Pretsy

I think it's more probable that Kenjirou will leave but...his gorgeous basswork will be definitely missed ;_;

...So Ryoga can actually COMPOSE?! wooOOOOaaAAAAh!

Yup, nothing worthwhile :/

Livetune, a project by popular doujin music/vocaloid DJ kz, will release a new album called "To" - which will compile his latest collabs with various artists (vocalists from Sekai no Owari, Galileo Galilei and such) - and include some newer ones. Release date is 10/9/2014, JIC. Tracklist: CD (romanized) 01. Fantasia / livetune adding Ikuko Harada（from Clammbon） 02. Take Your Way / livetune adding Fukase（from SEKAI NO OWARI） 03. Dear You / livetune adding YUKA（from moumoon） 04. Sen no Tsubasa -Alternative Mix- / livetune adding Takuro Sugawara（from 9mm Parabellum Bullet） 06. Transfer / livetune adding Megumi Nakajima 07. All Over / livetune adding Anna Yano 08. High And Loud / livetune adding Suzuko Mimori 09. Sign / livetune adding Yun*chi 10. Daisukina hitoda Kara / livetune adding Shou Kiryuin（from Golden Bomber） 11. Dreaming Shout / livetune adding NIRGILIS 12. Each and All / livetune adding Rin Oikawa（from Q;indivi） 13. Take Your Way -livetune Remix- / livetune adding Fukase（from SEKAI NO OWARI） 14. ray -livetune cover-（Presented by BUMP OF CHICKEN） / livetune feat. Hatsune Miku DVD 01. Transfer -Music Video- 02. Take Your Way -Music Video- 03. FLAT -Music Video- 04. 大好きなヒトだカラ -Music Video- 05. HAL（東京・大阪・名古屋）TVCM PV Edit ver. Samples/PVs for single songs: source: http://natalie.mu/music/news/124763

http://www.jpopsuki.tv/video/L%2526%2523039%253BArc~en~Ciel---Pieces/e347d80506853d863c9a68b64e59c5a1 Basically something what defines late 90s to me (despite not being able to witness the PV that time) - clichey or not, but you gotta love their *signature traits* here lol. http://www.jpopsuki.tv/video/BUCK-TICK---JUPITER/b3613afe243e8982b8b9846cd8472505 One of the simplest, yet the most definitive Japanese (vk-related) ballads of all time. /not an overstatement http://www.jpopsuki.tv/video/Kuroyume---Ishihakujaku/452437e1a054c3397a7e32140a531be6 Showcases traits of Kiyoharu (as an artist AND a songwriter) that I really like(d) Ps. YT sucks

new PV.

Part of OHP announcement's translation: So yeah - by "ceasing" they definitely confirmed the claims of media staff - and that is disbandment. OP should change the thread title once he gets back...

Those two songs they have released lately are nothing more but watered down Stone Sour to me - and to think that AHIG actually showed some effort back in its promo days (feel free to disagree but such songs like "Gehenna" or "Gematria", despite being 'mediocre' in one way or another (the hell, AHIG truly deserves its criticism imho), did showcase some good motivation in experimentation etc.)... And I am not asking for a new 'Iowa' (before someone tries to bash me for being "the retard stuck in the past" ).

as this person mentioned already, their media staff (aka those who handle their FB informing) confirmed that they will disband instead of doing a hiatus - I think there's a separate message from the band itself @their homepage too?

Based on that radio rip, I can already say that having Chara joining TK in chill-like number is truly brilliant *_*

It's okay - but another "Utagoe"? : |

I can't find any fitting topic here for this but explanations aside: http://www.uta-net.com/user/ichiran.html?pnum=1&Keyword=Charisma.com&Aselect=1&Bselect=3&kashi=&TNO=&allcount=22&sort=2 Credits for their songs (incl. DIStopping) - apparently Train HELL's composer is a...vocaloid DJ? W/e.

That would only happen if Saga ditched his role in A9's composition roles ("lead composer" ever since Gemini - I think?) I never got the fuss over Yami ni chiru sakura back in the day - and now either

Management contract and its expiring won't do much for their sound imho - but either way, I hope they will still show signs of improving after mediocrefest called "Supernova" :/

It's been awhile since they last premiered more than two one song like months (~3 1/2 - 4) before the actual album release, hmmm. (I think the last time such occasion happened was months before Glass Skin/Uroboros release when they played BOTH Stuck Man (as "Third Time Does the Trick") and Glass Skin on the same day) edit: about the new song 2-> reports 1 and reports 2 So, as WB already mentioned - (if my poor Japanese understanding serves well) it will be a lot more chaotic and aggressive than the first new song + will showcase Kyo's various vocal characteristics - and some people even compared the build to what was in Sukekiyo's Vandal.

Seems like Taiki turned off his beard game and favored "DOA Zack lookalikeness" instead, haha.

