Himeaimichu

Even though I consider myself an X Japan fan, I agree with your points.. I wouldn't ever attend an X Japan concert on it's own anyway, because of the crappy theatrics. Also, it's not the same without Hide. (Though, I do think that Hide is horribly misunderstood by Vkei fans. He was more than a sad guy, he was unstable, and needed therapy). 
Heck, X Japan themselves aren't as important as they're hyped up to be. I mean, Saver Tiger formed first, and D'erlanger and Dead End got popular way before X. Also, ToshI got his famous look from Kyo of D'erlanger. Before that, X looked much different.  Heck, X even copied a few riffs from their fellow indie bands (Blue Blood taking their intro from Crows in Black by Rosenfeld) and they weren't any more than another indie early Vkei band until Hide came along. Heck, apparently, the term "Crime of Visual Shock" came from another band, though someone will have to confirm that for me. 
And while Extasy bands did go on to major labels and all, not even the labels prevented Zi:Kill and Glay from breaking up, and I don't ever hear about Tokyo Yankees anymore. Gilles de Rais was a failure too. The only former/current Extasy bands that still preform that I can think of on the top of my head are Luna Sea, X, Tokyo Yankees and Glay. Ultimately, Dynamite Tommy's Free Will label was more successful in the end, because they're still a driving force. 
While X may have been one of the first Vkei bands to go major, that isn't nearly as important as the driving force in the indie scene, as Vkei is built from the ground up. The indie bands are the backbone. 
I'm going on a soapbox here, but I felt this needed to be said. 

I have seen X Japan three times now and every time X Japan is super late to start, there are more theatrics than music, and most X fans (Japanese or foreign) are annoying as fvck. A lot of them are cosplaying obangya (and when I say obangya, most of them are 40-60 y.o. women/grannies) and their tall hair blocks out pretty much any chance you might of had of seeing the stage. It's not as bad at arenas where the seats are tiered, but at the Visual Japan Summit last year everyone was just in a standing zone and I had to watch most of their performance through a screen.
 
Also, their fans don't seem to understand the "switch out" system for taiban lives. X Japan were playing last, but some of their hime-sama fans had already decided to take up the front row at 10:00 a.m. when PLC came on.
 
At a previous show I saw, Yoshiki decided to have some random/awful h.naoto fashion show in the middle of the concert, and even liking h.naoto at the time, it was still like wtf I didn't pay 12,000-15,000 yen for an hour-long intermission when X Japan only had like 8 songs to play in total. Then at every live they play, you have to listen to X Japan and their fans yelling "WE ARE X!" for like 30+ minutes.
 
The only other person that I've seen put more emphasis on bad theatrics than performing is Gackt, but at least he played more than 8 songs and had better tour goods.
 
TL;DR, they have good songs and I appreciate them paving the way for visual kei, but there is certainly a cult-like hype around them that isn't entirely deserved. 

How to spot a VK noob (possibly outdated version):
 
- Says they have like 10 VK albums, but every one of them is a Chinese/Taiwanese bootleg.
- They claim to be "a fan" of a new VK indie band, but they live overseas and the band doesn't have any physical releases out yet.
- Buys polaroids and posters of bands they don't even listen to.
- Constantly points how this/that/everything could be VK or lolita style whenever they go shopping.
- Talks about how Asian/Japanese guys are hotter than Western guys or assumes the majority of Japanese people are as "hot" as VK guys.
- Their favorite VK songs (and possibly the only ones they know) are all anime themes.
- Confuses fanfiction with reality.

I remember I once came across this guy who thought Etsy To Utsu by Kiryu was about "Two girls forbidden loving in a country rooted in its traditions"
And I explained that the lyrics have nothing to do with LGBT and he was like "that's because all you see is lyrics, but Mahiro has a deeper meaning in the lyrics you don't see"
Like, Mahiro doesn't write the lyrics xD. And also, traditionally, there was no stigma in Japan against gays until the Meiji era. I think Kiryu would know this best xD. He also went on about the music video and all, and honestly was pulling stuff out of thin air. But it was obvious the guy didn't know much about out Kiryu, or Japanese History xD

Part 2.

