inertia

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

I lived in Tokyo and went to all their local shows and many of the away ones too during their second period in the 2000s. Something that I think isn’t fully appreciated among international fans is just how unpopular and broke Lareine was during that time, and how desperately and passionately they worked despite the obstacles. But every concert was magical. It had to be. There was no reason to do it otherwise, and a million reasons to quit. It felt like borrowed time, and I was always so happy and grateful to be able to see them despite the bittersweet feeling they would have been better off doing something else.
 
They always looked exhausted at events, rarely had new costumes, rarely even had new goods because I think they had trouble coming up with deposits. Cheki didn’t start to become a thing until late in their history (2005-ish?) when they’d already spent years grinding away with little return. I suspect the reason why they were able to put out as many releases as they did is because back during Lareine’s Sony days Kamijo invested in buying a bunch of his own production equipment. I think normally an indie band at that level wouldn’t have had those resources.
 
But time to write and rehearse seemed like a scarce commodity too back then. There were times when Kamijo looked half dead. And every time Lareine did a little tour we could watch Kamijo perk up day by day, at the same time as us fans with normal lives were getting more and more tired as the tour went on. It always made me wonder what on earth kind of awful schedule he normally had in Tokyo, juggling the band and probably a part-time job, that going on tour would feel like a vacation to him. (Later on when I read Versailles interviews, they mentioned that Kamijo and Hizaki first met while working at Third Stage.)
 
Unfortunately by 2003 Lareine was already perceived as old, out of date, and uncool. A ‘90s band. If they hadn’t paused in 2000 maybe things would have been different, maybe they could have built a solid base like Dir or Pierrot. But coming back in 2003 it was too late, the trends had already changed. Lareine had few fans back then, and it seemed like all of us were fans from before. I never met any Japanese fans who said they were new. (only international fans) Young VK fans didn’t care. Lareine wrote some of the currently trendy themes into their music in ways that were interesting instead of pure copy/paste, and us old fans had fun, but nobody else cared. They did some amazing experimental stuff on stage, and nobody saw it except us few old fans. To give you an idea of how young fans perceived them, there was a big outcry when Versailles was announced because people didn’t think a pansy weak vocalist with a thin high voice like Kamijo should be playing with awesome (but unknown) guitarists like Hizaki and Teru. They really got outraged when we heard Versailles was going to have a heavy sound. I got in a lot of arguments online at that time with people who clearly thought I was a delusional fangirl for saying that Kamijo’s voice is powerful enough to sing heavier music.
 
In February 2006 Kazumi announced that he was leaving Lareine and retiring from music. I never blamed him, I was thankful that he had done his best to help bring us great music for so long despite the hardships. But this was really the beginning of the end. Lareine put out big ads in the major VK magazines looking for a new drummer, and they even went out of their way to explicitly write that they would take applications from anybody regardless of age or sex or nationality, as long as they could play and would love the band. I think that would be shocking to see in a band’s want ad even today, and this was in 2006 before the explosion of international tours had happened. But they weren’t able to find a drummer, and then during the summer Mayu vanished again. Honestly I can’t even blame Mayu either for wanting to quit under the circumstances, but it was terrible that he vanished without communication or warning. The Club Citta live they did in October was originally supposed to be a Halloween Party event live with multiple bands, not their last live.
 
I went to as many of Kamijo’s anniversary tour dates as I could, since it was so special. The Tokyo final with everyone was amazing. So glad I went.
 
p.s. “Drama” was so great live that to this day I can still half-hear the performance in my memory, even though they only played it twice in Sapporo in February 2006 before Kazumi left. It was so powerful. Kazumi and Emiru were much louder than on the studio version; this song actually has a really sexy rhythm when you can hear them. Mayu took the electric part instead of the acoustic one. They came together solid and strong booming on the beat in that last chorus on the song, Kamijo singing powerfully instead of gently, and hard on the beat like the others. I regret not bringing my MD recorder to Sapporo, but I never imagined that those 2 nights would be the last times we could enjoy Lareine normally.

