Pretsy

Maybe it's not a good idea to bring up talks from other threads if you are very damn aware of earlier consequences here in MH.

Either way, seeing DEZERT here is definitely surprising even if SORA used to be tutored by Tetsu. They better not kaisan too early and take it up a notch if possible...they still need to grow a bit more distinguishable identity.

However, it is also a real damn shame to see Hyde and Yukihiro (a.k.a. the 45% of L'Arc) participating separately

K-poppiin ei sisälly animea, sukupuolirooleja musertavia miehiä, pornoa (koska sitä ei ole lähes ollenkaan), uuden kielen pakottamista arkikieleen (en ole kertaakaan kuullut kenenkään käyttävän puoliläpällä koreaa puheessa, kielikin jo sellaista mikä ei mahdu kenenkään suuhun) sekä muuten hyvin ällistyttävää ja monipuolista kulttuuria jota voi tulkata monella eri tavalla.

Eli sekin uppoaa nopeammin kuin muut trendit aikanaan. Olisiko silti hyvä palauttaa japanihulluttelu? Suomessa ja japanissa vallitsee ikuinen zetsubou, ollaan samalla tavalla omalaatuisia ja meidän kielet ovat muiden korvissa samanlaisia...

8 hours ago, crossparallel said:

I don't get it, Kyo's far from my fave but - he writes lyrics and music, comes up with concepts for the live shows, hell the live shows are some of the best I've ever seen. And you're telling me we're hanging on some fucking theremin to determine his worth? 

That was just a tongue-in-cheek example, lmao.

Anyways, you've stated things which could be applied to pretty much any other genrebending chanteuse (uhm, Mike Patton if we insist). And seeing as the rest of Sukekiyo is already evolving in our eyes - or in our ears, aptly put, some of us would love to see Kyo following suit. So how to do that? We often see that certain vocalists from some specific acts take it up a notch and use another instrument to showcase more definitive progression (e.g. guitars, synth) , and all that jazz.

Frankly speaking my example happened to be true as @blacktoothstated - Uta DID use theremin there...

42 minutes ago, saishuu said:

DEZERT really did create roots in the scene, huh

 

 

weren’t you the one bursting everyone’s bubble and killing the fun in the MUCC tribute thread when people were going on mentioning old and obscure songs? what happened?

Since you missed this out, wise-ass:

Quote

I have a bit of hard time while trying to connect any D'ER song to each one of those but...

So what I said there was that I never had any firm, fanboy-tier opinion on D'ER hence having no say on what could be a nice fit off their catalogue per each artist.With MUCC it's totally opposite and I *knew* damn well that people digging in with ancient songs would make no sense in light of MUCC's extensive, DIVERSE catalogue, which already comprised shittons of gems circa post-Kuchiki days and so on.And let's note that D'ERLANGER has never undergone drastic changes in their sound unlike MUCC.

So point out where I threw in these buzz - no, "thread-killing" statements and try to at least provide solid arguments on why they were uncalled for  PLUS why would you prefer jisming nostalgia chumps using the same kind of rhetoric on newer releases, instead of being a dick (and keep your personal, bigoted bias elsewhere).

Okay, at this point I have a bit of hard time while trying to connect any D'ER song to each one of those but...

I just want Dir to do those grim songs from BASILISK, pls.

Uhm. Actually if we believe what Kyotakumrau reported there (by courtesy of her, once again - for writing such constructive reviews on lives and stuff)

Quote

2017.06.17 sukekiyo at Kyoto Gekijo

00 visualization intro
01 疑似ネクロマンサー
02 leather field
03 襞謳
04 マニエリスムな冷たい葬列者
05 focus
06 艶
~session~
07 hemimetabolism
08 されど道連れ
09 死霊のアリアナ
10 vandal
11 グニャ結論。そして血眼。
~session~
12 耳ゾゾ
13 黝いヒステリア
14 anima
15 aftermath
16 嬲り

Screen was down across the stage as the video intro started. In the beginning it was hard to see actual band members, but we could see them filmed live by cameras, each member had their own. Kyo started facing his new equipment stand with cameras, microphones and synthesizers.

