Pretsy

Yes. It has been given already that we are witnessing the birth of "visual" among new "visual kei" bands (i.e. dropping the "kei" out = becoming pretty much the same as any other BVB-y act around these corners). So it is very blatant to name newer generations "visual kei" anymore since they lack the "original face" that vk used to have among every sub-scene.Probably? I find it really hard to sympathize with newer acts - especially for reasons described above. Very cute but hollow shells with no substance or roots to the past or whatsoever. Give most of us over 10 years of this stuff (e.g. me, since 2001) and you will realize what I am about.To be really cruel and straightforward: yes. I had my statements wide open earlier and I don't think I have to provoke anyone again by repeating myself.Just lump me into the tea party club of ex-weeaboo gentlemen circa Jrocknyc-angelfire era and I can spend my days being grumpy and sobbing about vk back in its definitive, moderately varied and sincere glory. VK will be no more - I say.
/not trolling/

Yes. It has been given already that we are witnessing the birth of "visual" among new "visual kei" bands (i.e. dropping the "kei" out = becoming pretty much the same as any other BVB-y act around these corners). So it is very blatant to name newer generations "visual kei" anymore since they lack the "original face" that vk used to have among every sub-scene.Probably? I find it really hard to sympathize with newer acts - especially for reasons described above. Very cute but hollow shells with no substance or roots to the past or whatsoever. Give most of us over 10 years of this stuff (e.g. me, since 2001) and you will realize what I am about.To be really cruel and straightforward: yes. I had my statements wide open earlier and I don't think I have to provoke anyone again by repeating myself.Just lump me into the tea party club of ex-weeaboo gentlemen circa Jrocknyc-angelfire era and I can spend my days being grumpy and sobbing about vk back in its definitive, moderately varied and sincere glory. VK will be no more - I say.
/not trolling/

Yes. It has been given already that we are witnessing the birth of "visual" among new "visual kei" bands (i.e. dropping the "kei" out = becoming pretty much the same as any other BVB-y act around these corners). So it is very blatant to name newer generations "visual kei" anymore since they lack the "original face" that vk used to have among every sub-scene.Probably? I find it really hard to sympathize with newer acts - especially for reasons described above. Very cute but hollow shells with no substance or roots to the past or whatsoever. Give most of us over 10 years of this stuff (e.g. me, since 2001) and you will realize what I am about.To be really cruel and straightforward: yes. I had my statements wide open earlier and I don't think I have to provoke anyone again by repeating myself.Just lump me into the tea party club of ex-weeaboo gentlemen circa Jrocknyc-angelfire era and I can spend my days being grumpy and sobbing about vk back in its definitive, moderately varied and sincere glory. VK will be no more - I say.
/not trolling/

Literally only came here to see if anyone's said this yet. xD

Nice cover of What's up people? from Maximum the Hormone
Loved it

These girls are super charming as always!
 

Är det här en välkomsttråd eller en privat konversation? lol

Fitting.

Arama's Ronald made a good notion there and suggested that folks could compile Japanese music (video) channels which are affected by YT Red's States blocking - here's what they have compiled so far (Those in the states ought to check this out and comment in case there's more):
 
 
Tricot's staff seems to be the only one that informed about resorting to "possible alternative solutions"

An example of typical 8cm Dir single:
 

An example of typical 8cm Dir single:
 

Maybe it's this Patrick Lennon? Totally random, but fits the subject. xD
 
http://www.theguardian.com/uk/2010/oct/04/deputy-head-encouraged-child-rape
 
(it would even fit if Kyo were to reference something recent, since the news is about 8-9 months before the release of the new Tsumi...)

I think an 8cm single is like those singles Dir en Grey released back in the early days that were in the tall cases? That's what I've seen them called anyway. 
But yeah, this is cool! Too bad it's live limited.

Sukekiyo will release a new live-limited single "Mimi Zozo", which will (apparently, actual details yet unknown) include a new track they have played at lives lately. The said single will be sold only during their "宙吊り娘と掃き溜めの詩" tour - dates below:
 
covers:
 
 
source: their twitter
 
Also, Takumi began to use twitter as well! His introductory tweet by courtesy of kyotaku:
 

Sukekiyo will release a new live-limited single "Mimi Zozo", which will (apparently, actual details yet unknown) include a new track they have played at lives lately. The said single will be sold only during their "宙吊り娘と掃き溜めの詩" tour - dates below:
 
covers:
 
 
source: their twitter
 
Also, Takumi began to use twitter as well! His introductory tweet by courtesy of kyotaku:
 

Footage! (still not a big fan of Un Deux)

I've seen and experienced such situations in which people who do not usually digest vk or don't listen to it at all are not capable of stomaching "Feminism" either - especially when it comes to overall criticism in which "Romance of Scarlet" is considered to have much less "dated" sound than "Feminism" (which is kind of true though). Also: it's little to no wonder that this (Feminism years 1995-early 1996) was coined as their "sellout era" back then - not that many would even glance at their past but worth knowing anyway.
 
