maryeon

I've actually never had a to hide a drink at a venue. I wonder if it's a being a tall gaijin male perk or something but as long as it's water, no one has ever complained about me bringing drinks from outside despite signs that say otherwise. I just assumed they referred to alcoholic beverages and the likes. Just bring water and don't drink it in the face of the staff and you should be perfectly fine.
 
Also, for anyone not living in Japan, if you want to attend a decently compact tour, nothing beats buying a Japan Rail Pass. Unlimited travelling with all JR routes is what's enabled me to travel from Sapporo to Fukuoka and back to see Dir en grey tours in the past, and all in pretty great comfort onboard the Shinkansen I might add.
 
The "bangya culture" is actually pretty unsavory to me as a whole, and when I first came to Japan I was a bit disappointed that the lives weren't the glorious punky chaos I expected, but once you get used to it you sort of just adapt to it just enough to not cause friction while still enjoying the shows on your own terms. That's my tip to any other guys (or girls) who also feel a bit disappointed at times with the atmosphere at the lives, haha. A good advice would be to stand in the back for the first show for a band and watch and see what the fans do, and then decide what you feel good about, and what you don't. I never participate in furi but I'm always game for headbanging and fistbumping and various other things, and since my main band is Dir en grey, that's perfect since there's no furi at their shows, haha.
 
 
 

DEVILOOF, 
A band which get's more and more popular, finally they dropped their first album, let's take a listen en check out if the band did grow or that this release is also a waste of money and a pain in the ears.
 
1.Devil’s Proof 
It's an SE, just an nice intro, which actually gives a much amazing feeling than most of the songs on this album.

2.ESCAPE 
The thing I don't like at ESCAPE is the clean singing, also that part, if you listen to the drums, it's just smashing the drum on a pretty worse boring way. 
Also the high pitch voice in this song I think it's kinda not really need. But what I also don't really like is that BASS and DRUM doesn't really fit each other. 
a song which is 4:24 I also think it's a bit too long, for me it get a bit of boring after 2 minutes. and the short wtf solo after kinda 3minues. is somehow... yes WTF. But sounded nice tho.
 
3.Natural Born Killer 
high on screaming, I on't mean pig scream, just the high metal scream. It's nicely done also the more dark growling. It really fits it.
But once again, somehow I do not really get into the drumming beat. 
Yet, the guitar part is nicely but the bass falls a bit in behind.  
 
4.Return of the Curse 
This song is a pretty typical visual kei song actually. grunting is fine, the switch between more clean up singing and grunting is also good.
However it's not a song which fits in my personal taste. But it's good. 

5.DESTINATION 
This is more a rock than a real metal song. Also it's totally different from the above songs. 
Somehow this song also sounds a bit familiar, not sure where I did hear some parts of this song. (100% that WOW part, maybe loudness vibe?)
this song is 4:35 and sometimes its a bit as you listen to 2 different songs in one.  so a shorter version would have done it maybe better?
 
6.Lover 
Another long song 4:10 also a bit too long for this type of song. it has nice parts but the end simply sounds not that good anymore as the first minutes of this song.
Also this song really let me think of "E.T". 
 
7.InCipit-Instrumental- 
An instrumental song?! of 4:11! which only gives this album 9 full songs. 
while listen to this song, it also reminds me of some other songs, which I can't name out of my head. But guitar parts don't really are amazing and the drums well, could also be more amazing in a fully instrumental song?
Wouldn't mind if they didn't put this one on the album.
 
8.EGOIST 
It's far not bad, but somehow it also sounds a bit as a mess, also the random fast guitar solo... the heavy beat which isn't that heavy. Don't know.
It doesn't leave a memory after playing it. 
 
9.M.F.JAP 
worse lyric, melody isn't that bad does fit the way of singing very good. but it sounds more hiphop metal while other songs sounded much different. 
If the lyric was more nice I would have rate it better. also after 1½ min I did skip the songs.

10.怠惰の罪 
It's a nice one,  but I still do miss the beat which let me headbang.  but the more slow (clean) singing totally annoyed me, but beside that the melody is alright. 

11.HERO=MURDER 
Last song, also their best song. crazy heavy headbang level is still low, but yet possible. It's a nice one!
 
