Pretsy

RIP Satsuki's puppy growls

Certified blackdollcore And we shouldn't just let this be without Queen Shiina (sorry not sorry if YT blocked these, jps.tv is slow af nowadays)

The original song is from Eve's " "-album though (released late 2013-ish/early 2014-ish I think) - and kinda funny that even as an aspiring vocaloid producer/composer/lyricist he obviously tailors his songs to be more suitable for high-pitched vocals: Even 【L】illy sounds a lot like an odd mix of Avelcain's chugfest with Yuuki's typical vocalcraft (well ofc, robotic miku vocals might distract everyone here but mind the actual content here, Eve's totes talented in his work)

I cited Earthbound here since Mother/Earthbound's composer, Keiichi Suzuki was/is an avid fan and colleague of YMO (e.g. a duet with YMO's Takahashi as "The Beatniks" - see: their "Exitentialism"-album). His involvement and enthusiasm might explain why there are tons of common elements between YMO's melodic sense and how Suzuki interprets them in his games. PS. you have to note how big of a Sylvian fanboy HYDE was during poppier days of L'arc/his solo career, lol. Seems like not that many peeps are bothering, so I might go with something MORE palatable this time! This Heat - This Heat (1978) > sample highlight above

It's because Japanese media and public in general had higher expectations when it comes to her (see: haafu talento). Just who the heck is Enon in this case to them? Yup, nothing more or less of "an ordinary indie rocker who suddenly got popular due to that 1 catchy song" - why would they expect him to be "civil, pure and well-behaving" (note: stereotypes about rockers in general, also: literal "who")? Either way, it's all topsy-turvy with Japanese media /industry standards - especially how they are fine with sexism as long as it's about "preserving talento/idol purity". Someone could actually shed some light on this issue from Nihongo perspective since it's all messy now (and current tabloid leaks actually frame BOTH parties, i.e. Enon and Becky, for rigging that scandal/planning it, wut)

Just who the heck managed to hack into their LINEs? Lol translation @that off arama: fun fact: Gesu seems to be still topping the charts, what the fuck J-pop fanbase? I feel more sympathy towards his wife at this point since Becky came up with this ploy tbqh (I think there are still some leaked messages regarding how Becky and Enon had a hearty laugh @the whole PR case and consequent status they've deserved)

Most audiophiles and enthusiasts alike are usually interested in discovering acts and/or releases that may have predicted future fads and genres many years or even decades before. Whereas the staff might think this could belong to the global music discussion, I thought that we'd try to bring up Japanese choices (as well). What kind of artists/albums do you monochromiums consider to be "ahead of their time" - as in defining/creating a specific sound or style which would be implemented by many others only years/decades later? You don't need to be accurate about "whether X influenced Y or not" - feel free to assume/presume/theorize, but with detailed/constructive arguments! Ps. feel free to mention western choices if you feel like it - but the main purpose here is to see whether Japan has managed to produce a fair gamut of albums/acts that live up to the title of this thread. e.g. Yellow Magic Orchestra - s/t (1978)

Where and how does Die get those guests lol (Ataru?!) They better get on par with Ataru's talent anyway - I bet even Koba wasn't satisfied at all with what they did on that album or so. Also: Pink Floyd reference?

Not particularly related to traditionalist endorsement here, but I gotta say new Death Grips proved out to be more or less a big joke (maybe intentional but this is not that funny anymore). Let's have a throwback to acts doing practically the same thing (industrial/noise/hip hop (or rap)) but in more pleasant fashion: Nightmare fuel to the max o_o

This is exactly what happens when no one wants to negotiate with you but rather takes a very opposing stance instead. I am not a Kim Jong apologist but seeing people practising the said -ism by praising actions of SK/Japanese officials (especially Abe who is anything but a saint at this point, see: WWII history rebuttal attempts and practically burying the whole case of demilitarization) is rather gross.

Thought of this right away (aside from a gamut of acts you guys mentioned already) but seems like "weeb emo" is severly underappreciated anyway (fun fact: the said act evolved into another, jazz-fusion-based collective after their demise) Also: Lives up to its title - GOAT! Ps. where's Slint? I thought you guys were very memetastic

Hallowed be thee ghosts of lethargic songsmithing! ("MUH MONEEZ") It doesn't take a sharp earsight to distinguish all the frank similarities between this and other TK tie-ins. Not to mention the generic-o-ganza of chording being so emphasized so much that Japanese music fanatics akin to Marty Friedman could cringe and weep over all the vain praise they had over Japanese music being "jazzy" (not as in the genre - as in its adaptability and unexpected curveballs). Ps. when will TK let Pierre and 345 take the wheel in songwriting for once?