I would have suggested it too but as I saId it above - it's not everyone's cup of tea. We could also say the same about post-Fake Star era which is unfortunately totes devoid of originality genre-wise (while being "fun").
 
Regarding Luna Sea - Nagisa (as the Gazette fan) should definitely give Luna Sea's STYLE  and LUNACY eras a try (MOTHER would be too old school-ish of an experience to you tbh) - especially the single/b-side department:
 

I remember reading news about Souhei from andymori using synthetic weed and freaking out in a hotel lobby. He had to talk to the cops or something afterwards, but since it wasn't technically illegal it didn't seem like it was a big deal to their fans or anything.

If anyone's interested in reading about Imai's drug scandal in a bit more detail (scroll down a bit):
 
http://www.bucktickzone.com/history/1989.shtml

^ fun at parties, I suppose.

To make "don't delve into personal J-rocker lives pls, you dirty freak" voices quieter, I'd state the main wafflesy purpose of this thread: while the world of vk and JAYRAWK had tons of similar characteristics when compared to its much more grandiose Western counterpart a.k.a glam/makeup-lashing, angst quintets/quartets and god knows what, we've been given way too conservative, perhaps even stereotypical image about how these Japanese rockers have rolled. What the heck?
 
There is just not enough dirt in the world of Japanese distorted earrape music!
 
I can totes bet that your J-favs (and mine) are anything but fandom's little sweet bishonen/bishoujo angels - how come there were no stuff or suspections involving e.g. vk bandomen reaching some severely dazzled extremes while partying or even just gigging around?
 
Not that anyone might be pleased or willing to contribute, but let's try reviving this section anyway:
 
Have you ever heard about possible drug bust cases or just widely spread suspections involving vk or J-rock bandomen being way too "shady"? Feel free to push forward, get amazed or just throw crap at pseudo-tanukists like me, sniff.
 
 
I will start by stating popular drug cases (note: not Johnnys):
 
- Sakura (ex-L'Arc~en~Ciel)
This chap has been the main catalyst AND the final nail in the coffin of L'arc's "definitely vk" career. Why's that? Him getting charged for heroin possession around late 1997 has ended up L'arc spending their necessary "no-public" hiatus in order to get their shit together and come back with more palatable sound. Come to think of it though: he gets very rare (or even none) mentions whenever L'arc has their chronology up on TVs or such, ouch.
 
- Hisashi Imai (BUCK-TICK)
About similar-ish case happened to this legendary vk-related (if we could call him that way) guitar virtuoso /quirky composer except that it was in 1989 and he was sentenced for LSD possession! Frankly speaking this didn't affect band that much sound-wise, phew.
 
also, I am still on the fence whether I should consider 2ch inspections of Kiyoharu (yes, that Kiyoharu) being involved when it comes to drug ventures - just go asking around 2ch and you might actually get rhetoric questions in the vein of "why he ain't caught yet?", lol.
 
 
ps. is TZK is a stoner???

crazy cool joe from dead end. you simply cant look like that without having done your fair share of drugs/alcohol

BMTH has been quite open about LP and how heavy of an influence they had on the band ever since There is A Hell/Sempiternal era though (it doesn't take a genius to open up NME/Gigwise and google up Oli's own take on behind-the-scenes hulabaloos). Therefore, allusions to LP soundalikes are actually given and justified at this point - why so sour?

Artist: Kamijo Title: Royal Blood~Revival Best~ 1. Emblem 2. Imperial Concerto 3. 薔薇は美しく散る (Bara wa Utsukushiku Chiru) 4. Aristocrat's Symphony 5. 蝶の花 (Chou no Hana) 6. Audrey 7. この世で一番美しい薔薇よ (Kono Yo de Ichiban Utsukushii Bara Yo) 8. 冬東京 (Fuyu Tokyo) 9. Heel 10. God Palace 11. Royal Blood
Rating: | Looking back with rose colored glasses

 
 
In celebration of his 20th year performing, Kamijo released two new albums: 20th Anniversary All Time Best～革命の系譜～ (Kakumei no Keifu, a collection album of songs from his past bands) and Royal Blood ～Revival Best～. While an anniversary collection is not surprising, as many big artists do this at important landmarks in their careers, an album of songs from older bands is fairly unusual. A collection of songs from old bands that are also completely rewritten is even rarer. Royal Blood  ～Revival Best～ is a gift to long-time fans in more ways than one, and it breathes new life into the classics Kamijo has written.
 
