Pretsy

@Zeus:
 
I am pretty sure you might have wanted to mention this too in light of your Unknown.../G comparison:
 
Hyena had its clues from G. too and "G." on the other hand was more or less inspired by Luna Sea's senpais and their similarly upbeat, very rocking number "Miscast" (X, ofc)
 
Also:
 
Choruses...and a bit more
 
Someone should also confirm this typical Japanese melomaniac claim that Gackt took "Another World" from Josie and the Pussycats' " Three Small Words". Not saying that pop punk would be the haven for unique songcraft but he has a lot of things to explain tbqh...
 
 

late spring/cold summer months
Warmer summer months:
 

you could say they're...............................sick

All that stuff linked above is not an option if you hate it like I do, lol.
 
Visual kei might as well have originated from two drunk Greeks twiddling around with a lyra after making love to other one's niece. I don't give a fuck. Visual kei is to a large extent my essence and being, but I would rather burn in hell for all eternity than listen to 30 seconds worth of any nu glam/sleaze cockrock, or even all their Kissy forefathers for that matter. I'd rather play 2010's The GazettE covers for a millennia in purgatory than subject myself to any of the bands linked above for a single solitary second. The guys from Bataar and Seremedy may not share my opinion to the same extent, but it's a likely scenario that they'd rather sound like VEXENT/Killaneth/GenericnuVK than OldlyCrew. Most likely these dudes grew up with mid 2000's nu metal kei as well, so whatever the gentleman from X Japan were listening to back in the day has no bearing on their lives. They're white and they want to play Vortex and Remember the urge, and that's kind of it. Wearing a Poison cumrag on your receding hairline is no less hack than rocking a 15$ emo fringe, so if they're dead set on jacking an aesthetic wholesale, then both of these options are just as socio-culturally irrelevant as the other. The concept is not the biggest factor holding them back from being up to the Japanese standard though: it's the execution. 
 
The problem here is that they're really bad and can't even do the little that they do without being embarrassingly bad, so they're forever doomed to play handout gigs at battle of the bands held in youth community centers; begging for Japanese tours from a drug-addled, rapidly aging Kenzi whom Yohio presumably blew to get his start there; or just kneel and pray for the rapid advancement of future technologies that will allow scientist to resurrect the other guy from ADAMS so they can warm up for them at their subsequent tours in the Donetsk and Luhansk republics; remaining forever unsigned, forever stuck in shitty local band limbo.
 
I try to follow these bands to the best of my ability not only out of morbid curiosity, but because if I could find 4-5 able vk fans then I'd start a weeaboo kei band myself. So while I'm sympathetic, I'm also twice as angered by their poor music, their poor taste and seemingly narrow frame of reference in visual kei, based on what I've heard and seen from ~sources~. 
 
I believe not many people have watched the original carting out the corpse of weeaboo kei video, so here's some cliffs (as far as I can remember them):
 
Back in the day there used to be a dozen vk bands in Scandinavia, now there's practically none and the ones that exist are woefully inactive. Finland used to have quite a few, although ranks of the members were very incestuous. If you can believe it, they were actually even worse than the Swedish bands and the two most long-standing ones even tried rebooting before fading into complete irrelevance. The one that I last recall having a proper concert, called "FAEK", has not updated their Facebook since Autumn of 2016. One curious aspect of the scene was also that a lot of the participants didn't really seem to be active visual kei fans, and yet despite that they used JAME to promote themselves and performed largely at cons and warming up for Satsuki/Plunklock tier bands that happened to be touring and performing at a venue called Gloria that receives some strange government money to minimise the L's the organisers take booking these shitty bands. The most longstanding band of the "scene" called "Karmia" appears to have dropped any pretensions towards vk and has settled for being a shitty local rock band. Here are the results: ( fyi the youtube superstar's former troupe that stole their name from Uverworld have also seemingly left vk behind in favor of a more western approach. Unsurprisingly their social media stature plummeted as dropping the Japanese rock shtick just unveils what they really are: one in the rank of millions of shitty local rock bands )
 
