monkeybanana4

1) What are the indicators that make a song "ghostwritten" for you? And that it is not?
I don't think there's any obvious smoking gun that screams "ghostwritten songs!", but there are some bands, like others have already mentioned, that definitely feel like they've had their material 'ghostwritten'. One big factor would be the continuous output of releases in a relatively short amount of time.
 
2) What are the indicators that make a band "idol kei"? And that it is not?
I guess it depends on how you define the term, idol. But, I would say, more or less, the scene has pretty much been inundated with 'idolness' for quite sometime. When you look at the way things are sold (i.e. receiving trading cards or photosets of certain members with CD purchases, buying chekis of a particular member, etc.), it pretty much screams the 'idol' factor. Although, there are certain bands, though, that tend to focus more on selling live goods, chekis, and even food products. VK has been known for providing weirdly, awesome, even grotesque goodies, but I see some bands who lean more on the side of 'goods/products' rather than 'CDs/music'. (Also, I know CDs are considered goods/products. However, in this case, I'm defining goods/products like chekis, photosets, photocards, towels, shirts, etc.)
 
3) Where would you put its birth date?
I'm not sure of an exact date, but as @Komorebi already answered, I think it began when these instore or personal meet-and-greet events launched off. When you go to those events, it mirrors exactly what Japanese idol pop groups do (minus the rock music). You can "meet" your favorite artist and chat with them in exchange for buying their stuff. It's what Japanese idols outside of VK have been doing for much longer.
 
4) Do they qualify as "good music" or not? Do you enjoy them? Do not? 
Music, like any other art, is subjective, so I suppose it depends on what the listener enjoys and defines as "good music". Even though I may not listen to certain bands, there is definitely a crowd out there who will continue to support their favorite artists.
 
5) Does it seem to you that this certain music goes "against" (to put it somehow) of certain "well-being" of the scene, or of the music itself?
I think @Komorebi provided a great answer for this question. For fans like most of us on MH, whose butts are firmly parked outside of Japan, we can only listen and focus on the music. It's not a bad thing, and I think music should be examined for the sake of music to expand one's knowledge/tastes/etc. However, when you live in Japan, being in the VK scene is a completely different ballgame. There is an entire social scene that is built into the VK scene. I guess because the scene is 'small' that there are many who become friends since they recognize each other from attending the same lives, instore events, etc. for the same band(s), and it's a way for these dedicated group of friends to spend time together. Also, as mentioned already by @Komorebi, there is also a whole fashion scene related to VK. Even though it's shrunk with many brands shutting down, there are still stores like Sex Pot Revenge that market to people who admire and dress up in the VK fashion style, possibly even wanting to emulate or cosplay as their favorite artist/band member. There are also many girls who dress up in Lolita clothes and really go all out to look nice for lives. In a way, I guess VK, to some, is not so much a music genre, but rather a subculture. So, I think as long as there's androgynous musicians willing to play music and cater to the fanbase, then the VK scene will survive.
 
6) Why are you still listening to VK in the 2010s? Are your reasons the same as before? What does it give you that other music does not give you?
Like @yomii I stopped listening to VK for a few years, but I've recently gotten back into it, and I still thoroughly enjoy it even with all its warts and splotches. I think it's because VK has helped me shape a part of who I am, including my passions (i.e. collecting CDs from mediocre-sounding artists, studying about culture, people, history, and meeting/chatting with people who share the same interests). I also enjoy the fashion of VK and its close ties to it because, in a way, I feel like it's not only the music, but it's also the clothes and makeup that help make the whole scene artistic. So, I find there's plenty to enjoy with both new bands to listen to and older/disbanded bands to still discover.     (Wow, I wrote way too much... ^^;) 

1) What are the indicators that make a song "ghostwritten" for you? And that it is not?
I don't think there's any obvious smoking gun that screams "ghostwritten songs!", but there are some bands, like others have already mentioned, that definitely feel like they've had their material 'ghostwritten'. One big factor would be the continuous output of releases in a relatively short amount of time.
 
2) What are the indicators that make a band "idol kei"? And that it is not?
I guess it depends on how you define the term, idol. But, I would say, more or less, the scene has pretty much been inundated with 'idolness' for quite sometime. When you look at the way things are sold (i.e. receiving trading cards or photosets of certain members with CD purchases, buying chekis of a particular member, etc.), it pretty much screams the 'idol' factor. Although, there are certain bands, though, that tend to focus more on selling live goods, chekis, and even food products. VK has been known for providing weirdly, awesome, even grotesque goodies, but I see some bands who lean more on the side of 'goods/products' rather than 'CDs/music'. (Also, I know CDs are considered goods/products. However, in this case, I'm defining goods/products like chekis, photosets, photocards, towels, shirts, etc.)
 
