Aferni

Does this mean he's no longer gonna get into twitter fights with Christian teenagers? 
 
I can't accept this.

YES. thank god, this has been a long time coming. I never thought Kishi would end this fucking series... hes been asspulling in the manga for months now xD

Grieva = old Dir en grey
Gossip = old GazettE...and Grieva. A lot of "yayayaya"...well, I think it's a bit boring.

Naruto better stop playing games and

ex-F@NNY members new band "エスカピズム(escapism)" will hold their first presents live "東京無限CARNIVAL(tokyo mugen CARNIVAL)" at Birth SHINJUKU at 2014/11/09
 
"エスカピズム(escapism)" members:
Vo.ゆ→と(yuto) (ex-F@NNY)
Gt.らいむ(lime) (ex-F@NNY)
Ba.桐花(toka) (ex-Dolce.-->demitAsse(support)(希沙羅/kisara))
Dr.じゅん(jun) (ex-FULL EFFECT')
support Gt.りゅー(ryuu) (ex-MeleM)
 
http://escapism-web.com/

So how did you guys like this first taste of what Gossip-ゴシップ- has to offer?
 
I was quite pleased with what I've heard. The three tracks capture an interesting atmosphere/sound more prevalent around 2003-2006 or so in the indies-vk scene, that kind of style that rapidly changes between fast melodious (kinda punky) parts and more head bobbin' "tough guy" stylings. Yeah, pretty obviously there's an influence from Gazette's older works somewhere in there, but it doesn't get too overwhelming or obvious to the point of plagiarism (or idk, I have a bad memory when it comes to their old stuff). All the tracks are pretty entertaining to listen to, tho I can't recall many actual riffs or melodies but they're catchy and colorful enough to hold my interest. All in all, a suitable and powerful introduction into the band's world.
 
(almost gave it a 4) | better than expected, pretty cool stuff

New look usually means a new release to me. A new single at the very least. *crosses fingers*

Gadeath Gt.Shin has departed at 2014/10/03

眠る貴女にそっと接吻
暗く冷たい部屋の中で。
誰も貴女に近づかぬように
鍵と鎖で縛りました
 
Deep dawn
Psycho player
 
もう大丈夫、僕が貴女を
此処で永久に守ってあげる
だからそんな目で僕を見ないで
2人　手を取り生きていこう
 
今宵、満ちる月灯りに
映る影は乱れ咲く
叫ぶ声が美しくて
鮮やかな紅で染めた
 
Dark and cold room...
 
声を殺し耳を塞ぐ
姿さえも愛しくて
歪む愛を押し付けては
流れ込む快楽が…
 
愛したはずの貴女はもう
変わり果ててしまったね
白目むいた貴女を観て
満ち足りた胸の中
 
嗚呼、気付けばもう壊れて朽ちていた…
 
 

苦しみに堕ちていく貴女を殺めました
もうこれ以上貴女が壊れてしまわぬように
 
崩れ落ちる心は侵食を止められず
増えていく傷痕と錠剤にすがり付く
 
首筋に突き立てたこの愛情に
貴女だけは気付いてくれたのでしょう?
 
朽ちゆくその躰に
接吻してサヨナラ。
抉り出したこの児も
ほら笑ってるよ
 
鏡に写る僕は血みどろで
全てが満ち足りたように
笑ってた
 
壊れている貴女と
狂っている僕には
普通じゃない最期が必要なんだ
 
朽ちゆくその躰に
接吻てサヨナラ。
抉り出したこの児も
ほら笑ってるよ
 
 
 

貴女ノ唇ニ接吻ヲ
貴女ノ体内ニ接吻ヲ
貴女ノ細胞ニ接吻ヲ
理性ト感情ノ相克ノベーゼ
 
貴女ガ美シスギテ
枯レテシマウノガ嫌デ
デモ失イタクナクテ
壊レナイヨウニ殺メヨウ
 
ネェ…マリア…
ネェ…マリア…
永久ノ美デイテ欲シイ
腐リ朽チヌヨウ
ホルマリンヘ　オ入リ
届イテイマスカ?
貴女ヘノ愛ガ
マリア…
ネェ…マリア…
愛シテル愛シテル
ネェ…マリア…
 
