likes metal will like some visual kei bands, people who like pop rock will like other bands. The music is usually a mix of different genres which could make the music very unique. It's a cool style, it's very artistic and it's fun to watch live performances because of that. If you, as a fan, dress up in visual kei you will feel like a part of a community, which people enjoy! Visual kei is brilliant, it could be huge and successful if we just made the comminty more interesting. Visual Kei isn't as extreme as the gothic subculture if you think about it. It's easier to enjoy the music, the clothes aren't that different to mainstream clothes. I mean, put on a regular outfit using a blazer and regular jeans, some jewelry and then just focus on the hair and makeup and you will look visual kei. It's pretty simple actually. No need for lolita dresses or goth makeup to look visual kei. It is very stylish and formal kind of. People love cool hairstyles, most people enjoy pop rock. Visual kei could be a huge thing! We just need to spread it more. No one wants it to die it's an fantastic genre, it's fun and cool!

I haven't read to all big texts (no time atm), but really, I feel we really overcomplicate things. The sad truth that many are in denial is, that VK in the west was just a fad and trend. The majority of people who aren't into it anymore wouldn't have stuck around even without the web, mumble rap or K-POP. VK was popular because it was the kind of thing to be obsessed with if you were an awkward weeb in the 00s. By the time it hit seemingly big in the west it was already heavily declining in Japan. I mean, the last time VK was actually relevant in a music scene was in the 90s, when it peaked in popularity back at home. 00s VK was only seemingly relevant in western circles thanks to anime and manga, hence the illusion many weebs had about wanting to go to Japan as they imagined it some kind of VK paradise with hawt bandmen waiting for them at every corner and then are disappointed when they got there and had to realize that it was pretty niche and rather embarrassing thing, that most japanese people either don't care about or deny to like. The japan hype that was so closely tied to the advent of manga and anime in the west is long over. Sure, there are still weebs and fans of that stuff, but the hype isn't quite as strong as it used to be. We have to put our rosa tinted glasses down and accept that the time was over when most of us edgy and angsty kids that were outcasted for liking "chinese cartoons" all hopped on the japanese music bandwagon. I used to be quite pissed by VKs decline in quality, aesthetics and appeal too and was cringely obsessed with 90s VK, but eh… I just have to live with it being a niche genre and that most people I knew who liked it have moved on because it was just a phase for them. In that regard it's no different than grunge, Nu Metal or 00s new-modern emo.

Yes and Yuuki is a special guest for the second show Photo : Kanon thanks to everyone Others photos : Miku thanks to everyone too :

I'm completely fine being in the remaining minority of a dying genre. I would rather find what I like on my own, then have 'them' figure it out for me. I think the whole 2006-2010 resurgence of the genre was more organic than any of the created/algorithmic/lackadaisical trends the post 2010's have given us. This was in part due to social feeds/search terms/content that we were using/sharing/discovering ourselves during this period. These days, the internet has basically been turned against its users, and through very powerful technology, we're shown a barrage of cookie cutter content that the vast majority are entertained by. It doesn't matter if it's good or not, or if some of us aren't interested in it, it's what works. Fortunately, VK is only cookie cutter enough for it's own genre, and too risky for mainstream audiences. If it takes VK following mainstream trends to get popular again, count me out. I am grateful for the old bands and existing bands that keep true to their style without selling out.

Visual Kei was, and pretty much always will be a counterculture movement with a cult following. Things come and go in popularity. That's been the case with Nu Metal, Eurodance, etc. Part of it is the fact that Harajuku culture is dead and J-Fashion is so toned down, and a proper J-Fashion revival is possible, but no matter what, Visual Kei isn't going to be the mainstream phenomenon it barely even was at one point. Its always gonna be a niche movement with niche music tastes. Japanese people and Americans always have, and always will be mainstream taste-wise. Thats the nature of things. No use getting mad about it, because there really is nothing you can really do about it. Just enjoy Visual Kei while it's still a thing.

What do you hate about UROBOROS? ...marry vulgar and kill DSS?

Arche is life. Gauze is my heart. Fuck UROBOROS.

I like the fancy lad look and everyone looks great but the crown Midorikawa is wearing seems a bit cheap imo. That aside, i'm curious about what this new look will bring them bc I like gosan.

3x glamscure - Gloria

like this:

if your band meets at least two of the below criteria: - have your cover artwork be drawn by Suehiro Maruo - perform short skits during gigs - use melodies reminiscent of kayoukyoku in your songs - design your outfits based on school uniforms - have at least one song about (pre-/post-/mid-)WWII and/or nationalism That's it, I cracked the Angura Code™, thank you for coming to my TEDTalk.

This is so 2008 😍😍😍😍

I really enjoyed this thread. Thank you @Zeus. As for DSS to ARCHE, I did somewhat of a case study for it. The band (or maybe just Kaoru) did want to make a more badass version of Uroboros because of how well received Uroboros was. They were really confident and very open when it came to promo for DSS. Remember how Shinya did a QnA on FB? And how they had giveaways every other day like a month or so before DSS dropped and the twitter account was hella active? Once the album dropped and they seen how many units it sold, it definitely hurt their ego and overall morale. To paint a picture here's what i was able 2 pull from Wiki: Uroboros JP sales: 43,316 US Sales/Shipments: 6054 VS. DSS JP Sales: 37,586 US Sales/Shipments: 3,900 (if im wrong here or these numbers are inaccurate, please let me know) The bands attitude shifted after that and I remember there was a lot of talk about them hating each other and possibly disbanding, due to the interviews that dropped post the release of the album. It also didn't help that the performances were and arguably still are pretty bad due to how they recorded DSS. Clearly the band didn't learn their lesson because they proceeded to take the same approach when it came to the Unraveling, which imo aged badly minus a few songs. The band did go back to basics when it came to ARCHE and that same energy they went into DSS with was non-existent. Yes, they did learn how to work together again but they played it safe sound wise. It has hints of their oldie stuff mixed with DSS, thus making it one of their most lukewarm albums to date and imo it doesn't hold up well years later. The Insulated World, is a step in the right direction. It has elements from ARCHE and DSS that blend well with each other and has enough freshness thrown in that separates its self from them. Its also has some of the bands worst written songs to date...Zetsuentai and Devote My Life belong in a dumpster fire. As much as I love the album, its no where near as creative as DSS or Uroboros. DSS is where the band peaked and now they're in the same boat as Lynch. and the GazettE. They've found their medium and they're gonna stay there, while occasionally doing something that really stands out. The World of Mercy should be a clear indicator of that. And THAT IS FINE. Promotion wise, I don't think they care much for it at this point. ARCHE had like 2 singles but they were REALLY spaced out. The insulated world had like 2 other really spaced out singles as well. Though, a lot of that could be because of DECAYS and Sukekiyo. They also stopped dropping physical releases for the US as well and I think that's out of spite for the low sales DSS did over here.

Bring back LC5!

R指定 (r-shitei) Ba.七星 (nanahoshi) new solo project, "gives" has formed on 1/6...no details have been given at this time.

One thing I really like is how much our lists vary, speaks tons about how good and divisive deg is. Especially I see that dum Spiro spero is either one of your favorites or one of your most hated, that's really cool don't you think?

Lc5 is only band you see Miku scream like demon😈 lol Ancafe this guy is soft teddy bear🐻 🤣

Wait.. that is Cecir, formerly member of E'm~grief~! Nice to see him backon stage (I'm late with this one, I know lmao)

Please!!!!

Very nice news ☺️😍😍.