 
After all it's not an album which I would purchase for the original price, the album doesn't let me headbang or going crazy on their melody, I miss some real beat between the bass and drums. Yet Keisuke vocal is listenable it's not annoying. With this album they at least proof that they could create something which (many) people can enjoy. At least I can listen to it, without thinking that it is pure shit. It's long not perfect but I believe that DEVILOOF can grow at least I really hope that they can really let me headbang next time. After all whatever METAL it is, I should be able to headbang on it and not just stand and give only a little "yes". 
Also the songs on the album variate too much from each other. releasing them as 2~3 tracks each or just one by one. would have done it too. 
But yes DEVILOOF did do a good job, this time they didn't release a shame. keep going guys. 
However they didn't turn me into a fan. (not yet)

One of the things I really enjoy about RAZOR is their ability to combine hard-hitting djent-inspired riffs with catchy melodies and electronic elements. Despite the occasional chaotic composition on RAZOR's work the members' individual talent and catchy vocals gets their songs stuck in my head. In contrast to @BrenGun's comment, I would say that Ryoga actually has a pretty recognizable voice in the VK scene - especially when it comes to his range of growls and shouts that find themselves halfway between clean vocals and full-on screaming.
 
As for this mini, I wasn't as taken with ROAD as others seem to be, and the ballad was too long to earn many listens from me, but I really enjoyed all of the other tracks. 消えない痛み is a solid RAZOR track, and I can see why it earned a PV - despite sticking fairly closely to standard territory a la DNA or LIQUID VAIN, the chorus is memorable and gets stuck in your head, and it's a decent showcase for the sound RAZOR are becoming known for. イノセンス is definitely a standout with that oppressive atmosphere in the chorus, and quite experimental for what the band has put out so far. Labyrinth also has that catchy chorus that immediately hooked me (perhaps because it reminds me of one of the songs Ryoga performed with the all-star PSC session band WK on their live-dist release). Finally, I think その後の世界 would be great live and could fit in well at either the beginning or the end of the set.
 
All in all, I think the CORE is a really solid release and showcases more diversity than their first mini, which served instead to define their sound. It'll be difficult to top RED INVISIBLE for the sheer surprise factor and consistency (it blew my expectations for this lineup out of the water) but it's great to see RAZOR expanding their sound and retaining the quality in both composition and production that they led with from the start.

RAZOR | the CORE
 

 
 
Tracklist:
 
1. the CORE
2. ROAD
3. 消えない痛み
4. イノセンス                                 
5. Labyrinth
6. 君は今も鮮やかに
7. 『その後の世界』
 
A release that it's okay on its own, but with glimpses of brilliance, if they manage to identify them.
 
To properly explain the sentence above, We'll need to dwelve into their past releases for a bit. It's safe to say that RED INVISIBLE was the most well received release so far. It introduced and showcased all their range in a single release, with a bit of everything and by all accounts, a successful effort, even with its flaws. The following singles had their strenghts here and there, but faced a more lukewarm reception, most citing the lack of direction, uninspired b-sides and an over-reliance on born-like choruses/structures that may not fit with the overall range of the band. That brings us to the CORE. To get it out of the way, it is pretty obviously composed of tracks they do not believe have the power to be singles, and that's a (somewhat) fair assessment. The fact that it didn't have a PV (EDIT: Actually they did, but the fact that they choose the most bland track on the release works on favor of the idea here), and they chose to give 君は今も鮮やかに a lyric video further proves my point, it's playing safe 101. So, if you are not confident on the power of the material you have, the decision of making the CORE a compilation of trials, errors and experiments is a wise one. It lets you check the waters, understand the reception an maybe score one hit or two.
 
ROAD and その後の世界 are tracks that dig deep into the members origins. You can hear Sadie, born and MBHI influences all over those pieces. Both are a solid tracks, but not mindblowing, by any means. There's nothing wrong in playing safe and delivering something satisfying everytime, but we expect RAZOR to be a monster on its own, not a 2.0 version of those mentioned above. And I believe they've found their way with イノセンス, the best of the album. This track perfects a formula that enables it to be powerful without resorting to MBHI djent-y riffs, to have a very consistent vocal work without using born leftover choruses. Top it off with a mix of electronic effects and dnb drums that keeps the momentum going and never feels overdone and you have a winner on your hands. This is RAZOR transforming their influences into something fresh, perfecting their unique formula, and of course, their identity as a band. 君は今も鮮やかに is a mediocre ballad that does not bring anything new to their catalogue (worse than the 6/10 MISSING PIECE let's be honest) and 消えない痛み is such a forgettable one that if it wasn't labeled as RAZOR I'd have trouble identifying who it was from. (I'll ignore Labyrinth, the overused vk tropes are too strong on this one).
 
