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Last time I had blond with turquoise ww Now I have purple with darkblue and my younger brother has pink hair x3

I’ve been lurking for quite a while but finally decided to make an account. I just hope that I’ll actually get around to posting, I’m pretty shy. I’ve been listening to VKei for over a decade (eleven years, to be technical), but my tastes as of late seemed to have jumped into a time machine; I used to be very diligent about keeping up with new or modern bands, but over the last couple years or so, I’ve been backtracking into more ~*old school*~ artists and I have a hard time keeping up with everything going on now. Which isn’t necessarily bad, I love what I listen to, but I’m hoping to find new stuff and expand my horizons yay etc. I found out about DADAROMA and MORRIGAN, bands I'm loving, from lurking around here, so I'm hopeful. Off the top of my head, some stuff I dig: Malice Mizer (because of course), AMADEUS, CANARY, Eliphas Levi, RENTRER EN SOI, NOi’X, Sleep My Dear, L’eprica, sibilebashir, Grieva, Madeth Gray'll, MIRAGE, UnsraW (RIP my sons), Gallo, MORE, sukekiyo, etc. Outside of that, I like a lot of Japanese indie (new and old), v a p o r w a v e, metalcore and djent, hip-hop, jrock in general… it’s a mixed bag. But yeah! I look forward to seeing you guys around and actually interacting.

I just felt like contributing.

Hello people! I've always thought japanese lyrics are under explored by us western fans. So I thought of a little fun way of incentivizing the community on giving their 2 cents and analysis on a weekly chosen song, like: The week song + lyric is posted; people give their analysis/thoughts on its meanings and intricacies; other people like the comments they think are more accurate, or what they think is the best interpretation; the person with the most well received analysis gets to choose the song for the next week; Of course what is described above can be changed to better fit the board or the mods, which I believe would be ideal to handle the thread creation and such (maybe the ORZ could take turns on, or smh like that) one barrier I can see is that, if the song does not have a translation available, could be hard for non speakers to be part of it... what do you guys think? any thoughts?

I really like this idea! Since I translate lyrics myself, I always like to see what others make of the lyrics, rather than just me making my own interpretations. I think this will help others gain interest in discussing more about them, even if only a little. But as @Zeus mentioned, having someone fluent in Japanese is essential for doing something like this as there's so much to discuss about how it's written in the original language before getting into the translation. But of course, that depends on how poetic the lyrics are. I think it's even better to have two people fluent in Japanese, or at least know a decent amount of Japanese, in analyzing lyrics just because there can be so many different interpretations. I think that'll help bring up interesting discussions. I am honestly interested in starting up something like this, but am afraid that I can't offer too much time as I have so many other things currently going on in my life. Bi-weekly or monthly might be manageable though. Another thing is that I'm not SUPER fluent in Japanese (but i think i know a decent enough amount), which is why I think it's a good idea to have another person take part who's also knowledgeable in Japanese. Getting access to lyrics will certainly be an issue as not everybody will be interested in the lyrics I have in hand. And not everybody who DOES have access to them is willing to share them, etc. But we can still start somewhere with what we have. Thinking more about this, I can also see how a lyric analysis can go hand in hand with a PV analysis, if the song has one, which might be really interesting as well~

better than bataar

@Seimeisen"Even if you shred my heart I'll continue to sew it"

Got ma mtfvkn Hair cutted last Friday finally. :)))

MEIDARA new mini album "六道輪廻" will be released at 2017/08.

They'll probably announce their new album tomorrow. It's not a bold prediction, but.... yeah. Anyway, you heard it here first, folks: my prediction is that the new album will come out in August, with 13 songs + a bonus CD with live material and a DVD version with 10/12 songs from Tokyo Spring. Plus, they'll announce a nation-wide tour until September. Tour Final happens in November to celebrate their anniversary.