Necromancer is an incredible piece, they chose it as an opening for the album and for the show for a reason. It’s a medium tempo song, very melodic, with many different pieces inviting us to this new world. Piano and guitars, electronic beats, soft and hard parts are all dancing around each other here.

Uta was wearing all black, long sleeve shirt and loose type pants, Mika had sukekiyo’s t-shirt. For Takumi I wasn’t able to see that clearly besides the obvious black. Yuchi you probably already saw: tanktop, shorts and high white socks. Kyo’s outfit was very similar to the first Kyoto’s one, he just wore black shirt instead of white (but he had boots from the PV instead of those in the photo).

Comparing the first show of this tour in Tokyo and the last in Kyoto I felt like they, especially Kyo, felt much more comfortable with the new material, Kyo definitely experimented more with the style and sounds. But for all 3 shows I had this feeling of a jamming session being back, partly because of the closeness of all of them and them facing each other a lot. Especially when they checked in with Mika, the little smiles they shared.

The screen went up at the end of leather field. During that song it focused on Kyo. But also I remember the images of flowers, cherry blossoms and lilies, but perhaps it was during the first song. When Kyo stayed in front of his new stand they used cameras for him and projected the image on 5 small screens above the stage (manierism - if you’re a mobile member photo from 6/16 is from that song). Some songs got all band members projected on each one. Song that got new PVs had parts of them on the curved screen surrounding the stage.

Kyo was so active today, be it dancing, walking to the sides of the stage or pointing at fans. The curved screen behind the members made stage much smaller, but Kyo still had a lot of space.

en is a lovely ballad with Takumi on piano, Kyo’s melody changing speed a lot. There’s a part when it gets quiet, and as anticipation grows ot hits you right back. And with a slow piano with Kyo’s soft singing it morphed into a soft session. I wish they released those somewhere as well…

Saredo is so sensual, with a ‘lazy melody’, but quite heavy at the same time. You just want to start dancing as Kyo did.

Ariana is a faster electronic song where Kyo uses voice synthesizer. Yuchi is playing on a kind of 'electronic drum’ (I was totally meant to check what’s it actually called in February…). It’s another song that makes you wish you could move move. I feel it finishes quite abruptly, but vandal following was a nice flow.

At some point, when Kyo was taking a mic from his stand in the front of the stage he knocked it down, but he kept singing and after getting it up he dancingly walked around with it, in the end 'riding it’ (was it during vandal???).

Second session was much darker… Kyo kept repeating something and while I have some guesses about one part I’m not sure enough… sessions are in a way improvised parts so I don’t we will ever know.

After session there was another part packed with energy and it felt like a torture to be just sitting. On the second day my seat was farther down from the stage so I could actually see a bit of the audience and I feel that compared to the previous seated shows people were even more still than before… I could be because of new songs? Well, torture doesn’t really sound like something abstract here

After anima the screen came back down and aftermath was very quiet. Stage was lit by cold blue light. Just seeing the screen coming down was heart breaking as they kept the same setlist for all nights we knew that it means the end is approaching… aftermath is so beautiful and the flow with it as the second from last was very good.

Then came 'screams and sounds of the darkness’ that prelude Naburi. That ending really stays with you. Naburi starts with Uta’s accoustic guitar as a main part, it’s very gentle first. The screen was used to hide the stage with blue lights directed at it, that made the stage behind it totally hidden. They also projected lyrics.
Soft melody slowly keeps building and building the anticipation, until the harder part starts. While Yuchi and Uta join in the chorus, end roll comes up and we could see band members as the the light changed to red. Kyo was using a small synthesizer, standing with his back to the audience.

I just find it so incredible how they used cameras and lights, we could see the real members, but also their multiple shadows on the front screen and the view kept changing with the melody. Towards the end Kyo started his mad dance. The rythm here was more violent.

But at the end lights changed back to hiding blue ones and there was only one spotlight on Uta as he played the last part on accoustic guitar.

This ending. We couldn’t see the band leaving really. But after this song, song with so much energy and this delicate guitar ending, there’s so much light.

