Pretsy

I mean sure, you can use some older, ambiguous riot imagery to depict your early rivalship back in the day (as @r...pointed it out) but randomly selecting otherwise debatable event footages (e.g. Maidan 2014 was slipped inbetween and that education protest thing) is not necessarily striking the right note there...but this is Japan and their "well who gives a shit it's edgy though lol"-positioning lol.
 
What a buzzkill nonetheless.
 
JUST RELEASE THE ALBUM ALREADY, BOTH OF YOU.
 

Love it! It's like 1998 all over again!  HA!
Does that mean we'll have some GAUZE-era goodness coming our way? Honestly, I doubt it, but one man can dream...
 
I like how the "hills" theme that the fans were calling it was kept. They should've invited Plastic Tree too, just for the hell of it.
 
I just wish I was there to witness it. This thing will sell out fast. Hopefully, both bands will interact with each other. Let the fans have a bit of fun with it.

they're sO DRAMATIC BYE ITS LITERALLY A LIVE SHOW FUCK OFF

I knew it, lmao

What I noticed based on those pics and things I have discovered from J-netizens (incl. tweets above) and Kyotakumrau (thanks girl for updates):
 
- Kyo kinda progresses towards 2004-2005 era throwbacking with his latest looks - Kodou-meets-Saku-PV-kind of looks, anyone?
- We could say the same about Kaoru => NEW HAIRCUT (literally screaming)
- Die is fab
- Shinya is fab
- Toshiya is the kind of super-hot soon-to-be-40 Japanese fashionista posterboy, no homo no hetero (swooning IRL)
 
Idgaf about his flop brand but sheesh:
 
- I would love to see them stay "demi-visual" like this compared to what most Will-like chaps would desire for while going forth  saying "das super gay I want my MOAB/Uroboros era back kys". Just seriously.
 
 
I don't even listen to their music that actively anymore (1-2 songs per month and I am not even kidding) but these guys never fail to get my attention. Go and snatch some wigs, DT's little boys~

Literal necro time:
 
I and my dad (who, well, passed away years ago) used to share same affinity for anything "U2-lite" (well, in my case it's Laruku haha), Steely Dan (which became more prominent in my taste after rediscovering them along with this whole city pop thing) and CSN (I still feel ashamed to admit this).
 
My mom on the other hand is more or less about "overemotional vocal antics" and she always approved my liking for folks akin to Hyde (oops) or so on. But in all seriousness, our tastes sorta collided in enjoying "ethereal" acts : in her case it would be Enya and Enigma, while in my case it would be Kate Bush and Cocteau Twins...if that even makes any sense at all.
 
Both of them were stricly against this whole """""degenerate rock""""" culture (see: what me and our overall community enjoys, methinks?) and it took a while for them to digest my affinity for "pretty much anything as long as it doesn't end sounding too pedestrian".
 
So, no matter how "embarrassing" this may sound:my ties with my parents kinda led me to this "closed loop" of enjoying things they used to jam to as well around the same age.

Yeah, that last live DVD is pretty sad. All those great songs sounded so hollow without a 2nd guitar. But at least they came back later and recorded Resurrection together. Still need to buy that box, but I WILL buy it.
 
Anyway, let's keep this thread for Creature Creature and all things related, then?
 
It's finally here, guys!

 
http://www.lacrymachristi.jp/
http://wardrecords.com/SHOP/GQCS30001.html
【1st Solo Album『Gale』収録予定曲】
01. 漆黒
02. Blood Moon
03. Like the Wind
04. Steppenwolf
05. Dear Phantom
06. 甘い罠
07. Fairies in the Forest
08. Bare Fangs
09. Vanity
10. 穏やかな風
This beautiful, beautiful man!
And all the gang reunited. Hopefully KOJI and HIRO will jazz up the place.

You should seriously stick to trying out their very first releases (well, take say from 1993/1994 up until 1997 and something from 1998 if you don't mind obvious Luna Sea-iness) because Hiro used to be their most prominent songwriter until their bassist took the lead with his power pop/glam bops
 
So to list albums you should try: Siam's Eye (single), Warm Snow, Dwellers of a Sandcastle (WS' rerecording, superior version), Sculpture of Time and all of those respective A-side singles and parts of Lhasa if you learn to avoid pop bops (MH still should have some, I can up in case they expired)
 
I apologize for derailing this topic again but to exhibit what exactly was Hiro cooking back in his 20s:
 
 

These guys were such a tight band. 
 
 
it got weird when Koji left and was never replaced, leaving Hiro with handling all the guitar work live. Made songs like Henseifu in particular sound kind of empty. 