Not sure if 0.1gの誤算 gets points for "creativity"/unpredictability, but lord, the composition is all.over.the.place.png

Alexis is a filler queen. She's talented and great but not a star. I think next is gonna be Farrah and then Aja's sloppiness is gonna land her in the bottom with someone who can dance too and it's gonna send her home. After that I think Peppermint, then Alexis and then probably Nina's insecurities. That'll leave Sasha, Valentina, Shea, and Trinity for the top four. That's what I'm hoping at least.

This song better stich my broken heart <3

gibkiy x3 - fujori shogeki (2nd press) sou kawai - shiroi hana ga chiru koro ni mercuro - chimatsuri no joukei

is the death of nyaa the weeb equivalent to the death of megaupload?

桜樹 和哉(Sakuragi Kazuya) (Aika - ex.2nd Awake, ロドウェル(Rodwell), WERKMARE) new digital single "杞憂の暁" will be released at 2017/05/25

merrygoround is dead by Merry Go Round 1. 同化 (Doka) 2. 失楽 (Shitsuraku) 3. 液状 (Ekijou) 4. 造形 (Zokei) 5. NARCISSE 6. 君は蜜よりも甘く(Kimi wa mitsu yori mo amaku) 7. 赤い絲 (Akai ito) 8. 切断TV (Setsudan TV) 9. ザクロ色の月と狂った恋の旋律 (Zakurairo no tsuki to kurutta koi no senritsu) 10. Beast 11. CHEMICAL CANDY SHOW CASE 12. FISH 13. XX体質 (xxTaitshitsu) 14. 毒蟲 (Dokumushi) 15. 桜の満開の木下で (Sakura no mankita no shita de) 16. SUICIDE DANCE Ladies gentlemen and gays, I present to you the most underrated band of the indies (and major, believe it or not) scene in the 90's: Merry Go Round (otherwise stylized as Merry Go Round, Merrygoround, メリーゴーランド, affectionally refered to as メリーゴ/merigo by japanese fans). I'm sure the rarez queens on here would beg to differ and probably offer up some other band with a bunch of apostrophes and misspent words in their title because Merry Go Round are too popular but NO. They have a point, as anyone worth their weight in Nagoya kei history knows the impact of Merry Go Round on the local scene at the time, but the lasting influence of Merry Go Round isn't as widely known. Here I've come, along with the aid of this thread to help decode the mystery that is Merry Go Round through their swan song best-of release from 2003, merry go round is dead. There's no better time to go into this, as gibkiy gibkiy gibkiy marked the return of Kazuma to the scene, and they are hot off the heels of a fairly large country-wide tour and now a 3man series of lives with DALLE and 101A. Gibkiy continue onward with merigo's legacy of avantgarde experimentation, pushing the boundaries of not only the visual kei scene, but the underground alt-rock scene. Merry Go Round's cult following continues onward long after their eventual demise, over 20 years after they had started in '91—they even have a fan-run “memorial site” in their honour, still updated to this day. At the party zoo event lives, there's been merigo respect sessions, with MUCC members playing in them. Their releases catch a decent value on the secondary market, with their best-of albums easily catching upwards of 8000 yen. Something's in the water with these guys, and I don't think its any coincidence they are still mentioned in the same breath with the major label successes of the Nagoya scene despite their relative obscurity outside of the scene: Laputa, ROUAGE, Merry Go Round. The short answer is that they were legendary in every sense of the word; everything merigo did was fucking iconic. There was a sense of genuine darkness about the band, no one was flashing around their goth clothes for the chicks only to switch it up afterward when they got bored. The twitter thread was quite helpful, as they pinned a lot of influence to Merry Go Round that I didn't otherwise know. They claim that Kyo (DEG) and Daisuke (Kagerou) were quite influenced by Kazuma, and while I don't have anything to back this up, I totally believe it. Kiyoharu and his very obvious influence on like...99% of visual kei aside, Kazuma's edgy antics have clearly played a role on Kyo. He was the first person to rock the metal face piercings-all-over look, which Kyo later donned in the 2000's, coming to a fever pitch in the 2010's with band guys literally filling their faces with as many piercings as possible. Of more importance is the inheritance of an independent and unique being that merigo embodied; they were so unique that even the japanese source had to struggle from talking in hyperbole. Honestly, I'd argue that Kyo's closest comparison point is Kazuma, in terms of avantgarde leanings and their individualist persona that was cultivated through their almost outsider leaning art. They also pin Merry Go Round as the prototype