 
DIE/MAY is now the only one left and while shitcanning Seike will definitely help, they'll eventually do the routine of downshifting until turning to radio silence and then the eventual disbandment post on facebook, if they'll even bother. Aside from Tuomas and Heikki they also have afaik have one or two guys from the best Finnish vk band in HISTORY that larped TOXIC/DIVISION period The Gazette called "Desier," whom while very bad, managed to sound like an actual visual kei band on a shoestring budget and minimal ability. Conceptually they had a good thing going though. How DIE/MAY performs in their current iteration I will find out this weekend, unless I prefer trying to get cancer outside instead. Any Bataar fans sharing the hashtag can come say hi!
 
edit: This post is already a mess so it won't hurt any that I'll add something that I just thought: conceptual coherency is a problem. When I got to thinking about the last.fm's of these guys that I've seen, or the fates of Overworld and Karmia, I'm not surprised that people seemingly can't make heads or tails of what they exactly sound like. DESIER used to sound like The Gazette because afaik the composer was a huge fan, but then bands like Jenlayn and Karmia straddled a strange territory of sounding like just shitty rock music, in all its terminological ambiguity. It's not entirely farfetched that the amount of band members in the entire history of the scandinavian scene who are as vk savvy as the average member on this board, is as low as 3 or less. I actually briefly trolled a Crestillion live stream two weeks back asking what their favorite Madeth Gray'll tape was and whether they prefer Key Party or Matina. Not replying to me was a perfectly understandable response, but I have no doubt that they had absolutely no idea what I was talking about either. Visual kei in the west is being represented by Yohio ( who's old last.fm you can easily find ), and guys who literally only know Filth in the Beauty and The Final. That's tragic. 

No (AFAIK his family is Italian and he was born there too, so no natural born ties to Japan whatsoever - mostly interest-based)
 
I see a whole lot of noise about languages and whether they matter in VK and elsewhere - pro-tip: it's all about the context.
 
Genres often endorsed by Mejibray and alikes as a case in point are no different whether you convert them into piglatin or Russian or pretty much any other language off your Asian endorsement charts: these are the so-called "normalized/neutral household genres". However, musical touches often favored by Kayoukyoku/actually Japanese-oriented music-loving collectives akin to D=OUT or MERRY pretty much require Japanese lexicon to be present in your singing or else you would be met with tons of justified criticism towards dissonance you caused between accompaniment and  stereotypical, "oppressive vocal delivery". The latter is rather frequent but there are ofc means how to change opinions for better though - as long as you assess exactly what is going on with Royal Road-progressions, syllabic specifics, lyrical conventions, rhyming, "good ol' practices" etc.
 
Aforementioned VK acts have done their homework for sure and realize what might be the "no. 1 Nippon best practices" - the question is, have these western Tokyo-stanning weeaboos done the same homework?
 
Different cultural milieus were present during their musical development, "good practices" were understood differently and their bandwagoning is far more reckless. So call it simply "NO".
 
Therefore, linguistic issues won't matter that much - as long as you don't blindly keep cockriding on tacky lexical and musical cliches blasted in your VK household favs, which is what YOHIO keeps doing with DISREIGN. If you are far more versatile in your own spoken AND musical language, perhaps that's the exact language you have "much better ear" in instead of your biases' bandwagon languages. For the sake of relevance, Bataar and especially Patrik have no idea of what kind of "musical language" suits them well - nor do their adopted conventions convince that much because it reeks of fuccboi bandwagoning...
 