SO HE CAN ACTUALLY DO SOMETHING ELSE THAN CHANTEUSE TRICKS!

22 minutes ago, blacktooth said:

So that was a theremin that I heard! You're right about Yuchi—he certainly dominates the new album (excuse me, music collection). I actually prefer to see Kyo take the back seat as he becomes more and more the Japanese equivalent of Morrissey. 

I actually tried to say that Kyo could at least just do theremin stuff aside from vocal gymnastics and he would look more useful that way than just, as you said it, being the post-visual kei equivalent of Morrissey, haha.

Have you ever guys wanted to "keep the vibe" while on a date with someone, but you just happen to be "boring" for the most time or just ran out of common topics all of the sudden?

Worry not, loners and...socially awkward chaps! Pack your things and move to our country! No one trusts the forecast here since our Mother Nature is so drunk that you can just keep talking about this weather-o-ganza and no one will ever feel bored - not even on a date!

Legitly speaking, god I wish it could just pour crap on us and fling stuff around with thunderstorms like in the eastern side so I don't have to worry about our summer weeks in limbo. It's no fun when it's sorta sunny once you start working your ass off indoors but later it starts doing tricks once you get outside...

Al Gore could never...

Okay, lazy collabs aside

Is it just me or does it seem like Yuchi seems get more of that spotlight and not just Takumi & Kyo? I am not just talking about his visual presence but based on making of-scenes and partial live snippets alone his responsibilities may also cover *programming* tweaks you guys hear on ADORATIO for the most part, i.e. semi-drop like synth bass parts and so on.

I like how these guys do not limit themselves to one specific role unlike in DEG which seems to rely mostly on Kyo being Kyo and other guys being "just there in the back row". I wonder if Kyo shalt surprise us with other musical surprises than just making odd noises though...even the fucking theremin, please.

Edit:

The Yuchi thing I talked about

PV example

Speaking of America-kei stuff, did it even exist in VK before these guys - like legitly speaking, not about hair rock bands ofc. E.g. Penicillin  (which seemed to have some sort of America-friendly shtick for almost 5 years back in the 90s)?

https://ok.ru/video/34635582005

(because YT sucks)

Tried to relisten to that Disc 2 collab thing and I can tell you Yukiya still can't sing to save his life - he is even more off than Kirito was back in Immortalis lol. Barbee Boys and Vinyl collabs were sweet though.

Let's also talk about how Yuchi's Rihanna cosplay was so out of place @those photoshoots

I enjoyed this album somewhat but I bet this will beat anything Dir en grey from now on unless Kaoru moves aside and some new songwriting magic will be involved from there on. Otherwise this is a decent 2017 release - not the best, but not the worst either really.

Necrousaika, toverit!

Koska Heikki ja kumppanit floppasivat muuten aika pahasti Suomi kartalle-homman kanssa visuaaliskenessä (Ruotsi edelleen se länsivissujen kunkku on~), eräät ja mahdollisesti lähetystön sponssaamat PR-heput Nipponin mailla päättivät puuttua Suomipromo-ongelmaan:

http://aramajapan.com/news/music/dempagumi-inc-member-pinky-forms-new-unit-finnish-idols-nora-petra/77261/

(Ei ole edelleen visual kei mutta mikäli Vanamot ynnä vastaavat toivot salaa takaisin kymmenien vuosien kaappiernuilusta niin don't swipe left, jatka lukemista, ja tätähän siis näemmä ne suomidipat nipponissa promoaa tosissaan, Dempagumi-yhtye tässä tekstissä on muuten aika suosittu animehörhöidoliyhtye sielläpäin ja voin paikanpäällisen kokemuksen kautta taata että tälle tulee jonkin tason valtavirtaexposurea)

Quote

It has been revealed that a new unit consisting of Dempagumi.inc member Pinky and Finnish idols Nora & Petra has been formed.

Together they form Pinky! Nora & Petra, and their formation was announced at the recent “DEARSTAGE SHOWCASE 2017” event where they revealed their plans to release debut single “Aurora to Piece” on August 23rd.