You should seriously stick to trying out their very first releases (well, take say from 1993/1994 up until 1997 and something from 1998 if you don't mind obvious Luna Sea-iness) because Hiro used to be their most prominent songwriter until their bassist took the lead with his power pop/glam bops
 
So to list albums you should try: Siam's Eye (single), Warm Snow, Dwellers of a Sandcastle (WS' rerecording, superior version), Sculpture of Time and all of those respective A-side singles and parts of Lhasa if you learn to avoid pop bops (MH still should have some, I can up in case they expired)
 
I apologize for derailing this topic again but to exhibit what exactly was Hiro cooking back in his 20s:
 
 

You should seriously stick to trying out their very first releases (well, take say from 1993/1994 up until 1997 and something from 1998 if you don't mind obvious Luna Sea-iness) because Hiro used to be their most prominent songwriter until their bassist took the lead with his power pop/glam bops
 
So to list albums you should try: Siam's Eye (single), Warm Snow, Dwellers of a Sandcastle (WS' rerecording, superior version), Sculpture of Time and all of those respective A-side singles and parts of Lhasa if you learn to avoid pop bops (MH still should have some, I can up in case they expired)
 
I apologize for derailing this topic again but to exhibit what exactly was Hiro cooking back in his 20s:
 
 

The song Magic Theater can get a bit too repetitive given how long it is, but then Hiro busts out that solo and all is forgiven. 

Literal necro time:
 
I and my dad (who, well, passed away years ago) used to share same affinity for anything "U2-lite" (well, in my case it's Laruku haha), Steely Dan (which became more prominent in my taste after rediscovering them along with this whole city pop thing) and CSN (I still feel ashamed to admit this).
 
My mom on the other hand is more or less about "overemotional vocal antics" and she always approved my liking for folks akin to Hyde (oops) or so on. But in all seriousness, our tastes sorta collided in enjoying "ethereal" acts : in her case it would be Enya and Enigma, while in my case it would be Kate Bush and Cocteau Twins...if that even makes any sense at all.
 
Both of them were stricly against this whole """""degenerate rock""""" culture (see: what me and our overall community enjoys, methinks?) and it took a while for them to digest my affinity for "pretty much anything as long as it doesn't end sounding too pedestrian".
 
So, no matter how "embarrassing" this may sound:my ties with my parents kinda led me to this "closed loop" of enjoying things they used to jam to as well around the same age.

Technically speaking, any song which stays in the scope of particular key is somewhat easy to play once you get the gist. E.g. heavier Lycaon songs are usually done in Bm (which is not hard when done in drop B ), which makes them rather effortless sans specific Slash tribute moments by Satoshi (which require a bit more practice, frankly speaking).  Or the hell, majority of obviously nu metal-inspired fares in VK (DEG's six Ugly-WtD era as a case in point) won't require much from electric axemen tbh...
 
@sai is not necessarily hanging around here anymore, so I am addressing anyone with similar intents: in order to develop your skills in any kind of field, you need to look for "fittingly challenging" scenarios - or repertoires and/or specific collections in terms of musicianship. This means that you shouldn't necessarily go for "easypeasy" tracks but more or less "medium" ones.
 
Go for songs where you'd be somewhat able to realize specific influences and "rules" of the particular genre they are played in. A decent chunk of knowledge about keys, scales and other factors belonging to the basis of music theory will be as useful and perhaps even necessary before delving into the art and practice of rock music AND J-rock respectively (unless you aspire to become a wizard of djent/prog/avant wankery).
 
Tl;dr: if you didn't bother to read much of the stuff said above - my personal picks for each and specific style I could think of for an aspiring musician with enough patience to assess this songcraft:
 
Rock ballads:
 
- Gazette's Cassis (just play the chords, forget the Uru parts for a while)
- Dir en grey's Undecided (half-ballad but slow down a little bit and practice the (essential) chord structure)
- Luna Sea's ANOTHER (very accessible ballad from guitarist's perspective in a very rookie-friendly setting, go with this one for basic understanding about key changes etc.)
- L'Arc~en~Ciel's Pieces (assessment of Japanesque pop melodies requires you to get familiar with unusual concepts  like "Royal Road progression" etc. This ballad follows the said progression a little bit with its intriguing key and chord changes along the way. Fittingly challenging after two formerly mentioned tunages)
 
"Rockers":
 
- Penicillin's Romance (very distinct chord progression, moderate key changes, must-cover for almost every self-respecting JAYRAWK hobbyist)
- hide's ROCKET DIVE (descending/ascending guitar riff here shouldn't be hard to decipher but assess the pop punk aspect here - you will need it for oshare songs etc.)
- Kuroyume's Miss Moonlight (welp, kote/pop territory! Practice necessary hook solos for older and perhaps newer J-rock songs here)
- Janne Da Arc's Shining Ray (...deeper and deeper into the basic axeman shredding and riffage! Practice your essential progressions once again AND usage of electric shreds etc. here)
- Raphael's Hana Saku Inochi Aru Kagiri (in case you are willing to get familiar with doodlings for Bearsighs and other fast-paced acts, get used to this one)
 
Not exactly the most recommended choices here but I had to think of "coverable" numbers anyway! NOTE: practice standard/Eb tuning first - go for drop tunings only if you have to (since starting out with drops is blatant cheating/clear sign of laziness)
 

Literal necro time:
 
I and my dad (who, well, passed away years ago) used to share same affinity for anything "U2-lite" (well, in my case it's Laruku haha), Steely Dan (which became more prominent in my taste after rediscovering them along with this whole city pop thing) and CSN (I still feel ashamed to admit this).
 
