reminiscing2004

Just discovered this band recently and it's been so satisfying, acoustic screamo emo perfection
 
(singing starts at 2:11)
 
 
They have an EP called "The Distance Between" that has better recording quality and is awesome, but these two demo songs are my favorite by far.

I'm hardly familiar with either of these bands (maybe seen one video each), but I read specifically because I was curious if Tenten still 'had it'. Glad to hear he seems to -- dude's getting old : )
 
Nice report

the ultimate has-been anthem, a single mediocre song to end VK for good tbh

We waited 4000 years for this.

I bought seven CD's and they were well packaged and undamaged upon arrival. They came in nice plastic protective sleeves (I know some of you guys are into that lol), and the shipping was crazy fastttt. Shipped from Singapore on a Monday and arrived by the end of the week. Thanks @hiroki!

I bought seven CD's and they were well packaged and undamaged upon arrival. They came in nice plastic protective sleeves (I know some of you guys are into that lol), and the shipping was crazy fastttt. Shipped from Singapore on a Monday and arrived by the end of the week. Thanks @hiroki!

That's been my experience in a nutshell. Different bands provide a different fan 'aura', but generally my experience as a 20-something's gaijin has been pretty accommodating. The awkwardness always melts away when my favorite bands take the stage anyway \m/ (I've just learned to stay out of the furitsuke for my own good LOL)

Lack-co are in the middle of hosting a series of Monday two-man shows called "ステゴロ" (what does Stegoro mean??)  and having never seen Tenten in any of his bands and The Gallo being one of my favorite active VK bands I had to go to this one while I was visiting Tokyo.
 
東高円寺二万電圧 (Higashi Koenji ni man Den-atsu) is just outside the central Tokyo region defined by the Yamanote Line, but it was a quick trip on a couple trains and Den-atsu is very close to the station when you arrive.
 
To access the venue you first have to descend an outdoor, concrete staircase toward an outdoor landing. The descent actually made me a bit nervous as there was no railing on one side and it was raining at the time. This was a very non-descript entrance from the roadway. After walking down the stairs and making a turn I was looking at a way too-cool-for-school 30-something dude manning the ticket table. Acknowledging that I don't look much like the typical VK fan in Japan, when I asked for one ticket this guy with shaggy hair at the table actually asked me "You know who's playing tonight?" He didn't sound mean about it, I think he genuinely wanted to save me from seeing this show normally reserved for younger women assuming I had just stumbled to the club looking for any live music I could find. I assured him I was there to see The Gallo and he handed me my paper ticket that doubled as a drink ticket.
 
I liked the set up in side Den-atsu as the bar and merch tables were outside the stage area, which meant I could stand pretty much anywhere inside and not be in the way of people trying to sell things. I found a spot in the rear of the club in front of a tiny alcove that was littered with bags belonging to the VK girls in attendance.
 
This was a fairly small club with low ceilings; their website says the capacity is 130 and I'd say this show had about 80-90 people in attendance. The head count reminded me just how niche a scene VK is. I'd consider The Gallo and Lack-co two of the more well-known indies bands, so it was a bit jarring to see the small venue they were playing at even in a giant city. I'm obviously too deep into VK to remember that almost no one cares about this stuff.
 
Obviously The Gallo were going to be playing first... both because Lack-co were hosting the event and because I saw a lot of the girls standing near the stage holding their signature bowl and spoon. One girl near me had a plain bowl with no logo on it that I could see, did I miss something or did this girl just bring her own bowl from her kitchen to clap along with? I think the latter scenario is pretty funny/ingenious actually. I mentioned in a live report from a couple years ago that The Gallo fans kept doing furi during the band's music playing between sets over the club's PA, and during this show the fans clapped along to the bass drum sound check. Gallo fans seem like a fun bunch in general.
 