 
And on an OST video for Hyperdimension Neptunia:


Just sort of weird how much people will big up the stuff they listen to, as if it's the sole source of a type of music, or that it's the best and the only best.

they will distribute a special present (maybe a CD) at their live at 2017/07/27 and they will have an important announcement !
 
[participating artists]
NightingeiL 
RAINDIA
VAMPIRE ROSE
ラヴェーゼ
VAN9ISH
紅ク染マッタ記憶
ヴァージュ

Underrated: 
Riku from Phantasmagoria, even if he isn't the best. 
Kyouki from Grieva, because people say he tries to sound like Kyo (Even though he sounds nothing like him, and actually uses better technique, tbh..) and I've heard all the accusations of him being autotuned, just because of how his backup vocals sound and because the way the production sounds. However, he's pretty much the same live, records his own backups and gets the same processing treatment that Yo-ka from Diaura gets. And last time I checked, Yo-ka is revered for his vocals. In fact, since Grieva went original now, they deserve much more credit than they used to.
Asagi from D.
Kaya
Chiaki from Dezert. I literally hear no praise for his screams or feminine vocals, which are quite impressive. 
Mei from Kuroyuri to Kage. I often hear the same thing about his screams, "His screams aren't powerful enough", but that doesn't show the point. The screams aren't meant to be powerful. They're Jonathan Davis type screams. Also, there are his signature whine vocals. While vocalists in the past have experimented with the whine-vocals, such as Ruki from The GazettE, or Tusk Itaya from Zi:Kill, they're a signature part of Mei's vocals. 
Mahiro from Kiryu. I keep hearing so much criticism on his vocals, especially from the snobbier people of Vkei (*Cough* TeppyBaka *Cough*), but, if you can combine traditional Japanese vocal techniques with western techniques, AND add your own twist to it, you're doing something right. 
Overrated: 
Ruki from The Gazette (Well, he actually used to be quite unique, when he sang more aggressively and rolled his Rs. Now he sounds like every other Vkei vocalist. 
Kamijo from Versailles. 
Tsuzuku from Mejibray
 
And then there is one I have a weird position on: Kyo from Dir En Grey. I don't think he's necessarily overrated, but I think he is overpraised. Like, even after all the numerous surgeries, and learning correct techniques, he often still goes into incorrect techniques that could quite potentially harm him again in the future, or while not harming, make him sound worse than he really is. Singing, for the most part, he's got down. Regular screams, he's got down. However, the squeals a few of the growls concern me. However, the biggest complaint I have is his mic technique, as starting from Marrow of a Bone, he began cupping the mic, which any sound guy and microphone manufacturer will tell you is really bad mic technique and is the reason why his singing sounds so weird live. I mean, if you look at the 2007 Hide Memorial summit footage, you can hear the mic audio going from good to bad as he cups and uncups it. 
And don't go "look, little girlie, you don't know anything about death metal, it's just a death metal technique, you have to cup the mic.", because then you'll have to explain the death metal bands where the vocalists play guitar. They exist, and they sound way better than most death metal bands. I'll even go into the science of how a microphone works if I have to. 

For any of my fellow LGBT+ lovelies who like Hardcore Punk,  
here is an LGBT Black Flag cover band, called "Black Fag". The profits they make at concerts go to LGBT charities. 
 
They also made a really catchy dance to go with it xD

Closer by the Chainsmokers sucks. 
F*ck, everything by them just f*cking sucks. I thought their song "Selfie" was just a joke.. turns out, "We ain't never getting older" repeated 848639751937567417^10*485018589 (A number so big, it's in scientific notation) times is not a joke, and it's authentically repetitive, generic trash. 
And the general public eats that sh*t up! I don't see what's so appealing about a bunch of autotuned guys saying the same double negative in an amount so big, it, it has to be in Scientific notation.
Then again, it's pop music. Why am I annoyed if I don't even listen to it? Because IT'S EVERYWHERE. Everywhere I go, I hear that same song. How does it not get old for people? 
Am I just a "goth" person who only listens to trash, or am I the only one with a brain that gets annoyed with monotony? 

