gekiai

I braced myself before going through the thread and I've already been somewhat hurt by someone's personal scale of attractiveness (how black people are on the dead bottom of their scale) and it brings back to how the world treats the black woman as one of the most unattractive beings that have ever walked this planet. As a black woman, it's constantly thrown in my face how I don't fit into societal norms of beauty, and though I haven't had much dating experience, I'd like to date someone who shares partially the same struggle as me, or in other words another person of color.
Also remember that "racial preferences" can intersect with fetishizing (and don't even challenge me on this).

I apologize since I don't know how to break up quotes
 
This wasn't exactly what I was getting at but I'll answer. I feel that "well there parents/family may be that way" is an excuse to an extent. Like there's liberal people my age and their parents are die-hard conservatives or the fact that my family is highly homophobic and I'm actually LGBT and have plenty of friends who associate with it (even before I discovered this about myself). 
 
Like man, it's 2016, if people are still perpetuating colorist and superiority attitudes in regards to races and their features, then I'm really not going to be lenient with them. I can say many of us in the forum are old enough to have our own independent thoughts from our families and if they think that way...well, it says a lot about as a person. I can't stand it, and I feel no need to change myself or speak up. I already don't fit into the horribly incorrect stereotype society has painted of black females (angry, loud, voluptuous, "ghetto"), I'm pretty much the exact opposite of it. I've even had men of other races hit on me saying "you're not like the others" and I'd literally not care about them from that point on because those others are my friends, sisters, and my family. It's truly disgusting. 
 
I never said I wouldn't date outside race, either. I'm saying that I couldn't see myself dating a more "dominant" race because they will not understand my struggle at all. I've already made that mistake once and I won't make it again.

I braced myself before going through the thread and I've already been somewhat hurt by someone's personal scale of attractiveness (how black people are on the dead bottom of their scale) and it brings back to how the world treats the black woman as one of the most unattractive beings that have ever walked this planet. As a black woman, it's constantly thrown in my face how I don't fit into societal norms of beauty, and though I haven't had much dating experience, I'd like to date someone who shares partially the same struggle as me, or in other words another person of color.
Also remember that "racial preferences" can intersect with fetishizing (and don't even challenge me on this).

I braced myself before going through the thread and I've already been somewhat hurt by someone's personal scale of attractiveness (how black people are on the dead bottom of their scale) and it brings back to how the world treats the black woman as one of the most unattractive beings that have ever walked this planet. As a black woman, it's constantly thrown in my face how I don't fit into societal norms of beauty, and though I haven't had much dating experience, I'd like to date someone who shares partially the same struggle as me, or in other words another person of color.
Also remember that "racial preferences" can intersect with fetishizing (and don't even challenge me on this).

I braced myself before going through the thread and I've already been somewhat hurt by someone's personal scale of attractiveness (how black people are on the dead bottom of their scale) and it brings back to how the world treats the black woman as one of the most unattractive beings that have ever walked this planet. As a black woman, it's constantly thrown in my face how I don't fit into societal norms of beauty, and though I haven't had much dating experience, I'd like to date someone who shares partially the same struggle as me, or in other words another person of color.
Also remember that "racial preferences" can intersect with fetishizing (and don't even challenge me on this).

I braced myself before going through the thread and I've already been somewhat hurt by someone's personal scale of attractiveness (how black people are on the dead bottom of their scale) and it brings back to how the world treats the black woman as one of the most unattractive beings that have ever walked this planet. As a black woman, it's constantly thrown in my face how I don't fit into societal norms of beauty, and though I haven't had much dating experience, I'd like to date someone who shares partially the same struggle as me, or in other words another person of color.
Also remember that "racial preferences" can intersect with fetishizing (and don't even challenge me on this).

preferences= (for the most part) thinly-veiled racism
 
rant:
/rant over

Not as good as You're Pitiful, but still good. Praise Yezus.
 

https://twitter.com/official_u_sana/status/706420195435237376
 
500 hugs get
 

waah, lucky fans that get to attend this event! I just hope no one gets touchy feely with him..

