Pretsy

Enon
Sinks Becky's career
Sinks Rins career
Puts his bands on hiatus
 
Just cancel this man
 
Funny thing is they probably were gonna release another album to milk this ironic success Gesu got from his scandal with Becky and made Ryouseibai top the charts.

ya boi's bands are on hiatus! (permanently?)
 
http://natalie.mu/music/news/204120
 

P R O B L E M A T I C

Becky has something to rely on?
 
 
Enon definitely sucked 10 years of life away from this poor girl

she looks like she's having a stroke due to gettin media attention again

He's a fucking cunt.
Did it for you, Aussie Easy Mode.

actually @midi:nette
 
That clip reminded me:
 
 
VERY UNCANNY REFERENCE (INTENTIONAL?) IN THIS GIMMICK I GUESS?
 
Guess I cannot help but hearing "Brother Neeerooo" when I happen to rewatch this animation again...

So what to do now then? To allocate the biggest internet safe space for him and his ego ? There's more to the case than alleged/supposed mental anomalies, methinks - he has been downright selfish and not necessarily "creativity"-admiring (note: the key to genuine artistry) just like any other famous VK diva for decades, so he ought to fix that first before giving a clear sign of seeking help.
 
Just drop Twatter and similar social mediums altogether and completely if you are not able to challenge harsh cyber-commentary or anything else. I think with a guy of 40s it should be clear enough.
 
 

OMFG.

actually @midi:nette
 
That clip reminded me:
 
 
VERY UNCANNY REFERENCE (INTENTIONAL?) IN THIS GIMMICK I GUESS?
 
Guess I cannot help but hearing "Brother Neeerooo" when I happen to rewatch this animation again...

Scarier than it may sound but I haven't followed Hardy brothers for ages and DEAR GOD I AM SCREAMING he looks like a buff Russell Brand now D: That may also concern the quality of his on-stage humor nowadays too...

I don't think severely depressed emaciated people typically cruise their fandoms for pussy (unless said puss pays for their dinners and a cup of ramen in exchange for snapping a couple nudes on top of the usual succ and fucc bangya things), but I'll totally back off on my cynicism if something, like, rill awful happens soon!
 
((~papercrane vibes maxed out~))

Fucking LOL
 
凛として時雨 - some guy get's his balls trapped in a doorway and then proceeds to wail in agony for the next 3 hours while his guitar gets repeatedly smashed against a wall.

Midori: Jazz/classical piano music lessons gone wrong by courtesy of Japanese schoolgirl "in her flowers" and her punk misfit friends.
 
Fishmans:  S P A C E dub music as interpreted by a stoned guy doing his best dying cat imitations
 
The Pillows: "Hey do you know that Japanese Weezer band from FLCL?"
 
Gesu no Kiwami Otome: emo pop songs about my sidechicks: the soundtrack feat. cutie-patootie drummer
 
Yapoos: imagine if The Pop Group was fronted instead by the kind of unpredictable schoolgirl weirdo, with whom you wouldn't necessarily share the same seat

I don't check live schedules as I don't live in Tokyo anymore but here's some of my favorite live houses:
(Press Schedule/スケジュール and then go to December/12月. If there's nothing up yet then it should be in a month or so).
 
Takadanobaba AREA
http://www.xxxrecords.jp/area/
Ikebukuro CYBER
http://www.ikebukuro-cyber.com/
Ikebukuro EDGE
http://xxxrecords.jp/edge/
Shibuya REX
http://www.ruido.org/rex/
Shibuya O-group (WEST, EAST, NEST, CREST)
http://shibuya-o.com/
Shibuya STAR LOUNGE
http://starlounge.jp/
Shibuya Club Quattro
http://www.club-quattro.com/shibuya/
Ebisu LIQUID ROOM
http://www.liquidroom.net/
Shinjuku BLAZE
http://shinjuku-blaze.com/
Shinjuku LOFT
http://www.loft-prj.co.jp/LOFT/
Shinjuku BIRTH/HOLIDAY
http://live-ban.com/shinjuku_h/
Shinjuku MARBLE
http://marble-web.jp/
Urawa NARCISS
http://www.zmf.co.jp/
Meguro ROKUMEIKAN
http://www.rockmaykan.com/index.html
Meguro LIVE STATION
http://www.livestation.co.jp/
 
 
I just realized you were looking for specific lives and not live houses, anyway... I don't know any specific lives but when I lived in Tokyo these were the live houses I frequently attended gigs at. Most minor bands play at these places so if you are looking for some indies vk (everything from unsigned bands to DIAURA, Arlequin etc) these are the places to check out. There of course more but these are my favorites. Happy hunting!
 