Wait a second...so now I realize why they are doing Missa and Kaede efforts like these RIGHT NOW:
 
 
MOAB legs were also meant to commemorate their 10 years together as a band and it was meant to be the kind of "most precise transition point" in their catalogue (six Ugly is not enough to mark the most obvious transition), hence these legs (just like MOAB + later tours incl. Dozing Green-themed one I think) also having some uncanny setlists/encores.
 
edit: so what I referenced was MOAB tour's Japanese leg and some specific surprises, including 2 premium lives back in the day:
 
(this is from one of their April shows in 2007)
They had two gigs starting out with an acoustic set before moving on to the actual set, so I wonder whether they will do the same during this mode-themed tour.

No (AFAIK his family is Italian and he was born there too, so no natural born ties to Japan whatsoever - mostly interest-based)
 
I see a whole lot of noise about languages and whether they matter in VK and elsewhere - pro-tip: it's all about the context.
 
Genres often endorsed by Mejibray and alikes as a case in point are no different whether you convert them into piglatin or Russian or pretty much any other language off your Asian endorsement charts: these are the so-called "normalized/neutral household genres". However, musical touches often favored by Kayoukyoku/actually Japanese-oriented music-loving collectives akin to D=OUT or MERRY pretty much require Japanese lexicon to be present in your singing or else you would be met with tons of justified criticism towards dissonance you caused between accompaniment and  stereotypical, "oppressive vocal delivery". The latter is rather frequent but there are ofc means how to change opinions for better though - as long as you assess exactly what is going on with Royal Road-progressions, syllabic specifics, lyrical conventions, rhyming, "good ol' practices" etc.
 
Aforementioned VK acts have done their homework for sure and realize what might be the "no. 1 Nippon best practices" - the question is, have these western Tokyo-stanning weeaboos done the same homework?
 
Different cultural milieus were present during their musical development, "good practices" were understood differently and their bandwagoning is far more reckless. So call it simply "NO".
 
Therefore, linguistic issues won't matter that much - as long as you don't blindly keep cockriding on tacky lexical and musical cliches blasted in your VK household favs, which is what YOHIO keeps doing with DISREIGN. If you are far more versatile in your own spoken AND musical language, perhaps that's the exact language you have "much better ear" in instead of your biases' bandwagon languages. For the sake of relevance, Bataar and especially Patrik have no idea of what kind of "musical language" suits them well - nor do their adopted conventions convince that much because it reeks of fuccboi bandwagoning...
 

I thought the singer looked familiar for a second, but I think he's just giving me flashbacks to this:
 

No (AFAIK his family is Italian and he was born there too, so no natural born ties to Japan whatsoever - mostly interest-based)
 
I see a whole lot of noise about languages and whether they matter in VK and elsewhere - pro-tip: it's all about the context.
 
Genres often endorsed by Mejibray and alikes as a case in point are no different whether you convert them into piglatin or Russian or pretty much any other language off your Asian endorsement charts: these are the so-called "normalized/neutral household genres". However, musical touches often favored by Kayoukyoku/actually Japanese-oriented music-loving collectives akin to D=OUT or MERRY pretty much require Japanese lexicon to be present in your singing or else you would be met with tons of justified criticism towards dissonance you caused between accompaniment and  stereotypical, "oppressive vocal delivery". The latter is rather frequent but there are ofc means how to change opinions for better though - as long as you assess exactly what is going on with Royal Road-progressions, syllabic specifics, lyrical conventions, rhyming, "good ol' practices" etc.
 
Aforementioned VK acts have done their homework for sure and realize what might be the "no. 1 Nippon best practices" - the question is, have these western Tokyo-stanning weeaboos done the same homework?
 
Different cultural milieus were present during their musical development, "good practices" were understood differently and their bandwagoning is far more reckless. So call it simply "NO".
 
Therefore, linguistic issues won't matter that much - as long as you don't blindly keep cockriding on tacky lexical and musical cliches blasted in your VK household favs, which is what YOHIO keeps doing with DISREIGN. If you are far more versatile in your own spoken AND musical language, perhaps that's the exact language you have "much better ear" in instead of your biases' bandwagon languages. For the sake of relevance, Bataar and especially Patrik have no idea of what kind of "musical language" suits them well - nor do their adopted conventions convince that much because it reeks of fuccboi bandwagoning...
 

