eiheartx

Time moves on and irrelevant art forms and their instruments get thrown into the very crowded dustbin of history. If you have any doubt about this, I'd like to ask you to name the top 10 premier bebop musicians today, or how about something that sounds like it was from the paradise garage? how about poodle rock? is anyone playing like Weber lately while painting like Monet and catching the salon by storm? They're all gone from the popular consciousness and live as mere perverse retro curiosities ( new post-punk and goth rock fucking eww ) for a handful of people. Scenes, genres and movements always come, go and never come back in the same form. If you ask an enthusiast he'll no doubt tell you about all the killer up and comers, but that's all bunk and they know it too. Nobody's touching Billie Holliday, there's not going to be a new Beatles, nobody's turning back the clock and doing nu-Bach in a manner that won't be scoffed upon by anyone who's serious and in the know. Visual kei in that regard is, to be quite honest, finished. I'd say its creative, artistic peak ended right when the turn of the millenia labels dissolved, and the European boom was caused both by the hot air from that period and the aptness of visual kei musicians to appropriate the emo/scene stylings as mentioned before (see the mallgoth act D'espairsray and nu metal Girugamesh for proof of this ). Visual kei's adaptability has given it such a lifeline for sure. There's not a whole lot of genres that can keep moving the needle and making money both domestically and internationally the way that it has. We've literally outlived and survived the deaths of hair metal, goth and mallcore. Probably only the general metal subculture can boast such a staying power, and they too have been struggling to stay on the surface since all that Anthrax skate metal and the alt-rock Metallica boom faded away. Now even big names can't sell out in fucking _Finland_ and underground classics struggle to pull. In my pessimistic thinking we are at the tail end of this rock guitar saga, and it's due to the gradual withering away of rock music's cultural and demographic base. 
 
I have my own fantasies about the evolution of visual kei as an active counterculture as opposed to a dull consumer culture. Agendered danger lurking in the metro stations near you; they'll know us by the trail of blood and the smell of hairspray. It's all complete fantasy however that I entertain with like three people max. In reality I know we're over and done with as a seismic cultural force. This however doesn't mean that everything is lost. While I don't think MH contributed to the fad beginning or ending, I certainly think MH has contributed massively to the staying power of visual kei on the internet in an age where everything else is disappearing. That Japanese indie analogy is an apt to make, because there's no reason why we shouldn't be in that same position had there not been these stalwarts of vk culture like MH have withstood the storms of the passing time. This was achieved by the unending dedication and efforts of the core-group that keep coming here year after year after year. If there were double the people with as much heart, perseverance and ability, who knows where we would be. Could the boom period had been extended by the valiant and most importantly of all, smart and applicable endeavors of a few dozen dedicated enthusiasts? I don't know. Bless this website either way and all you people who keep coming and contributing.
 
I won't dare to wager ( but i'll haughtily speculate ) why the laptop took over rock 'n roll, but stuff like the global demographic shifts were just too much for it overcome. The popular sphere has drastically diversified both nationally and racially. The stuffy dadrock crowd is losing their death grip on the entertainment zeigeist and big festival lineups are a testament to this. The rock bands pulling the big crowds are really fucking old, and the audience is only a notch younger. Sure the vk bands can draw a garage-full of people and enjoy the company of a few snappy young women — that's it though, no one else cares. The faucet has dwindled down to a point where it is increasingly harder for bands to sustain themselves. It just happens to be a form of music that doesn't speak to the majority of people anymore, not to the young person in school or the higher cultural crowd either for that matter. Electronic music is thriving both commercially and artistically, even hip hop is still doing a fabulous job of innovating itself; all the while one of our biggest newcomers ripped off a decade old deathcore album just last year. Even selling CD's in this day and age is dated, and labels are dying to adjust before the inevitable fall. The electronic underground, even hip hop has managed to adjust and evolve to a degree in the way music is released and spread ( a lot of the big names aren't even releasing full LP's anymore. Just songs, for free on youtube and whatever ). 
 
I'd honestly like to know what kind of social factors contributed to the rise of scene culture. Remember those bands like BrokeNCYDE, BOTDF and etc.? Where were we at the time, as a culture, that stuff like that was tapping into our consciousness. Nothing happens in a vacuum and people don't just decide what to think, feel or do out of the blue. There are reasons for everything in the social and economic fabric of societies and It's an interesting question fo' sure.
 
 I know my way enough that if I want to make an impression, I wouldn't go telling a cool stranger by four euro latte's that my taste in music is essentially the Japanese Poison and Coal Chamber. I'd embarrass myself either way if I left it at that or started nervously flinging my hands and explaining how deep down this culture is really gr8 and transgressive art. My heart stays true to bijuaru kei either way. I'm going down with the ship and I'll keep on making-a-fool of myself on a daily basis. So that's why this is my favorite thread, because I have a hard time of letting go of the glory days of my youth and its music, endlessly try to rationalise it by intellectual gymnastics. While my death slowly approaches and even the last patches of grey hair are falling out, in my mind I'm still young and full of cum, ready for adventure. 