EDIT: For events I would recommend any AINS Presents event. For December they have AINS Presents Grieva vs Dadaroma which seems to be a lot of fun (once again, depending on your taste).

This is kinda funny because Shin seems to be really annoyed (he does have good ties with Hitoki though as indicated by most tweets) there, lol.
 
Also, in regards to whatever happened during Feminism songwriting (!) AND recording phase:
 
1) Most critic info tidbits and wiki articles just state that Feminism recordings just took place "around 1995" - even though most songs have been already planned to play during lives right at the beginning of Cruel touring! (November-December-ish of 1994!). So this heavily Kiyoharu-biased information assumes that even songs happened to be crafted in the matter of 2-3 months they had left after Shin's departure! So by logical means and sensible graphic of usual 90s pop/rock recordings in Japan, they merely had time to work on a few completely new songs and just refinement of already finished recordings (additional frills, mastering).  There was one article on SHOXX or some relevant vk magazine back in very early 1995 (January-ish?) when Shin was still in the team, and while discussing their final tour for "Cruel", they already pointed out that there was a "batch of songs" ready and that was Shin's remark! I might be too quick to jump into assumptions but for the most part Shin always had the lead in Kuroyume (main songwriter, the actual definer of their VK style) and hence him being the "main man in charge" of the process. 
 
Let's take a look at one of those songlists off their last Cruel tour, shal l we?
 
 
source: their wiki which on the other hand was based on magazine reports of their Cruel tour (there was some livejournal mag scan page dedicated to Kiyoharu and similar figures of mid-90s and earlier periods but I will update this once I find it)
 
But even so, back to the recording revelations - based on my findings off those scans (I will provide the link once I find it), the "main focus" - i.e. feminism-themed products by Hitoki and Kiyoharu were in fact those directions which were mutually decided in cooperation with its producer, Masahide Sakuma (?) ! "Shiro to Kuro", "Silhouette" and the last song were noted recordings by Kiyoharu during POST-SHIN INTERVIEWS (around early spring of 1995?), whereas Hitoki was responsible for creating songs akin to "Kamakiri" during the same period - so why no mentions about other tracks though? Because actual process for Feminism was more of the collage, which extended to the late autumn of 1994!
 
http://www.livefans.jp/events/354752
 
Here you could see the first mention of "Kuchidzuke", which would be initially thought as something totally off Kuroyume's usual flairs but it's not really far off if you remember Shin-approved efforts like "Ishi Hakujaku" (what was initially the transition song for Kuroyume's RoS tour "MCs" as envisioned by Hitoki AND Shin from melodic point of view - see: RoS tour VHSes). Also, if we believe the "close voices" and Shin himself when it comes to his own facebook feeds - he "approved" efforts that were still rooted in Cruel-era stylistics! That also involved "Kaitou Jikken" which aside from being unusually industrial adopted abrasive, almost disturbing flairs Kuroyume has been always known for.
 
So that being said - we have:
 
Gossip
Miss Moonlight (which was described to be very Shin-oriented!)
Yasashii Higeki (the only bit of Shin left in the final recording was his solo - this was confirmed by Hitoki since he admitted that "he would never succeed in doing Shin's things")
Kuchidzuke (oddly enough debuted during the halfway of Cruel touring? Hmmm)
Feminism (another "typical visual kei" effort)
Kaitou Jikken (one of the very first songs planned for recording around January of 1995 if we have to be exact about months)
 
Yet to be questioned:
 
Love Song (then again, no specific remarks have been made about this song while pinpointing Feminism's theme @interviews!)
Kamakiri (strongly influenced by earlier efforts like "Sick" which may not be really  in touch with what kind of theme both Hitoki and Kiyoharu promoted on Feminism)
 
So that makes 7 songs (since "gossip" is a b-side) which we need to inspect when it's about fairness and correctness of credit sharing between these two - or THREE in this case since Japanese media has been always playing nice games on Kiyoharu instead rather than his band fellows. Go figure.
 
tl;dr this "sudden" transition phase is more than enough to cast second thoughts on anything Kiyoharu when they were quickly eager to drop the visual act and achieve mainstream attraction of mid-90s trends.  You may sense newly-awakened Shin bias right here but reasons I defined above are more than enough when it comes to justifying my siding. This guy deserves more than all that crap for being "just another background guy".
 