^^ I also really like Kuroyuri to Kage's vocals. Mei is a really good vocalist and a good screamer. I often hear people complain his screaming doesn't have enough power, but they kind of miss the point. Mei's screams are influenced from that of Johnathan Davis from Korn. They're not meant to be powerful.
Another favourite "millenial" vocalist of mine is Chiaki from Dezert. I love how feminine his vocals are and he sounds almost the same on stage as he does in studio. 

No, I don't think because bootleg would be using official t-shirt designs. These are custom to the request of the user. If you wanted her to use an official t-shirt design, in theory she could, but IDK if she really would

Oh wow, I never knew I was using actual slang xD. I thought I just made up the term on the spot based on "Get out of jail free card" xD

@Euthanasia@Zeus@AimiGen7I forgot to touch his post-Kuroyume 2009 reunion days so gomen for forgetting about details you pointed out there guys. Yes, he did cheat and there has been some sort of strong netizen opposition aimed against him afterwards which led to his temporary account changes and other specific promotions - can't remember much about that scandal though. 
 
I and my nihongo comprehension might be even rustier at this point, but didn't Hitoki confess (thru twitter, momentarily that is) he had been given no position nor voice to use against Kiyoharu's late trademark decisions ("Avex-Kiyoharu"-scenario)  - he was in the band too, no? @sads123or maybe another Kiyoharu/Kuroyume fan might know better if that legit statement took place a few days after Kiyoharu's tax failure leaks.
 
 
Not worth emphasizing among other dirty bandomen as @Zeusresponded already, but worth mentioning anyway. God knows if SADS bassist suddenly refusing to meet Kiyoharu and co. and departing was related to Kiyo being an egocentric diva with pickle cards in his pockets...
 

Hunties, both of you are wrong. Chiaki and Mei are brothers from different mothers xD
Let's be honest though, Kuromitsu from Elektel Shiki birthed both xDD (Joking, sort of.)

Well, he lost the rights to KUROYUME not too long ago for failing to pay taxes so I don't think he gets all the passes in the world. Whatever good will he was riding on then has exhausted itself by now. I thought about including him here for that but he didn't get into any ~real~ trouble and there's not much more interesting than what I mentioned so I left it off.

One could care less about otherwise very carefree, condescending attitudes/lifestyles that most of these bandomen exhibit but let's talk about more significant, large-scale effects here - i.e. things that have impacted songwriting/production heavily AND permanently later on.
 
Kisaki is quite obvious but even so, I think Tommy has the most notorious, and notable backstory here if we follow aforementioned criteria. Come to think of it, there is a clear negative association with him in an instant whenever there are label talks with his "foster children", i.e. Dir members or even 12012 until they decided to cut their ties or idk. We might never know how much of illegal shite has been done (e.g. 2007 case) to keep his poster boys relevant in the eyes of Nipponjins and gaijins.
 
Literally the Don Corleone of visual kei - with Kisaki being "lesser evil" per se.
 
And since it's all the rage for us to sneer at rockstars for doing "the hard stuff": Kiyoharu did hard drugs too yet he has tons of dedicated stans and 0% media judgement. Go figure.

Dynamite Tommy always seems to get himself in a pickle. According to TV tropes, one of his fights with Yoshiki caused a bar to be demolished. Can anyone provide backstory on this?

Tracklist:
 
1. 中野行進曲 (Nakano Koushinkyoku)
2. GOKUMI
3. 路地裏に立つ女 (Rodjiura no Tatsu Onna)
4. 本能 (Honnou)
5. 残響 (Zankyou)
6. 都会迷路 (Tokai Meiro)
7. 人生はマンネリだ (Jinsei wa Maneri Da)
8. 月姫 (Tsukihime)
9. White regret
10. 羞恥遊戯 (Shuuchi Yuugi)
11. 二重人格 (Nijuujinkaku)
12. ユメ風船 (Yume Fuusen)
 
 | Everything you wanted from visual kei band including taking out the trash
 
Now generally シビレバシル (Sibilebashir) is known for their off the wall strange antics and a vocalist that dresses with the style of top notch drag queens, but if anyone had forgotten they also every once in a while release some seriously bad-ass music. Something about シビレバシル (Sibilebashir) just hits the bulls-eye of my soul with its visual goodness with 中野合衆国 (Nakano Gasshuukoku). It's understandable that Izumi's voice isn't for everyone, but for me along with the cacophony of music put together by guitarist marya, bassist Yuuto, and drummer rei it is a mess of perfection. I was ready for this album from the first day they announced it and every single released before it's arrival left me wanting so much more. 中野合衆国 (Nakano Gasshuukoku) is something that stands out from the mess of visual music and isn't afraid of it's message even featuring a track about the regret of American voters after the recent election. 
 