Tracklist:
1. FRONT
2. WELCOME TO GHOST HOTEL
3. 少年ワルツ
4. Believe
5. Here I am
6. Jesus phobia
7. 素晴らしい「教育」
8. 二面相シンデレラ
9. テツキズ
10. 冬唄
11. 踏切迷子
12. デジャヴパニック
13. 勘違い革命


| Spoopy down for what?

 For those of you who may be new to ペンタゴン (pentagon), the band was established on December 14th of 2014 by Chizuru and Minpha of Call Me. The band completed their line-up with members from bands such as METEOROID, LucaRia, and Vared. The band, as young they are, have been quite impressive over this past year. ペンタゴン is notable for having a consistent visual appearance and prominent themes in their releases that go very well hand in hand and in their short career , they've already released a full album and 2 singles that come in various types. While 2015 was a significant year for them, they have yet to slow down and have hit 2016 in full speed. [WELCOME TO GHOST HOTEL] hit the shelves on January 27th and is the band's second full-length album with an impressive track-list of 13 songs.

[WELCOME TO GHOST HOTEL] states its theme clearly from the start with the intro title "FRONT". Though it's more of an SE track, it's almost an asset in setting the mood for such a theme. Envision yourself coming across an abandoned mansion or house. You approach it curiously, but there's a sense of uncertainty mixed with your eagerness to explore such a sight. From the light music box and thunder to the anticipation that the strings build up, you wind up at the entrance of Ghost Hotel, and with a creak of the door, the album takes off in to our titled track "WELCOME TO GHOST HOTEL". A seamless transition from the intro jumps into an upbeat and somewhat heavy set of guitar riffs accented with a unique accordion tune and chanting. It's a mildly chaotic song that makes a big entrance for the story they seem to have for this theme. We've heard "少年ワルツ" (Shounen Waltz) before from the single, but it fits right in with the on-going theme. Ghosts and spirits are remnants of a past time, so the vintage distortion to the vocals in the beginning add a nice touch. "Believe" is a rather confusing song, both placement wise and the way it was written. Aside from the somewhat spooky techno in the beginning, it's made up of very common VK riffs. Though the vocal melody is somewhat solid, the key change takes the setting in a different direction that pulls away from the creepy and spooky theme they started with. While it may not exactly fit the theme, it does seem to be a song that may have been composed with live shows in mind. "Here I am" is also a song that doesn't give the same feeling as the beginning of this album, though it transitions well from "Believe". This song is a lot lighter and lifting, which is quite the opposite of what is expected from this release. However, it serves justice as a nice power ballad with strong vocals. Another rough transition brings us to "Jesus Phobia", a sort of circus-y sounding song with powerful screams, a signature music box in the background, and a relevant key change.

Once "素晴らしい「教育」"(Subarashii 「kyouiku」) drops, the setting changes to a waltzing ballroom dance. The setting of the album was consistent enough to transition into this song and it almost fools one with its mellow intro. This song is full of psychedelic guitars, synths, and even a nifty drum solo that leads into a distorted guitar solo. The next song, "二面相シンデレラ" (Nimensou Cinderella), is another upbeat song with a prominent bass line and feels like a solid continuation of the previous track. These last two songs combined creates a new, playful and devious side of the album. Earlier we imagined entering ghost hotel and discovering the wonders inside, but those songs didn't exactly give a sense of direct contact with what presented itself. The combination of the previous two tracks represent that interaction in a playful ballroom dance where whatever malicious being or figures do show themselves and, for lack of a better word, toy around with their visitors to humor themselves perhaps.