I know that most Kuroyume fans here are really worried about preemptive doom for Kiyoharu's spotlight career but think of his faults - shouldn't he finally realize that his multifaceted project selfishness has just given him a very bitchy image among adequate and understanding critic circles?
 
Here's hoping that he realizes this karma  but otherwise:

 
*EDIT: so the scans in question can be found in kuroyumescans@tumblr and jrock scans@livejournal. Mind the era (10.1994-02/03.1995) for wider scope of band's own words. Oh, and Morgianasama@livejournal provided other mags for those live reports so google her out!
 
 

This is kinda funny because Shin seems to be really annoyed (he does have good ties with Hitoki though as indicated by most tweets) there, lol.
 
Also, in regards to whatever happened during Feminism songwriting (!) AND recording phase:
 
1) Most critic info tidbits and wiki articles just state that Feminism recordings just took place "around 1995" - even though most songs have been already planned to play during lives right at the beginning of Cruel touring! (November-December-ish of 1994!). So this heavily Kiyoharu-biased information assumes that even songs happened to be crafted in the matter of 2-3 months they had left after Shin's departure! So by logical means and sensible graphic of usual 90s pop/rock recordings in Japan, they merely had time to work on a few completely new songs and just refinement of already finished recordings (additional frills, mastering).  There was one article on SHOXX or some relevant vk magazine back in very early 1995 (January-ish?) when Shin was still in the team, and while discussing their final tour for "Cruel", they already pointed out that there was a "batch of songs" ready and that was Shin's remark! I might be too quick to jump into assumptions but for the most part Shin always had the lead in Kuroyume (main songwriter, the actual definer of their VK style) and hence him being the "main man in charge" of the process. 
 
Let's take a look at one of those songlists off their last Cruel tour, shal l we?
 
 
source: their wiki which on the other hand was based on magazine reports of their Cruel tour (there was some livejournal mag scan page dedicated to Kiyoharu and similar figures of mid-90s and earlier periods but I will update this once I find it)
 
But even so, back to the recording revelations - based on my findings off those scans (I will provide the link once I find it), the "main focus" - i.e. feminism-themed products by Hitoki and Kiyoharu were in fact those directions which were mutually decided in cooperation with its producer, Masahide Sakuma (?) ! "Shiro to Kuro", "Silhouette" and the last song were noted recordings by Kiyoharu during POST-SHIN INTERVIEWS (around early spring of 1995?), whereas Hitoki was responsible for creating songs akin to "Kamakiri" during the same period - so why no mentions about other tracks though? Because actual process for Feminism was more of the collage, which extended to the late autumn of 1994!
 
http://www.livefans.jp/events/354752
 
Here you could see the first mention of "Kuchidzuke", which would be initially thought as something totally off Kuroyume's usual flairs but it's not really far off if you remember Shin-approved efforts like "Ishi Hakujaku" (what was initially the transition song for Kuroyume's RoS tour "MCs" as envisioned by Hitoki AND Shin from melodic point of view - see: RoS tour VHSes). Also, if we believe the "close voices" and Shin himself when it comes to his own facebook feeds - he "approved" efforts that were still rooted in Cruel-era stylistics! That also involved "Kaitou Jikken" which aside from being unusually industrial adopted abrasive, almost disturbing flairs Kuroyume has been always known for.
 
So that being said - we have:
 
Gossip
Miss Moonlight (which was described to be very Shin-oriented!)
Yasashii Higeki (the only bit of Shin left in the final recording was his solo - this was confirmed by Hitoki since he admitted that "he would never succeed in doing Shin's things")
Kuchidzuke (oddly enough debuted during the halfway of Cruel touring? Hmmm)
Feminism (another "typical visual kei" effort)
Kaitou Jikken (one of the very first songs planned for recording around January of 1995 if we have to be exact about months)
 
Yet to be questioned:
 