No (AFAIK his family is Italian and he was born there too, so no natural born ties to Japan whatsoever - mostly interest-based)
 
I see a whole lot of noise about languages and whether they matter in VK and elsewhere - pro-tip: it's all about the context.
 
Genres often endorsed by Mejibray and alikes as a case in point are no different whether you convert them into piglatin or Russian or pretty much any other language off your Asian endorsement charts: these are the so-called "normalized/neutral household genres". However, musical touches often favored by Kayoukyoku/actually Japanese-oriented music-loving collectives akin to D=OUT or MERRY pretty much require Japanese lexicon to be present in your singing or else you would be met with tons of justified criticism towards dissonance you caused between accompaniment and  stereotypical, "oppressive vocal delivery". The latter is rather frequent but there are ofc means how to change opinions for better though - as long as you assess exactly what is going on with Royal Road-progressions, syllabic specifics, lyrical conventions, rhyming, "good ol' practices" etc.
 
Aforementioned VK acts have done their homework for sure and realize what might be the "no. 1 Nippon best practices" - the question is, have these western Tokyo-stanning weeaboos done the same homework?
 
Different cultural milieus were present during their musical development, "good practices" were understood differently and their bandwagoning is far more reckless. So call it simply "NO".
 
Therefore, linguistic issues won't matter that much - as long as you don't blindly keep cockriding on tacky lexical and musical cliches blasted in your VK household favs, which is what YOHIO keeps doing with DISREIGN. If you are far more versatile in your own spoken AND musical language, perhaps that's the exact language you have "much better ear" in instead of your biases' bandwagon languages. For the sake of relevance, Bataar and especially Patrik have no idea of what kind of "musical language" suits them well - nor do their adopted conventions convince that much because it reeks of fuccboi bandwagoning...
 

No (AFAIK his family is Italian and he was born there too, so no natural born ties to Japan whatsoever - mostly interest-based)
 
I see a whole lot of noise about languages and whether they matter in VK and elsewhere - pro-tip: it's all about the context.
 
Genres often endorsed by Mejibray and alikes as a case in point are no different whether you convert them into piglatin or Russian or pretty much any other language off your Asian endorsement charts: these are the so-called "normalized/neutral household genres". However, musical touches often favored by Kayoukyoku/actually Japanese-oriented music-loving collectives akin to D=OUT or MERRY pretty much require Japanese lexicon to be present in your singing or else you would be met with tons of justified criticism towards dissonance you caused between accompaniment and  stereotypical, "oppressive vocal delivery". The latter is rather frequent but there are ofc means how to change opinions for better though - as long as you assess exactly what is going on with Royal Road-progressions, syllabic specifics, lyrical conventions, rhyming, "good ol' practices" etc.
 
Aforementioned VK acts have done their homework for sure and realize what might be the "no. 1 Nippon best practices" - the question is, have these western Tokyo-stanning weeaboos done the same homework?
 
Different cultural milieus were present during their musical development, "good practices" were understood differently and their bandwagoning is far more reckless. So call it simply "NO".
 
Therefore, linguistic issues won't matter that much - as long as you don't blindly keep cockriding on tacky lexical and musical cliches blasted in your VK household favs, which is what YOHIO keeps doing with DISREIGN. If you are far more versatile in your own spoken AND musical language, perhaps that's the exact language you have "much better ear" in instead of your biases' bandwagon languages. For the sake of relevance, Bataar and especially Patrik have no idea of what kind of "musical language" suits them well - nor do their adopted conventions convince that much because it reeks of fuccboi bandwagoning...
 

would'be down for a disreign EP composed entirely out of ikea product titles arranged poetically

There (thumbnail gives me nightmares tbqh)
 
This and Patrik's brainfarts deserve to be pinned to MH frontpage.
 