My mom on the other hand is more or less about "overemotional vocal antics" and she always approved my liking for folks akin to Hyde (oops) or so on. But in all seriousness, our tastes sorta collided in enjoying "ethereal" acts : in her case it would be Enya and Enigma, while in my case it would be Kate Bush and Cocteau Twins...if that even makes any sense at all.
 
Both of them were stricly against this whole """""degenerate rock""""" culture (see: what me and our overall community enjoys, methinks?) and it took a while for them to digest my affinity for "pretty much anything as long as it doesn't end sounding too pedestrian".
 
So, no matter how "embarrassing" this may sound:my ties with my parents kinda led me to this "closed loop" of enjoying things they used to jam to as well around the same age.

If you paid closer attention to certain works by Dead End (MORRIE) or even La'cryma Christi's instrumental craft as we speak (Hiro) as cases in point, you may notice that balls-to-the-wall progging is not a whole new ballgame to them necessarily (note: except for Shinobu, every face in CC has a HUGE record in regards to project participations)
 
(as @emmnynoted already, I also hear Hiro's good ol' trademark dissonant riff-o-ganza* here as well - always welcomed frill in their songs :))
 
 
 

Kyo's mode of UROBOROS look has been on point. 
 
 

Pretty much anything except for HOT ROD CIRCUIT after &.U's release in La'cryma Christi's case.
 
The moment they thought it would be cool to ape Van Halen and Aerosmith in their duncurr phases was one huge, fat mistake. Oh, and I am not a fan of straightforward pop songs by them either really - guess I always liked my La'cryma *surprising*, *proggy*, *mysterious*...

For me personally aside from otherwise "relaxing" flow and other phonetic mumblejumble it was also about unorthodox vocal-arrangement combinations in otherwise rather casual genres (who would think that fitting baritone/nasal-ish vox with symphonic/power metal would work well as a case in point?) AND allow me to recap myself:
 
 
(Carm's note: you gotta thank folks like Beatles and earlier black Jazz musician figures for playing around with this progression - as we speak, gospel music often plays around with same chording ideas, funny huh?)
 
Skip the intro and check the ending - there's a huge pool of subtopics related to this subject Friedman was discussing what I would call "Japanese progression". Not saying this would be literally EVERYWHERE (e.g. my standom for Pura merely started out from Britpop fanboying and affinity for special phonetic stuff) but I could honestly say nowadays that this pretty much separates my "palatable japanese taste" from "palatable western (my culture) taste".
 
 
Speaking of some western figures usually slamming us into "deluded, closed-minded listeners" because of such affinity - lemme counter this with my own take: Japanese way of conveying otherwise "western" genres helped me to look and keep my *EAR* on nuances I usually either missed or never paid attention to in otherwise very "familiar, palatable" english/mother tongue-based music.  But then again, that is if you allow yourself to evolve with your tastes per se (whether you "progress" in your taste or not is not dependent on whether you represent the "weeb" culture or otherwise "palatable" culture). I could go on and on about this variety of examples that reformed my musical aficionado self into more "curious" one but that would be just pure thread derailing.
 
So to summarize in a bit more coherent way, two things: 1) "unorthodox, yet oddly palatable" approach in regards to flow, pop songwriting 2) "Same, familiar basis but different interpretation and nuances". I might express my thoughts rather oddly as some may point it out but I am hands down sure at least some "matured " (not to belittle younger generations ofc) J-music listeners get what I am saying...
 
 

For me personally aside from otherwise "relaxing" flow and other phonetic mumblejumble it was also about unorthodox vocal-arrangement combinations in otherwise rather casual genres (who would think that fitting baritone/nasal-ish vox with symphonic/power metal would work well as a case in point?) AND allow me to recap myself:
 
 
(Carm's note: you gotta thank folks like Beatles and earlier black Jazz musician figures for playing around with this progression - as we speak, gospel music often plays around with same chording ideas, funny huh?)
 
Skip the intro and check the ending - there's a huge pool of subtopics related to this subject Friedman was discussing what I would call "Japanese progression". Not saying this would be literally EVERYWHERE (e.g. my standom for Pura merely started out from Britpop fanboying and affinity for special phonetic stuff) but I could honestly say nowadays that this pretty much separates my "palatable japanese taste" from "palatable western (my culture) taste".
 