for menhera love songs, whatever the fuck that means; my understanding of Kazuma's lyrics are limited but there's a lot of sex...s&m...sex...S&M! Of equal importance was this new influence of a darker perspective--taking into consideration the misfortunes of the world and informing one's art, which encapsulated a lot of themes which would later pop up in kotekei and the boom of menhera in the 2010s. Kazuma alone is not to credit for this, but along with the early Nagoya's kei scene's influence in ushering in this new era of ~yami~, he made a decent impact on the darker bands that would follow in later years. Throughout their history, even through lineup changes, their brooding energy stayed constant and so did their experimental, post-punk edge. While firmly rooted in the history of the scene, they sounded equally distant and removed from the scene. Whereas other bands mixed in sharp melody and pop sensibilities to the doom and gloom of the time, Merry Go Round nixed conventional song structure altogether. They had the melancholy down pat, but they added an almost relentless sense of repetition. Songs wouldn't move much as compositions, focusing on a guitar motif or rhythm and pushing it to the desired running length. It's a sound that is hard to describe without listening to their songs, but also a sound that varies with time. Notable is a 1997 cover of Bauhaus's “Hair of The Dog”, in which the spacey guitar lead of the original is turned into a fast-flicking, treble-y riff; the rhythm replaced with a syncopated drum beat. Kazuma sings coldly, screaming and cackles hysterically, pushing the frantic energy of the song into maniacal heights. The end result is so fucking merigo that I'd have a hard time believing this wasn't the band's own composition. This speaks to the quality of the re-arrangement of the cover but also their brilliance, in turning the frantic yet restrained energy of the original into a fully realized, uniquely dark visual kei song. The guitar tone and technique are a definite echo of the indies sound at the time, but the chord progressions dubbed over the melody of the original are totally post-punk, dour and dire. It all makes a lot more sense when hearing "Ame to muchi", which is an original composition yet it manages to sound quite close to “Hair of The Dog”. This is a perfect representation of merigo's traditional sound, equally visual and goth. Besides, when was the last time you heard a visual band cover fucking Bauhaus? These two tracks are part of their old sound before '99, which was more typical of mid 90's gloomy-kei and Nagoya bands, but as they went on things got weirder and weirder, peaking with their 2000 full length. Past then, things got a bit more sober and streamlined, with a more rock sound but were still quite distant from the third generation of Nagoya kei, which included the more goth-inclined Lamiel, kein and later Blast and deadman. Merry Go Round - "HAIR OF THE DOG" Bauhaus - "Hair of the Dog" Merry Go Round - "Ame to Muchi" Speaking of all this history, lets get into the band's tea. merigo is messy to say the least, and there's not much I have to add that isn't already on the net, so I'll offer the interesting points. Merry Go Round's history is marked with stuff that doesn't happen at all anymore, including massive lineup changes, being together for 10+ years (believe it or not), falling in and out of major label contracts and a weird discography, with only 1 full length album and a scattering of minis and singles to count for the fajillion years Merry Go Round was a thing. Vocalist Kazuma and ex-Laputa guitarist Hideno were pretty much the only constant in the band's recording history, excluding their pre-demo years. Before '95 was probably a whirlwind, they cycled through 2 guitarists, 2 bassists and a drummer over the course of 4 or so years, with only recorded 1 demo (before their official demo) to show for their early years. None of the members at that time went onto any other bands after their time in merigo and so what went on in those years is entirely unknown, but totally interesting. I'd like to think the band was a volatile group of goths going around Nagoya with violence (a-la X-Japan), crappy music, drugs and S&M orgies but we might never know. The reality of the situation is likely a lot more boring, with Kazuma refusing to let go of his little project despite the financial and personal difficulties that come with trying to get a band going, especially considering it was before visual kei's mainstream popularity in