zombieparadise

Which one is the best?
 
Up til' now I've only been playing whatever version came out on the PS4 back in 2014, but there's like no one on there.

All over, but no one at concerts strangely enough. Online usually I suppose.
 
The weird thing is the amount of bands we've had here in AB and it still hasn't made a big dent or garnered interest. NoGoD, An Cafe, umbrella, NOIZ, and a bunch of VK indie bands, amongst other big acts like FLOW. It's super depressing actually.
 
The people at these cons are usually all otaku, happy to be trapped in their anime abyss lol

after several bad releases, EVIL MAD SCIENCE is pretty good. They are good when they try to be Sadie (who tried to be DIR EN GREY at some points).
 

'Hiatus' and 'Suspend activities' are such trigger words in this world lol.
 
Good for them – Take a fucking break, guys!

I live in Alberta, and I like to think I pretty much know everyone here who likes VK that's over 20 (and there's not that many of us lol) Whether I actually like them or not, that's an entirely different story ; )
 
I have a group of about 6 friends that's into VK about as much as I am (mostly older bands, around the ten year mark) and have been for at least a decade, but it's hard to meet anyone new with the same interests in cowboy land, so I feel ya.

8 slav girls are screaming right now

Their new single will be released in spring 2018.
 

 
 

This. They have enough unreleased songs as is to make another mini.

I can do without the rest of the mini-album, but イノセンス  stays on repeat.
 
Really hoping for a full album release from these guys so we can hear a full, fleshed out sound.

RAZOR | the CORE
 

 
 
Tracklist:
 
1. the CORE
2. ROAD
3. 消えない痛み
4. イノセンス                                 
5. Labyrinth
6. 君は今も鮮やかに
7. 『その後の世界』
 
A release that it's okay on its own, but with glimpses of brilliance, if they manage to identify them.
 
To properly explain the sentence above, We'll need to dwelve into their past releases for a bit. It's safe to say that RED INVISIBLE was the most well received release so far. It introduced and showcased all their range in a single release, with a bit of everything and by all accounts, a successful effort, even with its flaws. The following singles had their strenghts here and there, but faced a more lukewarm reception, most citing the lack of direction, uninspired b-sides and an over-reliance on born-like choruses/structures that may not fit with the overall range of the band. That brings us to the CORE. To get it out of the way, it is pretty obviously composed of tracks they do not believe have the power to be singles, and that's a (somewhat) fair assessment. The fact that it didn't have a PV (EDIT: Actually they did, but the fact that they choose the most bland track on the release works on favor of the idea here), and they chose to give 君は今も鮮やかに a lyric video further proves my point, it's playing safe 101. So, if you are not confident on the power of the material you have, the decision of making the CORE a compilation of trials, errors and experiments is a wise one. It lets you check the waters, understand the reception an maybe score one hit or two.
 
ROAD and その後の世界 are tracks that dig deep into the members origins. You can hear Sadie, born and MBHI influences all over those pieces. Both are a solid tracks, but not mindblowing, by any means. There's nothing wrong in playing safe and delivering something satisfying everytime, but we expect RAZOR to be a monster on its own, not a 2.0 version of those mentioned above. And I believe they've found their way with イノセンス, the best of the album. This track perfects a formula that enables it to be powerful without resorting to MBHI djent-y riffs, to have a very consistent vocal work without using born leftover choruses. Top it off with a mix of electronic effects and dnb drums that keeps the momentum going and never feels overdone and you have a winner on your hands. This is RAZOR transforming their influences into something fresh, perfecting their unique formula, and of course, their identity as a band. 君は今も鮮やかに is a mediocre ballad that does not bring anything new to their catalogue (worse than the 6/10 MISSING PIECE let's be honest) and 消えない痛み is such a forgettable one that if it wasn't labeled as RAZOR I'd have trouble identifying who it was from. (I'll ignore Labyrinth, the overused vk tropes are too strong on this one).
 
Overall, it's a release that provides more filler tracks to a band that may have the most high-ceiling potential of the 2016 newcomers, but have yet to find their stride. However, イノセンス makes me feel pretty confident that RAZOR can be fresh without throwing away all the experience and influences of past works, maybe reshaping them into something truly unique.
 
 
 
 

One of the things I really enjoy about RAZOR is their ability to combine hard-hitting djent-inspired riffs with catchy melodies and electronic elements. Despite the occasional chaotic composition on RAZOR's work the members' individual talent and catchy vocals gets their songs stuck in my head. In contrast to @BrenGun's comment, I would say that Ryoga actually has a pretty recognizable voice in the VK scene - especially when it comes to his range of growls and shouts that find themselves halfway between clean vocals and full-on screaming.
 
As for this mini, I wasn't as taken with ROAD as others seem to be, and the ballad was too long to earn many listens from me, but I really enjoyed all of the other tracks. 消えない痛み is a solid RAZOR track, and I can see why it earned a PV - despite sticking fairly closely to standard territory a la DNA or LIQUID VAIN, the chorus is memorable and gets stuck in your head, and it's a decent showcase for the sound RAZOR are becoming known for. イノセンス is definitely a standout with that oppressive atmosphere in the chorus, and quite experimental for what the band has put out so far. Labyrinth also has that catchy chorus that immediately hooked me (perhaps because it reminds me of one of the songs Ryoga performed with the all-star PSC session band WK on their live-dist release). Finally, I think その後の世界 would be great live and could fit in well at either the beginning or the end of the set.
 