His live performances are way better than his recorded voice so I'm not judging.

It's easy to make fun (which was my first thought, I'll admit), instead it would be nice if we could all make some constructive criticisms to help the gals, since they'll probably check the thread...
 
- I don't care about visuals, but people in general do, and you are all looking nice. Hair, clothing, makeup... maybe work on your poses, and improve the photoshop (the group photo is much worse than the individual ones, probably too much light on your faces)
 
- The main point: the recording of your song is PRETTY bad. I know youtube usually drags it down and you probably don't have that much of a budget, but you can DEFINITELY record a song or two in a proper studio with a couple hundred bucks. Yes it's an investment, but it makes the world of a difference. That chorus could be catchy if properly recorded and equalized, the drum lines specially. It's such a niche market that usually don't care about western bands, so you really have to go the distance to win this crowd.
 
- It's a matter of personal preference, but I find your logo way too confusing, really hard to identify the band's name. Branding is important, I would try to express that differently.
 
wish you girls luck!

To me it sounds like 乱される.
Corrupted / thrown into confusion by the scent of roses
 
 

To me it sounds like 乱される.
Corrupted / thrown into confusion by the scent of roses
 
 

I just ordered it on Amazon JP. It seemed like it would be super difficult to get because it's so indie, but it turned out to be easy. Amazon's international shipping is cheap too. I'm hoping my CD arrives in one piece with such cheap shipping, but if this turns out to be a good way to buy from Japan I will be really happy.
 
Link for anyone else who wants to try:
https://www.amazon.co.jp/dp/B01N7YPY6M/ref=cm_sw_r_tw_asp_maQrM.XP48SVN

He did ask on FB about instagram and the differences between that and FB. 
 
In case anyone is wondering, he's now working for BMW. 

I'm not surprised.  It really looked like he had retired from public life and just wanted to live quietly hanging out with his old friends, and it's awkward using the same account for fans/promo and friends.
 
In one of the Facebook posts, he said something about how 90% of the people who had friended him on FB were foreign, and he regretted not having studied English. But he was happy because he had already found 7 of his former classmates, and that was half of his class.
 
I think now that he successfully got in touch with that many of his old friends, it makes sense to start over with a new account just for them.

So it was deleted because someone reported his account over the name.
But he thinks it might be convenient after all.
 
Was there anything to verify if that Instagram is really him?

I'm not surprised.  It really looked like he had retired from public life and just wanted to live quietly hanging out with his old friends, and it's awkward using the same account for fans/promo and friends.
 
In one of the Facebook posts, he said something about how 90% of the people who had friended him on FB were foreign, and he regretted not having studied English. But he was happy because he had already found 7 of his former classmates, and that was half of his class.
 
I think now that he successfully got in touch with that many of his old friends, it makes sense to start over with a new account just for them.

https://ameblo.jp/shaura-official/entry-12314321140.html

I'm not surprised.  It really looked like he had retired from public life and just wanted to live quietly hanging out with his old friends, and it's awkward using the same account for fans/promo and friends.
 
In one of the Facebook posts, he said something about how 90% of the people who had friended him on FB were foreign, and he regretted not having studied English. But he was happy because he had already found 7 of his former classmates, and that was half of his class.
 
I think now that he successfully got in touch with that many of his old friends, it makes sense to start over with a new account just for them.

His introduction in the corner says he no longer had a reason to be in Tokyo since he wasn’t singing any more, so he moved back home. He started using Facebook in hopes of finding his old hometown friends, but he doesn’t really know how to use it. Be careful of fake accounts, this is the real Juka. (he says)

His introduction in the corner says he no longer had a reason to be in Tokyo since he wasn’t singing any more, so he moved back home. He started using Facebook in hopes of finding his old hometown friends, but he doesn’t really know how to use it. Be careful of fake accounts, this is the real Juka. (he says)