Japan. They found stability after 1995, with their first main lineup's output stretching from '95-'98 before losing their only other composer, the now deceased Junna and drummer Kyo. Hideno then became the sole composer of the band's music, and whether for his personal taste or just overall circumstances, shit got very dark, very quickly. Song lengths could be brief, with weird minute-long voice solos or drag on for seven, eight minutes at a time with their typically minimal instrumentation, leaving Kazuma's croon to fill in the spaces. This was hinted at in their earlier days, as S featured the 12 minute monster “Dokumushi”, one the creepiest songs ever put to tape, which was composed by none other than Hideno. Catchy choruses became even more sparse, as songs were more about mood than melody. The jazz and industrial influence became stronger, with an alt-rock vibe creeping up on them in the later years, replacing the remnants of their old school style. Basically, as an album, merry go round is dead is not much more than an afterthought. There's actual little reason to purchase the album, as its limited 1200 press has ascended it to god rare status and it doesn't show up often or for anything remotely cheap and all the tracks have been released before. That said, most of the stuff from their marder suitcase/Fuji days are impossible to find now. Nothing was done with purpose in terms of arrangement, inclusion of tracks, etc. The track list is mostly chunked from the original releases, with little integration. The first chunk was their new stuff from 2003, then most of the tracks from the 1999 singles, with only 2 other b-sides that went to their 1999 best-of REDDISH COLLECTORS NO DEAD ARTIST. There's a lot of overlap between these compilations, and REDDISH... is a weird enough album that it deserves its own article. There's a lot of repetition in their discography, but also a lot of remixes/re-recordings and little tracks thrown in as interludes. Their first full length is also entirely absent absent here, as well as pretty much anything during their second lineup. The only song unique to merry go round is dead was "NARCISSE", which was later thrown into a marder suitcase V.A comp. The last chunk was a throwback to their older days, with the whole IMPERIAL DRUGS single and “xxTaishitsu” thrown in for whatever reason, as it is the only track solely composed by Junna. The classic “Sakura no mankita no shita de” appears as well, with “Dokumushi” cut down to a slightly more palatable 4 minutes. “SUICIDE DANCE” is the only song composed by Kazuma and ends the album as a throwback to their eaaaaarly days, as the song has been around in some way since their first unofficial demo in the early 90's. In terms of the tracklist contribution, I'd chalk it to who owned the rights for the tracks as well as aesthetic representation. Even if the band wanted to include their stuff from the semi-major days, my guess is that they didn't have the rights to those songs, which were conveniently mostly Junna compositions. So whether by design or coincidentally, it's mostly Hideno composed, reflecting the musical design of the band from 1999-2004. On to the music itself, it is spectacular to say the least. No matter how much you prime yourself to hear something of comparative style to other artists, or rather the inverse—expecting to hear something completely alien, the experience itself is neither. Tracks 1-6 were their post-2001 output, a mix of melancholy ballads and crunching alternative rock numbers. The sense of theatrics is mostly toned down for a primal rock energy. “Shitsuraku” is straight up aie chords played for seven minutes on end with what sounds like Kazuma on xanax. He takes the track towards a lullaby, threatening to pierce that threshold and roar yet it never approaches those heights. “Zokei” is among the best of the new material, with a percussive rhythm accented by dissonant guitar chords and Kazuma totally riding the track with vocals oozing sensuality. These tracks are a perfect example of merigo's penchant for repetition, as there are few diversions from the introductory chords and melodies. Hideno overlays a new motif or two to keep the songs from being mind numbingly repetitive, and it works to keep interest but otherwise keep the tracks hypnotic. “Narcisse” and “Kimi wa mitsu yori mo amaku” are shocking in that they're almost—joyful—ballads, not creepy or brooding (spare the intro to “Kimi...”) and a departure from anything they had done in the past. These were a look into merigo's possible