Years have passed since "BUTTERFLY", and now after another long-ish break - L'arcboys decided to release an one-song-only single titled "EVERLASTING". Of course - hearing news about L'arc releasing something might give glimpses of hope to those expecting them to go out of "safe, obviously desperate cashing" ways of doing music. BUTTERFLY was pretty much the prime example of formerly said, and I understand fanbase's huge displeasure about it. Anyways - will we hear a desired direction this time? After reading some news (with members' takes on it, avec obvious Barks.jp-kind of exaggeration) about the new song having "revolutionary" ideas floating around ,and being an "unusual Ken song" - I became highly intrigued (expected an antithesis of everything I said above). Did my expectations become fulfilled? NO. The concept behind "revolutionary" ways was quite simple here: 1) Tetsuya (bassist) plays (synth) guitar instead (decide by yourselves whether this is "astounding") 2) Yukihiro (drummer, main programmer) does some dominating digibloops, dull industrial drum machine beats and strings throughout the song (did already in "Ark/Ray" and "REAL" albums) 3) Overdramatic, partially nasal Hyde (since 2001 I think?) All in all - there is nothing that could really satisfy the requirements of "Revolutionary" - same formula, same formula... What about the song itself? As you can already see, I mainly criticized their blatant, absurd use of "revolutionary" for the sake of getting attention again in their ol' papa years. Unsurprisingly enough, the song basically went in one ear and out the other pretty fast, albeit being almost 5 min long song - I better blame it on 'lack of actual change', seeing as the song itself doesn't even have any normal pauses in the vein of any normal ABABCB-structured* song (think of their safest song like "BLESS" for instance). The song itself has no "eww, horrible" going on, but there's a lot of stuff worth "eeeh"-ing - or even yawning. To sum up the whole trainwreck I'd like to call as a "one song only review" - I think some members (read: all) should definitely hiatusize their respective solo projects and get their ABABCB-songwriting "back in shape" - if you catch my drift with such interesting phrasing whatsoever. | Not bad but rusty-ish, soporific release from S'tagnant~en~Ciel - again (I suck at puns, okay) *ABABCB = "Verse-Chorus-Verse-Chorus-Bridge-Chorus"

(bolded) this is what I meant really though (in my country it's way too low tbqh - except if you dabble around with gardening for private matters etc.) But seeing as the average hourly wage for part-timers in Japan (according to Nikkei BP) is about 973 Yen (approx. 9,5 USD + AKS themselves said they are going to follow the normal "Baito" etiquette in this case) - I can't say much about this...

The amount of totally negative posts here made me giggle a bit but since criticism is more appreciated here than actual *upsides*: http://campaign.baitoru.com/baito-akb/ They are looking for part-time members now, and oh my with these details they posted in the link above (I have to shamefully quote aramajapan here, sry whoever is affiliated with that site's staff): cheap labor yo ps. 1000 yen = approx. 10 USD / 7 euros

Why bother with such new post-2006 popular genre if you already acknowledge the fact that Japan is always behind music trend-wise?

Dudes behind Usher and Janet's hits are now doing Miyavi? ...eeh.

According to their OHP, Capsule will release their 15th album in the end of 2014 - no details (album art, tracklist etc.) were given yet about the release. source: OHP