"テツキズ "(Tetsukizu) transitions well, but doesn't quite hit home with the theme or its generic alternative riffs backed up with drumming on the offbeat. However, the piano is a nice touch. It's not a bad song, but it's forgettable. "冬唄" ( Fuyuuta) is a slower song that fits better with the vibe this album should have, but it feels more like an ending song. Even though this track is most reliant on piano,ペンタゴン do quite well at enhancing the build up to a piano and vocal melody duet. The build and anticipation in this song is favorable with the contrast of soft verses and phrases that have more prominent guitar, bass and drum work that makes the track swell with power. "踏切迷子 "(Fumikiri Maigo) starts strong and follows the last track well until the chorus key change. Something with the instrumentals and key that the vocals are in sounds off ever-so slightly. Other than that, every other element in this song fits well with the concept and offers probably the most pleasing guitar solo on the whole album. "デジャヴパニック" ( Deja-vu Panic) starts to wrap up the album as it revisits a few similar instrumental motifs from previous tracks in the beginning of the album. Don't let the intro fool you though, because this track certainly excels into the danger zone (IN A GOOD WAY!) and lives up to its name. The guitar work beautifully contrasts with the chorus' vocal melody, and when the growls and shouting happen, the double bass is tastefully used. If you like songs that have a fast paced break down at the end, this is the song for you. "勘違い革命" (Kanchigai Kakumei) doesn't feel like a goodbye song. This song feels more like an 'until next time' and doesn't give a sense of closure and may have worked better as the second to last song. The door creaking back shut at the end is a cute reference to the beginning, which brings the album full circle.

To sum up the album, it had songs that clearly worked together to paint out a sort of story, but it had inconsistencies in keeping it flowing smoothly. There were songs that didn't transition well with others, but the songs on the album itself were quite good. Having a type of horror or creepy theme is difficult to maintain in 13 tracks without having to stray away to create some sort of contrast, but otherwise it could have ended up having too many songs that sounded too similar. [WELCOME TO GHOST HOTEL] is certainly a good release from ペンタゴン and though it's a little rough around edges, it shows potential for even stronger releases in the future.



CDJapan | HMV

holy shit guys

god is real 

I like this a lot.
I'm honestly not really sadden by this but rather happy and relieved to see that Yuuki is still singing.

Those dancers, that mannequin licking. I wasn't ready. XD 
 
Song sounds pretty good so far. I'm definitely curious to hear the rest of it.

I can't believe Nightmare's "The World" for Deathnote hasn't been mentioned yet!

As someone who isn't hardcore into Visual Kei:
*Buying [or downloading] 500 copies of _____ single (Type A-Z)
I hate this with idol groups as well, it's why I stopped following AKB48.
*The need to place 'kei' after everyone word I think describes a band XD
I started doing this ironically but I can't stop.
*Indefinite hiatuses and "Musical Differences"
*Discovering a favorite new band only to find out that they've disbanded (35 votes [15.62%])
I think these two go together.
 
Other stuff: as a semi-outsider I don't like seeing last.fm bios with the member lists and then they have been in like 303251321 different bands and with different names most times. Calm down! lol

10 Kick-ass J-rock Anime Themes That You Should Hear!
Anime theme songs are often written off as second-rate or derogatorily considered "weeaboo" music, and while this is certainly up for debate, the ORz team has banded together in an attempt to dispel some of those stigmas! While this isn't a best-of list by any means, we've compiled a list of 10 anime OPs and EDs that we feel are musically worthwhile. So check them out and feel free to let us know what you think in the comments!