future, a fascinating look at what could have been. I'm not sure it would have been a future we'd have wanted, but thankfully gibkiy gibkiy gibkiy came up 10 years later and swooped up the remnants of Merry Go Round's old craziness instead of letting this acoustic cheese bloom. That said, I like them in the context of the album's melange of mess. Merry Go Round - "Zokei" Then begins the older output (this album goes in reverse chronological order, basically, LOL), the more essential or classic Merry Go Round songs. “Akai ito” is the song that more or less got me hooked on art kei (I was already a Diaura stan, #sorrynotsorry), as the song was so...un-visual. It is a naked and haunting ballad, and it struck me as visual kei style vocals over a sped up Low or Codeine song. The guitar line had the dissonant feel of a darkened post-rock or midwest emo track, and I'm a huge fan of all of that so its safe so say I was shaking in my boots. To this day, it is my favourite Merry Go Round track and I literally melt the second I hear those opening chords. This haunting sound is echoed by “Zakuroiro no tsuki to kurutta koi”, which is in the same stylistic vein but a more drudgy, spacey number. Kazuma kills both with his vocals, dipping in and out of vocal acrobatics, occasionally pushing the border between fascinating and gratuitous but never overstepping his bounds. The template for these ballads is toward the closing of the album, with Merry Go Round's classic “Sakura no mankita no shita de”, which more or less birthed true emo balladry. It is covered in sessions to this day, and from merigo, it is the one track that is remembered from non-fans and fans alike as an iconic bit of Nagoya kei history. “Setsudan TV”, “Beast” and “FISH” are the flipside to the traditional melancholy rock balladry, as the band step into dub, industrial and jazz sounds. “Setsudan TV” is absolutely insane, with a thumping, urgent instrumental, not too far off from a cyberpunk anime soundtrack. Kazuma's vocals are...[redacted]. It's the peak of madness for the album and a track so bizarre it warrants a listen, just for the shock experience. “CHEMICAL CANDY SHOWCASE” is a look into merigo's traditional sound, as its a straightforward, punky rock piece. Merry Go Round - "Akai ito" From the traditional sound to the straight up old school, “xxTaishitsu” brings the vintage heat, as it is one of the older tracks. The looping/glitching vocals from “Setsudan TV” are here in a lower dosage, contributing to the intensely psychedelic vibe of the track. The track comes to a climax with a bizarrely spaced and composed solo, in a much higher pitched voicing than the rest of the track; it's orgasmic to say the least. If you're not air guitar-ing to it, then what kind of a wannabe guitar player are you? From then on comes “Dokumushi”, unfairly cut down from its originally wonderfully messy glory. In fact, the horrific and disturbing effect of the original is almost entirely lost in this 5 minute edit, as the song is made all the more creepy for how long it goes on for. The album ends with “SUICIDE DANCE”, an otherwise unremarkable song for how much it resembles other, better merigo hit songs; however, credit is due as this was the template for pretty much all of Merry Go Round. Merry Go Round - "Dokumushi" (Live) And so the snake swallows its tail, merry go round is dead. Hideno has pretty much fallen off the face of the earth, and that's a real shame. Otherwise, Kazuma's contribution in gibkiy gibkiy gibkiy keep the spirit of the old school alive, and that is testament to the strength of the Nagoya scene. There is nowhere else in vk, aside from the legends of the late 80's-early 90's that musicians have remained active for so long. Peers play with up and coming musicians along with their influences, producing new and dark sounds, equally indebted to the past as they are to the future. Here's to our darkened future, and the merry go round which will spin eternally. gibkiy gibkiy gibkiy trailer References: please note that this is mostly limited to english sources, the gaps in my knowledge could possibly be filled by japanese sources or defunct english pages. please let me know of other additions and translations if possible, do it for the oldies!!! 1.) this awesome nagoya kei intro thread (JP) 2.) western news sources: jame (s/o to the girl who upped the band bio in 2010, it was of great help) vk wikia junna memorial blogs compiled on shattered tranquility 3.) memorial site 4.) yunisan (song credits, lineup information, press numbers)