I forgot to add TK too (his lyricwork makes me crack up sometimes tho -"Fake's Plastic World/Keep It Secret Motion"??!!) - off my : Just - wow.

Even though I am not a huge fan of fan translations anymore (considering that about 60-70% of the actual meaning could be conveyed through such method anyway), not to mention the fact that understanding artists' lyrical work in-depth would rather spoil all the fun (take say, all those J-rock bands with pseudophilosophical verses and shizznit) - I have a few staple works in my mind: Ayumi Hamasaki had this lyrical gem I still half-sing/hum to nowadays: Special mention: Hikaru Utada (go figure)

Seems like Yukari is seriously pushing these guys as "his own Johnnys", lol.

Regarding Stalin I could say that there is no clear consensus on "the essential/best Stalin album" (voices divided between their debut album, STOP JAP (considered as "overrated") and Mushi). I am really puzzled about CoM choice too. Speaking of which, they skimmed over and for some reason (highly respected albums there too btw) but they might have been too "experimental" to lump into genres anyway.

Just another late addition from /mu/ peeps (who are far more choosier and elitist than we are tbqh f a m) http://vignette2.wikia.nocookie.net/4chanmusic/images/6/6e/Mucorejapanese.jpg/revision/latest?cb=20130106131042 (Huge-ass image, just click & see)

me-al art - 男女イニュニック There's this quite familiar trait most alt. rock (especially female-fronted) bands hailing from Japan are sporting - soaring, bass-heavy and dynamic arrangement headed by melodramatic vocalcraft. This tune encompasses formerly mentioned attributes pretty well, and might be nicely fit for representing the "essence" of Japanese alt. rock scene - what makes it really different from acts molded into our Western ethos. I could imagine this being a crossover between AYA and Karasu (Konno band) if I never got a glimpse of me-al's art and practice. I particularly enjoyed that sudden Sugizo-ian contribution during the c-part (solo)! I will definitely look back into this once I manage to slice some time for auditory pleasures Next song is not necessary Azn but nonetheless astoundingly inspiring from a Japanese POV. City Pop/Lamp's Jazz pop aficionados, brace yourselves:

Generally speaking NOVEMBERS managed to have a balanced, cohesive repertoire until now, whereas PT unfortunately falls short due to the massive amount of fillers and incoherent nonsense they have mustered in their catalogue. The latter was in fact one of my very first Japanese bands, but yet still - I will cast my vote for Koba and co.. Sorry Pura, you are not that different from those with "VK syndrome" (inconsistency, unfinished experiments etc.) Also: I didn't bust NOVEMBERS for paying "blatant tributes" (i.e. plagiarism) to their influences so far, unlike in Pura's case (another unfortunate VK trait). Aside from that, Ryutaro's anemic vox are getting more and more painful to listen to. : |

http://collage.topsters.net/

Okidoki: Suede - Night Thoughts Britpop outfit had made their surprisingly grandiose return with this, almost throwbacking release worth an eye and an ear of those willing to look into one of the worthiest comebacks of this year. Suede/Dog Man Star-ian soundscape of "preening, bombastic and over the top"-antics. Think of darker, a bit more restrained Sparks' classic "Kimono My House". Not exactly "better days"-tier, although close enough to reach such heights anyway. Metafive - META has been set to get his electro brethren together and work in unison as the most intriguing superproject of this year. A gang of embers hailing from various prominent projects - including CORNELIUS, YMO, Kimonos, Denki Groove etc. - managed to find common traits of their otherwise different languages, and churn out this nostalgically extravagant "debut". A gamut of Devo-goes-funk, YMO revival synthpop, sophisti-pop, house and many other genreistic nuances is enough to make even younger peeps sit down and at least experience the retrospective, short ride into what makes J-electro noteworthy as a whole. Some might see obvious westernisms by courtesy of Leo Imai as a rather backfiring element but it doesn't take much away from how nicely "adult contemporary"-ish this release actually is. I will get back to this, but I shalt add Blackstar and that long-ass titled Ulver album as followups, heh.

Aria of Sorrow / Dawn of Sorrow tho edit: Damn.

Anselmo being a goof or a "jackass" should not be anything new when we discuss his enthusiasm regarding "white pride" - he has done this since like 1995 but guess what:

Obvious PR stunt is obvious (then again, another throwback to their Trendkill days) Makes me wonder why people are still taking this seriously? It's not like he's totes dedicated to "muh white power"-philosophy, hm (his colleagues e.g. being mostly ethnically non-white AWS)? I am not speaking on his defense but I thought people would know better without getting their brains washed with "Pantera ain't muh reel methvl" or "Gruuv methvl iznt metell"-bias and spewing out BS having no given relation to their art and practice or w/e - let us embrace the common logic/sense.

Yelle and SOPHIE collabs? (She has teased us with those since like 2014)