回リ回ル感情ト
巡リ巡リ理性トガ
ドロドロト混ザリアッタ
最後ノ接吻ヲ貴女ヘ…
 
ネェ…マリア…
ネェ…マリア…
永久ノ美デイテ欲シイ
腐リ朽チヌヨウ
ホルマリンヘ　オ入リ
届イテイマスカ?
貴女ヘノ愛ガ
マリア…
ネェ…マリア…
愛シテル愛シテル
ネェ…マリア…
 
 
 

吊ルス吊ルス…アナタ…
部屋ノ隅ニ飾ルワ
廻ル廻ル…躰…
グるリぐルり廻レ
 
最後ノ夜…
[Psycho脳]Dinner
幸セ…ラララ…
見下ロシテル　アナタガ笑ウ
楽シイネ
 
デモ…何故デショウ…?
アタシ泣イテル…
 
狂ウ狂ウ…アタシ…
部屋ノ隅ニ飾ロウ
廻ル廻ル…記憶…
グるリぐルり廻レ
 
最後ノ夜…
[Psycho脳]Dinner
幸セ…ラララ…
見下ロシテル　アナタガ笑ウ
楽シイネ
 
二人キリノ晩餐会
最期ネ…之デ…
身体ノ無イ　アナタガ笑ウ
幸セネ
 
デモ…何故デショウ…?
アタシ泣イテル…
 
 

Artist: Sadie Album: GANGSTA Score:
The musical equivalent of the human centipede, where genres are held hostage and stitched together ass to mouth so shit flows in one end and out the other. Except one of the genres is emaciated, another is dressed in drag, and a third took five too many Xanax and huddles unconscious in the corner. Making heads or tails of what GANGSTA wants to be is fruitless. A convoluted mess of bad ideas, worse ideas, and terrible execution, the best thing about it is how little the name has to do with anything. If you like your clouds with silver lining, it's not the visual kei equivalent of Sasuke Uchiha's mixtape, but the turntable scratching and rapping still rears it's ugly head when Sadie is done violating all the other genres they think they can handle.
 
The beginning of the end of my expectations starts with MODE OF GANGSTA, which kickstarts this thirteen track tour de force of all the ways to not juxtapose genres. Evoking feelings of a coked out futuristic dystopian cyberpunk electro-rave punctuated with gang vocals, it's about as good as DEATHGAZE's Japanese Meliorism. And by that, I mean it's cool for eight measures and then it needs to stop. But by this point, you've already ventured into the ectosphere and are being pulled towards the gravitational singularity that is this album whether you like it or not, and the only question you should have is why.
 
One of the few constants within this album is how any attempts to extinguish the flaming wreckage only makes things worse. Lead single DEAD END's intro may give you hope - as a formulaic Sadie rock number they're in familiar territory - but even here there are signs that things are going to go wrong fast. Not only do I feel like I've heard this song before - probably because I have - but the song feels like a disjointed collage of half-executed ideas that don't play well together. There's some sugar, some spice, a funky guitar line or two, a chorus with complex delivery, token heavy sections, and harsh vocals that feel like an after thought, thrown about to take up eight measures worth of time. There's some good and some bad, but it's the most consistent track on here.
 
Differences in opinion over the first two tracks can be summed up into "at least they're trying!" and "diversity!", so I can't knock this band for having no ideas. But at the end of the day, the inability to execute a vision even with a multitude of ideas is not a matter of opinion. It's a fatal shortcoming that births tracks like WELCOME TO THE UNDERGROUND, which is the most clumsy jazz-kei attempt of the last decade. It also marks the point where the album crosses the event horizon and there's no coming back. They keep up their cabaret pretenses for three minutes before sliding back into their trademark metalcore sound so they don't feel too out of their comfort zone, but the awkward focus on English lyrics and inappropriate guitar tuning betrays the band's intentions. The left-field metalcore section sports harsh vocals poor even by Mao's standards, and the aggression displayed near the end is at odds with the rhythm in the beginning. If they had held consistent, it would have been an amusing LIPHLICH imitation at best. Instead, this is a muddled mess.
 