Love Song (then again, no specific remarks have been made about this song while pinpointing Feminism's theme @interviews!)
Kamakiri (strongly influenced by earlier efforts like "Sick" which may not be really  in touch with what kind of theme both Hitoki and Kiyoharu promoted on Feminism)
 
So that makes 7 songs (since "gossip" is a b-side) which we need to inspect when it's about fairness and correctness of credit sharing between these two - or THREE in this case since Japanese media has been always playing nice games on Kiyoharu instead rather than his band fellows. Go figure.
 
tl;dr this "sudden" transition phase is more than enough to cast second thoughts on anything Kiyoharu when they were quickly eager to drop the visual act and achieve mainstream attraction of mid-90s trends.  You may sense newly-awakened Shin bias right here but reasons I defined above are more than enough when it comes to justifying my siding. This guy deserves more than all that crap for being "just another background guy".
 
I know that most Kuroyume fans here are really worried about preemptive doom for Kiyoharu's spotlight career but think of his faults - shouldn't he finally realize that his multifaceted project selfishness has just given him a very bitchy image among adequate and understanding critic circles?
 
Here's hoping that he realizes this karma  but otherwise:

 
*EDIT: so the scans in question can be found in kuroyumescans@tumblr and jrock scans@livejournal. Mind the era (10.1994-02/03.1995) for wider scope of band's own words. Oh, and Morgianasama@livejournal provided other mags for those live reports so google her out!
 
 

This is kinda funny because Shin seems to be really annoyed (he does have good ties with Hitoki though as indicated by most tweets) there, lol.
 
Also, in regards to whatever happened during Feminism songwriting (!) AND recording phase:
 
1) Most critic info tidbits and wiki articles just state that Feminism recordings just took place "around 1995" - even though most songs have been already planned to play during lives right at the beginning of Cruel touring! (November-December-ish of 1994!). So this heavily Kiyoharu-biased information assumes that even songs happened to be crafted in the matter of 2-3 months they had left after Shin's departure! So by logical means and sensible graphic of usual 90s pop/rock recordings in Japan, they merely had time to work on a few completely new songs and just refinement of already finished recordings (additional frills, mastering).  There was one article on SHOXX or some relevant vk magazine back in very early 1995 (January-ish?) when Shin was still in the team, and while discussing their final tour for "Cruel", they already pointed out that there was a "batch of songs" ready and that was Shin's remark! I might be too quick to jump into assumptions but for the most part Shin always had the lead in Kuroyume (main songwriter, the actual definer of their VK style) and hence him being the "main man in charge" of the process. 
 
Let's take a look at one of those songlists off their last Cruel tour, shal l we?
 
 
source: their wiki which on the other hand was based on magazine reports of their Cruel tour (there was some livejournal mag scan page dedicated to Kiyoharu and similar figures of mid-90s and earlier periods but I will update this once I find it)
 
But even so, back to the recording revelations - based on my findings off those scans (I will provide the link once I find it), the "main focus" - i.e. feminism-themed products by Hitoki and Kiyoharu were in fact those directions which were mutually decided in cooperation with its producer, Masahide Sakuma (?) ! "Shiro to Kuro", "Silhouette" and the last song were noted recordings by Kiyoharu during POST-SHIN INTERVIEWS (around early spring of 1995?), whereas Hitoki was responsible for creating songs akin to "Kamakiri" during the same period - so why no mentions about other tracks though? Because actual process for Feminism was more of the collage, which extended to the late autumn of 1994!
 
http://www.livefans.jp/events/354752
 
Here you could see the first mention of "Kuchidzuke", which would be initially thought as something totally off Kuroyume's usual flairs but it's not really far off if you remember Shin-approved efforts like "Ishi Hakujaku" (what was initially the transition song for Kuroyume's RoS tour "MCs" as envisioned by Hitoki AND Shin from melodic point of view - see: RoS tour VHSes). Also, if we believe the "close voices" and Shin himself when it comes to his own facebook feeds - he "approved" efforts that were still rooted in Cruel-era stylistics! That also involved "Kaitou Jikken" which aside from being unusually industrial adopted abrasive, almost disturbing flairs Kuroyume has been always known for.
 