Overall, it's a release that provides more filler tracks to a band that may have the most high-ceiling potential of the 2016 newcomers, but have yet to find their stride. However, イノセンス makes me feel pretty confident that RAZOR can be fresh without throwing away all the experience and influences of past works, maybe reshaping them into something truly unique.
 
 
 
 

Metamorphosis is almost 6 minutes long but is generally speaking one of the new songs that people seem to appreciate the most. Anyway, anyone who expects nostalgic 90's luna sea is bound to be disappointed in the end. 

Luna Sea is probably releasing another album to show Yoshiki that it's really not that hard. 

Sinners was a pretty good release in my opinion .I love Kaleido, Sorrow and Black out Destroy from the EP. As for BTC, I really enjoyed Creature and the re-recording of the whirl, blood is a forgetable song tho

I literally got into Lynch. because of "Creature".  I'm so here for this song and that made me search for more songs from them and currently I'll  admit Sorrow won a weak spot in my heart. I'm all about that bass in that song unfghh Lynch. makes me sound so trash and I love it. They became my guilty pleasure in few days XD.

SINNERS besides "Black Out Destroy" is next to I BELIEVE IN ME as far as underwhelming Lynch releases go. BLOOD THIRSTY CREATURE is a nice comeback from that.  Same as a few of the key tracks in AVANTGARDE (which i still enjoy), I can't tie CREATURE to previous Lynch. tracks, so its pretty fresh to me and its bangin.  I REALLY do wish that Lynch. would build on that and drop an album that consists of entirely new material cuz they have that potential.  But again that's like asking the GazettE to do the same, which prob isn't happening. I'll gladly take the lil effort though. I wont comment on BLOOD cuz its just another forgettable Lynch. song. 
 
I first heard of the Whirl on IMMORTALITY which ended up becoming one of my favorite performances. The rerecording is stellar and fuck, it has such a grit to it. Salute to Ryo. Dude is working some magic on production. 
 
I'm happy. 

2017's "The Whirl" sounds absolutely fantastic.
Hazuki's emphasis on making sure this new version exceeds everyones expectations is not going unnoticed.
I imagine that lynch. are getting closer and closer to cracking this sound recipe they've been working with for a couple years now.
I always wonder what this "sweet spot" the guys are trying to achieve is.
 
If it will result in redefining what we know of lynch.'s music style thus far, then I'm all for it.
The possibility that lynch. can create a more memorable release than the album D.A.R.K (by doing all this) is something I need to hear before I die.

I would rather have a band that delivers consistent work (That I know and have came to like) then flip flop all over the place, never really being good at anything. I think lynch. has progressed in a style that suits them best, and though most songs sound like derivatives of each other, they are still undeniably 'lynch.'
 
This single may not be nothing new, but it's a solid banger, and it's better than most of AVANTGARDE imho

It's the most wonderful time of the month! Let's give thanks to our favorite musicians and highlight some spicy cuts from this month. Check it out and fill out the list with yours below!
 
@tetsu_sama69's Picks
"Monster" by 戦国時代-The age of civil wars-

Granted there were most likely some very mixed reactions when 戦国時代-The age of civil wars- were announced because of the random make-up of band members but with a group full of well experienced musicians with a splash of ex.SIAM SHADE members how can one go entirely wrong. 戦国時代 may end up being a temporary group in the long run but their first mini-album 初陣－First battle－ (Uijin－First battle－) is surprisingly stuffed with energetic and catchy songs that shouldn't be missed. "Monster" is one of the heavy darker themed tracks on the mini-album and sticks out mostly for its fantastic musical composition. "Monster" is a song that infuses heavy metal with traditional Japanese instrumentals spiced with pop-rock that has a bass line that'll get stuck in your head for days. The instrumentals go from energetic to headbanging at the drop of a hat and the vocals go from screaming to melodic so smoothly. The previews do no justice to 戦国時代-The age of civil wars- making them sound as if they are just another generic traditional themed pop-rock group, but they'll surprise you if you give them a chance.
 