#ressurectVK #makeSeremedyYOHIOagain #Swedekeiprevails #VKrenaissance #Bataarwho

give visual kei back to the whites, where it belong's

Firewall Div/Sun-krad seem to have the same chap doing promo descs for each act under their wing : "unique worldview", "hidden fierceness",  "supporting the "core" of its inception" etc. (?? My nihongo cannot comprehend Firewall-nese) - anyone else noticing this? They couldn't even just copypaste basic stuff from other rock adverts and come up with another series of post-Uroboros faux-angst instead?
 
I mean, Shinya is the sole member who does not exactly "feel" Dir's sound as his own as of nowadays, right? His earlier quasi-kaisaning (something akin to "if dir disbands, lol idgaf") statements should be noted as well.

One could care less about otherwise very carefree, condescending attitudes/lifestyles that most of these bandomen exhibit but let's talk about more significant, large-scale effects here - i.e. things that have impacted songwriting/production heavily AND permanently later on.
 
Kisaki is quite obvious but even so, I think Tommy has the most notorious, and notable backstory here if we follow aforementioned criteria. Come to think of it, there is a clear negative association with him in an instant whenever there are label talks with his "foster children", i.e. Dir members or even 12012 until they decided to cut their ties or idk. We might never know how much of illegal shite has been done (e.g. 2007 case) to keep his poster boys relevant in the eyes of Nipponjins and gaijins.
 
Literally the Don Corleone of visual kei - with Kisaki being "lesser evil" per se.
 
And since it's all the rage for us to sneer at rockstars for doing "the hard stuff": Kiyoharu did hard drugs too yet he has tons of dedicated stans and 0% media judgement. Go figure.

There (thumbnail gives me nightmares tbqh)
 
This and Patrik's brainfarts deserve to be pinned to MH frontpage.
 
#ressurectVK #makeSeremedyYOHIOagain #Swedekeiprevails #VKrenaissance #Bataarwho

There (thumbnail gives me nightmares tbqh)
 
This and Patrik's brainfarts deserve to be pinned to MH frontpage.
 
#ressurectVK #makeSeremedyYOHIOagain #Swedekeiprevails #VKrenaissance #Bataarwho

There (thumbnail gives me nightmares tbqh)
 
This and Patrik's brainfarts deserve to be pinned to MH frontpage.
 
#ressurectVK #makeSeremedyYOHIOagain #Swedekeiprevails #VKrenaissance #Bataarwho

Today I learned that toe is one of my favourite visual kei bands.
 
Anyway, it's rather amusing to see the sort of stuff Patrik is up to these days. If memory serves me correctly he was always one of the people shit-talking bland, generic, and derivative visual kei bands back when I used to frequent Fukkatsu. Gotta love the irony.

I usually like to get angry about stupid shit, but these I'm not even going to give the courtesy of clicking. Fuck this guy, his shitty flop band and everyone who likes them.

There (thumbnail gives me nightmares tbqh)
 
This and Patrik's brainfarts deserve to be pinned to MH frontpage.
 
#ressurectVK #makeSeremedyYOHIOagain #Swedekeiprevails #VKrenaissance #Bataarwho

At this point in Dir's career I doubt it, unless maybe they were to do a Missa, Gauze, Macabre, etc. only set. They always seem to sell those special fan club dates out. To play that at a bigger arena you'd need a damn lot of nostalgic bangya lol.
 
Even at their top game Dir was never able to bridge the visual/non visual fanbases like X Japan, Luna Sea, L'Arc, GLAY, and to a certain extent Janne and PIERROT did.
 
Part of this is because they were a little late to the v-kei party, too. They took the last surge of the movement by storm before it died out. While other established bands had both kinds of fans at this point, Dir en grey was just getting comfortable in the v-kei genre.
 

Oh wow, I never knew I was using actual slang xD. I thought I just made up the term on the spot based on "Get out of jail free card" xD