So that being said - we have:
 
Gossip
Miss Moonlight (which was described to be very Shin-oriented!)
Yasashii Higeki (the only bit of Shin left in the final recording was his solo - this was confirmed by Hitoki since he admitted that "he would never succeed in doing Shin's things")
Kuchidzuke (oddly enough debuted during the halfway of Cruel touring? Hmmm)
Feminism (another "typical visual kei" effort)
Kaitou Jikken (one of the very first songs planned for recording around January of 1995 if we have to be exact about months)
 
Yet to be questioned:
 
Love Song (then again, no specific remarks have been made about this song while pinpointing Feminism's theme @interviews!)
Kamakiri (strongly influenced by earlier efforts like "Sick" which may not be really  in touch with what kind of theme both Hitoki and Kiyoharu promoted on Feminism)
 
So that makes 7 songs (since "gossip" is a b-side) which we need to inspect when it's about fairness and correctness of credit sharing between these two - or THREE in this case since Japanese media has been always playing nice games on Kiyoharu instead rather than his band fellows. Go figure.
 
tl;dr this "sudden" transition phase is more than enough to cast second thoughts on anything Kiyoharu when they were quickly eager to drop the visual act and achieve mainstream attraction of mid-90s trends.  You may sense newly-awakened Shin bias right here but reasons I defined above are more than enough when it comes to justifying my siding. This guy deserves more than all that crap for being "just another background guy".
 
I know that most Kuroyume fans here are really worried about preemptive doom for Kiyoharu's spotlight career but think of his faults - shouldn't he finally realize that his multifaceted project selfishness has just given him a very bitchy image among adequate and understanding critic circles?
 
Here's hoping that he realizes this karma  but otherwise:

 
*EDIT: so the scans in question can be found in kuroyumescans@tumblr and jrock scans@livejournal. Mind the era (10.1994-02/03.1995) for wider scope of band's own words. Oh, and Morgianasama@livejournal provided other mags for those live reports so google her out!
 
 

This is kinda funny because Shin seems to be really annoyed (he does have good ties with Hitoki though as indicated by most tweets) there, lol.
 
Also, in regards to whatever happened during Feminism songwriting (!) AND recording phase:
 
1) Most critic info tidbits and wiki articles just state that Feminism recordings just took place "around 1995" - even though most songs have been already planned to play during lives right at the beginning of Cruel touring! (November-December-ish of 1994!). So this heavily Kiyoharu-biased information assumes that even songs happened to be crafted in the matter of 2-3 months they had left after Shin's departure! So by logical means and sensible graphic of usual 90s pop/rock recordings in Japan, they merely had time to work on a few completely new songs and just refinement of already finished recordings (additional frills, mastering).  There was one article on SHOXX or some relevant vk magazine back in very early 1995 (January-ish?) when Shin was still in the team, and while discussing their final tour for "Cruel", they already pointed out that there was a "batch of songs" ready and that was Shin's remark! I might be too quick to jump into assumptions but for the most part Shin always had the lead in Kuroyume (main songwriter, the actual definer of their VK style) and hence him being the "main man in charge" of the process. 
 
Let's take a look at one of those songlists off their last Cruel tour, shal l we?
 
 
source: their wiki which on the other hand was based on magazine reports of their Cruel tour (there was some livejournal mag scan page dedicated to Kiyoharu and similar figures of mid-90s and earlier periods but I will update this once I find it)
 
But even so, back to the recording revelations - based on my findings off those scans (I will provide the link once I find it), the "main focus" - i.e. feminism-themed products by Hitoki and Kiyoharu were in fact those directions which were mutually decided in cooperation with its producer, Masahide Sakuma (?) ! "Shiro to Kuro", "Silhouette" and the last song were noted recordings by Kiyoharu during POST-SHIN INTERVIEWS (around early spring of 1995?), whereas Hitoki was responsible for creating songs akin to "Kamakiri" during the same period - so why no mentions about other tracks though? Because actual process for Feminism was more of the collage, which extended to the late autumn of 1994!
 
http://www.livefans.jp/events/354752
 
Here you could see the first mention of "Kuchidzuke", which would be initially thought as something totally off Kuroyume's usual flairs but it's not really far off if you remember Shin-approved efforts like "Ishi Hakujaku" (what was initially the transition song for Kuroyume's RoS tour "MCs" as envisioned by Hitoki AND Shin from melodic point of view - see: RoS tour VHSes). Also, if we believe the "close voices" and Shin himself when it comes to his own facebook feeds - he "approved" efforts that were still rooted in Cruel-era stylistics! That also involved "Kaitou Jikken" which aside from being unusually industrial adopted abrasive, almost disturbing flairs Kuroyume has been always known for.
 