The album is hard to figure regarding that it's a strange infusion of punk, pop rock, and pure visual insanity. Even it's opening track "中野行進曲 (Nakano Koushinkyoku)", is a groovy start for the album and it's dam difficult to fight off the urge to let it's catchy rhythm take hold of you. It's a perfect lead into super infectious "GOKUMI", which is one of the best songs they've ever put together. It's a track that anyone should have a hard time forgetting as it's so well infused with a simple beat and a chorus that you can't get out of your head. "路地裏に立つ女 (Rodjiura ni Tatsu Onna)" a much faster paced track comes up next, and the bass lines provided by Yuuto outshine the rest of the song and show off a lot of his talent.  The album starts to become much more twisted with "本能 (Honnou)" which starts to take on the form of シビレバシル (Sibilebashir) that fans are more familiar with as it's more demented and messy, much like the rest of their work. 
 
"残響 (Zankyou)" transitions the album takes the album further down the rabbit hole. The twisted guitar, played by marya, is so wonderful and borderline trippy that it feels like something you shouldn't be listening to, yet you want more.  And the album continues to impress with musical merit thanks to track "都会迷路 (Tokai Meiro)", which gives you a taste of シビレバシル (Sibilebashir) candy that you feel you need so much more of. "人生はマンネリだ (Jinsei wa Mandela)" definitely sparkles with rhythmical lusciousness with a dash of the great drumming provided by rei. The album carries you straight into "月姫 (Tsukihime)", a previously released song, that is placed so perfectly in the track list. "月姫 (Tsukihime)" is very memorable especially with it's extremely fetching instrumentals and clean vocals.
 
"White regret" is a song filled dissatisfaction over recent world events with current presidential standings. Despite it's topical theme it's a harmonious delight of sorrowfully haunting guitars and anguished vocals that emit pure disappointment. 中野合衆国 (Nakano Gasshuukoku) shifts to a harder gear with "羞恥遊戯 (Shuuchi Yuugi)" with discordant melodies and chaotic vocals that add a bit more of a deranged spice to the album. The only issue with the album is "二重人格 (Ninjuujinkaku)" which admittedly is a beautiful song all on it's own, but it's placement in the track list feels very out of place as if it they weren't where exactly to put it. The release ends with "ユメ風船 (Yume Fuusen)" which would have felt better like a much better track if it's weren't for the previous song.. Nonetheless, it's a perfect ender to the album, and it's a super upbeat bass line party with guitars providing the drinks, drums throwing confetti everywhere, and vocals taking the night to it's close.
 
中野合衆国 (Nakano Gasshuukoku) is something that feels so very シビレバシル (Sibilebashir), which is a band that seems to have no definition or clear genre. And that's what's so lovely about the band and their work. If you feel the need for a release that's messy and so close to being well put together then look no further. 
 
 
Support the band!
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(The look associated with Jigyakuteki Sennoukokka, and Haikei, Haranbanjou Biyori)
 