 
Speaking of some western figures usually slamming us into "deluded, closed-minded listeners" because of such affinity - lemme counter this with my own take: Japanese way of conveying otherwise "western" genres helped me to look and keep my *EAR* on nuances I usually either missed or never paid attention to in otherwise very "familiar, palatable" english/mother tongue-based music.  But then again, that is if you allow yourself to evolve with your tastes per se (whether you "progress" in your taste or not is not dependent on whether you represent the "weeb" culture or otherwise "palatable" culture). I could go on and on about this variety of examples that reformed my musical aficionado self into more "curious" one but that would be just pure thread derailing.
 
So to summarize in a bit more coherent way, two things: 1) "unorthodox, yet oddly palatable" approach in regards to flow, pop songwriting 2) "Same, familiar basis but different interpretation and nuances". I might express my thoughts rather oddly as some may point it out but I am hands down sure at least some "matured " (not to belittle younger generations ofc) J-music listeners get what I am saying...
 
 

Cheers.

For me personally aside from otherwise "relaxing" flow and other phonetic mumblejumble it was also about unorthodox vocal-arrangement combinations in otherwise rather casual genres (who would think that fitting baritone/nasal-ish vox with symphonic/power metal would work well as a case in point?) AND allow me to recap myself:
 
 
(Carm's note: you gotta thank folks like Beatles and earlier black Jazz musician figures for playing around with this progression - as we speak, gospel music often plays around with same chording ideas, funny huh?)
 
Skip the intro and check the ending - there's a huge pool of subtopics related to this subject Friedman was discussing what I would call "Japanese progression". Not saying this would be literally EVERYWHERE (e.g. my standom for Pura merely started out from Britpop fanboying and affinity for special phonetic stuff) but I could honestly say nowadays that this pretty much separates my "palatable japanese taste" from "palatable western (my culture) taste".
 
 
Speaking of some western figures usually slamming us into "deluded, closed-minded listeners" because of such affinity - lemme counter this with my own take: Japanese way of conveying otherwise "western" genres helped me to look and keep my *EAR* on nuances I usually either missed or never paid attention to in otherwise very "familiar, palatable" english/mother tongue-based music.  But then again, that is if you allow yourself to evolve with your tastes per se (whether you "progress" in your taste or not is not dependent on whether you represent the "weeb" culture or otherwise "palatable" culture). I could go on and on about this variety of examples that reformed my musical aficionado self into more "curious" one but that would be just pure thread derailing.
 
So to summarize in a bit more coherent way, two things: 1) "unorthodox, yet oddly palatable" approach in regards to flow, pop songwriting 2) "Same, familiar basis but different interpretation and nuances". I might express my thoughts rather oddly as some may point it out but I am hands down sure at least some "matured " (not to belittle younger generations ofc) J-music listeners get what I am saying...
 
 

For me personally aside from otherwise "relaxing" flow and other phonetic mumblejumble it was also about unorthodox vocal-arrangement combinations in otherwise rather casual genres (who would think that fitting baritone/nasal-ish vox with symphonic/power metal would work well as a case in point?) AND allow me to recap myself:
 
 
(Carm's note: you gotta thank folks like Beatles and earlier black Jazz musician figures for playing around with this progression - as we speak, gospel music often plays around with same chording ideas, funny huh?)
 
Skip the intro and check the ending - there's a huge pool of subtopics related to this subject Friedman was discussing what I would call "Japanese progression". Not saying this would be literally EVERYWHERE (e.g. my standom for Pura merely started out from Britpop fanboying and affinity for special phonetic stuff) but I could honestly say nowadays that this pretty much separates my "palatable japanese taste" from "palatable western (my culture) taste".
 
 
Speaking of some western figures usually slamming us into "deluded, closed-minded listeners" because of such affinity - lemme counter this with my own take: Japanese way of conveying otherwise "western" genres helped me to look and keep my *EAR* on nuances I usually either missed or never paid attention to in otherwise very "familiar, palatable" english/mother tongue-based music.  But then again, that is if you allow yourself to evolve with your tastes per se (whether you "progress" in your taste or not is not dependent on whether you represent the "weeb" culture or otherwise "palatable" culture). I could go on and on about this variety of examples that reformed my musical aficionado self into more "curious" one but that would be just pure thread derailing.
 
So to summarize in a bit more coherent way, two things: 1) "unorthodox, yet oddly palatable" approach in regards to flow, pop songwriting 2) "Same, familiar basis but different interpretation and nuances". I might express my thoughts rather oddly as some may point it out but I am hands down sure at least some "matured " (not to belittle younger generations ofc) J-music listeners get what I am saying...