Having been around and about in the scene back in the day, having talking to people left, right and center: I have this feeling that most of those people didn't download a thing from blogspots and messageboards. In fact the people I introduced to visual kei blogspots were absolutely mind blown that such a places existed, because it wasn't common knowledge. The average people, ie. the paying public who actually did the needle moving in 2006-2009 made due with services ingrained in the culture at large at the time: winmx, limewire and the others, most importantly of all Youtube. It is staggering that there still exists a considerable segment of people who consume visual kei by Youtube or EU-editions only. This is anecdotal on my part obviously, but I'm confident that anyone who actively took part in the fad in Europe wouldn't outright disagree with the observation. One should never forget that most of the people are pretty dumb, and back in 2006-2009 not everyone was as internet savvy as today either. I legitimately think that those who actually were the monetarily contributing members of the swell in popularity hardly made themselves a presence on the messageboards, livejournals and etc. They just went to shows, bought EU-presses and lived out their bum lives in peace until kpop or adulthood came knocking. 
 
 
I think this is the biggest contributing factor to the divisions within the existing hardcore community. Message board culture isn't what it used to be in general ( In vk I think that lj -> tumblr migration is one cause of this. ain't no1 got time 2 write ), and a majority people prefer to spam pictures and communicate with a character limit.
A lot of folk aren't cut for that message board life either, and this place especially I can imagine freaks out A LOT of people. As far as message boards go MH has been the premier destination for a long time, but there are people even in my circle who don't like to read or post here due to the perceived "hostile" atmosphere ( well... they're not exactly wrong on that count). So those at least in the anglosphere prefer Twitter and Tumblr, which is where you definitely have to go these days if you want to make friends. 
 
What this sort of reminds me of is a group of activists spreading leaflets and their bi-monthly journals on the street and wondering why no one cares. They're not losing heart though, because back in the 60's their predecessors were a force, so naturally history should just be cyclical and one day we'll be back in the mix doing what we've always done! Organise those fucking SANA and Satsuki concerts until not even the bouncers show up: then blame the fans and the bands for being lazy and greedy. A good allegory is that there's no party without a base and there's no base without a party. It's a puzzle that we most likely will never be able to solve and in a good 30-50 years when rock music is completely irrelevant and faded under the wave of flying cars and synthesiser music, we'll be right there with 'm. Like @TheStoicsaid the winds of popular culture are so against us that it's an uphill struggle to gain any notice in the wider world, and in addition we as the underground fucked up on the organisational front to even grant ourselves the whatever few shows we did used to get annually. 

Re-recorded taion holy shit

basically me. 
Not interested in these releases at all.

basically me. 
Not interested in these releases at all.

SIVA songs sound incredible live, I still love this album so much <3

The guest band has been revealed to be メガマソ (Megamasso)
 
http://ameblo.jp/voltage-official/entry-12227504562.html

SIVA songs sound incredible live, I still love this album so much <3

My smallest hope is that at least this album won't be live-limited.
My biggest hope is that this album will include songs from live-limited singles.

Day 15: S.I.V.A.  by Royz 

 
Release Date: 2016-04-06
Label: B.P.RECORDS
Genre: Visaul Kei
 
 
Impressions from @ShanethVarosa:
 
 
Impressions from @tetsu_sama69:
 
 
Impressions from @Seimeisen:
 
Sample song:
 
Buy the album:
CD Japan | iTunes | Amazon

I've never played this game, but the soundtrack is a trip (no pun intended #intended)
 
 

Megamasso part one!
 
I had to split my order because i was afraid of the customs, considering the A4 box!
 

 
My boi is beautiful **

A live DVD, again? Ok.
I was expecting a new album tbh, as good as 420 with VENOMS.app elements in it. That's what I want to hear from them :/

The diamond「デも/demo」 was found in the darkness to impress us and bring new a beginning to Ryutaro. 
 
 
 

 
 
From the fans dreams. Finally Ryutaro arimura released your own solo project. This year Plastic tree celebrated the 23th birthday it's interesting as Ryutaro kept his own compositions in secret and he just was waiting the right time to start own solo project. Its so obvious that him wanted a wonderful and very well produced release.  

Some years ago... I was talking with a Kurage friend about a "solo project" in future and i was right that Ryutaro have many unreleased songs and maybe he could release some solo album to give to us the personal work and feelings him between all these years with Plastic Tree band. 
 
Then today we have「デも／demo」release that is incredible work from him. Like my last review, i will comment every song and then overall and sorry if i commit some wrongs in English. 
 

Let’s to review.
 
 
01 - 幻形テープ／genkeitêpu 

Like a intro, genkeitêpu just bring piano and one deep atmosphere that remains between all time. The great point it's when Ryutaro introduce the mini-album with own title of release and then come a lively atmosphere which resembles the birth of the release. 
 

02 - 浮融／fuyuu 

The fuyuu song impressed everyone in the first preview from the release on youtube. That gave a good impression with what could be 「デも/demo」. Yes, its a shoegaze song, awesome with all details including the PV and reminds so much the 13th Friday song traces. 