So I decided to do a review of these two releases because they're really special to me. I'll explain why, but first, let's give some background on Memento Mori:
Memento Mori was an AnguraKei band formed in 2010 from the session band, Jigsaw. The members came from all around the Tokyo indie scene. Lead singer Ai (Now Mei in Kuroyuri to Kage) came from the band Rose Valley, whose guitarist also played support guitar for Tsubaki's (Was Koyomi in Kuroyuri) old band, Yukiline (which also had Chiaki from Dezert). Jin and Yohan (Now Kuro and K respectively) both came from a band called Icecream. The earliest prototype to Memento Mori is a band called Arutema, which had Ai, Tsubaki, and Yohan (Then, Ai and Tsubaki were known as ISOLA and Akaya). The other guitarist was Ya, and the drummer was named HIDE. Guitarist Jin and and drummer Carua replaced Ya and Hide and the band was christened "Jigsaw". Jigsaw would then sign to Dear Dolce records, and renamed Memento Mori. 
Jigyakuteki Sennoukka was their first album. It was released under Dear Dolce records. Originally, Haikei Haranbanjou Biyori was also going to be released on Dear Dolce, but the label closed. So after Dear Dolce closed, Memento Mori and Piece were resigned to Asakasa Kougyou music (Aka-on), which was originally a sublabel of Dear Dolce that held Raddock (Whose drummer would go on to be in Kuroyuri to Kage). The first album was originally recorded with drummer Carua, but he left two days before it's release. So drummer Yue replaced him. 
 
Now that you know the history, let me explain why this album and EP are special to me. Memento Mori was one of the first Vkei bands I got into. They charmed me with their sound and use of Japanese instruments, and Ai's vocals captivated me. This band has always been a favourite of mine, and helped me get through hard times. Safe to say, I hold a passion for this band. 
Now let's get onto the review!!
 
Jigyakuteki Sennoukokka: 
1. Red Rabbit:
This is possibly the perfect intro track. It's not too short, not too long, is very energetic, and let's you know what this band is about. It's a very catchy piece that will get stuck in your head. 
2. Sakurabi Awaki Samidare Ni -Aitou No I-:
This is a rerecording of a song from an earlier single. This time, a regular Koto (Japanese harp) was used. Before such, a Taishogoto (Japanese harp with typewriter keys) was used in the single version. This is an aggressive track that requires headbanging. Lots of Metalcore influence in this one. Ai's growls and screams really add to the heaviness, and the guitar solo in what originally was the breakdown really added to the already amazing song. 
3. Seiaku Linda:
Also from a single, this one is a bit more upbeat with a very audible bassline. This also introduces Memento Mori's love of pinch harmonics, as they're commonly used throughout the song. The drums in the beginning also show Carua's amazing skills. Too bad he wasn't in the band long enough though. 
4. Mosaic Jishukisei:
This track isn't actually on the album, but is listed as a track for some odd reason. IDK if it was meant to be a hidden track, or if it was scrapped at the last second. It's just not on there. 
5. Kairaku Nonfiction:
This one is a bit jazzier, starting out with a drum groove and a smooth bassline. Then trumpets go off and the main riff kicks in. This also shows Ai's vocal skills, as he uses a lot of heavy vibrato, something we wouldn't hear much of until Kuroyuri to Kage. 
6. Iris:
This one is a semiacoustic piece, and while it is the quintessential soft song, it doesn't feel stereotypical or forced. It feels straight from the heart. Jin takes the acoustic parts while Tsubaki takes the electric parts. Mei's voice is also a bit rawer in this, making it feel more genuine. 
7. Monochrome Death:
This heavy piece uses a lot of staccato notes, and screams. It also seems to change feel throughout the song, going from major, to minor. Though, the lyrics are a bit cringey, especially the English ones such as "DESPERATE SCENERY IS BLURRED. ENDLESS SORROW. PUBIC TREE. MONOCHROME DEATH". Like, the hell is a pubic tree? Do I even want to know??
8. Kiku No Kasa to Kagome Uta:
This is Memento Mori's first ever song, being released as a single earlier. The thrash influenced riffing and drum beats really give it a dark feel. Originally, a PV was made for this song, but only a PV spot was released. The chorus is also fun to sing along to. I find myself harmonising every time. 
9. Merry Chainsaw:
Also rerecorded from an earlier single, this starts out with Jin using a wah effect on the guitar. Ai also gives a more aggressive feel to the vocals compared to the single version. It's a dark song, about.. well.. I'm not entirely sure since I don't speak Japanese, but the title is "Merry Chainsaw", so, it's kind of obvious. 
10. Murder Doll:
The last song on the album, also on their first single, this ties up the album perfectly. It's dark atmosphere, and aggressive song structure really wraps up the album. Often, live, this song is extended so the band can interact with the audience. If I could compare it to another, I'd say it fits the role that "Zan" did on Dir En Grey's first album. 
 