 
 
The curtain was drawn to reveal the band in their latest Gallo-Vuitton all over print leisure suits. Jojo had his hair cascading through the top of a hat with the top cut off and some Day of the Dead skull inspired makeup for a very Tim Burton-y look overall. Andy had his palm against the ceiling atop the stage, and I don't think he was raising his hand to get the crowd hyped but rather to test whether or not he could pump his fist upward during the show (he couldn't without hitting his hand... a lot of the band members had to deal with this and would only throw up their hands while bending backward to afford themselves a little more space.) Some of the audience were even checking to see if they could touch the ceiling. The stage right guitarist (they have names for these positions in VK but I don't remember them) had one of those guitars with no headstock, and it looked from across the room like the end of the neck had dripping red wax poured on it a la a Maker's Mark bottle.
 
The newer guitarist, Nov, passed out paper plates to the audience so that people who didn't bring their own (like me, no I didn't pack my Gallo plate in my luggage) could clap along and the set began with "Belphegor". "Belphegor" has some pretty obvious clapping along portions, so even a noob like me could get the hang of the plate banging fairly quickly.
 
The highlights of the set for me were the fact that they played "Kuroi Ondori" (ok they played the remade version from Nero, but still) which is a favorite of mine, and also the 'circle pit' that Jojo started with himself dancing in the center of the maelstrom playing with a megaphone set to siren mode.
 
The lowlights, if you can call them that, were that two different songs had the audience doing the wave (do we need that two separate times?) and that the MC music was "Tokyo Cinderella" but they didn't actually play "Tokyo Cinderella".
 
Some of the non-bowl-based audience participation that was fun was the crowd stomping on the floor in time the beat and the crowd holding hands and swaying back and forth. Of course a couple songs had the requisite gyaku-daibu portions, and I'm certainly not jumping into the backs of some tiny Japanese girls, but they were fun to watch. Nov was kneeling on the backs of a couple girls during one diving song and slipped off them and stumbled backwards onto the stage. Wajou occasionally tried to demand the crowd participate in the diving like the other members were, but he is way too smiley and couldn't really pull it off. He just couldn't help being happy even trying to look mean.
 
The Gallo ended their set with a really high energy rendition of "Incubus" (which I'm still disappointed has no theremin in the live version) during which Jojo was leaning over the crowd singing and got some feedback when he put his mic in front of the amp and proceeded to give it a disappointed look and bop the amp on its 'head' like it was a recalcitrant child.
 
With The Gallo finished with their set thus began the churning of the crowd as Lack-co fans moved into the frontmost positions and many girls invaded my small space in the back looking to find their bags and check their phones and makeup. It kind of sucks for people in the back, as the polite spot changing for peoples' favorite bands leads to a weird concert-going scenario where the back of a venue is often more crowded than the front, but it is kind of cool that the scene (or just Japanese live music fans?) doesn't require people who want to be up front for the band playing last to endure being crushed through all the other shows as concerts in the west would.
 
Interesting note about Den-atsu: in tearing down the stage between sets (which isn't quite the production at these Japanese clubs where you basically just have to bring your instrument and plug in) the bands/roadies had to move equipment down from the stage into the audience area and out through a side door that wasn't connected to the stage. So after the curtain was closed on The Gallo, a couple minutes later we saw band members bringing things down from the stage to this side door.
 

(from Lack-co Twitter)
 
While The Gallo fans can be identified by their white bowls and spoons, Lack-co fans had all produced blue and red clamshell castanets to clap along with. I have to say these did dramatically change the sound of the crowd applause in a way that might get old, but was kind of refreshing for the first time.
 
Lack-co's intro SE was a piano rendition of "Twinkle Twinkle Little Star" that gradually morphed into the requisite fist-pounding, techno track. The first member to take the stage was drummer Higiri, and wow I thought I hated his black face, but this blue Alfalfa x Cindy Lou Who hairstyle he was rocking for the show might actually bother me even more (not bother in the same way obviously, but it was not pleasant to look at.) I resolved to avoid watching him as much as possible.