Fuyuu is lovely to me. But isn't my favorite song and i should to admit that its so deep with a explosion of feelings since the guitar intro until the mixing of all instruments with the Ryutaro's voice. The song already start like the main chorus by the way that Ryutaro start express himself quickly that is interesting thing to me, if its a song with elements from the shoegaze. In every minute the listener dream with all the feelings that fuyuu brings that is relaxing and wonderful song, i have sure that Ryutaro worked so much to production and composition of fuyuu. He knew that would surprise fans that would be the favorite song for many fans, that is real fact today. That's a reason that he knows how work with shoegaze songs that is really catchy to fans, i have sure that he will explore this to next releases.  
 

03 - 魔似事／manegoto 

Managoto song just break the atmosphere of fuyuu. Enjoyable and simple is how i define this song. Its a plus with the video music that bring the beauty and photography of some scenes. I think that is the begin of "musical identity" of Ryutaro on mini-album. Enjoyable songs to a public that know him only with plastic tree songs.  
 

04 - また、堕月さま／mata,otsukisama 

I can say that is a continuation of manegoto. The same style and more enjoyable and sweet (Melancholic) with pure feelings and between manegoto and mata,otsukisama i prefer mata, otsukisama. Like a better version of manegoto that's makes me think "these songs are just one song (?)", this i will never know. In fact there a similarity that convinces me to did this question. Anyway, mata, otsukisama is one of my favorite songs. 
 

05 - うフふ／ufufu 

Another break in mini-album, that reminds Hakusei release that have something like that in the end of album. I dont know why he did this but i felt a little bored. Just a snippet from fuyuu song like a background with mix of other sounds.  

 
06 - 猫夢／nekoyume 

The second high of release is nekoyume. The song is great and isn't something new from the last releases of Plastic tree unfortunately. Nekoyume is the song that i listen so often, i dont know why exactly.... Maybe is because is a exciting song and  expressive that makes me feel better. The video music isn't something new, the way is the same in Rakka release of Plastic tree. I have to confess that i think that Nekoyume is a copy of Rakka lol (Like born this way to Express yourself of madonna).  
 

07 - 鍵時計／kagidokei 

For me this song is a pray from Ryutaro. Very expressive of simplicity like a poem, this impress me so much in kagidokei that the second song that i love in mini-album. Once more time Ryutaro show the real personal songs that impress me with the voice him. This is so visible in the video music too, the scenes are lovely in black and white that gave the perfect harmony to song. 

 
08 -  恋ト幻／rentogen 

Finally the best song to me, rentongen is the true identity of Ryutaro songs. The clean voice of him between the electro beats that is perfect in my opinion. Again i felt the best feelings in video music that gave to me the best definition about rentongen. First i saw Ryutaro without make up with a sad expression and anguish, many times i could saw too the deep eyes him with inexplicable feelings. I saw many times a certain restlessness incluiding when he is blind in some scenes.  

That's makes me think: many songs unfinished and rentongen is a diamond that he worked so good to be the last song. My fav song definitely! 
 

AC. Ver 

The acoustic songs are very good to a extra content, to me are perfect versions. Some looks no different from the original (should be due little digital manipulation in the songs). Ryutaro wanted to show both side of songs, because this he included the AC Versions and of course give to us a full work to first solo release.  
 

 
Overall:  

「デも／demo」is definitely a good start to solo career, the content is very complete with all details and production. The physical CD's give to us the best art content and musically. This is a reason to be expensive to have all versions, Ryutaro had to create the almost all stuff. The ideas from him was good to every song and PV's and he had all freedom to do that (without pressure of label) and he did some comments on Twitter about every song and how he tried finish and the production details.  

About the similarity of some songs of Plastic Tree.... I have an answer: He is the vocalist and the members do what they like, including the ideas. Many years in Plastic tree band that to have own style take some time or maybe this is the own style that Plastic Tree just use to represent the band. 

To me 「デも／demo」 is one the best release in this year. Was unexpected, daring to own Ryutaro, impressive in some moments and lovely in others. Mainly complete in every detail. This is our「デも／demo」. 
 
 

Megamasso part one!
 
I had to split my order because i was afraid of the customs, considering the A4 box!
 

 
My boi is beautiful **

I love the colours! It's beautiful! It's nice to see some art from you again ghost! <3

yeah, I remember when I was first into visual kei, they were my favorite band and I bought their first three releases lol 

It's been nearly 5 months since I've done any art!
I've been working on this card for a good month and a half, but I've finally finished it.
 
It's quite different than any of my past works, and I think part of that is attributed to the use of my new favorite stippling brush.
Well, with the season and all, if anyone reads this, happy holidays to you.
 

 

Megamasso part two!
 
 

Megamasso part two!
 
 

Megamasso part one!
 
I had to split my order because i was afraid of the customs, considering the A4 box!
 

 
My boi is beautiful **

Megamasso part one!
 
I had to split my order because i was afraid of the customs, considering the A4 box!
 

 
My boi is beautiful **

Megamasso part one!
 
I had to split my order because i was afraid of the customs, considering the A4 box!
 

 
My boi is beautiful **

Finally <3

Type A cover :
 

 
Type B cover :
 

 
I'm in love seriously, I love these covers!