Kalk Samen Kuri no Hana Welcome back to my back-to-the-past reviewing! This time I am going to give a spin to one of my biggest favorites from Ringo Shiina (and in music in general), "Kalk Samen Kuri no Hana" - or more familiarly along us, Ringo fanboys/girls, "KZK". The album itself was always used as a definitive introduction (for many, many years!) to anyone interested in giving lovely ms. Shiina a try - no matter what kind of music or culture you were into. Since new people here aren't really clueful about so-called "goals of reviewing" in MH, I can tell something: reviews aren't just "puny writing" - the rest is up to you to figure out. Rambling aside (again), ~lazy PRZ is getting lazy~ - so let's explore track-by-track-wise (I bolded my favorites, JIC): 1. Shuukyou People might get scared of the intro due to sudden strings climax, but everything after soothes and gets the listener along with an interesting, culture-clashing mix of avant-garde-ish instruments (something in the vein of John Zorn I think?) and orchestra. And of course I have to note Ringo's beautiful, almost requiem-y singing - gotta adore her moody vox during mellotron parts. You've gotta give it to Shiina if you want to make a good starting number for your concept album - or the hell, for your "definitive album". PS. those who bothered to try out mixtapes might have noticed Zess using this as an introductory song in his "first" mixtape - hope this entices you... 2. Doppelganger Imagine a decent orchestra-backed, french ballad-like number warping into d'n'b-like psychedelia in various parts - that's probably my best description for "Doppelganger" which belongs to one of the simplest pieces (yet still, quite weird to those not used to works outside mainstream music comfort). A decent piece - not much to say from my part. 3. Meisai Oriental noir meets gipsy-like number with various samples (the whole album is filled with interesting/odd samples/noises though - let's call this trait as "KZK-ing" for now), and ofc - Ringo's lovely, seductive singing supporting the absinthe & opium-scented mood. Got to admit that this feels like a fast-paced Klezmer piece to me, which is always welcomed when it comes to "far-out genres in Japanese music".I have a thing for songs with strong emphasis on themes and such, so yeah - definitely a fav! 4. Odaiji ni Calm, piano-driven ballad with Ringo's sensitive high-key singing - a good breather after a roller-coaster trio we had earlier. And all of this ofc supported by familiar, albeit vague "KZK-ing" - a la partial guitar soloing and radio speech etc. "Odaiji" works well in the context, but lacks much to be considered as a sole song or so - decent-ish, I think? 5. Yattsuke Shigoto Once we get over TV announcement sounds, radio-ish recording of intro and vacuum cleaner (yes, vacuum cleaner!), we get to the almost upbeat, orchestral version of something what was quite very fast-paced and grungey (ZCS version). Props to the rhythmic accompaniment and Shiina keeping up the spirit of the original, somewhat. Let's not forget the harpsichord either - since hey, it's always welcome! *cough*Malice Mizer*cough*. But either way, If you want a more "accessible" and less "weird" number off KZK, give this one try - it's not really avant-garde-y, but sure it is unique in one way or another. 6. Kuki Considered to be one of her classics - and probably even as one of her "definitive songs". Gloomy-ish, orchestral piece with memorizable, easy-to-hum-along melody - with its own climaxes and odd "culture clashes" instrument-wise (ever wanted to hear Koto and Klezmer fiddle in the same song? Here ya go), will be sure to get many people (no matter what kind of "musical orientation" you have) enjoying the song at its fullest. Kudos to greatness of classics! 7. Torikoshi Kurou One of the prime "KZK-ing" examples - beatboxing, cornet, kalimba, whistling, shamisen, melodica, comic horror-like "ooh" chants etc. This song is quite fun to jam along to, despite its otherwise very simple structure - and very short length (approx 2 and a half minutes, wow). 8. Okonomi De Those familiar with Shiina's work acknowledge the fact that she has a thing for "title symmetry" in her various albums - and KZK ain't an exception when it comes to this. What would be an otherwise "stroll around and sing in the rain"-like song, this has a lot more potential than its older counterparts (think of possible songs off 50s-60s, which fit my description) - "KZK-ing" almost everywhere, very beautiful climax...Unlike its symmetrical coupling, "Odaiji", "Okonomi" has much "it" to end up as a solid song outside KZK too! 9. Ishiki Didgeridoo and some bass notes leading up to jazz/blues-like number without much "stereotypical" emphasis on former-mentioned genres (thanks, bamboo flute). You've gotta give the drum/bass shred break a good listen, though - one of the KZK "tidbits", YES! I have not much to say about Ringo herself - the vocal melody is perhaps not amusing me that much, nor getting me along? I don't know. Arrangement saved the song though. 10. Poltergeist "Edith-Piaf-meets-haunted-waltz-dance-hall" - and yet still, my description still does no honor to gems of KZK. Title really fits the fleeting mood of this song, and Shiina helps to keep the mood thanks to her almost obvious French chanson-y influences. Apply my compliments towards "Meisai" to this as well. 11. Souretsu Grande finale of KZK, interestingly named "Souretsu" ("Funeral") carries on with certain traits we heard in Shuukyou (hurdy-gurdy, koto, sitar, emphasized orchestra backups), but freshness is still retained. Eerieness grows by each second - and minute, and thus - we end up in what we could actually call as "avant-garde" in KZK. Imagine if Shuukyou was followed up with a nightmare-like finale with organs and backup band causing audible havoc for almost a minute...yes, definitive example of a fantastic, earthshaking finale, YES!!!!!!!!/Pretsy going mad due to lack of sophisticated compliments/ | Pros: "intrepid experimentation" and "KZK-ing" , cons: "Odaiji" is not impressing much and "Torikoshi" is too short (that's all) Post-rating conclusion: some songs are hard to chew on - no matter whether they dwell inside or outside KZK's context, yes - but once you give it a proper, more "fearless" listen...you will realize that genre limitations are not going to stop you from at least admiring the album. Trust me - even if I might sound biased all the time - you will totally miss out, if you just let this classic (various music mags back from the day share my thought too) go. What about me? I am adoring - and in fact, thanking this album for making me pay proper attention to what I really enjoy, or enjoyed in my favorite music for many years - intrepid experimentation and honest ways of expressing yourself. As a last reminder, don't let my not-so-serious nitpicking distract you

http://www.pinakano.jp/cvo/# samples for Pierre's new mini also includes pics of those who collabed in each song. Full PV for SORA SORA sounds quite neat, and some samples are as great as that too (Double Pendulum and Animus especially)

cleans 7/10 - his vocals remind me of more controlled Daisuke (Kagerou's Daisuke, yes), but other than that - nothing really amusing :/ note: this guy is 's (no, not that supergroup) vocalist/guitarist btw, and no - he doesn't have any solo releases so far (only these "self-covers" @YT)