Pretsy

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...
 
 

I feel like Finnish and Estonian both most definitely belong to that category of melodic languages, and in fact I've had more than one Estonian tell me that they believed some perceived similarity in ' linguistic flow' actually helped them to acquire Japanese and/or Korean at a faster & easier rate

I've experienced this as well! For example, rock music was something that I largely avoided up until around 2004/2005 when I started developing an interest in Japanese rock.  As a result, getting into J-rock opened me up to the world of rock in general. It essentially pierced the veil of my biases and cultural indoctrination, and offered me a new perspective - one that I think furthered my appreciation. I still listen to and prefer J-rock on the whole, but because of it, I've been able to branch out and enjoy some things outside of Japan too.
 
 
I don't know any Dutch music, but I just wanted to say I that agree that those other languages are really easy on the ears. Let me know if you actually do come across the Icelandic version of THE NOVEMBERS  

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...
 
 

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...
 
 

hope you're prepared for the usual stale arguments of
i don't understand the language which means its better because western lyrics are usually bad!! glorious nihonjin make ongaku better than white devils something about not being mainstream  
 
also cheers

There should not be any dispute about VK bandomen being associated with these porn circles or not since it's rather obvious that they ARE in fact very close with certain agencies, industries etc. Come to think of this example: what the heck is that IV fuccboi (?) from ViViD doing nowadays? He would be cashing in some serious ¥¥¥¥¥ in COAT-WEST and whatnot if you guys get what Imma saying, huh (AFAIK a lot of you actually share my sentiments about him, no homo no hetero)?
 
Kinda validates my statements in regards to how e.g. idol group scene kinda double-standardizes the image of "innocence" with various figures being involved in gravure, even hardcore porn as we speak (e.g. Kamen Joshi).
 
God bless this decadent sub-culture. We are all doomed, folks.
 
 

There should not be any dispute about VK bandomen being associated with these porn circles or not since it's rather obvious that they ARE in fact very close with certain agencies, industries etc. Come to think of this example: what the heck is that IV fuccboi (?) from ViViD doing nowadays? He would be cashing in some serious ¥¥¥¥¥ in COAT-WEST and whatnot if you guys get what Imma saying, huh (AFAIK a lot of you actually share my sentiments about him, no homo no hetero)?
 
Kinda validates my statements in regards to how e.g. idol group scene kinda double-standardizes the image of "innocence" with various figures being involved in gravure, even hardcore porn as we speak (e.g. Kamen Joshi).
 
God bless this decadent sub-culture. We are all doomed, folks.
 
 

There should not be any dispute about VK bandomen being associated with these porn circles or not since it's rather obvious that they ARE in fact very close with certain agencies, industries etc. Come to think of this example: what the heck is that IV fuccboi (?) from ViViD doing nowadays? He would be cashing in some serious ¥¥¥¥¥ in COAT-WEST and whatnot if you guys get what Imma saying, huh (AFAIK a lot of you actually share my sentiments about him, no homo no hetero)?
 
Kinda validates my statements in regards to how e.g. idol group scene kinda double-standardizes the image of "innocence" with various figures being involved in gravure, even hardcore porn as we speak (e.g. Kamen Joshi).
 
God bless this decadent sub-culture. We are all doomed, folks.
 
 

If there's no thread here, that implies no one cared enough to listen to it. I don't want to speak for everyone on this forum, but YOHIO isn't popular here for many reasons and opening discussion won't make him more popular. Some just hate because he's living the dream. Others hate because he sounds like a transplant of poorly-done visual kei (note NOT a poorly-done visual kei transplant; if he actually sounded decent he might have fans). For me, it always seemed as if YOHIO wasn't popular more so because he took the rose-tinted glasses off the scene so we can see what caked-on foundation and desperation looks like and less because he sucks musically. The man can shred a guitar, select western audiences are becoming slightly more receptive to less traditional metal aesthetics, and I've heard worse visual kei bands stanned for less. Seremedy was hot garbage and I'm glad that's gone, and whatever side project that spawned off of the four leftover members is equally as irrelevant, but DISREIGN is proof of western scenes willing to accept visual kei for me; it's a budget The GazettE clone but no one minds because they're palatable enough to get by.

consider this my mini review of his entire career.

Killer was prolly included in that previous mini album I guess

they would've cancelled dum spiro spero in this case

The idea gave birth to this little invention years later though
 
 
And some chaps from VK scene used this guitar as well (well, at least Aiji from LM.C did)

Morrie's last solo album was full of vocal antics as well. It's no secret that his voice has changed over the years, and I wonder if age is forcing him to do weird shit to compensate for where his voice is lacking. Regardless, I still love him. 
 
And I second checking out Sculpture in Time. It's on par with what many consider the best VK albums, though it never seems to get mentioned. Lhasa is great as well, and Magic Theater is probably the last album La'cryma recorded before things got kind of bland. Though &.U definitely has some rockers on it. 

That was nothing compared to their "Dead Rider"-track though. "YEAAAAAH BABAYYY I AM HOOOME TAYTAY...MAMAMAMATATATAAAAAAHH!" or whatever he did there was pretty much the best (fucked up) Morrie moment tbqh
 
@TokageYou definitely should not skim over "Sculpture of Time" which is one heck of an opus from them. Some awesome prog-meets-psyche-meets-kinda-LS-kind of godtier stuff.

He
 
Henseifu is the song that got me into La'cryma Christi, and it was because of Hiro's spectacular guitar work. It remains one of my absolute favorite songs. Period. It's a perfect song. 

The idea gave birth to this little invention years later though
 
 
And some chaps from VK scene used this guitar as well (well, at least Aiji from LM.C did)

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 :))
 
 
 

Arama is going up on flames and makes no effort to escape from becoming the relic of forgotten, old J-enthusiasm thanks to "master trolling" and "cool kids"-manifestos.
 
I thought lessons were supposed to be learned from things that happened to Jrocknyc or other livejournal/angelfire-supported netz communities/cliques of "cool J-music people"? It ain't fun to play big brothers or sisters anymore - just give up already.
 
As the legendary quote goes:
 
"你们不像我们，我们已经老了，无所谓了"
transl.
"You are not like us, we are already old, it doesn't matter to us anymore."
 
Go figure.
 
 
 
 

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 :))
 
 
 

Double-post and
 
 
@beni THIS IS BIZARRE WHAT THE FUCK LOL (generic chune though)

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 :))
 
 
 

The idea gave birth to this little invention years later though
 
 
And some chaps from VK scene used this guitar as well (well, at least Aiji from LM.C did)