Morrigan will release a new mini album called 「XISS IN THE DARK」 on 2017.05.24. It will cost 2500 yen + taxes. http://ameblo.jp/morrigan-official/entry-12252684631.html

Both of you look dope!

たまて (tamate) is ex-ハッピー☆アラカルト (Happy Alacarte)(牙狼/Garo)-->F@NNY-->エスカピズム (Escapism)-->メルヴェル (melvel)(らいむ/Lime)

OMG This was my first account. RIP

@-NOVA-previews are UP and I'm sure it's doing just that haha

gworl srsly, fix them teethz

Vexent - 「紫苑」(Shion) MORRIGAN - トランキライザ (Tranquilizer) amber gris - Fc Single MORRIGAN - PARADIGM XISS Tour Final DVD @ Takanobaba Area Nocturnal Bloodlust - The Best 09 - 17 My Bacteria Heat Island - Last Live DVD & 4 of the many pitty chekis i have collected over the last year xD And a sexy MORRIGAN Cheki case to hold them all <3

I feel nobody cares lyrics jpopasia has a really nice lyrics system but nobody communicates I type some lyrics which not exist, but all visitors are japanese lol

It's hard to pick just 9, and these aren't necessarily my favorites now, but I think they've had the most impact on my musical tastes. Depeche Mode – Violator I love 80s music (and the 80s in general), and this album is everything I love most about it, especially at the turn of the century when it was released. Even making a top 9 list of just 80s music would be difficult, so I’m just leaving it at this. Tori Amos – From the Choir Girl Hotel This album got me interested in music as more than just something to listen to in the car/on the radio. Lyrically it’s amazing and covers a wide variety of topics that have stayed, resonated, and continue to resonate with me. The MV for “Jackie’s Strength” is stunningly beautiful, especially at the end. Ayumi Hamasaki – Duty This album got me into j-pop. Whether you love or hate her voice, Ayu’s real talent is as a lyricist. Her (older) catalogue has song for just about every mood imaginable. Sadly her recent stuff is somewhat of a stain on what is otherwise a solid career. :/ It was hard to decide whether to include this one or Hikaru Utada – Distance. Malice Mizer – Merveilles This album is what made me dive head first into visual kei. I had never heard anything like it and the visuals and melodic rock totally reeled me in. Although the album sounds rather dated now, the concert recording for this album never gets old. Kuroyume – Feminism Ugh I just love everything about Kuroyume during this period. This album really shaped my taste in visual kei. “Love Song” and “Kuchizuke” should be way more popular than they are. Lyrically and thematically this album is solid through and through. Plastic Tree – Träumerei (Toroimerai) This probably isn’t their most impressive work, but it’s an album I can’t help but keep coming back to, even now. This might be my favorite song off the album, but it changes every now and then: Ladyhawke - Ladyhawke Purity Ring – Another Eternity Mitski – Puberty 2 These albums pretty much sum up my current taste in music. I like that a lot of artists now are drawing inspiration from the 80s and meshing it with other genres. I would have included St. Vincent – St. Vincent on this list as well, but unfortunately I feel like it needs to be heard live to truly appreciate what a masterpiece it is.

Nice job! Do you ever post translations to their videos on YouTube? I translated a song of theirs once (in reply to a YT comment request) and the band came back and liked my translation, which was pretty cool. I'm excited to see them at Fuji Rock this year. <3

I like this idea. The language barrier is something we all face, ignore, and accept because that comes with the territory of listening to Japanese music, but that doesn't mean lyrics aren't important. There's a wealth of discussion locked behind this barrier waiting to happen and I can't wait to gain added appreciation for an artist's lyrical capabilities. One potential issue I see is how touchy some artists are over proliferation of lyrics. Some don't care and others treat them like prized jewels and don't want them spread everywhere. I never understood it but it is what it is, and for some artists finding lyrics may be more difficult. This could possibly be a cool project for ORZ to take up but I wouldn't want to take it here for 2 reasons. One is that our skill sets don't nicely overlap with what is required to make this a repeated thing - if anyone is fluent in Japanese, has access to lyrics, and wants to join and do it with us that would be great! The other reason is that this is a topic where discussion is vital - and ORZ topics have a reputation of "look but don't touch" that I'm still trying to move away from. Community participation in this is required to really make it take off and thus I'd rather leave it to the community to start it up whenever they feel the inspiration to.