Haikei Haranbanjou Biyori: 
This is the EP released after the first album, and the second release to feature drummer Yue (Who was previous featured with the band's addiction to the Dear Dolce omnibus). This takes in more traditional Japanese influence, and including doom metal and sludge metal influenced riffing, along with Eroguro themed lyrics. This is probably influenced from the band Ningen Isu, which was known for their eroguro themes, sabbathy riffing, and Japanese folk feel. Sadly, because of the low budget as a result of changing labels, and the rushed production, the sound quality isn't that good. The kick drums are barely audible. But for this album, it's not needed. 
1. Kyoumei Youkou:
This is the SE tract to the EP. It starts out with Synth Drums and then goes into a Shamisen melody. At the end, you hear Hishigi clappers, which really set the stage (Kabuki theatre pun intended) for this album. 
2. Joroya:
This was the song that got me into Memento Mori. It was the first to have a PV, and is possibly one of their best pieces. The gritty, slowed down riffing with the Shakuhachi and Shamisen really give a unique vibe. The song's meaning though is quite weird. I can't be for sure, but it seems as if it's about a prostitute who is taken advantage by an incubus, until she turns against the incubus and refuses service?? Unfortunately, this song got the band in a lot of trouble for accusations that they were copying Kiryu, even though Memento Mori and Kiryu are very different bands. Also, if Memento Mori is copying Kiryu, Kiryu is copying Byakura, and Byakura is copying Birushana. 
3. Oiran Chourou:
This song is a similar one to Joroya, in both sound and lyrics. This one, however, is about a prostitute in Yoshiwara. In this one, Ai goes in between deep and androgynous vocals more often.
4. Suzaku:
Another semiacoustic piece, this one is slower compared to Iris. Ai also goes in between androgynous and regular vocals. The lyrics are emotional and from the heart, being about someone you miss dearly. I can sympathise with this one on many levels. 
5. Bankoku, Akagami Reijou:
This one is quite unique. It has a militaristic feel with the rythm guitar using military drum rythms, and powerful vocals. And that fits the meaning of the song. During the end of WW2, Japan was really losing the war, fighting on two fronts. Americans on the pacific, and Russians and British in Asia. This song takes place during a battle in China, where Ai says he hopes to go home soon, then tells his troops that they need to fight for their country. It's their mother. It's their father. It's their children. It's them. It's Japan.
6. Rampowezu to Komoriuta:
The last song on the EP, this one is normally romanised as Ranpoezu to Komoriuta. However, N before P in Japanese is romanised and pronounced as M, and 絵 in archaic dialect is pronounced "We". The song starts off with an old recording of Buddhist Sutras, then goes into the intro riff, with a phaser effect on the guitars. The lyrics often make references to Japanese children's songs, such as Kagome Kagome. It's the perfect ending song, as it just feels like it couldn't go anywhere else. 
 
In conclusion, Jigyakuteki Sennoukokka and Haikei Haranbanjou Biyori are amazing releases, from a very unique band. It is really sad that Memento Mori no longer preforms as Memento Mori, because these songs were a gift to the Vkei scene. 
What do you think about the releases? What are your favourite songs? What do you think of Memento Mori? Feel free to tell me!

(The look associated with Jigyakuteki Sennoukokka, and Haikei, Haranbanjou Biyori)
 
So I decided to do a review of these two releases because they're really special to me. I'll explain why, but first, let's give some background on Memento Mori:
Memento Mori was an AnguraKei band formed in 2010 from the session band, Jigsaw. The members came from all around the Tokyo indie scene. Lead singer Ai (Now Mei in Kuroyuri to Kage) came from the band Rose Valley, whose guitarist also played support guitar for Tsubaki's (Was Koyomi in Kuroyuri) old band, Yukiline (which also had Chiaki from Dezert). Jin and Yohan (Now Kuro and K respectively) both came from a band called Icecream. The earliest prototype to Memento Mori is a band called Arutema, which had Ai, Tsubaki, and Yohan (Then, Ai and Tsubaki were known as ISOLA and Akaya). The other guitarist was Ya, and the drummer was named HIDE. Guitarist Jin and and drummer Carua replaced Ya and Hide and the band was christened "Jigsaw". Jigsaw would then sign to Dear Dolce records, and renamed Memento Mori. 
Jigyakuteki Sennoukka was their first album. It was released under Dear Dolce records. Originally, Haikei Haranbanjou Biyori was also going to be released on Dear Dolce, but the label closed. So after Dear Dolce closed, Memento Mori and Piece were resigned to Asakasa Kougyou music (Aka-on), which was originally a sublabel of Dear Dolce that held Raddock (Whose drummer would go on to be in Kuroyuri to Kage). The first album was originally recorded with drummer Carua, but he left two days before it's release. So drummer Yue replaced him. 
 