"春雪ノ頃" (Shunsetsu no Koro) by Schwartz:Mist

I was in no way prepared for how much I was going to enjoy this at all. But once I heard that explosive grindfest of an opener I knew I was in for a treat. "Shunsetsu no Koro" is an amazingly solid song brimming with energy and emotion. Especially the breakdowns at the start and end of the track can only be described as a headbanger's best friend. Vocalist 心 (Shin) (ex. LucieN) has a fantastic voice able to deliver harsh powerful screams and gritty clean vocals that hit me in all the right places. Surprisingly what really makes "春雪ノ頃" stand out for me is that there's no guitar solo but if you listen there are some spectacular riffs from Guitarist 環 (Tamaki). If you have a thirst for some more from Schwartz:Mist after hearing "春雪ノ頃", you should definitely check out their first mini-album "S.M" and enjoy this great band!
 
 
"Imitation" by DEXCORE

Visual kei refuses to be a letdown this year with powerhouse band DEXCORE. If you weren't already hooked on them from their past releases then "Imitation" is a perfect song to get you into this band. With the addition of guitarist haku since their previous single, the band has grown exponentially. There's a serious amount of depth to "Imitation" layered with shockingly vibrant vocals and explosive instrumentals. DEXCORE has set the bar for the current scene of 'br00tal kei' a bit higher by delivering a song that's anything but generic. There's nothing held back in this storm of drums and waves of breakdowns that burst forth with vocal shock waves. Drummer Naoki (ex. DEATHGAZE) seems to have gone out of his way to make sure that DEXCORE sounds a step above anything he was involved in previously and it's a blessing to anyone who listens. I'm seriously looking forward to full release of "Imitation" and anything else DEXCORE brings in the future.
 
@emmny's Picks
"LAW'S" by Kiyoharu

I'm kind of new to the cult of Kiyoharu, so I was shocked to find out this was an old song, re-composed and arranged for an upcoming "rhythmless" remake album, with other Kuroyume, Kiyoharu, and SADS tracks. The original "LAW'S" closely resembles newer SADS material, but Kiyoharu's recent work tends to overlap stylistically, regardless of the project the song falls under. If you're wondering how this eight minute remake of a five minute song manages to even remotely resemble the original--you're totally right, theres no comparison. Kiyoharu and co. turn the edgy punk-styled track into a floaty ballad, anchored by gripping and rough vocals from the legend himself. The progression of the track is amazing, with delicate acoustic guitars giving way to more fullbodied instrumentation, ending with a good few minutes of Kiyoharu just wailing on the track. The imagery of the video is slow and erotic (or is it just sad?); the kind of shit you'd see a cabaret musician playing, with their cigarette smoke trailing into the air after last call rush dies down--but in the best way. In visual kei we're used to seeing good talent go to waste with bad taste, but it's a privilege to constantly see a talented musician making such carefully calculated stylistic decisions, as evident in the uniquely sultry arrangement in "LAW'S".
 
"夜想" (Yasou) by Virge

Virge, the project born out of the ashes of Mediena and Malisend continues to drop bop after bop, showing just how much Shin's (FKA Rino, ex-bassist for Malisend) compositional prowess has improved. The aforementioned bands piqued a lot of of interest on here, mostly because of their fairly strong early-00's revival sound. The trend continues with Virge, splicing equal bits of Phantasmagoria-style melodicism and the harsh guitars/bass of mid-era D'espairsRay to great effect, as seen with "Yasou". The band understand the importance of good, simple riffs and an even better chorus, using this ethos to frame their music. My only complaint before was that songs came across as a little 2D, or flat in their structures. They've read my mind (wwww) and addressed that with "Yasou", as it goes through a fair bit of shifts, showing off a more adventurous style, although the palette is the same as we've gotten to know the band for. The huge bass tone (almost sounds like slap but isn't, reminds me of Reita's best tones) clashes perfectly with Ryo's dazzling vocal delivery, and new drummer Aru's contributions are noted as well with great rhythm work. If you're not stanning--despite how much coverage we give them here--you are totally missing out.
 
 
"歪" (Ibitsu) by VRZEL

Believe it or not, for all the "INSIDE BEAST", Gazette-lite clones we've gotten over the past few years, we now have a "Taion" to balance it out. The opening is the heaviest section the band have ever done, alternating between grinding alt-metal riffs and eerie wailing clean guitars over whispers. This is the most obvious section recalling "Taion"; the rest is all VRZEL for better or worse (I'm purposely ignoring the gratuitous gazethot interlude). This goes on for a full minute before clean vocals even come in, building up a tense atmosphere. The rest of the track moves at a lurching pace, bordering on heavy-ballad territory, anchored by Cion's wailing vocals. VRZEL took a risk releasing such an intense, five-and-a-half minute track as the promotional lead for the album but it paid off. The brutal fiend in me wishes they went for an even darker concept, dropped the guitars to A# and MUCC'd it away, but VRZEL stayed true to their image while rendering a quasi-challenging track for their fans. I've always been in the corner cheering on Cion's compositional prowess, and I'm happy it has culminated to such a solid track--a merger of old and new.
 