1.琥珀 2.恨ミ言 3.夜明け、灰色の呼吸 4.ボクノ悪イ癖 5.蓮華 6.ユートピア

The Screaming Skull I think I mentioned this among the godawful so bad it's gone films in this pack, but I'm not sure what I was thinking. I must have mixed it up with another title. Because I don't think this is a bad film at all and do not let the 3,4 rating on IMDB fool you. The Screaming Skull is cheap, it's silly and very predictable, but it's got tons of fantastic atmosphere throughout the entire film. Highly recommended! Love the opening with the narrator btw: "The Screaming Skull" is a motion picture that reaches its climax in shocking horror. It's impact is so terrifying that it may have an unforeseen effect. It may *kill* you! Then he tells you you will be buried for free if you die of fear during this film. That's how you start a movie! 8/10

Ennuste noussu oikein keväiseen +17! Oon asettanu Gloriakaljan ostorajaksi 2, joten jään vielä roballe seisoskelemaan ja juomaan viinaa vaikka seuralaiset menis edeltä sisälle. Toivottavasti kaikki ohjelma olis mahdollisimman aikaisin, että kun menee sisään niin sois vaan pelkkää musaa.

All that stuff linked above is not an option if you hate it like I do, lol. Visual kei might as well have originated from two drunk Greeks twiddling around with a lyra after making love to other one's niece. I don't give a fuck. Visual kei is to a large extent my essence and being, but I would rather burn in hell for all eternity than listen to 30 seconds worth of any nu glam/sleaze cockrock, or even all their Kissy forefathers for that matter. I'd rather play 2010's The GazettE covers for a millennia in purgatory than subject myself to any of the bands linked above for a single solitary second. The guys from Bataar and Seremedy may not share my opinion to the same extent, but it's a likely scenario that they'd rather sound like VEXENT/Killaneth/GenericnuVK than OldlyCrew. Most likely these dudes grew up with mid 2000's nu metal kei as well, so whatever the gentleman from X Japan were listening to back in the day has no bearing on their lives. They're white and they want to play Vortex and Remember the urge, and that's kind of it. Wearing a Poison cumrag on your receding hairline is no less hack than rocking a 15$ emo fringe, so if they're dead set on jacking an aesthetic wholesale, then both of these options are just as socio-culturally irrelevant as the other. The concept is not the biggest factor holding them back from being up to the Japanese standard though: it's the execution. The problem here is that they're really bad and can't even do the little that they do without being embarrassingly bad, so they're forever doomed to play handout gigs at battle of the bands held in youth community centers; begging for Japanese tours from a drug-addled, rapidly aging Kenzi whom Yohio presumably blew to get his start there; or just kneel and pray for the rapid advancement of future technologies that will allow scientist to resurrect the other guy from ADAMS so they can warm up for them at their subsequent tours in the Donetsk and Luhansk republics; remaining forever unsigned, forever stuck in shitty local band limbo. I try to follow these bands to the best of my ability not only out of morbid curiosity, but because if I could find 4-5 able vk fans then I'd start a weeaboo kei band myself. So while I'm sympathetic, I'm also twice as angered by their poor music, their poor taste and seemingly narrow frame of reference in visual kei, based on what I've heard and seen from ~sources~. I believe not many people have watched the original carting out the corpse of weeaboo kei video, so here's some cliffs (as far as I can remember them): Back in the day there used to be a dozen vk bands in Scandinavia, now there's practically none and the ones that exist are woefully inactive. Finland used to have quite a few, although ranks of the members were very incestuous. If you can believe it, they were actually even worse than the Swedish bands and the two most long-standing ones even tried rebooting before fading into complete irrelevance. The one that I last recall having a proper concert, called "FAEK", has not updated their Facebook since Autumn of 2016. One curious aspect of the scene was also that a lot of the participants didn't really seem to be active visual kei fans, and yet despite that they used JAME to promote themselves and performed largely at cons and warming up for Satsuki/Plunklock tier bands that happened to be touring and performing at a venue called Gloria that receives some strange government money to minimise the L's the organisers take booking these shitty bands. The most longstanding band of the "scene" called "Karmia" appears to have dropped any pretensions towards vk and has settled for being a shitty local rock band. Here are the results: ( fyi the youtube superstar's former troupe that stole their name from Uverworld have also seemingly left vk behind in favor of a more western approach. Unsurprisingly their social media stature plummeted as dropping the Japanese rock shtick just unveils what they really are: one in the rank of millions of shitty local rock bands ) DIE/MAY is now the only one left and while shitcanning Seike will definitely help, they'll eventually do the routine of downshifting until turning to radio silence and then the eventual disbandment post on facebook, if they'll even bother. Aside from Tuomas and Heikki they also have afaik have one or two guys from the best Finnish vk band in HISTORY that larped TOXIC/DIVISION period The Gazette called "Desier," whom while very bad, managed to sound like an actual visual kei band on a shoestring budget and minimal ability. Conceptually they had a good thing going though. How DIE/MAY performs in their current iteration I will find out this weekend, unless I prefer trying to get cancer outside instead. Any Bataar fans sharing the hashtag can come say hi! edit: This post is already a mess so it won't hurt any that I'll add something that I just thought: conceptual coherency is a problem. When I got to thinking about the last.fm's of these guys that I've seen, or the fates of Overworld and Karmia, I'm not surprised that people seemingly can't make heads or tails of what they exactly sound like. DESIER used to sound like The Gazette because afaik the composer was a huge fan, but then bands like Jenlayn and Karmia straddled a strange territory of sounding like just shitty rock music, in all its terminological ambiguity. It's not entirely farfetched that the amount of band members in the entire history of the scandinavian scene who are as vk savvy as the average member on this board, is as low as 3 or less. I actually briefly trolled a Crestillion live stream two weeks back asking what their favorite Madeth Gray'll tape was and whether they prefer Key Party or Matina. Not replying to me was a perfectly understandable response, but I have no doubt that they had absolutely no idea what I was talking about either. Visual kei in the west is being represented by Yohio ( who's old last.fm you can easily find ), and guys who literally only know Filth in the Beauty and The Final. That's tragic.