The single “Aurora to Peace” was composed by Tomi Yo with lyrical contributions from MCper, and will be released in 2 limited editions and 1 regular version.

This unit is the third act on the label “I BLUE,” which is operated by Dear Stage, Smile Company and Teichiku Entertainment. Labelmates include Japanese boy group The Skateboard Kids and Swedish band Wintergatan.

Finnish members Nora and Petra release dance covers on their YouTube channel “nicobot. channel,” where they cite Dempagumi.inc as their favorite idols.

<...>

Limited edition A includes the MV for “Aurora to Peace” and the bonus track “Koi Suru Helsinki” composed by YoYo and R&B singer CHIHIRO. Limited edition B includes the making of video of the photoshoot, as well as bonus track “kiertokulku” composed by Schroeder-Headz, featuring a poem penned by Pinky.

Pinky! Noora & Petra will perform at Idol Koushien Natsu Ma tsuri on July 9th and Tokyo Idol Festival on August 5th.

 

Eli mikäli ruottalaisia emme voita visual keissä, niin ehkä revanssi hoituu ainakin tämän tason ernuilussa. Hip hip hurraa eloveena-idoleille...

P.S. Helsinki on todellakin kaukana kaikesta "Koi Suru"-ttamisesta.

It's not like people would forget Madeth version anyway, or would they? So what's the difference whether Izumi chimes in with a female (+ ACTUALLY talented) vocalist or vocaloid "self-covering" this kote piece or not?

I have yet to see these people sharing the same emotions over Lycaon's eve doing vocaloid self-covers , lol.

I shalt give this thread a new spin and give people (who would give fucks anyway) a bit of info on what I have been jamming to while this shoddy season called "Summer" kicked in and work has been bothering me more than before:

Bowery Electric doe...

According to certain posters off the original niconico broadcast, Uta seems to be kind of distracted...or depressed? Worrisome state nonetheless.

Another not-so-notable-but-nonetheless-equally-interesting evolution...by another legendary non-vk band

Hint: they started out as a no-frills Japanese DQN punk band circa late 80s early 90s, became semi-Buck Tick worshiping experimental-ish punk act afterwards (around the same time), and from different experiments with more simpler rockisms and hardcore stuff they adopted street fashion, new genre (digital hardcore with nu metal-ish tinge) around mid-90s and late 90s and basically became even more street-ier ever since then.

Merry's Gara surely loved vocalist's antics circa early-mid 90s ("the long hair" era btw)

Why do certain people become so fixated on this idea of "ugh bed wenches" or "ugh coal burners"  whenever there are otherwise "unexpected" dating choices in their circles?

Y'all people who admit thinking and stating them out loud  should just idk, deal better with your emotional outburts or complexes that made you do this BS - or  you will never be "the" friend nor "a" friend for that matter if you insist.

Not VK but Fear and Loathing's Taiki obviously

(blurry, sorry)

He basically dropped dat typical mid-00s emo shtick (a bit like that Smosh guy) and went full-on crazy from there...

His latest look (I think, he may have changed it completely though)

How the heck are speculations on what they will cover "derailing" not to mention merely for a few comments?

These folks taking things too seriously lol. My point anyways was that we should not really drown this thread with nostalgia wankery  (because hating on new fans is getting FUCKING OLD AND BORING, STOP THAT, LAY OFF YOUR TWEETSPEAK) because there's MUCC for everyone and not just for lads memory tripping in their own ZETSUBLERGH. Call it an attempt at trolling but at least I named the problem right now!

I might ofc hope for more mid-00s stuff but I would not mind seeing anything Karma either  - which is not as catastrophic as some drama llamas often claim.

4 minutes ago, WhirlingBlack said:

 

 

Mucc played both of these songs in 2016. Should probably research for five minutes before presenting your theories as facts! 

Provide the setlist first before acting all high and mighty. I want to see the context.

(My point still stands lol)

22 minutes ago, r... said:

 

I agree that is hard to find something like that, but...

