platy

The vocalist from Tokami makes me dizzy! His vibrato is hilarious!
Hearing him though, he does have a certain "so-bad-it's-good" charm.
I admit it, I think it's fun : P
*
*
Here's my contribution:
Her name's ESIE and her music style is dark wave/electro.
Most of her vocals are like in this video, but when she sings 'normally' (whatever that means hah) she sounds really nice.
 
It's hard to describe her vocals but if I had to describe it simply, I'd say it's like if the last scene in movie The Room (It gets good at :50) became her vocals.
 
The vocals are overly done in the most underwhelming way.
Hooray for corny slow motion and hope she doesn't wreck her voice at 3:37~.
 
 


 
 
BTW, if anyone has anymore music by her I'd love to know!

They're supposed to be demons or something.
*shrug*
The title of the album 百鬼夜行 is an expression that means "pandemonium", a word whose etymology is pan (all) + daemonium (evil spirts/demons)
And if you interpret 百鬼夜行 literally, it means "hundred demons traveling at night"
.. maybe
 
I have a horn fetish, so I think this is Junji's best look ever. mmm. horns.

Wtf are these blue balls
 

 
Wtf is this make-up
 

 
Ok.
 

 
Wtf are these blue circles
 

 
Wtf are these half-blue horns

2 of the 5 people at their last budokan concert were actually janitorial staff 

I'm not a fan, but it's still pretty cool to see a band with such heavy VK looks playing a solo gig at Budokan. It's a big deal no matter what, especially in 2015, which is so far away from the old VK boom.

Tempted to buy just because they played Kitsune, which is one of my favourite songs by them.

Revisited this thread and just noticed your embed link
 
I must be a special snowflake since that "pseudo-glam rock-ish-grab-your-balls" scream @Decadence's chorus is what makes it memorable to me
 
Also:
 

 
*wink wink* Anti-idols.

No comment. Just earbleeding.
 
 
   
The song's title speaks for itself.
Why? Did he have only 1 attempt of recording or what?

do koichi's long bony fingers have a fanpage 
 

The ad for the twoman tour was chosen to be on the back of SHOXX, which is pretty big for them.
 
Also, I've been typing up the lyrics from 雨に殺される & even translated ピチピチチャプチャプランランラン on tumblr. 
In case anyone's interested, I also made a tumblr to talk solely about XAA-XAA from my experiences & to talk with anyone on there who is interested in them (and doesn't want to follow my personal tumblr lol). 
 
As for 雨に殺される (now that I actually own it, lol):
I love the mini-album.
Ame ni korosareru is probably one of the weaker songs on there in my opinion.
Ikenai mou ikenakucha is so catchy I love it and the recitation is HILARIOUS. Just imagine kazuki earnestly saying "I'm just your average housewife" and try not to laugh please
Aoi raincoat is that emo kazuki being murdered in a forest song i've always wanted without even knowing it
pichipichi chapuchapu ranranran I know you guys are meh about it BUT for me it is so fresh for them with the different style and I love it. it sounds so fun but of course, lol, the lyrics... On another note, it gives me life knowing that this drum line was difficult for Roji and he kept fuckin it up :')
ohame keihou hatsurei I've been listening to 5000x a day it's my favorite song
shizuku it's good but ...well, I've never been big on ballads

here are some pics of their tour final. i will put these under a spoiler tag.
 

ザアザア x DADAROMA
2MAN-TOUR 「かずきとよしあつ」
 


9.4(日) 福岡graf
9.5(月) 高松DIME
9.16(金) HOLIDAY NEXT NAGOYA
9.17(土) 心斎橋Varon
9.19(月) 仙台HOOK
9.21(水) 札幌SPIRITUAL LOUNGE
9.22(木) 札幌SPIRITUAL LOUNGE
9.24(土) 池袋EDGE

I would sell my soul to see this tbh

Wow it's been a while since I last popped in here. I actually wrote report of some sorts of the Tokyo oneman but honestly it's really extra and shittily written and I don't think any of you would care to read it so here are some highlights from the show. Idk exactly what you guys want to hear about it so feel free to ask questions.
 