#10 TK from 凛として時雨 (Ling Tosite Shigure) - Unravel
from Tokyo Ghoul | 東京喰種


Undoubtly one of the most popular and unforgettable anime theme songs of recent times, TK from Ling Tosite Sigure provides the opening theme song for the animated adaption of 'Tokyo Ghoul'. Having watched Tokyo Ghoul, I'm sure we're all in an agreement of how fitting the song is to such a series, albite a poor series that doesn't really deserve such a perfect track in its soundtrack. Powerfully emotional, sinister, compelling and wickedly catchy, it's perfect for an anime as dark as this. When taking the song out of anime context, it's a masterpiece in all its entirety. TK has proved, both as a solo artist and within his band, that each and every anime song he's credited in grips you instantly, and 'Unravel' is no different.
- by @beni

#09 スネオヘアー (Suneohair ) - ワルツ (Waltz)
from Honey and Clover | ハチミツとクローバー


It's been years since I've kept up with anime, so my choice probably gives away the era I'm most familiar with. Most of the anime soundtracks that have stayed with me didn't qualify for this list (R.O.D. the TVs lush jazz tunes, Fruits Basket's beautiful orchestral numbers, etc.), but Honey and Clover just made the cut with its breezy ending theme "Waltz". At least among the series that I'm familiar with, Honey and Clover was unique in its expressive embedding of popular music (such as the legendary band, Spitz) into its soundtrack. The first episode ends with the main character riding his bike through the rain under voiceover. In the background, "Waltz" begins to play, providing a seamless cinematic transition into the ending credits, which skillfully juxtapose the imagery of his spinning bicycle spokes that recurred throughout the episode with that of a fanciful ferris wheel. However, the song definitely works as a standalone track, with its lyrics telling the story of coy first love. All the while, Suneohair's laid-back vocals and smooth synth-rock create the perfect backdrop to the hazy, pastel artwork of this beautiful slice-of-life series.
- by @fitear1590

#08 the pillows – Ride on shooting star
from FLCL | フリクリ


It wouldn't be a huge stretch to claim that this song is the reason that you are on Monochrome Heaven reading this right now. If there was a single genesis in my Japanese Rock interest, and in turn this site, Ride on Shooting Star is it. The Pillows lay down a straight forward rock track filled with simple but addictive riffs. While it's not going to win any awards for technicality, it makes up for that with purity with a driving upbeat energy that really gets me pumped up and in a good mood. About the only downside is how quick the ride is over - at under two and a half minutes I am always craving for more when the track ends, not unlikely the show it is from.
- by @Ito

#07 Silver Fins - Waiting So Long
from Berserk | ベルセルク


Seldom do anime themes match the actual tone of the series that they're tied to. More often than not, they seem like their own, seperate entities --promotional placeholders for artists seeking exposure-- instead of aesthetic extensions of the anime's content. Berserk's ending theme, "Waiting So Long", by the incredibly obscure Silver Fins, is quite an exception, though. It's a trudging folk-rock song with an eery Americana-vibe, and a subtely malicious chorus that'll linger in your ears long after the show is over. For a dark-fantasy like Berserk, where happiness is fleeting and sin, corruption, and evil run amok, it's the perfect way to conclude a each episode!
- by @CAT5

#06 Plastic Tree - Sink
from Glass no Kantai | ガラスの艦隊


This spot might come as a surprise to a few, since it certainly did for me when I discovered that Plastic Tree had a handful of songs as endings for various animes. The lads have only done three anime themes ever since they formed. Glass no Kantai: La Legende du Vent de l'Univers used their twenty third single 'Namida Drop' as its first ending song, Yu☆Gi☆Oh! 5D's had their thirty second single 'Future Colors' as their fifth ending theme, and Kindaichi Shounen no Jikenbo with my selected tune of 'Sink', their sixth single. While I cannot speak for the anime itself, I think it goes without saying that 'Sink' is one of the classic pieces in Plastic Tree's discography. With profound lyrics, a melodic chorus, and verses that flow like a river - very fitting to the overall sound of the song - it's definitely a stand out Visual Kei song all on its own since this was early Plastic Tree, when they were considered Visual Kei. Equipped with Ryutaro's signature raspy and child-like vocals, catchy riffs, and lyrical perfection (and repetition!), including coverage of Plastic Tree's typical song subjects, from the moon to melancholy and separation, 'Sink' doesn't falter. It's the ending theme within eleven endings of this lengthy one hundred and eight episodes of a series that'll take your breath away.
- by @beni