But it's not just WELCOME TO THE UNDERGROUND that sounds like a spiked cocktail of ill-executed concepts. The second constant of GANGSTA is that Sadie doesn't know what it wants to play. A puree of shit banded together by interludes forms whenever Sadie tries to coax ideas into places they don't fit, and a majority of the album falls into this category. Whenever they stumble onto an idea that might work, they suddenly switch gears before it can get going. It would be more prudent to highlight all the songs that stay the course - wherever that course may be headed - from beginning to end. For that, I give props to Tokyo Gypsy, MESSAGE FROM HERE, and the piano outro PHRASE OF LIFE. I would never say any of these three tracks are "good". Singling one out as the best song is deceptive; it's like comparing a turd to twelve less smelly turds. What we have here are three tracks that didn't elevate my blood pressure, and thus I'll take the road less traveled and talk about the few positive aspects of this album.
 
Tokyo Gypsy is a slower rock song, which in the hands of a different band could have worked a lot better. It's the first song on the album that isn't a total disaster, but the band refuses to let it's hair down and get into the groove. This creates unneeded apprehension in the atmosphere. Nothing about this song screams "Listen to me again!", but the greasy back alley male strip club vibe I get from listening to it gives it a place of distinction in my mind. MESSAGE FROM HERE is a six minute ballad driven by a piano where only the rightmost five keys work. There's a feeling of the piano sitting on top of the music instead of integrating itself to it, and feels at odds with the prominent bass line. It deserves brownie points because it doesn't have a section of asinine songwriting to ruin the flow, but it doesn't captivate me either. It's far too long for what little ideas they're toying with, and could have been four minutes and delivered the same impact. The fact that it follows another ballad and leads into a piano outro means that while the album takes a sonic detour into consistency near the end, it's sinks into obscurity in a sea of similarity.
 
I won't mention much of PHRASE OF LIFE, except it's a nod to Kisou and STACKED RUBBISH - a disjointed album ending on a pleasant note.
 
Once the piano from PHRASE OF LIFE twinkles it's way to an understated ending, my hopes are crushed. I've listened to the entire album but I don't know what the purpose was. How can GANGSTA be justified as the product of hard work and musical creativity, when corners were cut and questionable choices were made at every turn? When the band wants to play metalcore, I'm bombarded with rave synth, embarrassing gang vocals, bars of absolute shit songwriting, demented gerbil sounds that are supposed to pass for harsh vocals all held together with derivative pop hooks so recycled the logo is visible. How can one rectify the disparate influences that pull tracks apart rather than brings them together? Take bleach as a four minute excursion into all the things wrong with this album. There's prominent DJ scratching, more bad gang vocals, random unexplored changes in riffage, and melodic metalcore over a house beat held up by Sadie's favorite musical crutches. None of these things go together either on paper or in practice, but the band insists that they do. I can't find any redeeming qualities in this album, and additional listens of GANGSTA reveal more flaws and no hidden gems. If there are any in the music, it's hidden deeper than it's worth to find them.
 
There's trying, trying too hard, and then having no idea what you're doing anymore. Sadie has always been a straightforward metalcore band. The contention with their sound in the last few years is that they're using the same formula to come up with their tracks and they need a way to distinguish them. Thinking outside the box, gathering all of these ideas, and then leaving them outside the box defeats the purpose of gathering those ideas in the first place! If these ideas can't be used, they should be discarded. Instead, the box is as empty as it was before, the ideas are neglected like a child whose mother doesn't love them, the presentation is messy, and it's left to the listener to puzzle out what the band's true intentions were.
 
I'd rather vomit on tinfoil and eat it than listen to this again.