- At the beginning of 雨に殺される Kazuki set off a big party popper thing and threw the tube on the floor next to us and we're all like ??????? what do we do with this???? but we just kinda let it chill on the floor. Later on during 大雨警報発令 when we first started moshing a bunch of us tripped on it/each other and there was a big domino effect in the front of the venue but a few kind fans helped us up. I actually still have a bruise on my knee from this. lol
- Before 教えて先生 there was a bit of interlude? I forgot what Kazuki was talking about but he had a little parachute man toy, which he named but I forgot what exactly (something-sensei), and he threw it up in the air towards the crowd after talking about it. My friend caught it and debated asking him if he wanted it back during the satuseikai after the show for the lulz but she chose Roji instead.
- After 教えて先生 was another interlude. Kazuki comes out with a video game controller pretending to play a game and running around the stage, which lead to 情けない男のテーマ, the new song on the upcoming V.A. album which I liked a lot. Everyone was confused as to what to do for furi since I think it was their first time playing it but it was still great. When Reiya had this little solo Kazuki ran back stage and came back with another one of Reiya's basses and "played" with him while we whooooo'd them on
- They played an acoustic version of「うそつき」with Roji on cajon which was awesome.
- Roji had a drum solo which was even more awesome (wow I know a lot of words). He drummed to a piano back track while we all clapped to the beat and eventually the back track changed to Smells Like Teen Spirit by Nirvana. Roji is legitimately a really talented drummer and he's just so much fun to watch because he drums with so much passion and energy and wow yeah Roji's gr8
- Before the encore they did a MC and talked about Kogoe and tried to get him on stage. One girl in saizen yelled KOGOE SENSEI at the top of her lungs and everyone lost their shit. Kogoe did end up coming out for like 30 seconds then ran away. 
- At one point during 感電 when Kazuki was on the floor with us and we were moshing towards the back and I decided to bash into him to see if I could make him fall. Sadly I didn't because he's a lot bigger than me but I did make him lose his balance because of the step in the back of the venue. Go me. After that he came over to the front-center and he looked like he was waiting for me to bash into him again. He was prepared this time though so I didn't even make him budge from where he was standing.  Boo.
 
And as @anakuro mentioned one girl 4th or 5th row shimote got hurt during  感電 because of a weird hold in the wall and she actually had to get escorted out of the hall. I've seen someone get hurt so badly at such a small venue in all of my time as a bangya. The air completely changed in a matter of seconds and it took a while to get everything going again. Kazuki lighten up the mood by joking about the song title and doing everything 安全に and riled up the crowd by saying things like "we're going to keep playing until the last train!" (which they didn't but no one expected them to) and happiness was restored and the live ended on a happy note yay
 
Other impressions:
- Kazuki's vocals were on point wow
- High energy. I love the running moshing and I wish more bands did it instead of the jumping side to side moshing.
- Their fans are so enthusiastic I love it.
- They decorated the bathroom and it was beautiful. The front hall was also decorated before the show.
- Man are they weird and dumb but I like that. I'm not into bands that take themselves too seriously.
 
And the setlist copy-pasted from Roji's Twitter
 
-イントロダクション-
1.もうすぐ雨が降るから
2.雨に殺される
3.拝啓、あなたへ
-始業チャイム-
4.教えて先生
-中毒者絶叫-
5.情けない男のテーマ(新曲)
6.コワイクライ
7.大雨警報発令
8.青いレインコート
9.「うそつき」(アコースティック)
-朗読-
10.いけない、もういかなくちゃ
-れいや爆裂-
11.子守唄
12.悲しいなら手を叩こう
-おれソロ-
13.ピチピチチャプチャプランランラン
14.チューリップ
15.今宵は鬱くしい
16.雫
 
アンコール
1.どしゃ降りの彼女
2.感電、けがのおそれがあります。
 
Overall, this is one of the best lives I've been to in a long time. I felt the "this might be honmei" magic but I'm not letting that happen because money. lol
 
Also
 @Platy I'll be at that live as well. O-East is a big venue but if you see me feel free to say hi! 
 
Also also,  if you guys want an idea of how popular Dadaroma is, I don't follow them but a friend of mine who does told me that their oneman at Akasaka Blitz (1,300 cap) was pretty filled BUT it filled with a huge catwalk set up. She says there was maybe 400 or 500 people there.
And to add to that, Yoshiatsu's birthday live at K4 which holds like 200 people hasn't sold out and it's on Sunday.

THIS!!!!