#05 凛として時雨 (ling tosite sigure) - abnormalize
from PSYCHO-PASS


There was a time when the words 'ling tosite sigure' and 'anime' wouldn't be found in the same sentence - an indie band with an incredibly insular sound and two vocalists best described as "acquired tastes" - the thought itself would have been ridiculous. Nowadays, thanks to the success of Psycho-Pass (both seasons) and Tokyo Ghoul, their name is almost synonymous with it. "abnormalize" was the band's very first foray into creating anime themes, and while the prospect of this venture may have looked daunting to fans at the time, the result was a streamlined sound that was amicable enough for anime audiences, but still uncompromisingly "ling". The band had triumphantly transplanted their sound and and it was a hit too - becoming their most successful single to date! A forward-thinking band like ling was the perfect match for Pyscho-Pass's futuristic setting.
- by @CAT5

#04 abingdon boys school - HOWLING
from DARKER THAN BLACK | 黒の契約者


Howling is hard rock with pop-sensibilities at its best. I've always been of a fan of Takanori's vocals in TM Revolution, but his music always been a bit too poppy (and dear I say cheesy?) for me. Abingdon Boys School is a push against that idea, as Takanori's beautiful vocals are juxtaposed with distorted guitar layered. Howling runs with that idea, taking a hard rock track and sprinkles in DJ scratching and other "bleep-bloops" you would expect more from Takanori's pop work. Normally this is something that doesn't work for me, but it is done so subtly that the end result is a lovely layer of textures is just a joy for the ear. The chuggy break down that transitions to a simple but soaring guitar solo really puts an asterisk on the song for me. And hey, if you don't like the song that much, you will certainly miss it when the anime switches to a An Cafe track halfway through the show.
- by @Ito

#03 cinema staff - Great Escape
from ATTACK ON TITAN | 進撃の巨人


'Shingeki no Kyojin' a.k.a 'Attack on Titan' is without a doubt one of the biggest anime hits this century, having spawned a lucratice franchise of spin-offs, video games, and even two live-action movies. Its massive hype garnered both dauntless fanatics, whom were smitten with the characters and premise, and a fair share of critics that chastised the anime for it's elusive plot and questionable pacing. But whatever you felt about the anime, most people usually agreed about one thing - the music was amazing. Whether it's the epic, Hollywood blockbuster score provided by Hiroyuki Sawano, or the anthemic cheese of Linked Horizon's 'Guren no Yumiya', there was something for everyone to love. Even Japanese-indie fans had something to rejoice in with cinema staff performing the second ending theme "Great Escape". It's a strong, driving tune that showcases the band's pop potential without compromising their indie sensibilities, It's also a song that accurately mirrors the dramatic scale of the series without sounding overblown or unconvincing.
- by @CAT5

#02 陰陽座 (Onmyou-za) - 甲賀忍法帖 (Kouga Ninpouchou)
from BASILISK | バジリスク 〜甲賀忍法帖〜


The anime BASILISK was gifted with many things; great animation for its time, an amazing story that begins and ends well, and perhaps one of the most iconic opening themes of all time. Without too many spoilers, it's basically Japanese Romeo and Juliet. Many anime fans will immediately recognize the introduction, but most have only heard 甲賀忍法帖 (Kouga Ninpouchou) in its abbreviated form. Even less would know that it is one of twelve songs labeled "Tales of The Ninja Scrolls" (or ninpouchou for short), composed as a tribute to author Futaro Yamada. In fact, BASILISK is the anime adaptation of the manga adaptation one of Yamada's earliest stories, also titled バジリスク 甲賀忍法帖 (Basilisk Kouga Ninpouchou), and he won an award for this in 2004! Thus it's only natural that a band whose lyrical material centers around traditional Japanese themes such as oni, dragons, magic, and youkai to extend their reach to ninja tales too! 陰陽座 knocked it out of the park with this one; the tone, lyrics, and theme all match up perfectly with both the anime and the original stories and it was this song which put them on the map.
I'm not so sure what's more interesting; the lore or the music...
- by @Zeus