Okay since this entire thing just threatens to go haywire at some point I will from now on hide all posts that aren't at least somewhat decent reviews of the album. And with decent I mean, a review that I can see was put at least a little bit of effort into. If you want to talk shit about Sadie in general (or just because you have nothing better to do fuck if I know) do it in their respective artist thread and not in here. Okay? 'Kay. This thread is for reviews only and tbqh I've seen far too many posts already that don't fit the criteria for a review thread. Also if you're gonna call people out on their circle jerking, fine with me, but also this thread isn't the place for it if you don't include a review of the album itself. Sai out.

Everyone please wait until Saturday for my review. I need the rest of the week to process what I just heard.

it is announced at ジン(zin) presents live "初夏の陣・序(hatsunatsu no jin jo)" at Osaka LIVE HOUSE D' at 2014/06/28 that their new maxi single "悲哀(hiai)" will be released at 2014/11/26, although details have not yet been announced
 
 
btw they will hold their one-man live at Shibuya RUIDO K2 at 2014/11/29 and at Ash OSAKA at 2014/12/06

btw they will hold their one-man live "新春 偽モラ耐久ワンマン～ウォーミングアップあり～" at Osaka LIVE HOUSE D' at 2015/01/24

THANK. GOD. <3

I play flute, Saxophone, Piano, and some guitar. I started off playing woodwinds in school band, and eventually started to explore other options, teaching myself saxophone during my junior year of high school when I became drum major of the school band. I also took AP Music Theory my Junior year, which is when I picked up piano more seriously since it was a good base instrument to know to branch out to almost anything. I didn't pick up guitar seriously until after I graduated, though that is nothing more than a hobby that has been neglected and is now collecting dust on the back burner. I've played other instruments, but not enough to confidently say I PLAY them on a regular basis. I'd like to pick up drums again.

Artist: MEJIBRAY Single: シアトリカル・ブルーブラック Score: Seriously?
I don't often listen to MEJIBRAY, but when I do it's a single because I can't take an entire album of this.

Listening to MEJIBRAY is like playing darts with a very skilled but drunk friend whose precision is impeccable but whose aim is off. Said friend would hit the bullseye more often than not if they took the time to aim before throwing. But in the spirit of keeping the game going as fast as possible, he tosses many darts at the board and hope that enough stick to get him the points he needs to win. The groupies watching who hype his skills overlook this fact. His fans are divided into two groups: one group that sees the potential and the other group which is concerned with the final result. One group hypes his abilities too much and the other underestimates them too much, and that leaves our friend MEJIBRAY in the no-man's land of slightly above average.

This friend knows that he has the talent to play much better - the company of expert-dart throwers he practices with is top-shelf - but he also knows that there is little incentive to play well, so he is satisfied with subpar performance because even if he doesn't win, he still "did well". It works out anyway, right?

No.

THEATRICAL BLUE BLACK is that type of performance that starts shaky and fizzles out before the end. Akin to watching a trainwreck in slo-mo, I can pinpoint the moment when the hype train goes off the side of a cliff. Inconsistency has always been MEJIBRAY's Achille's heel - except it's more like Achille's torso - and the only thing I can say in confidence about them is that they're consistently inconsistent. Even with the gigantic target on their chest that I can't resist taking shots at, MEJIBRAY is here to stay. So while they're still relevant and the Little Hype Train That Could struggles to stay on the track while moving at top speed, let's take a look at why it's good to know when to stop.

If you're interested as to when things get bad, the answer is before it begins. THEATRICAL BLUE BLACK is MEJIBRAY's current offering of a single. I've heard good things from many people about this single but I don't see it. I was expecting to be floored but instead I was bored. "Been here, done that" sums everything up. Yet another song with metalcore verses and a pop hook that by some arcane wizardry fits together better than it usually does, MEJIBRAY has covered no new ground. In my eyes, this is a regression of sorts! They've done better than this before.