So that being said - we have:
 
Gossip
Miss Moonlight (which was described to be very Shin-oriented!)
Yasashii Higeki (the only bit of Shin left in the final recording was his solo - this was confirmed by Hitoki since he admitted that "he would never succeed in doing Shin's things")
Kuchidzuke (oddly enough debuted during the halfway of Cruel touring? Hmmm)
Feminism (another "typical visual kei" effort)
Kaitou Jikken (one of the very first songs planned for recording around January of 1995 if we have to be exact about months)
 
Yet to be questioned:
 
Love Song (then again, no specific remarks have been made about this song while pinpointing Feminism's theme @interviews!)
Kamakiri (strongly influenced by earlier efforts like "Sick" which may not be really  in touch with what kind of theme both Hitoki and Kiyoharu promoted on Feminism)
 
So that makes 7 songs (since "gossip" is a b-side) which we need to inspect when it's about fairness and correctness of credit sharing between these two - or THREE in this case since Japanese media has been always playing nice games on Kiyoharu instead rather than his band fellows. Go figure.
 
tl;dr this "sudden" transition phase is more than enough to cast second thoughts on anything Kiyoharu when they were quickly eager to drop the visual act and achieve mainstream attraction of mid-90s trends.  You may sense newly-awakened Shin bias right here but reasons I defined above are more than enough when it comes to justifying my siding. This guy deserves more than all that crap for being "just another background guy".
 
I know that most Kuroyume fans here are really worried about preemptive doom for Kiyoharu's spotlight career but think of his faults - shouldn't he finally realize that his multifaceted project selfishness has just given him a very bitchy image among adequate and understanding critic circles?
 
Here's hoping that he realizes this karma  but otherwise:

 
*EDIT: so the scans in question can be found in kuroyumescans@tumblr and jrock scans@livejournal. Mind the era (10.1994-02/03.1995) for wider scope of band's own words. Oh, and Morgianasama@livejournal provided other mags for those live reports so google her out!
 
 

This is kinda funny because Shin seems to be really annoyed (he does have good ties with Hitoki though as indicated by most tweets) there, lol.
 
Also, in regards to whatever happened during Feminism songwriting (!) AND recording phase:
 
1) Most critic info tidbits and wiki articles just state that Feminism recordings just took place "around 1995" - even though most songs have been already planned to play during lives right at the beginning of Cruel touring! (November-December-ish of 1994!). So this heavily Kiyoharu-biased information assumes that even songs happened to be crafted in the matter of 2-3 months they had left after Shin's departure! So by logical means and sensible graphic of usual 90s pop/rock recordings in Japan, they merely had time to work on a few completely new songs and just refinement of already finished recordings (additional frills, mastering).  There was one article on SHOXX or some relevant vk magazine back in very early 1995 (January-ish?) when Shin was still in the team, and while discussing their final tour for "Cruel", they already pointed out that there was a "batch of songs" ready and that was Shin's remark! I might be too quick to jump into assumptions but for the most part Shin always had the lead in Kuroyume (main songwriter, the actual definer of their VK style) and hence him being the "main man in charge" of the process. 
 
Let's take a look at one of those songlists off their last Cruel tour, shal l we?
 
 
source: their wiki which on the other hand was based on magazine reports of their Cruel tour (there was some livejournal mag scan page dedicated to Kiyoharu and similar figures of mid-90s and earlier periods but I will update this once I find it)
 
But even so, back to the recording revelations - based on my findings off those scans (I will provide the link once I find it), the "main focus" - i.e. feminism-themed products by Hitoki and Kiyoharu were in fact those directions which were mutually decided in cooperation with its producer, Masahide Sakuma (?) ! "Shiro to Kuro", "Silhouette" and the last song were noted recordings by Kiyoharu during POST-SHIN INTERVIEWS (around early spring of 1995?), whereas Hitoki was responsible for creating songs akin to "Kamakiri" during the same period - so why no mentions about other tracks though? Because actual process for Feminism was more of the collage, which extended to the late autumn of 1994!
 
http://www.livefans.jp/events/354752
 
Here you could see the first mention of "Kuchidzuke", which would be initially thought as something totally off Kuroyume's usual flairs but it's not really far off if you remember Shin-approved efforts like "Ishi Hakujaku" (what was initially the transition song for Kuroyume's RoS tour "MCs" as envisioned by Hitoki AND Shin from melodic point of view - see: RoS tour VHSes). Also, if we believe the "close voices" and Shin himself when it comes to his own facebook feeds - he "approved" efforts that were still rooted in Cruel-era stylistics! That also involved "Kaitou Jikken" which aside from being unusually industrial adopted abrasive, almost disturbing flairs Kuroyume has been always known for.
 