2016 just doesn't stop giving. I wish I could go SO much, I can only hope there will be a DVD or some footage, just anything
 
I can't wait to see xaa-xaa in July, I just wish it was a oneman. But some xaa-xaa still better than no xaa-xaa. They sound fantastic live. Also can't wait for more stuff on the consecutive releases.

DADAROMA
「スタンチク」(Stanczyk)
 
01 オープニング (Opening)
02 「リズリーサーカス」 (Risley Circus)
03 「最終電車」 (saishuu densha)
04 トレンドアイデンティティ (Trend Identity)
05 融け込めないざらざらな芸術を君が殺してくれないか (tokekomenai zarazara na geijutsu wo kimi ga koroshitekurenai ka)
06 「雨のワルツ」 (ame no waltz)
07 ヘﾞルカとストレルカ (Velka & Strelka) (Re recording Ver.)
08 モルヒネ♯1 (Morphine 1)
09 モルヒネ♯2 (Morphine 2)
10 SEX!!
11 「溺れる魚」 (oboreru sakana)
12 MONEY
13 月のうた (tsuki no uta)
14 imitation hero.
15 「ルシッド•ドリーム」 (Lucid Dream)
<16 KURT (piano Ver.)>
 
 
Before we begin I’d like to note that I picked up both versions of this album at the band’s tour final last week, so it’s already had plenty of spins for me to base my opinion on. Now that the rest of you guys can hear it, I figured it's a good time to post my thoughts.
 
 
So here we are at last – a full album release from one of the fastest growing bands in recent memory, DADAROMA. Led by frontman Yoshiatsu, who also has the talent of knowing exactly how to market his band to maximise interest, these guys appeared on the scene last January with nothing but a music video for their first song, ‘oboreru sakana’. The heavy but dramatic introduction to this mysterious new band drew the interest of many both within and without the visual kei community. However, unluckily for even national fans, their first mini album was and remained limited to sales at lives: a strategy that undoubtedly helped the young group take off by tempting fans to head on over to their lives and pick up a copy, but equally alienated those who couldn’t attend, especially foreign fans with no way to acquire this rare debut release.
 
But of course, this is the age of the internet, and it wasn’t too long before ‘dadaism 1’ was available to all to hear free of charge, if not exactly legally. And this is my main cause of disappointment, not in ‘Stanczyk’ and DADAROMA’s decision to include that entire first release, which is itself commendable to please their ever-growing fanbase, but in the community which lessened the value of it, and by extension of this so-called ‘best album’ that is unfortunately fairly packed with tracks we’ve heard before.
 
 
The album opens with a short introduction that sets up lead track ‘Risley Circus’, named for 19th century performer Richard Risley Carlisle, who pioneered the act of juggling with feet rather than hands. Indeed, Yoshiatsu packs many intriguing cultural references into DADAROMA’s songs, with the album itself a nod to the possibly mythical Polish jester Stanczyk and a generally pierrot-inspired theme running through both the band’s visual stylings and the lyrics of several songs. Risley displays some experimentation with electronic sounds and vocal distortion which may divide fans, but it’s undeniable that the catchy chorus will stay with you even after the track ends.
 
Next comes single track ‘saishuu densha’ (Last Train), which is notorious for its highly erotic promotional video being removed from YouTube not once but twice, despite the band’s efforts to pixelate offensive material. DADAROMA have dabbled in jazz a fair amount, but this is in my opinion one of their best attempts (see also: the sensual ‘urei libido’ from the ‘ame no waltz’ single). Once again a catchy chorus and a steady pace held by the percussion parts make for a memorable track.
 
‘Trend Identity’ is the shortest track the band have produced to date. It recalls ‘kusatta mikan no houteishiki’ with the heavy riff matched with synth stylings, and was clearly made for live performance, but it sets itself apart a little with Yoshiatsu’s first attempt at something approaching a rap. Not particularly memorable itself, but it was fun at the tour final last week.
 
Next we have a ridiculously long title that I can’t be bothered to type out again, but which is important to the album as a whole because it relates to the theme of art (Yoshiatsu’s final screams ‘kore wa geijutsu/this is art’ adorn the album’s obi strip). The bell-like motif immediately creates an interesting atmosphere as Yoshiatsu whispers his way through the verses, and from there the song builds into a powerful chorus. While initially the verse portions didn’t do a great deal for me, I do really enjoy said chorus and this track has grown on me a lot with repeat listens.
 