Let's start with the tone of the guitars. They may be tuned low, but MiA left all the aggression and heaviness at home. These riffs sound djent-like brittle, neutered at the balls and leave no impact. They seem to be low because they have to maintain their cred as a metal band, but when the chorus is the more convincing musical effort the band isn't maintaining very well. The bass makes up makes up for the lack of low-end punch but it's not enough and often gets overpowered by the guitar. The biggest surprise is Tsuzuku, who has removed a lot of the vocal ticks that made him insufferable to listen to. It's evident in his vocal delivery early into the song - the way his singing morphs into an agitated outburst is the product of many hours of practice. His harsh vocals have not improved at the same rate. He is not at the level where he should attempt them, but no obvious pitch-shifting and the ability to maintain his pig squeals is a plus.

But what can I really say that's not me scraping for positive comments? Not much. Singles need X-Factors to draw me in. THEATRICAL BLUE BLACK doesn't have that. Yet another nameless, faceless single that I won't remember by next week, it could have been done by any other band with the same result. I fail to get a sense of what skills or inspirations MEJIBRAY possesses that separates them from their peers. If this is what they call a single, I'm not convinced the hype is warranted.

I'm even more convinced I'm right when I move onto the B-sides. BI"name"JIKA has an even more cryptic name and has it's own set of problems. First off, it sounds like two different tracks sandwiched together. The first part moves with a rhythm that sticks in your head like a harpoon but isn't catchy. An overreliance on electronic elements with barely any melody means MEJIBRAY is treading water until it switches gears halfway through. Once MEJIBRAY commits to the slow, building style of the chorus on the way out they start conjuring something that can keep my interest. But they don't sustain it for long and just when things get started the track begins to fade out. This irritates me, because the one time they stumble onto an idea not fully explored, it's treated as an afterthought.

HATE is MEJIBRAY's last attempt to get my attention, and they resorted to a two and a half minute number that isn't worth listening to. I have no positive comments about this song. Maybe this gets the crowds going when performing but it's a below-average track overall. I was bored faceless by this. Just needless screaming, a boring and simple set of riffs, and a lack of resolution coupled with no direction. They do this type of track now and again and every single time it just fails. I didn't even finish this song because once I knew where it was headed I knew I wouldn't like the destination.

Cut out all the fame and the hype G. Close any tabs that have a picture open of this band. Turn whatever you're listening to off. We're going to have a serious conversation.

I'll start with the fundamental question I want to pose: why?

Why are they at the forefront of the modern visual kei movement? This band is nothing special. Pardon my French, but this was bland as fuck. No immediate appeal, no lasting appeal, no noteworthy moments at all on this single. What was being hyped again, because I totally missed the train? Or rather, I should say the train missed the station. It never showed up!

Adamant on relying on the same bag of tricks that's been passed around the scene for the last few years, MEJIBRAY doesn't put their own spin on their influences. It's a direct copy-paste of the formula that never deviates from it's inspirations and this formula isn't a turn-key. If a successful product is the end goal, going through the motions isn't going to cut it. Bands can't just play metalcore riffs with pop choruses and come up with a hit single. Songs need soul! It's not only about composing the music, it's about feeling the music. Being the music, even! It's about putting your emotions, your heart, your everything into every track. Each track should communicate a message from artist to fan across language barriers the way only music can.

MEJIBRAY doesn't do this. MEJIBRAY is incapable of doing this. I've tried to get into them on multiple occasions and each time it leaves a worse taste in my mouth. I went back to their first single just to see if it's them or me and it's them. There were traces of promise on their first two singles that have been suppressed for a good while now. MEJIBRAY need to get back to their roots. DIE KUSSE was a step down from Karma & KILLING ME not only in terms of complexity, but delivery, energy, and passion. This is another step down from that. Where's the energy of the band? Everyone sounds so bored, like this has become a routine for them. The passion in the delivery of the choruses are so forced and unconvincing the songs never elevate. The thrill that only a great solo can instill in the listener; the type of solo to get your heart pumping and your feet tapping? It's not here.

At the beginning of the review, I said there were two groups: those that see potential and those that want results. I am in the latter group. Potential means jack shit if you can't deliver. Nobody will remember a band for their potential - only for what they delivered. As long as MEJIBRAY continues to not explore their potential and are content with substandard performances, they will never be deserving of all the hype or attention they get.