@qotka's Pick
"十五" by キズ

 
Featured on the Kizu's 2nd single, Kawazu, "Juugo" is another display of power from one of the fastest growing, strongest newcomers on the scene this year. Ask anyone who's had to FIGHT for tickets to their one-man. While this b-side doesn't offer anything too different from the rest of the recorded material they've put out so far - if anything, it shows consistency and careful building of their sound and image as a band - it's here this month for simply being the fun track it is and for having those sweet, anthem-like qualities. If you're on the lookout for a dramatic, non-cynical power metal banger to indulge in, this is your new jam. From its restless, rapid verses to its uplifting, theatrical chorus, this zero bullshit 3-minute track hits the spot. Video bonus: showcases how frighteningly GORGEOUS their gya are. 
 
 
 
 
@The Reverend's Pick
 
"哀絶綺譚 feat. 祈狂 of La'veil Mizeria" by 魅裟

 
I think I must have a thing for music box-y intros in VK. Dir en grey's "Cage" and Avelcain's "死化粧" are two of my favorite songs ever; and despite it's obvious flaws I'm really enjoying the newest from 魅裟 (missa) this month.
 
Missa and  祈狂 (Kikyo) from La'veil MizeriA team up for "哀絶綺譚" (Aizetsu kitan), the best of three simultaneously released digital singles from Missa on a vanity label with the most VK name ever; Malformed Maria Records. Certainly the most surprising thing about this single is that, despite combining members of Insanity Injection and La'veil MizeriA, it's a not-quite-ballad obviously attempting to be unironically *pretty*. That piano/vocal melody will absolutely get stuck in your head if you let it, and the guitar tone is a bit amateur but quite tasty.
 
The fake drums are a bit of a turnoff, and I maintain that a song really needs a reason to be over five minutes; but if Missa keeps releasing these digital singles with fun special guests during his other bands' downtime, he may be able to carve out a niche where many have failed in the realm of 'VK solo acts'.
 
 
@Zeus's Picks
"the whirl" by lynch.

No band in the visual kei scene nails re-recordings as consistently as lynch. does for me. A lot of this is because lynch. have never deviated too strongly from the sound that defines them, and their retake of 2007's "the whirl" is everything I never knew I wanted from the song. The heavier parts are grittier, the softer parts more delicate and emotional, and the transitions between them hit just as hard as I'm used to. While sonically everything has been pushed to the extremes, the rough production brings everything together like a caressing smack to the face. The improvement on the drums is worth the price of admission alone, and let's not even get into the improvements to Hazuki's voice.  After a multitude of A-B-C comparisons, this is my favorite out of the three versions floating around; the original on underneath the skin has flat production and the version released on THE BURIED sounds too sterile for my tastes. Normally I'd say something snarky, but I don't even mind that the ten year old track is the prime attraction on lynch.'s newest!
 
 
 "五月雨" (Samidare) by 左迅×弐×愁×Яyo

 
2017 has been kind to "五月雨", as this is the second successful reinterpretation of an early visual kei classic. "五月雨", released on TRIBUTE OF MUCC - 縁 [en] -, is a secret track credited to 左迅×弐×愁×Яyo, but it's pretty much girugamesh, and I will refer to them as such for the rest of the blurb. girugamesh will never steal "五月雨" from MUCC, but they can certainly add this to their live repertoire and I wouldn't be mad. They successfully made this their own song, preserving the original feel of the song while effortlessly adding their signature elements to it. I delayed posting this list just to add it. Listening to girugamesh's cover of "五月雨" gives me feels of them at their best with a tinge of angura I never knew they had in them. If I wasn't already pining for their return, this solidified it. Anyone who misses girugamesh needs to sample this song.
 
 
Thank you for reading everyone!
 
 

Girugamesh certainly deserved to be on the MUCC tribute album because both were senior and junior bands. Unfortunately, it's a shame that they couldn't use the band name after the disbandment. It sure is a big surprise seeing Girugamesh secretly participate on a bonus track, and it turned out to be a killer one. <3

Not sure either, but simply I think it wouldn't be appropriate/make sense to release a song under the disbanded name Girugamesh as the band no longer exists. Otherwise, it could lead to a misunderstanding that the band had been reunited.