Single number two, the red herring ‘ame no waltz’ that, quite unlike a waltz, breaks out of the soft music box and raindrop opening into a brutal chugging guitar riff, fits pretty well here after the raw scream that ended the last track. Somehow this song made its way onto a Japanese TV drama as the ending theme, which is somewhat of a mystery to me but I appreciate it nevertheless as the sole DADAROMA song that actually appears at karaoke. I have an ambivalent relationship with this track – it’s a good song, but sometimes I just want to skip it and get on to something else. YMMV but at any rate it's another song we've heard before.
 
At this point we enter the cluster of tracks that is just ‘dadaism 1’ in a different order. While I appreciate that now fans who couldn’t get hold of that first live limited release (ie most fans) can now hear all those songs they’ve been playing for 18 months, it’s a little disappointing that they didn’t try and blend them more into the tracklist rather than just dumping them all together. For this reason long-time fans such as myself may be tempted to skip through this portion of the album, at least to the songs they like the most. This unfortunate situation is compounded by the fact that in this day and age it’s impossible to keep that limited CD from appearing on the internet sooner or later, diminishing the novelty of finally hearing these songs for the first time for many.
 
DADAROMA have made some attempt to change things up a bit though. The most obvious of these is the re-recording of ‘Velka & Strelka’, one of my personal favourite songs the band has released so far. However, for me the original is still the superior as it takes more vocal talent to reach and hold those notes at the end than the re-recording, which is easier on Yoshiatsu’s highs (and fair enough; if you’ve seen him live, he can struggle with them on a rough night). This retake of the vocal track is just slightly lazier, and ultimately it seems as though little other than the clean vocals has actually been re-recorded.
 
There are subtle changes in the other ‘dadaism 1’ tracks though. All of them have seen some editing at the mixing desk that brings the production more in line with the new tracks – the guitar is slightly less crisp at times and more distorted in the style of ‘Risley Circus’, but on the other hand the bass is more prominent, including a couple of additional samples Tomo seems to have recorded for this album, especially the final note of ‘Morphine 1’ that was particularly conspicuous. As to which version of each track is better, YMMV; ‘oboreru sakana’ and ‘SEX!!’ benefit somewhat from the changes in mixing, but I personally like the cleaner guitar in ‘MONEY’ much better on ‘dadaism 1’.
 
We return to new material with one of my favourite tracks on ‘Stanczyk’, ‘tsuki no uta’. It’s an emotional ballad that retains its energy through the steady drum beats and powerful chords that support Yoshiatsu’s gorgeous vocals in the chorus. Despite lyrically presenting itself as a ballad, it’s a surprisingly short track that lends itself well to repeat listens. As an aside, I think this was the only new song the band didn’t play at their tour final; I look forward to the opportunity to hear it live some time in the future.
 
‘imitation hero.’ didn’t quite capture my attention in the same way as ‘tsuki no uta’, but it’s also an accomplished ballad in its own right. For me this is a rare case of the composition in the verse being far stronger and more enjoyable than the chorus. The always present piano is a welcome change to the common electronic elements in the rest of the album, and Yusuke’s confident drumming is one of the song’s strongest parts.
 
DADAROMA’s first full album draws to a close with the dramatic masterpiece that is ‘Lucid Dream’. Easily one of my favourite tracks from the young group, the balance of head banging downtuned guitar chugs and a powerful chorus makes this a stellar composition in my eyes. It also wonderfully displays Yoshiatsu’s vocal prowess in both cleans and screams, comprising a wide range in the former and a variety of styles of the latter. Despite the surprising lack of pretty much any kind of audience participation at the band’s recent one man, it was a truly amazing ending to the main set when the band left the stage in awed silence as the last of the fake snow drifted to the ground.
 
 
Of course, this review wouldn’t be complete without mentioning the bonus track on the regular edition of the album. The piano verison of ‘KURT’ amplifies the emotion in Yoshiatsu’s clear voice, while retaining the best of the instrumental support in a beautiful piano arrangement. I would actually love to hear a purely instrumental piano solo of this track at some point. It’s a fitting, end-credits-style addition to round off DADAROMA’s ‘best’ album.
 