"He who trusts not, is not deceived."
"It may or may not be true."
This world was never worthy.
How came it to be so?
「Stop dancing on our grave anymore!!」
 
落ちてゆく。
ただ漠然と真っ白な未来の先
例えるなら終わり、呼吸を止める最期。
眠りにつく墓穴を
自らのその腕で掘り続ける
-死に様ごと刻まれるモニュメント-
 
「こんなはずじゃなかった。｣
夢を見過ぎたせいで
嗚呼、深みに嵌まってく
片足は疾うに埋れて
こんなモノだと気付く
嘲笑えこの世界
嗚呼、深みに嵌まってく
そんなモノでしょう?
 
落ちていく。
ただ漠然と真っ白な未来の中
何度でも訪れるはじまりの時
ぶつかっては思い知る
無様なその姿こそ
刻まれてく　生き様ごと
-映したその瞳に-
 
「こんなはずじゃなかった。」
 
夢を見過ぎたせいで
嗚呼、深みに嵌まってく
片足は疾うに埋れて
こんなモノだと気付く
嘲笑えこの世界
嗚呼、深みに嵌まってく
足掻けば足掻く程。
そんなモノでしょう。
 
 

HATE!!!!!
静寂のナイフを
HATE!!!!!
沈黙のナイフを
 
隠れたつもり?
見えないつもり?
青い部屋の繋がる貶し
 
安易な言葉
群がる嘔吐
己の意味語ってみたら?
 
目を背け他に嘲笑の喝采
 
HATE!!!!!
迫害のナイフを
HATE!!!!!
己のナイフを
 
 
 
 

"シアトリカル・ブルーブラック"
表裏のアイデンティティ…刻は満ちた
 
たまには陳腐なストーリー食べてみてお腹を壊すのも悦じゃない?
誰かが言ってた"死ぬってとても贅沢よ?"
だから『死にたい』って生きてみる
 
華やかな名聞それが24色のクレヨンだとするならば
僕は至って陳腐な3色のボールペンでしかない
 
表面の鳥籠が疼き出して
目に見えない青黒いカーテン
終演からの開幕、自我、空描く
 
"シアトリカル・ブルーブラック"
猛毒のメディシン植え付けてあげる
"シアトリカル・ブルーブラック"
君にもある華美な飛び方を
写意繋ぎ合わせ心モア
 
絶、癒えぬ空
 
明日を夢見るなら昨日の傷を見て
今日歩く事だけを考えよう
終演からの開幕、自我、空描く
 
"シアトリカル・ブルーブラック"
"僕達"を"君"の酸素にして?
"シアトリカル・ブルーブラック"
塗り替えてあげる
ミドリ色の景色
 
人々は苦しんで歩いてゆくのだよ
 
"シアトリカル・ブラックシャイン"
君と塗り替える
見えない翼で
 
 

扉叩いた密かな糜爛
髪の毛揺らす笑みに安息
人差し指を立て迷い込むサガ
求む暮れの夢
剥がれた
 
濡れる口許
塞ぎ込む毒牙
ひらひら身体
開いた
 
消えた現在-いま-に耳を塞いで
奈落の花束
君の腹を舐め上げた
ワタシが愛おしい
 
囁き声と響く足音
二度目の夜とは幾度迷いこむ
穢れを知ったワタシは散らばり
人差し指も立てずに
 
消えた現在-いま-に耳を塞いで
奈落の花束
君の腹を舐め上げた
ワタシが愛おしい
 
満ちた口への愛憎の散歌
飢えた枯れ土
"私のは?"と詠いだす
恍惚が愛おしい
 
 

HATE!!!!!
静寂のナイフを
HATE!!!!!
沈黙のナイフを
 
隠れたつもり?
見えないつもり?
青い部屋の繋がる貶し
 
安易な言葉
群がる嘔吐
己の意味語ってみたら?
 
目を背け他に嘲笑の喝采
 
HATE!!!!!
迫害のナイフを
HATE!!!!!
己のナイフを