wildjokerleia

Too much negative WTF's in this thread and not enough positives.
 
THIS takes the cake.
I remember coming across this vid during my beginner days as a J-Rock fan and shat myself in disbelief. 

I'm not even finished listening to the classic X albums, tbh, so I don't really care if they ever finish a new one or not. I just come to these threads for the YOSHIKI jokes.

I can confirm this:
 
- Megiddo <--- "Megiddo no Oka" by PIERROT, therefore = PIERROT's the main act
- Acro <--- "Akuro no Oka" by DIR EN GREY, therefore = DIR EN GREY's the main act
 
Some genius titling  really.

I highly doubt this is all they are gonna announce though. Maybe I'm being too optimistic about this but why the fuck would they make a website, a Facebook page, etc just for two tour dates? 

I mean sure, you can use some older, ambiguous riot imagery to depict your early rivalship back in the day (as @r...pointed it out) but randomly selecting otherwise debatable event footages (e.g. Maidan 2014 was slipped inbetween and that education protest thing) is not necessarily striking the right note there...but this is Japan and their "well who gives a shit it's edgy though lol"-positioning lol.
 
What a buzzkill nonetheless.
 
JUST RELEASE THE ALBUM ALREADY, BOTH OF YOU.
 

day 1 — Pierrot absolutely slays Dir en grey catalogue medley over a 3 hour live;
 
day 2 — Dir en grey attempts to recreate Pierrot's weakest album filler, starting the gig with HELLO, Kyo's vocal chords give up, rest of the concert is held with Kirito's vocals playing off a roadie ipod shuffle;
Die and Toshiya dedicatedly pull strings, Shinya leaves the scene to play support for Asagi, Kaoru snorts heroin on stage, gets escorted out by police.

I just want Pierrot back full time (btw I love Angelos), is that too much to ask for?

I want it all: an album, a tour, merchandise, blu-ray or DVD release... I mean, go all out. Get some weird merchandise out there. xD

All those words sound like a tagline for the greatest arthouse/porn film to humankind. Lol. x3

they're sO DRAMATIC BYE ITS LITERALLY A LIVE SHOW FUCK OFF

Especially because FREEZE was surprisingly consistent and GOOD. Hell, I was listening to it today again. It sounds better today than it did back in the day.

As far as I know, SHOXX is back for good now. I remember the name was bought by the store Little HEARTS., so I guess they're running it now or something?

"JAPANESE DEMOCRACY" IS FINALLY BEING RELEASED, YAY

Yoshiki the 10/10 troll. There are people that have literally died waiting for this album to come out including a couple of X Japan members!

I think it's time for X Japan to do to Yoshiki what Malice Mizer did to Klaha. 
 
 

Recording this was difficult because the old master tapes accidentally had curry spilled over them

I think I 'd like to point out something everyone here has seem to have overlooked. This is a Japanese music forum correct? Could this be a reason for the preferences and biases mentioned in this thread? Also from my personal experience American's tend to do the same with music of other languages and almost seem to only enjoy a band if they speak English but as mentioned here perhaps that in itself is also merely a  "phonetic" preference on their part. But let's assume we were on an American music forum. Would you not expect the same type of biases? 

For me personally aside from otherwise "relaxing" flow and other phonetic mumblejumble it was also about unorthodox vocal-arrangement combinations in otherwise rather casual genres (who would think that fitting baritone/nasal-ish vox with symphonic/power metal would work well as a case in point?) AND allow me to recap myself:
 
 
(Carm's note: you gotta thank folks like Beatles and earlier black Jazz musician figures for playing around with this progression - as we speak, gospel music often plays around with same chording ideas, funny huh?)
 
Skip the intro and check the ending - there's a huge pool of subtopics related to this subject Friedman was discussing what I would call "Japanese progression". Not saying this would be literally EVERYWHERE (e.g. my standom for Pura merely started out from Britpop fanboying and affinity for special phonetic stuff) but I could honestly say nowadays that this pretty much separates my "palatable japanese taste" from "palatable western (my culture) taste".
 
 
Speaking of some western figures usually slamming us into "deluded, closed-minded listeners" because of such affinity - lemme counter this with my own take: Japanese way of conveying otherwise "western" genres helped me to look and keep my *EAR* on nuances I usually either missed or never paid attention to in otherwise very "familiar, palatable" english/mother tongue-based music.  But then again, that is if you allow yourself to evolve with your tastes per se (whether you "progress" in your taste or not is not dependent on whether you represent the "weeb" culture or otherwise "palatable" culture). I could go on and on about this variety of examples that reformed my musical aficionado self into more "curious" one but that would be just pure thread derailing.
 
So to summarize in a bit more coherent way, two things: 1) "unorthodox, yet oddly palatable" approach in regards to flow, pop songwriting 2) "Same, familiar basis but different interpretation and nuances". I might express my thoughts rather oddly as some may point it out but I am hands down sure at least some "matured " (not to belittle younger generations ofc) J-music listeners get what I am saying...
 
 

Agreeing with @Biopandaand @fitear1590 - Phonetically, Japanese has always resonated with me for whatever reason. I may sound like a helpless weeb saying this (and I am =P), but it never really sounded "foreign" to my ears. I've always found the language beautiful and smooth, whereas hearing other languages sung was initially jarring for me, and required time for me to really get used to them, if at all.
 
As for the OP -  I definitely think it's interesting to discuss these patterns, but I'm not sure if "hypocrisy" has any bearing in regards to music appreciation (and you probably already understand this with your use of quotations in the title). I say that because you need some kind of static, objective reference to discern if something is hypocritical or not, and music appreciation is far too ambiguous for a judgment like "hypocrisy" to be applied, let alone relevant. 

hope you're prepared for the usual stale arguments of
i don't understand the language which means its better because western lyrics are usually bad!! glorious nihonjin make ongaku better than white devils something about not being mainstream  
 
also cheers

Let me start off with saying that I have listened to j-rock since 2009, and listen to plenty of other genres.
 
What I still can't kind of get my head around is actually with the introduction of more or less extreme sounding bands (for j-rock), such as Deviloof and Nocturnal Bloodlust, one might see plenty of examples of rejection of other bands from different countries, playing such type of music with more quality, or glorifying j-rock bands (I'm getting tired of seeing how genius Deviloof are, while they are, at best, mediocre at their focus genre, but with some good ideas).
 
I understand that there's some sort of confirmation bias at place, and willful ignorance, but I wonder if anyone noticed the same pattern.
 
Cheers.

I, too, remember when Toshi dove into the crowd to stop a fan from filming at a concert.

I'd probably put my money on the next GnR album yea. It's interesting parallel anyway. I always felt the 2 bands were similar in many ways. 

I like this better than anything Dir en grey has ever done.