THE YELLOW MONKEY tribute album had a couple of deep cuts like 4000粒の恋の唄 (but, then again, it was sung by the same artist TYM was trying to homage, closing the circle) and 空の青と本当の気持ち.

 

くるり had Old-fashioned and 宿はなし, both non-obvious choices.

 

All the THE BLUE HEARTS tribute albums had some left-field choices, same with the first BUCK-TICK tribute where we had PHYSICAL NEUROSE and 六月の沖縄, which aren't what I would call "staples". And that's what I remembered from the top of my head.

 

PHYSICAL NEUROSE used to be one of the main BT staples, lol.

Not to mention that we are talking about the band with significantly massive catalogue comprising a lot more "notable b-sides" compared to those guys you mentioned - including BT. I could go on and on naming a few more tracks that Japanese fans happen to spotlight more (reminder: Mucc cares more about them lol) than us or any Mucc fan we used to know circa 2003-2004.

Nothing wrong with dreaming but let's keep it real - what's the audience for their tribute album this time? It's not sold overseas? GEE I wonder...

My bets are on the whole tracklist being what I mentioned a la how Luna Sea and similar, strong household acts would coordinate their own tributes. Any unexpected pick always has its reasoning rooted in their own local fanbase or specific band-to-band connections e.g. as you noted it in YM's case.

You dudes being too wishful for these artists doing album b-sides and shit.

Mention at least one instance where tribute albums included anything that was not a) A-side B ) B-side nor a staple (favorite) live song.

暗闇に咲く花 or ズタズタ are not reasonable choices really since only western Mucc nostalgists endorse this - and it has been quite clear to Mucc as well since they haven't performed them for ages nor they would anymore.

My guesses for b-sides up until Gokusai are Shoufu, Zetsubou, Daikirai, Bouzenjishitsu, Isho, Ranchuu, Ieji, Mae e (most probable Houmura Uta choice), Namonaki Yume (fan favorite in Japan), Yasashii Uta (will be defo included) and probably Akatsukiyami since I forgot that too. These are imho more likely because even artists themselves that choose these songs acknowledge standard "tribute ethics" too.

@r... and alike should note that Kare ga... and Aka, which might still remain fresh in minds of MUCC stans, might not be plausible for "tribute" tracklist which should otherwise cover fan favorites and known staples along the way.

With this logic I presume that "Shoufu" might be included instead of Aka and alike:

This won't be out of place for previously mentioned indie rock acts either.

FLOW and Granrodeo will pretty much take any anime-MUCC song if we consider more probable options

Pura will most likely do Saishuu Ressha if it gets the same kind of delivery like their cover of Kuroyume's Maria

BAND-MAID is basically younger, technically proficient on the same level-kind of SCANDAL atm, and I can already think of a few numbers where Miya did not consider any kind of Tats' "machismo".

SID (well Mao, and MUCC) did this already though:

But anyways, revise local fan favorites over there and not those approved by MH and Jrocknyc (heh).  It also helps to know what exactly may these artists prefer when covering others' work. E.g. so far sukekiyo has covered only Akina Nakamori and one of her gloomy b-sides.

Hyde's inclusion might be the best kind of cashing choice if Ken only takes the seat for producing this tribute album.

P.S. you guys honestly expect Kuchiki to be the best candidate song? Yes of course, Miya and Tats might be still masochists in your minds when they (assumingly) fancy reverting back to their conflicts and discords in this dirge.

6 hours ago, EzraEroguro said:

L'arc has definitely put out some cool music...in the past. I mean, Dune, Tierra, and those double albums were really solid Jrock fanfare. 

 

...that being said, it's time to put up the reins. Label issues or not. Ken is living it up as a producer, yukihiro has that Geek Sleep Sheep thing, and acid android. Tetsu...I couldn't care less, but his solo stuff is *okay*. Hyde has Vamps. 

 

I think they'll be okay if they disband.

Mind that KISS was also surprisingly good (the same tier just as those Dune/Tierra albums - I know that no one will ever share my True/Heart love though) for that time when their "anime-friendly" shtick was made clear.

But yeah, whoever dismisses Tierra (!) and their legacy for that matter is obviously trolling, lmao.