The band, except for Tenten who had a Lack-co band tee over a white shirt, were all wearing the red suits with writing strewn all over them from their most recent look. I recognized some of the words scrawled on their suits like 'shine' and 'kimoi' as 'mean things to say to someone'. Very edgy boys.
 
Between not loving their output so far, and the majority of their tracks having titles in Japanese, I didn't recognize much of Lack-co's set list other than a riff here or there. The show did remind me of why I keep giving Tenten's bands chances and will continue to; he is one hell of a charismatic frontman. His sly smiles and confident stage mannerisms had the audience eating out of the palm of his hand and made it so it was hard to pay attention to any of the other members of the band. His best move was when he parted the Red Sea of fans to do a bit of 'everyone run into each other from opposite sides of the venue' but just as the opening in the center stabilized, he jumped down and ran to the cameraman at the back of the venue, struck a pose for a moment, then dove back onto the stage just as the cue for the crowd to go wild hit.
 
Lack-co's set actually resembled a straight up rock show the most of any VK bands I've seen I think. There was very little *furi*, most of the synchronized moves were headbanging, clapping, fist-pumping type stuff that required no direction from Tenten or the band. Tenten even commanded an almost bona fide circle pit during which one girl lost her sweater and it ended up absolutely trampled. In fact, I was a little surprised by how much the show, for lack of a better word, rocked. Lack-co has always seemed like an assemblage of too cute ideas in search of a central theme or melody to hold on to on wax, but live their songs resonated nicely even with perhaps a 'jazz' breakdown a little too often.
 
Milk threw a carton of milk into the crowd as the band were leaving the stage... ride that USP hard buddy.
 
Ivy was fun strutting around the stage and headbanging as usual. I say as usual because I'm pretty sure I saw him at three different shows the week I was in Tokyo, at Lack-co and as a session bassist the other two.
 
When the set ended the girls chanted and clapped in unison for an encore. (Though they appear to be saying "an-ko-re" instead of "an-ko-ru"? I guess the first group that did it had only seen the word encore and not heard it spoken??) They even started up a chant for a second encore that was cut off by the house lights and a voice over the PA system telling them, I'm guessing here, that the show was actually over and it was time to go home.
 
This was a fun pairing for a two-man show as both bands and their groups of fans have pretension-free fun jumping around to some quality tunes. I'll be sure to check out Tenten's next band if I visit Japan again 😉.

Hello!
I'm an old Visual Kei fan. I started by listening to Lareine around 2000 then carried on with X Japan, Malice Mizer, Moi Dix Mois and Versailles. With the decline of forums I lost a bit sight of the scene, but a few months ago I started to regain a bit of contact with how things are going now, because I'm missing all of it.
 
Lately I'm starting to listen to Kizu too.

You stole the words from my mind perfectly. I wish it weren't so, but I agree..

You stole the words from my mind perfectly. I wish it weren't so, but I agree..

This band just further proves that you can have all the talent in the world but if you don't have the passion then you're going to have a bad time. Also hizaki stole a part of Theme of Sang. lol

I don't know... I feel like after JUBILEE any Hizaki/Teru's composition has sounded the same to me, like it's the same track rehashed over and over, in either Versailles or Jupiter.
And this track's the same.

Versailles -Power Metal Quintet-

I was an obessive fan of a ドマイナー band, that regularly had less than 10 people seeing them(sometimes there would be less depending on the live day), and they released really nice jewel cased CDs and booklets. They played cyber a lot and their chekis were 200yen a piece. 

Length of tanuki threads about the length of their p-
 
Also, how many "Come to Brasil" comments there are on YT.

the shame of ripping off lynch. was too much to bear

my reaction:
 
the Gazettttte was still signed to PSC??? PSC still exists??

