Pretsy

I might contradict myself a la few pages back already but here's the thing because I am literally mad (apologies for profanity): Fuck you, Yasutaka Nakata. Fuck your cheap songwriting.

So, Brave Brothers (you know, those Korean producer/songwriter guys who were lowkey working with BIGBANG and SISTAR) produced a J-pop girl group...that sounds a lot like K-pop act trying to hit the Japanese markets with dem K-budget PVs etc. (disregard intentionally faked "Korean Japanese" accent) So...do they count as "K-pop" then? (considering that they are mainly produced from Seoul's quarters and are provided with Korean songwriting antics) I don't know how to feel about this, lol.

and the best part is that she will most likely have ANOTHER compilation out next year to commemorate her 55th birthday. Lol.

They should go for "жесткий жесткий жесткий" one day (no matter how disturbing that may sound) in case alter-ego choices are considered. /badnamepuns/

What the fuck lololol Takumi and Mika are definitely laughing @ this trainwreck (Satsuki deserves it for wrecking any hopes about RES reaching their consensus after post-BoC singles)

Out of current (new), not-oyaji and DEFINED VK acts (e.g. no MUCC, anything Morrie etc.) 1) Carrygarry (post-revival aka Janai, 1,2-era etc) 2) Sibilebashir 3) DIAURA 4) Sibilebashir 5) Chanty 6) DEZERT 7) Blu-Billion 8. Xaa-Xaa 9) Kiryu 10) BugLug So yeah, vk acts with actually fresh ideas or stuff that could actually nostalgize in a good way satisfy me. Also: Indie rock kei should happen ASAP - just Chanty ain't enough!

Speaking of anim0000: This is still puzzling (notice the warped perspective)

They need to make a full-length together - seriously.

The second song "真夏の通り雨" - or a snippet of it: https://www.youtube.com/watch?v=F0efiYsNTU8 Oh well. Those who have been stanning for another "Kremlin Dusk" or "Final Distance"...heh. Single covers and other promo pics of hers are in Ronald's Arama article: CLICK At least she looks cute though!

Not that I'd defend her intentions here in the first place but aside from agreeing with you, I'd add my own cents about "understanding" this lukewarm song: 1) Both songs apparently revolve around Utada's personal motherhood matters - those who are very familiar with musicians that dealt with fatherhood/motherhood surely acknowledge the fact that "coming back with a bang" is the least you could expect from them 2) She has been out from the scene for like...8 years? Japanese scenes have changed a lot during these years - the wake of singers-songwriters is still in question, since you get to see mostly collectives in the J-pop/urban scene more often than in take say, 2008. I might be getting too speculative (as a semi-dedicated fan), but I ought to believe in this paradigm shift severely affecting Utada's artistic choices post-motherhood. 3) Both songs are apparently ballads - the first one (i.e. the snippet above) is a family drama theme song, while the other one will be accompanying some news program. The former clearly says a lot about how "safe" the song should be really, as it shows there. All in all, we could only hope in the next song being Final Distance-tier at least (I shalt let you MHers decide what kind of ballad wouldn't be out of place in some news program)

http://www.japantimes.co.jp/culture/2016/03/31/music/ryuichi-sakamoto-offers-thoughts-politics-japan-music-will-change-post-cancer/#.VwIysUdrhMb A nice journo piece from Sakamoto - about Japan, i.e. music industry, differences etc. (you won't get to see extensive takes on Japan's music industrial/entertainment-based evolution everyday tbqh) Also: daily reminder of "Cool Japan" being faux and floppy af

https://www.youtube.com/watch?v=lvgntLI3Sus And a preview of "花束を君に". Decent-ish, I guess?

Looking good! Also, it seems like both A-sides are ballads? Nonetheless, the hype shalt remain

You are literally asking for something that has been absent for years actually (as much as Jpopsuki mods put it into words, they aren't doing much now that admins are completely gone as well)

Mentioning this since you seem to be stoked about this collective as well: 06/04 SOIL&”PIMP”SESSIONS - BLACK TRACK (album featuring Petrolz' Ukigumo, Tahiti 80’s Xavier Boyer, Bambu, and Nia Andrews)

> Mentions that the single title has *nothing to do* with Shiina Ringo > Tokyo Jihen reference in their one-man title These sly geniuses lol. Is that 2nd b-side a reference to Shukan Bunshun (and probably Enon scandal more specifically, since he joked about "Sentence Spring")?

AKB48/SKE48 songwriters sure do have some odd fantasies about Finland and our "traditional" costumes...