So that being said - we have:
 
Gossip
Miss Moonlight (which was described to be very Shin-oriented!)
Yasashii Higeki (the only bit of Shin left in the final recording was his solo - this was confirmed by Hitoki since he admitted that "he would never succeed in doing Shin's things")
Kuchidzuke (oddly enough debuted during the halfway of Cruel touring? Hmmm)
Feminism (another "typical visual kei" effort)
Kaitou Jikken (one of the very first songs planned for recording around January of 1995 if we have to be exact about months)
 
Yet to be questioned:
 
Love Song (then again, no specific remarks have been made about this song while pinpointing Feminism's theme @interviews!)
Kamakiri (strongly influenced by earlier efforts like "Sick" which may not be really  in touch with what kind of theme both Hitoki and Kiyoharu promoted on Feminism)
 
So that makes 7 songs (since "gossip" is a b-side) which we need to inspect when it's about fairness and correctness of credit sharing between these two - or THREE in this case since Japanese media has been always playing nice games on Kiyoharu instead rather than his band fellows. Go figure.
 
tl;dr this "sudden" transition phase is more than enough to cast second thoughts on anything Kiyoharu when they were quickly eager to drop the visual act and achieve mainstream attraction of mid-90s trends.  You may sense newly-awakened Shin bias right here but reasons I defined above are more than enough when it comes to justifying my siding. This guy deserves more than all that crap for being "just another background guy".
 
I know that most Kuroyume fans here are really worried about preemptive doom for Kiyoharu's spotlight career but think of his faults - shouldn't he finally realize that his multifaceted project selfishness has just given him a very bitchy image among adequate and understanding critic circles?
 
Here's hoping that he realizes this karma  but otherwise:

 
*EDIT: so the scans in question can be found in kuroyumescans@tumblr and jrock scans@livejournal. Mind the era (10.1994-02/03.1995) for wider scope of band's own words. Oh, and Morgianasama@livejournal provided other mags for those live reports so google her out!
 
 

This is kinda funny because Shin seems to be really annoyed (he does have good ties with Hitoki though as indicated by most tweets) there, lol.
 
Also, in regards to whatever happened during Feminism songwriting (!) AND recording phase:
 
1) Most critic info tidbits and wiki articles just state that Feminism recordings just took place "around 1995" - even though most songs have been already planned to play during lives right at the beginning of Cruel touring! (November-December-ish of 1994!). So this heavily Kiyoharu-biased information assumes that even songs happened to be crafted in the matter of 2-3 months they had left after Shin's departure! So by logical means and sensible graphic of usual 90s pop/rock recordings in Japan, they merely had time to work on a few completely new songs and just refinement of already finished recordings (additional frills, mastering).  There was one article on SHOXX or some relevant vk magazine back in very early 1995 (January-ish?) when Shin was still in the team, and while discussing their final tour for "Cruel", they already pointed out that there was a "batch of songs" ready and that was Shin's remark! I might be too quick to jump into assumptions but for the most part Shin always had the lead in Kuroyume (main songwriter, the actual definer of their VK style) and hence him being the "main man in charge" of the process. 
 
Let's take a look at one of those songlists off their last Cruel tour, shal l we?
 
 
source: their wiki which on the other hand was based on magazine reports of their Cruel tour (there was some livejournal mag scan page dedicated to Kiyoharu and similar figures of mid-90s and earlier periods but I will update this once I find it)
 
But even so, back to the recording revelations - based on my findings off those scans (I will provide the link once I find it), the "main focus" - i.e. feminism-themed products by Hitoki and Kiyoharu were in fact those directions which were mutually decided in cooperation with its producer, Masahide Sakuma (?) ! "Shiro to Kuro", "Silhouette" and the last song were noted recordings by Kiyoharu during POST-SHIN INTERVIEWS (around early spring of 1995?), whereas Hitoki was responsible for creating songs akin to "Kamakiri" during the same period - so why no mentions about other tracks though? Because actual process for Feminism was more of the collage, which extended to the late autumn of 1994!
 