 
Ultimately I’m divided when it comes to giving this release some kind of score. On the one hand, there’s a lot of old material in here, but none of it is just there to pad out the run time, and in any case it’s all great material. As someone who has been a fan of DADAROMA since the very beginning, and also bought all of their releases and listened to them countless times over, it’s easy to act like we deserved more new material with ‘Stanczyk’. It wouldn’t even be unreasonable to be disappointed that live limited songs like ‘neji’ didn’t make the cut (although to be fair there’s still copies of that sitting on the goods stand at their concerts). However, if I were to imagine this album as my introduction to DADAROMA, this is easily a contender for album of the year.

THIS!!!!

2016 just doesn't stop giving. I wish I could go SO much, I can only hope there will be a DVD or some footage, just anything
 
I can't wait to see xaa-xaa in July, I just wish it was a oneman. But some xaa-xaa still better than no xaa-xaa. They sound fantastic live. Also can't wait for more stuff on the consecutive releases.

session "キャン☆スターズ" will perform at Shinjuku RUIDO K4 at 2016/08/24
 
"キャン☆スターズ" members:
Vo.いっち(itti) (ex-キャンゼル(canzel)-->HOSHInoHOUSE)
Gt.シュン(shun) (ex-Vidoll)
Gt.ルリ(ruri) (ex-キャンゼル(canzel))
Ba.てりてん(teriten) (ex-HOSHInoHOUSE)
Dr.ゆきみ(yukimi) (ex-ユナイト(UNiTE.))
 
 
亜季(aki) session will perform at Ikebukuro BLACK HOLE at 2016/07/05
 
session members:
Vo.龍蛾(ryuuga) (Sel'm)
Gt.シュン(shun) (ex-Vidoll)
Gt.けん(ken) (ex-アンド(AND)(Ba.))
Ba.亜季(aki) (Sadie)
Dr.ゆきみ(yukimi) (ex-ユナイト(UNiTE.))

I don't know about you guys but I'm pretty pumped for what's to come with XAA-XAA this fall/winter
 
2-man tour with DADAROMA

 
 
First 3-month consecutive releases

 
First oneman tour

 
It is a bit strange though that their anniversary live will be at somewhere so small. 
 
 
The oneman in Osaka was the best XAA-XAA live I have ever been to.
To be honest, it was so mind blowing it might have been the best live I've gone to in general. I haven't gotten over it.
 
And @Duwang you still gotta type up how the Tokyo one was bro!!!
I heard someone got hurt during the 感電 mosh? because of that weird hold in the wall in shimote. 
 
 
情けない男のテーマ was fantastic too. It sounded like a video game at first and I just loved it so much. It was my favorite interlude of theirs so I'm so glad they made it into a song. But actually in the middle of it at least in Osaka Kazuki started going JUNKO JUNKO JUNKO and I lost my shit.
 
Also Roji mentioned a few things recently:
the mannequin body parts strewn about the stage are NOT Junko's there are no two shots of the members together he doesn't know the other members' phone numbers ???

I haven't gotten the CD yet (it wasn't in shops when i looked and i didn't preorder #oops)
 
 
but for the live experience i've seen them almost 20 times. 
it's normally pretty high energy: moshing (we run, it's not the usual jumping back and forth), fist pumping, headbanging, etc. 
The stage always has Junko on it and often caution tape or something related to the current theme. For example, when it was shinitai they often had calligraphy saying 死にたい on it. 
I can't count how many times the members have climbed down in the crowd to mosh with us etc. There have been numerous times where it was only roji (or roji and haru) left on stage because the others were joining the crowd. 
they have recitation where kazuki reads something before a song.
sometimes they do stupid things between songs like "haru's chinese restaurant"  (before 君の心臓を食べてしまいたい), or that time where kazuki said 眠れ (go to sleep) to the members and they all just fell over suddenly one by one and then he started doing it to the crowd (before 子守唄), sometimes it's just haru with a whistle etc. 
 
I've never not had fun at XAA-XAA. 
 
At their first live Haru had a flask and just dropped it on the stage and there was the biggest thunk and me and my friend like to joke that that was when we knew that they were the band for us lol

Good to see Kyo's hitting them notes

Their latest album is great!! Don't get me wrong, the main vocalist is very talented and I hope she will go on to do her own solo stuff if babymetal do break up. But to start, she definitely doesn't have that Kawaii face that most Idol-like groups look for and she will be in her 20's soon if she isn't. I just get the feeling BABYMETAL might become a group where the girls 'graduate' and they bring in more to carry on the band. If it doesn't I will be pleasantly surprised