#01 Maximum the Hormone - What's Up People
from DEATH NOTE


It was hard to deny Death Note at the height of its popularity, but when I hesitated on checking it out my friends knew me well enough to mention that I'd love the opening theme to give me that last little push. It worked! And naturally my expectations grew. Though, at that time in my limited anime vocabulary 'great opening theme' meant TM Revolution or Anna Tsuchiya rocking out some insanely catchy, energetic number. When Death Note hit the season's half way mark and "What's Up People" blasted through my speakers it was mind-blowing that music this chaotic and heavy was broadcast on such a popular series. Needless to say, I was instantly hooked on their metal-hybrid sound. While I outgrew the Death Note fandom pretty quickly after finishing the show, Maximum The Hormone remain a band I enjoy to this day. Their music continues to be unique and fresh, as well as a gateway to those exploring the alternative metal scene in Japan.
- by @doombox

I guess compared to butt rubs and vagina imagery everywhere, this is pretty innocent. Also what a fuckin jam. God bless Hyoeun <3
 

I'm not too sure what I'd vote for in the poll even now. If I had to complain about one thing when it comes to VK, it definitely would be able the lack of woman within the genre. I love everything from the music to the style, but the majority of the bands consisting of only males can get disappointing.

oh i also came to talk shit about the eliticism thats still there, especially from older fans. they look down on me because im younger or whatever; like i get what u have against the weirdo cosplay and roleplay hot topic kids BUT in the end they're a fucking fan just like you. you have no fucking right to put them down if they like mejibray or something. im not one of these people, but i like to have my fun and not be a serious old man. heres a mild anecdote from the dir en grey show in toronto which was frankly all the reasons why i hate these so called elitists

I'm not a fan of sub-par production values on studio recordings from artists or labels - despite the band being talented (I'm looking at you Sel'm...).
 
I also hate fangirl/fanboy immaturity in general - which is rampant in the community.  Typing Random onomatopoeia in all caps and constant doting on certain members (detailing your every sexual fantasy that is never happening) for the sake of the attention is annoying spam, and it bothers me.

High prices and shipping costs.
Music being on the japanese Itunes but not US (bc even itunes jp is quite a bit more expensive)
Music not being on Itunes/bandcamp/whatever at all (or it's there but doesn't have all the songs from the release...why bother put up an album or single if it's missing songs?)
Music that is on the US or various European Itunes or on Amazon mp3 but has all the titles horribly mucked up.
Bands disbanding and not reaching their full potential.
Elitist older fans that think that listening to VK for longer somehow makes their tastes superior to everyone else's. Come on, 70% of visual kei is lovable garbage anyway...
Fans that think their favorite bandomen must be perfect little virgin angels or whatever.
Commentary like: "It's just not right for a man to be wearing that...." "There's no way that this could possibly be a man"
The fact that my mum's first reaction when I showed her this video was to ask "is that dog in one of your jrock bands??" xD
Maria Cross...

I hate that versailles blocked me from their facebook page
 
 
rude af

I must say that the shikiri system (saizen refers to the regular front row fans, shikiri to their "conductor" aka the one who makes the decision where everyone is allowed to go) is considered bad behaviour in many of the concerts, as it does create inequality between the fans. Usually, if one noticed this kind of behaviour, as in possibly trying to go stand somewhere in the gig hall and a japanese girl coming over to say "hey you can't stand there, it's reserved", one should always go tell a person in the staff what's happening. There has been cases where a lot of the bandomen have openly shunned upon these activities, in which case the saizen people will be removed from the concert and banned from entering any rest of the gigs. Basically, anywhere that doesn't have seat numbers (no, not even entrance numbers count, because that's just the order you get in the concert hall) can no one tell you where to stand. You stand where the fuck you want.