Totally... Artists complained, but their strategy was undeniably solid. During the golden days of psc carnival, top 5 indie charts were all theirs. I remember bis complaining about their insane schedule (well, 5 minis in a year span is kinda insane), just to leave and, while their momentum was going, singles were top 1 oricon, songs in tv shows, collabs... as soon as their pace slowed a bit their popularity took quite a hit. And I think it was more or less what also happened to A9 and Kra, so I guess you can't have it all in vk biz...
 
The beggining of the end was PSC indies, imo. When they were focused on, and had a tight grip on a few solid acts, only danger crue was somewhat near them in popularity.

Inb4 some crazy diru stan calling this #fakenews

Hello there!
I am fairly new to the forum and have made a couple of posts. 
I am interested in many J-rock bands from the 90s (both visual rock bands and not visual kei bands that went major such as Glay, Luna Sea, X Japan, Siam Shade, L'arc-en-ciel, Lareine, Janne Da Arc  and a few more) and Pop bands that don't really suit this forum such as SMAP or Spitz ^^". I like the sound of 80-00s Japanese music (either rock or pop).
I am not into nowadays J-rock or visual kei groups except for Versailles but maybe from browsing through the forum I get to know new groups and get into new bands  

Will be keen to check this out after your very positive review. Onmyouza was the first japanese band I listened to, and I listened to all their albums up until Maou-Taiten (that was all that was out at the time) religiously. I tried dipping back in once or twice since then, but had trouble enjoying the new material ( though it seems like they've released a lot between Maou-taiten and now). I'm optimistic to check it out.

| How does a band that delivers the same music for over 15 years defy expectations?
 
Like DEATHGAZE and lynch., 陰陽座 (Onmyouza) is that type of band that sticks to their guns and delivers the same style of music with each release. Also like DEATHGAZE and lynch., 陰陽座 (Onmyouza) is the kind of the band that won't do much to change your mind, no matter how many times they come knocking at your door with a new sales pitch. When I was a J-music novice, I thought being one-dimensional was a bad thing because I rated diversity much more highly than I probably should have, mostly due to the way many visual kei bands use diversity as a musical condiment. What is more important to me now is that a band delivers every time they announce a new song or album. While the two visual kei bands I mentioned earlier haven't been the paragons of consistency, 陰陽座 definitely is. There's not an album in their catalog that I would consider sub par - this is impressive with a career spanning almost twenty years and fifteen albums - and their newest album, 覇道明王, continues that trend.
 
I'll take the time now and say that if what you've heard in the past has done nothing for you, just listen to the first track "覇王". If that does nothing for you, you are free to go. I have nothing to say that will change your mind. If, however, you have never heard of this band before or "覇王" actually caught your interest, then welcome to what is perhaps the most metal album ever. This feels like, but also far outstrips, 2007's 魔王戴天 (Maoutaiten). 覇道明王 has zero chill, and from the opening piano chords of "覇王" to the fading guitar of "無礼講", 覇道明王 has the potential to keep you hooked without wanting a pause. Unlike past albums, there's no token seven minute ballad to bore you to sleep, or attempts at infusing disparate genres like pop punk and classic rock into their distinct brand of heavy metal. It's straightforward, punishing, rewarding, and everything I never knew I really wanted from this band.

Whenever I finish the intoxicating experience of listening to a new 陰陽座 album for the first time, I always wonder how the next one will surpass this one. They don't always manage to raise the bar, but they never completely shit the bed either. The last four albums in a row have consistently impressed me, but I don't think there's an album of theirs that's clicked as quickly as this one. Unfortunately, I cannot give it a perfect score because I believe it's a tad overwhelming for an initiate to sit through without wanting a breather. However, I'm confident in recommending this album to anyone that likes metal with subtle Japanese flair, dual female and male vocals, or just wants something new to listen to. This is as good of a place as any to jump in if you are unfamiliar with this band.

 
 
 

I'm not surprised about them going full blown k-pop tbh. There were some pretty big hints.
Definitely not for me.

L O L