Now that you know the history, let me explain why this album and EP are special to me. Memento Mori was one of the first Vkei bands I got into. They charmed me with their sound and use of Japanese instruments, and Ai's vocals captivated me. This band has always been a favourite of mine, and helped me get through hard times. Safe to say, I hold a passion for this band. 
Now let's get onto the review!!
 
Jigyakuteki Sennoukokka: 
1. Red Rabbit:
This is possibly the perfect intro track. It's not too short, not too long, is very energetic, and let's you know what this band is about. It's a very catchy piece that will get stuck in your head. 
2. Sakurabi Awaki Samidare Ni -Aitou No I-:
This is a rerecording of a song from an earlier single. This time, a regular Koto (Japanese harp) was used. Before such, a Taishogoto (Japanese harp with typewriter keys) was used in the single version. This is an aggressive track that requires headbanging. Lots of Metalcore influence in this one. Ai's growls and screams really add to the heaviness, and the guitar solo in what originally was the breakdown really added to the already amazing song. 
3. Seiaku Linda:
Also from a single, this one is a bit more upbeat with a very audible bassline. This also introduces Memento Mori's love of pinch harmonics, as they're commonly used throughout the song. The drums in the beginning also show Carua's amazing skills. Too bad he wasn't in the band long enough though. 
4. Mosaic Jishukisei:
This track isn't actually on the album, but is listed as a track for some odd reason. IDK if it was meant to be a hidden track, or if it was scrapped at the last second. It's just not on there. 
5. Kairaku Nonfiction:
This one is a bit jazzier, starting out with a drum groove and a smooth bassline. Then trumpets go off and the main riff kicks in. This also shows Ai's vocal skills, as he uses a lot of heavy vibrato, something we wouldn't hear much of until Kuroyuri to Kage. 
6. Iris:
This one is a semiacoustic piece, and while it is the quintessential soft song, it doesn't feel stereotypical or forced. It feels straight from the heart. Jin takes the acoustic parts while Tsubaki takes the electric parts. Mei's voice is also a bit rawer in this, making it feel more genuine. 
7. Monochrome Death:
This heavy piece uses a lot of staccato notes, and screams. It also seems to change feel throughout the song, going from major, to minor. Though, the lyrics are a bit cringey, especially the English ones such as "DESPERATE SCENERY IS BLURRED. ENDLESS SORROW. PUBIC TREE. MONOCHROME DEATH". Like, the hell is a pubic tree? Do I even want to know??
8. Kiku No Kasa to Kagome Uta:
This is Memento Mori's first ever song, being released as a single earlier. The thrash influenced riffing and drum beats really give it a dark feel. Originally, a PV was made for this song, but only a PV spot was released. The chorus is also fun to sing along to. I find myself harmonising every time. 
9. Merry Chainsaw:
Also rerecorded from an earlier single, this starts out with Jin using a wah effect on the guitar. Ai also gives a more aggressive feel to the vocals compared to the single version. It's a dark song, about.. well.. I'm not entirely sure since I don't speak Japanese, but the title is "Merry Chainsaw", so, it's kind of obvious. 
10. Murder Doll:
The last song on the album, also on their first single, this ties up the album perfectly. It's dark atmosphere, and aggressive song structure really wraps up the album. Often, live, this song is extended so the band can interact with the audience. If I could compare it to another, I'd say it fits the role that "Zan" did on Dir En Grey's first album. 
 