As shown by the tracklist above, Royal Blood is a mixture of songs from Lareine, Versailles, New Sodmy, and 3 (and a half) new original tracks.  All of the older songs are more than remade—they’re reinterpreted. For example, “Aristocrat’s Symphony” has been stripped down of it’s grandiose symphonic metal roots and has been turned into a slower ballad accompanied completely by orchestral arrangement, whereas “薔薇は美しく散る” was turned into a fast paced, yet flowery, metal song. The degree in which songs were reimagined varies greatly, however. For example, the new version of “God Palace” has very little different in arrangement aside from the guitar solo, which was made to sound a lot more like a solo that could be found on the Jealousy album. While much of the instrumental parts are largely the same, it is fairly obvious that the lead guitar is not Hizaki as the guitar timbre changed and the general delivery is less show-y. That doesn’t make Kamijo’s entrance after the solos are over, with a resounding “WATASHI WAAAAAAAA,” any less stupendous.
 
Of all the reimaginations, “薔薇は美しく散る,” “冬東京,” and “Imperial Concerto” were my favorites. As mentioned above, the first has been reinterpreted to be more metallic than the orginal without really losing much of it it’s original flare. My only gripe with this song is that he removed the musical equivalent to the gaussian blur filter used in this ABBA music video that used to grace the middle of the song. I’ve also added a new favorite Lareine song to my repertoire, which is 蝶の花 (Chou no Hana). I love the gentleness of this song and its simple beauty in the chorus. After listening to the original, it is safe to say this is more or less just an updated version—no crazy metal renditions of this song were done.  I will say, though, that I was floored by the new version of  冬 東京 (Fuyu Tokyo). The new introduction is just magical and the overall rendition just brings this song to life in a completely new way. These are all examples of remakes done right—what I want are old tracks remade in a new way and Kamijo gave me exactly what I was looking for.
 
Viewing this album through a critical lens, it is possible to find several areas in which Royal Blood could have done better. For me, most of the shortcomings were in the new songs. It took a lot of thinking to determine if this was because I was just so impressed with the remakes that any of his new material just would easily be outshone, or if the newer tracks were actually just sub-par for what I was expecting. In the end, it was a fair mix of both for me. “この世で一番美しい薔薇よ”  (Kono Yo de Ichiban Utsukushii Bara yo), as the first victim, left me unimpressed. The title itself was too close to as “薔薇は美しく散る” for me and thematically “the prettiest rose in the world” just seems trite at this point. This, coupled with a highly predictable chord progression in the main melody,  didn’t leave me wanting to wake up and smell the roses.
 
“Heel,” another new addition, was more ~experimental~; here, Kamijo tried to incorporate some tango elements into his normal compositional style with mixed results. What was odd about this was that the melody during the verse dragged on for way too long. This melody is a super drawn out vocal line where he bellows dangerously close to being dissident to the rest of the music before gingerly teetering back to safety, then repeating another two or three times. It’s like watching that game where people stab a knife in the space between their fingers quickly to freak out their mom. In this situation, I’m that mom and I am very concerned. Daredevil party tricks aside, this song does have a really nice chorus. I usually skip to it when listening to the song, though.
 
The last new song is the title track of the album, “Royal Blood.” It originally starts off like some sort of epic symphonic piece, bold and bombastic like “Aristocrat’s Symphony” was (the original). To my surprise, it eventually mellows out to become the perfect balance of mixing all of his past bands together –Versailles guitar work and symphonic elements, Lareine guitar and vocal harmonies, and something from that one New Sodmy song, I guess. Did you guys know he was also in a band named New Sodmy? They were a thing for a bit and made music or whatever. Yep. So, basically, this song is this album’s version of “片手に夢を持つ少女” (Katate ni yume wo motsu shoujo) —an up-tempo hype song, probably used as an encore closing.
 
All in all, Royal Blood was a great album solely for the excitement of waiting to hear old songs done anew. I was pretty bummed that Metamorphose got cut, and kind of surprised Fiancailles wasn’t included (unless he didn’t actually write that, but it was objectively Lareine’s best selling song). Maybe in the future we’ll get some more Revival Best songs, but for now, I am content with how this played out and fully expect a full effort dedicated to putting out new material soon.

I meant it more as in how the review team is indeed organized and can maintain their bias towards their favourite music at a certain neutral level. It's not full of profanities, internet language and general sloppy writing. Professionalism doesn't necessarily have to mean that someone receives payment or certain praise on a professional level, for me it simply means that someone is serious about their performance, whether or not it's intended for certain cause. I am not naming names, but the review section from the regular members is in my eyes, all over the place — there's no structure and it's rather chaotic because it feels like people don't even take themselves seriously in certain reviews, or the bands for all that matters.
 
But perhaps that's just me. I enjoy structure and a neat environment, and with that I'd rather look at the staff's review section because it's properly organized.