togz

Neat.

New member of YMCK perhaps?
 

HELLO GAY THREAD

Everyone, pls.
This thread is getting out of control.
All of you stop it right now you... You... Hooligans!

camera test.
 

ok

ok

ok

choo choo digi train comin thru.
 

fak u selfie

you were always stunning in my eyes though. *___* also I'm digging this new haircut on your girl. shooooooot.

It's not that gasoline smells good.... But every time I stop at a gas station, there's something about the smell that I like? Is anyone else like that?

It's not that gasoline smells good.... But every time I stop at a gas station, there's something about the smell that I like? Is anyone else like that?

So much to DL for the Trade-Off, at the same time, I keep getting nostalgic and want to rewatch the movies I took the songs from.

Having been a solid gazette fan for most of their career (until recently) from my opinion and understanding, both of these albums were very huge indications of change and growth with in their musical career. NIL I believe was the album that really gave a hint of change from their releases prior to that. It was a solid transitional album, though they had a short hiccup with stacked rubbish i think. NIL is the album I feel that really pulled in the mass amounts of fans. That's when i remember them blowing up. DIM is also a hint of change for them. I admire this album over NIL not because it's better, I just feel it was a lot more experimental. DIM was that one album I could tell all the members were really in sync and this was a sound that they spent all their time and energy and passion trying to create. I feel that DIM flows extremely well and conveys a lot of different settings and emotions in a story like manner. The transitional tracks add a nice touch. While some people thought those to be annoying and a rip off because they weren't actual songs, I found them to be very artistic and enhancing. Those tracks were like bread crumbs, giving an offsetting preview/intro to the next phrase of the album as a whole. I don't particularly have an opinion on what that album led them in to in regards to their current works, but DIM as a whole was a piece of artwork in my wholeheartedly honest opinion.

if you want to get a hold of me elsewhere my username is orangetarts pretty much everywhere....so :/

I wasn't feeling XodiacK really, but after having recently revisited some of their discography, Ice/Eros really shines through in some of their work over black gene for the next scene. I Like BFN because they're fun, and pretty different compared to a lot of bands in the VK scene right now, but I felt like in XodiacK, Ice/Eros has more melodic vocal work (minus the screams, those needed work).

Always liked this vocalist, though I didn't like XodiacK, but this band, so far, is right up my alley

"VK music is going way too far from its roots" - first of all, VK music in general is not stemming solely from (glam) metal scene - plus some say X Japan "was the sole creator of vk style", which is truly false.
 
Yes, X Japan was perhaps "the first" act to be "the vk powerhouse in music markets" with their special looks, which later became a palatable factor for future MAINSTREAM vk acts - you'd have to look wild, cool, colorful and beautiful.
But they had a little to do with music (other than Hide's psychedelic creations).
Who's the main "IT" behind music then? As it was said years ago in a topic I cannot remember, there are other 3 bands in "the big four of visual kei" - COLOR, D'erlanger and Buck-Tick. COLOR's probably included due to Dynamite Tommy, who would later become pretty much a "big godfather of VK music marketing" with Free-Will/Firewall Div. policy etc.
 
Only D'erlanger and BT remain - both acts are tied to their pasts with sympathy towards post-punk/"goth-ish" music, which later granted those familiar "gloomy instrumentals and emotion-ridden vocals" you hear all the time in vk. OF COURSE, acts after them such as say, SADS (which might have invented "fashion kei" that Lycaon/Gazette cherish) or Baroque (which "invented" the signature elements of oshare kei music/looks) that had a little or nothing at all to do with post-punk fandom, BUT if you would exclude heavy post-punk influences out of VK roots, all you would get is a mixmash of power / nu metal /core and happily-ever-after-Canon rock, NOT "ultradeep dark music" most of you like.
 
Back to the topic - as I mentioned "the mixmash", it seems to have completely taken VK out of post-punk rails and "killed" the past sound, which unfortunately took our lovely scene to ultra-"American alternative" stanning - which after many thoughts, SICKENS ME. Yes, I might be accused of "sympathizing" towards these acts who actually sound like "American alternative" I talked about but hey - as long as it stays in LOW percentages of "alternative", I will be fine. Gazette for instance STILL has certain Luna Sea vibes to balance with cheesy Linkin Park/Slipknot riffage. Passable choice, briefly put.
 
You can get what I am saying just by comparing instrumentals. I would rather stand diminished chord raping than drop C chugging, which I have heard for like 1000x times. ALSO: if you don't know how to growl (looking at you, many neo-vk acts), then DON'T DO IT. Just sing FFS, and don't recycle chorus melodies from other bands!!!

It probably depends on what you mean by "oshare" since just like visual-kei itself, there's a wide range of sounds within it. If you mean something more akin to say... L'luvia, then I can't think of any active bands(though strangely enough SuG has edged a bit close to this in some songs I sampled?). I assume most poppier neo-VK(I hate this term, but there's no other term for this really) is just an extension of the early-mid-2000s oshare look/sound, albeit with more electronic influences. There are some bands, like this for example, that have a pretty similar sound to some of the early-mid-2000s oshare bands, so I'd say it's still alive and kicking.

cool & totally necessary thread

Nisshin Geppo was a live influenced album, and proved it's purpose. I think now that they have a solid live following they can explore and venture in to different dynamics etc etc. They still have a heavy element and I don't think that is going anywhere, but I think it's important for them to add other elements than just chug-a-chugs all the time. This is going to be a solid release for the band I think.

I just love TenTen's shrieking. I cant resist the urge to headbang to the second PV SPOT. The beginning half is fucking beast.

STILL WAITING FOR MY HEADS BURSTING OPEN CALL A DOCTOR, lovin that preview .

I was just thinking the same thing.
 
Oh well, can't please everyone. 
 
I actually prefer the second song and it's the fact that it almost sounds disjointed that intrigues me the most. idk. I like daring songs that sound so chaotic to the point where you think they're going to just clash and fall apart and then they surprise you and and everything lines up. Makes me think of clock work or something... like.... idk how to explain it. 

Having been a solid gazette fan for most of their career (until recently) from my opinion and understanding, both of these albums were very huge indications of change and growth with in their musical career. NIL I believe was the album that really gave a hint of change from their releases prior to that. It was a solid transitional album, though they had a short hiccup with stacked rubbish i think. NIL is the album I feel that really pulled in the mass amounts of fans. That's when i remember them blowing up. DIM is also a hint of change for them. I admire this album over NIL not because it's better, I just feel it was a lot more experimental. DIM was that one album I could tell all the members were really in sync and this was a sound that they spent all their time and energy and passion trying to create. I feel that DIM flows extremely well and conveys a lot of different settings and emotions in a story like manner. The transitional tracks add a nice touch. While some people thought those to be annoying and a rip off because they weren't actual songs, I found them to be very artistic and enhancing. Those tracks were like bread crumbs, giving an offsetting preview/intro to the next phrase of the album as a whole. I don't particularly have an opinion on what that album led them in to in regards to their current works, but DIM as a whole was a piece of artwork in my wholeheartedly honest opinion.