All in all, I think the CORE is a really solid release and showcases more diversity than their first mini, which served instead to define their sound. It'll be difficult to top RED INVISIBLE for the sheer surprise factor and consistency (it blew my expectations for this lineup out of the water) but it's great to see RAZOR expanding their sound and retaining the quality in both composition and production that they led with from the start.

Can't wait~!

I'll give some tries to those two, thanks!

Back in 2010, they went major and did a couple 'anisongs' for the 'Kaichou wa  Maid-sama' anime. Both singles were on 'Senkou Mellow' album. Despite this being their most popular period, I think this (and the album that came after it, 'Alpha') was actually their weakest sounding era as a band, and they were demoted to indie status from what I recall from talking with fans at the time.

As for popularity, I mean, they've played in the US at least 4 times and even did a European tour, but their fanbase always seems to stay relatively the same size (even in Japan, from what I can tell). At one time, they were popular enough to be doing the Hide Memorial Summit and headlining on VA albums, etc. It's really quite sad, because you can tell the guys really love what they do and have a really unique sound – Like you said, they haven't even had any member changes after 11 years playing together. I think they're honestly together because they know they have something special, not for any monetary reason (that's for sure)

Since then though, I really think they've been focused on the quality of their releases. Ignoring the last single (which was a little generic IMO), 'Human' and 'Kaikou' (their latest albums) have some really good, solid material and rival their first 2 albums as far as replay-ability goes, for me personally anyway. And I LOVE those first 2 albums.
I would say so. They play with other VK bands, and while they have a toned-down look, Nao is always the most angura out of the four of them.

Back in 2010, they went major and did a couple 'anisongs' for the 'Kaichou wa  Maid-sama' anime. Both singles were on 'Senkou Mellow' album. Despite this being their most popular period, I think this (and the album that came after it, 'Alpha') was actually their weakest sounding era as a band, and they were demoted to indie status from what I recall from talking with fans at the time.

As for popularity, I mean, they've played in the US at least 4 times and even did a European tour, but their fanbase always seems to stay relatively the same size (even in Japan, from what I can tell). At one time, they were popular enough to be doing the Hide Memorial Summit and headlining on VA albums, etc. It's really quite sad, because you can tell the guys really love what they do and have a really unique sound – Like you said, they haven't even had any member changes after 11 years playing together. I think they're honestly together because they know they have something special, not for any monetary reason (that's for sure)

Since then though, I really think they've been focused on the quality of their releases. Ignoring the last single (which was a little generic IMO), 'Human' and 'Kaikou' (their latest albums) have some really good, solid material and rival their first 2 albums as far as replay-ability goes, for me personally anyway. And I LOVE those first 2 albums.
I would say so. They play with other VK bands, and while they have a toned-down look, Nao is always the most angura out of the four of them.

except SIXTH SENSE though, that was pure gold.

I agree up to a point but thought their last album was actually a real return to form, beautifully produced and sounded much harder and heavier than their other stuff.

heidi, was really good and popular at their peak. I don't really know exactly what happened; even in Japan their popularity seems to have stagnated (not to say decreased) for a while now. They were growing ridiculously fast back when they started and all of sudden it just stopped. I'm always surprised to see a new release by them as well lol but it's cool that they're still going, even though I don't check out their stuff anymore.

Far East Dizain 4th single "Beyond These Walls" will be released on 2017.12.27.
It will contain 2 songs, for 1296 yens.
 

 
Tracklist :
01. Beyond These Walls  
02. farewell
 

as flip as nekkichi's answer was it's also not wrong lmao (except #AKisinnocent). the EP had a number of interesting guest bassists (J, YUKKE, TSUYOSHI from PTP, Hitoki, and OUTRAGE's bassist) but they didn't do anything with them, and the title track was extremely zzz. polished but dull? i'm with Ro in saying BLACK OUT DESTROY is the only standout on the EP if you're considering checking it out but... you could also just skip it.

2017's "The Whirl" sounds absolutely fantastic.
Hazuki's emphasis on making sure this new version exceeds everyones expectations is not going unnoticed.
I imagine that lynch. are getting closer and closer to cracking this sound recipe they've been working with for a couple years now.
I always wonder what this "sweet spot" the guys are trying to achieve is.
 
If it will result in redefining what we know of lynch.'s music style thus far, then I'm all for it.
The possibility that lynch. can create a more memorable release than the album D.A.R.K (by doing all this) is something I need to hear before I die.

I would rather have a band that delivers consistent work (That I know and have came to like) then flip flop all over the place, never really being good at anything. I think lynch. has progressed in a style that suits them best, and though most songs sound like derivatives of each other, they are still undeniably 'lynch.'
 
This single may not be nothing new, but it's a solid banger, and it's better than most of AVANTGARDE imho

↑That is the update when he needed to leave the band !