Yus.

The point what I was going to make regarding your comment in general is the fact that Japan has been upright trying to revise the whole idea of being another nationalist, annexing and massacring regime and call it all "false", is the main contributor to all the anti-Japan bias that has been spread throughout specific Chinese channels, media outlets and whatnot. Do you seriously expect Chinese media and/or people to lay their arms down after a long period of Japan's WWII denial? Germany as a case in point went for further lengths to issue apology for any kind of misdeed during WWII whereas Japan went for bringing up strong anti-Chinese (and prolly anti-Korean) messages instead. Trust me - if someone had such a tragedy, and the person or side responsible for such deed just disregards or denies the whole matter despite the sufficient evidence for DECADES and beyond...I wouldn't blame the constant campaign against such deniers. History is a very serious matter, and "Yeah let's just forget it we cool k" won't really do it. Not to mention that not only China, but Singapore and many others are eagerly waiting when Japanese officials or at least public media goes for further lengths to express honest apologies. So to the topic: they can freely attend their Yasukuni ceremonies as long as they are ready to go for these mentioned "lengths" to discuss this significant, historical matter with all the sides concerned - and no, "hurr commie China gon' take us" won't just do: propaganda war hysteria is not an excuse for not discussing and eventually issuing an apology, or the apologies (since there's more).

You do know that current and earlier Japanese establishment NEVER issued any kind of apology - merely 'grief' for their deeds in WWII (incl. rape of Nanking etc.)? As much as sensationalist newspapers would go for instant anti-Japanese campaign, you cannot blame them or others for feeling really bad about military symbols being worshiped and spilling dirty rumors/slandering on them until Japan formally and publicly issues a huge apology. Germany did that, so why couldn't Japanese officials either? As much as I'd be a Japanophile, I feel quite bad for Japanese selfishness about "hurr we were the only victims"-reasoning, just saying.

Alrightey: Esperanza Spalding - Emily's D+Evolution Iggy Pop - Post Pop Depression Underworld - Barbara Barbara, we face a shining future The last prominent highlight of mine is...(drumroll) Honorable ones: Silent Siren - S SHISHAMO - SHISHAMO 3 Akasick - Rinrin Fruits Akai Kouen - Junjo Randoseru Yakushimaru Experiment - Flying Tentacles (LOL?!)

Patrik is saying one thing and doing the exact opposite later (i.e. denouncing "pesky neo-vk ideals" and basically adopting them full-on years after) - why am I not surprised atm? edit: just show up already, Patrik.

Exactly what you mentioned about something being either ironic/tongue-in-cheek or genuine in those acts for instance bothered me. I do know that R-Shitei had this shtick of basically tackling a variety of other fads in VK in a bit silly/"dark humorous" manner, but then you have Gossip or specific angura/shironuri acts with questionable dedication towards such -isms. Sure, there's a great handful of VK acts that have been known for strictly anti-war positioned lyricism (e.g. Gazette, see: "Saraba"), but on the other hand, most vk acts just take this "visual shock"-ideology way too far with potentially offensive imagery and/or "well-hidden" agitation. I might be wrong of course but wasn't there a case on Tanuki about some ex-vk bandoman who became a nationalist/Yasukuni agitator afterwards? There has been also some serious beef about ANTI-FEMINISM being similarly "suspicious" (I might be wrong) but nonetheless - this is where I usually question myself and my understanding of Nihongo in Japanese music: how would possibly offensive material in unfamiliar language w/ undefined purpose of imagery concern me?

VERY VOCAL ELITIST HERE. I do agree with sentiments regarding that spewing stuff seems to be usually useless. However, it won't leave much room for discussion and consequent understanding of different aspects we enjoy, criticize, misunderstand, understand, pinpoint etc. in the said music. We are "the community" after all, aren't we? 'Asshole' is a subjective matter.

Who is pretzy though? Mysteries and dank meme gifs aside, the idea is that people are too sensitive and aggressive about opposite opinions in general and ordinary discussions become way too restricted consequently, y'know. --- Off-topic, but it seems like AKB48 has got Koreans raging about their unintentionally "offensive" anti-war imagery - i.e. utilizing 'rising sun' flags, symbolism, tanks, Yasukuni worship etc. Do you guys think VK bands are to blame as well for (ab)using "unintentional nationalist/military imagery, symbolism and paraphrases" in their art and practice? Since this kind of fad didn't really fade away AFAIK. E.g. MERRY's nationalist gimmicks throughout their career.