http://www.livefans.jp/events/354752
 
Here you could see the first mention of "Kuchidzuke", which would be initially thought as something totally off Kuroyume's usual flairs but it's not really far off if you remember Shin-approved efforts like "Ishi Hakujaku" (what was initially the transition song for Kuroyume's RoS tour "MCs" as envisioned by Hitoki AND Shin from melodic point of view - see: RoS tour VHSes). Also, if we believe the "close voices" and Shin himself when it comes to his own facebook feeds - he "approved" efforts that were still rooted in Cruel-era stylistics! That also involved "Kaitou Jikken" which aside from being unusually industrial adopted abrasive, almost disturbing flairs Kuroyume has been always known for.
 
So that being said - we have:
 
Gossip
Miss Moonlight (which was described to be very Shin-oriented!)
Yasashii Higeki (the only bit of Shin left in the final recording was his solo - this was confirmed by Hitoki since he admitted that "he would never succeed in doing Shin's things")
Kuchidzuke (oddly enough debuted during the halfway of Cruel touring? Hmmm)
Feminism (another "typical visual kei" effort)
Kaitou Jikken (one of the very first songs planned for recording around January of 1995 if we have to be exact about months)
 
Yet to be questioned:
 
Love Song (then again, no specific remarks have been made about this song while pinpointing Feminism's theme @interviews!)
Kamakiri (strongly influenced by earlier efforts like "Sick" which may not be really  in touch with what kind of theme both Hitoki and Kiyoharu promoted on Feminism)
 
So that makes 7 songs (since "gossip" is a b-side) which we need to inspect when it's about fairness and correctness of credit sharing between these two - or THREE in this case since Japanese media has been always playing nice games on Kiyoharu instead rather than his band fellows. Go figure.
 
tl;dr this "sudden" transition phase is more than enough to cast second thoughts on anything Kiyoharu when they were quickly eager to drop the visual act and achieve mainstream attraction of mid-90s trends.  You may sense newly-awakened Shin bias right here but reasons I defined above are more than enough when it comes to justifying my siding. This guy deserves more than all that crap for being "just another background guy".
 
I know that most Kuroyume fans here are really worried about preemptive doom for Kiyoharu's spotlight career but think of his faults - shouldn't he finally realize that his multifaceted project selfishness has just given him a very bitchy image among adequate and understanding critic circles?
 
Here's hoping that he realizes this karma  but otherwise:

 
*EDIT: so the scans in question can be found in kuroyumescans@tumblr and jrock scans@livejournal. Mind the era (10.1994-02/03.1995) for wider scope of band's own words. Oh, and Morgianasama@livejournal provided other mags for those live reports so google her out!
 
 

Shin and Kiyoharu were always inbetween lukewarm and quite cold relationships when it comes to songwriting procedures so it's given that such tasty gossipy news would eventually unearth early beef between them (especially the record of Shin's credits being left unmentioned on Feminism - and yes, he was still present around demo sessions of that album). Not even fanbase-forced pictures of Shin being uncomfortably stuck together with Kiyoharu + Hitoki in a couple of "reunion" pics would debunk this astounding reality.
 
Makes you wonder that why Kiyoharu INTENTIONALLY left Shin out when Kuroyume (reunited) went off for their 1992-1993 revival tour, huh? Normally most bands would bring in former members for a short while but he didn't!

Update:
 
1. Ringo Shiina + Tokyo Jihen
2. Happy End
3. Boredoms and affiliated acts (ROVO, OOIOO etc.)
4. Cornelius
5. Ling Tosite Sigure
6. Melt-Banana
7. Maaya Sakamoto (pop/rock?)
8. JUDY AND MARY
9. Sigh
10. Cinema Staff
 
Guess that's in order - and what a surprise, Ringo again! (to be frank her SUNNY era is not really inferior to Ling's sellout era)

Disney-washed people seem to be rather dismissive about childhood figures of other cultures etc. (which is kinda funny seeing as how Soviet/Russian product like this would resonate with Japanese people very well but not with...Japan-o-ficionados? ("weeaboo" is way too offensive in my book))