wowow dispo is one hot fucker ;w;

wow cultural appropriation much #problematic

no kuroyuritokage? SON I AM DISAPPOINT

You mean what was SAN smoking because he was the main composer for NEGA before he lost his groove. NEGA abandoned that sound after Grave of the Sacrifice because SAN needed new inspirations. then we got the trainwreck known as PERESTROIKA, a revived NEGA which was pretty shit, and then THE BLACK SWAN which is the closest we've ever gotten back to that sound IMO. I actually think Jin is trying to get there all on his own again and he's doing much better than I thought he would. Two thumbs up for illegitimacy (single version). The piano solo at the end is

For any of my fellow LGBT+ lovelies who like Hardcore Punk, here is an LGBT Black Flag cover band, called "Black Fag". The profits they make at concerts go to LGBT charities. They also made a really catchy dance to go with it xD

katy is trans now

I thought the only thing Satsuki was missing was talent...

trixie said aja looks like trinity k bonet if trinity k bonet was a burns victim and i think that sums up this season

Hizaki - Crimson Rose Live DVD GRACE Fanclub limited edition ! That photobook is fucking amazing

Monochrome Boiz in da houseeee feat. @Disposable

What a fun topic to resurrect! C93 - All the Pretty Little Horses MERRY - Moderngarde B-T - Six/Nine Bowie - Station to Station Coil - Moon's Milk (In Four Phases) These New Puritans - Field of Reeds The Mortal - I am Mortal Soft Cell - Non-Stop Erotic Cabaret BTS - Wings / You Never Walk Alone (repackage) Pretty much in order, starting from my favorite. If someone was under the illusion I have good taste, there goes that

Man, they must be obsessed with the Xavier Institute of Social Service. I mean, how many song titles of theirs have "XISS" in it? 10?

Never thought I'd see Aztec Camera on MH RESPECT!