Haikei Haranbanjou Biyori: 
This is the EP released after the first album, and the second release to feature drummer Yue (Who was previous featured with the band's addiction to the Dear Dolce omnibus). This takes in more traditional Japanese influence, and including doom metal and sludge metal influenced riffing, along with Eroguro themed lyrics. This is probably influenced from the band Ningen Isu, which was known for their eroguro themes, sabbathy riffing, and Japanese folk feel. Sadly, because of the low budget as a result of changing labels, and the rushed production, the sound quality isn't that good. The kick drums are barely audible. But for this album, it's not needed. 
1. Kyoumei Youkou:
This is the SE tract to the EP. It starts out with Synth Drums and then goes into a Shamisen melody. At the end, you hear Hishigi clappers, which really set the stage (Kabuki theatre pun intended) for this album. 
2. Joroya:
This was the song that got me into Memento Mori. It was the first to have a PV, and is possibly one of their best pieces. The gritty, slowed down riffing with the Shakuhachi and Shamisen really give a unique vibe. The song's meaning though is quite weird. I can't be for sure, but it seems as if it's about a prostitute who is taken advantage by an incubus, until she turns against the incubus and refuses service?? Unfortunately, this song got the band in a lot of trouble for accusations that they were copying Kiryu, even though Memento Mori and Kiryu are very different bands. Also, if Memento Mori is copying Kiryu, Kiryu is copying Byakura, and Byakura is copying Birushana. 
3. Oiran Chourou:
This song is a similar one to Joroya, in both sound and lyrics. This one, however, is about a prostitute in Yoshiwara. In this one, Ai goes in between deep and androgynous vocals more often.
4. Suzaku:
Another semiacoustic piece, this one is slower compared to Iris. Ai also goes in between androgynous and regular vocals. The lyrics are emotional and from the heart, being about someone you miss dearly. I can sympathise with this one on many levels. 
5. Bankoku, Akagami Reijou:
This one is quite unique. It has a militaristic feel with the rythm guitar using military drum rythms, and powerful vocals. And that fits the meaning of the song. During the end of WW2, Japan was really losing the war, fighting on two fronts. Americans on the pacific, and Russians and British in Asia. This song takes place during a battle in China, where Ai says he hopes to go home soon, then tells his troops that they need to fight for their country. It's their mother. It's their father. It's their children. It's them. It's Japan.
6. Rampowezu to Komoriuta:
The last song on the EP, this one is normally romanised as Ranpoezu to Komoriuta. However, N before P in Japanese is romanised and pronounced as M, and 絵 in archaic dialect is pronounced "We". The song starts off with an old recording of Buddhist Sutras, then goes into the intro riff, with a phaser effect on the guitars. The lyrics often make references to Japanese children's songs, such as Kagome Kagome. It's the perfect ending song, as it just feels like it couldn't go anywhere else. 
 
In conclusion, Jigyakuteki Sennoukokka and Haikei Haranbanjou Biyori are amazing releases, from a very unique band. It is really sad that Memento Mori no longer preforms as Memento Mori, because these songs were a gift to the Vkei scene. 
What do you think about the releases? What are your favourite songs? What do you think of Memento Mori? Feel free to tell me!

It was already posted here : 
 

So I guess I'm one of the few who didn't like it at first. But yes it's lit af. Hoping they will release a full album next 

CHIAKI birthed MEI hunty 

When I see these people often stating that "yay when I grow up and bear kids, I shall make them listen to my vk muzak", I often think whether that feels too forced and perhaps hindering with regards to unique development of your own children. I am not considering any grandiose family prospects per se but seeing these 2010s families with parents of my own age, what are their attitudes towards raising their kids etc. irks me a bit.
 
Just provide and explain options to your brats, encourage openness etc. Forcing your own interests (exclusively), especially those of VK-like proportions, will merely damage their own unique perception, viewpoints they will abide to in the later course.
 
This is also my main argument against most families kickstarting their infant-bearing days right in their early 20s - when they (more likely) have no fricking idea how to encourage growth, one's mental development, responsibility for fuck's sake. Give it some time lads...
 
Fortunately enough this is MH and not Reddit where these weeaboo moms and dads fail to test their wits over my statements above.

Kyoto-ben* He's from Kyoto xD
That's actually where Kyo got his name from