3) Where would you put its birth date?
I'm not sure of an exact date, but as @Komorebi already answered, I think it began when these instore or personal meet-and-greet events launched off. When you go to those events, it mirrors exactly what Japanese idol pop groups do (minus the rock music). You can "meet" your favorite artist and chat with them in exchange for buying their stuff. It's what Japanese idols outside of VK have been doing for much longer.
 
4) Do they qualify as "good music" or not? Do you enjoy them? Do not? 
Music, like any other art, is subjective, so I suppose it depends on what the listener enjoys and defines as "good music". Even though I may not listen to certain bands, there is definitely a crowd out there who will continue to support their favorite artists.
 
5) Does it seem to you that this certain music goes "against" (to put it somehow) of certain "well-being" of the scene, or of the music itself?
I think @Komorebi provided a great answer for this question. For fans like most of us on MH, whose butts are firmly parked outside of Japan, we can only listen and focus on the music. It's not a bad thing, and I think music should be examined for the sake of music to expand one's knowledge/tastes/etc. However, when you live in Japan, being in the VK scene is a completely different ballgame. There is an entire social scene that is built into the VK scene. I guess because the scene is 'small' that there are many who become friends since they recognize each other from attending the same lives, instore events, etc. for the same band(s), and it's a way for these dedicated group of friends to spend time together. Also, as mentioned already by @Komorebi, there is also a whole fashion scene related to VK. Even though it's shrunk with many brands shutting down, there are still stores like Sex Pot Revenge that market to people who admire and dress up in the VK fashion style, possibly even wanting to emulate or cosplay as their favorite artist/band member. There are also many girls who dress up in Lolita clothes and really go all out to look nice for lives. In a way, I guess VK, to some, is not so much a music genre, but rather a subculture. So, I think as long as there's androgynous musicians willing to play music and cater to the fanbase, then the VK scene will survive.
 
6) Why are you still listening to VK in the 2010s? Are your reasons the same as before? What does it give you that other music does not give you?
Like @yomii I stopped listening to VK for a few years, but I've recently gotten back into it, and I still thoroughly enjoy it even with all its warts and splotches. I think it's because VK has helped me shape a part of who I am, including my passions (i.e. collecting CDs from mediocre-sounding artists, studying about culture, people, history, and meeting/chatting with people who share the same interests). I also enjoy the fashion of VK and its close ties to it because, in a way, I feel like it's not only the music, but it's also the clothes and makeup that help make the whole scene artistic. So, I find there's plenty to enjoy with both new bands to listen to and older/disbanded bands to still discover.     (Wow, I wrote way too much... ^^;) 

1) Not like there's proof in VK, but the speed at which some bands pump out releases and the repetition/overuse of riffs and other elements can be a sign of ghostwriting. Also, when you see kids in the scene who aren't that good playing on stage yet are credited for what they play makes me wonder if they really did write it.
 
2) I think the whole scene is idol kei now. The way bands are put together, managed and marketed is very idol-ish. I'd say VK bands that are less "idol" would be those who put out releases less often, don't focus their sales on cheki and spend more time touring than doing fan-meet events.
 
3) When was the first instore? Not sure when VK evolved into what it is today, but I'm sure it was a while ago.
 
4) What is good music? I think there is good music and bad music in VK, just like in any other genre. And personal enjoyment does not atone for quality. I may not enjoy Morrie, Sukekiyo or Kiyoharu's works, but it is undeniably good music. Whereas I may like a lot of indie artists I consider to be musically mediocre. All in all, if I didn't enjoy VK I wouldn't be here.
 
5) VK does not rely that heavily on the music genre to survive. As long as there's scantly dressed pretty men wooing teen fans into spending their yen, the "well-being" of the scene is preserved. As overseas fans, we focus mainly on the music, because it is really all we can focus on, out of all VK has to offer as a scene. In Japan it is slightly different. You could enjoy the social experience, the fan events, the fashionable aspect, idk.
 
6) Because I have shitty music taste? LOL. I can't remember how I even got so hooked on this scene. It gives me versatility in a way many western rock artists don't. Bands don't always stick to a genre and blend a lot of styles to find their own. I don't know much about music theory but I know Japan uses a distinct... scale? for writing their music and I find it pleasant to my ears. I also tend to focus  a lot on bass and vocals. For the first, I've found more interesting bass-lines in Japan than overseas, where it tends to be a filler instrument. And for the latter... Have you seen those "sounds just like Ruki" comments on various YouTube videos? Well, they do, because Japanese men tend to have a similar vocal range that just happens to tickle my fancy. There's also the thing that with Japanese I can easily ignore corny lyrics because I simply do not fully understand them. I don't look them up either, I can live without knowing if I'm being insulted.
I come from the pop/rock scene, never really went through a western punk/metal phase in my teens year. I grew on 80's rock and 90's pop and I got used to catchy sounds accompanied by guitars, and it's what I look for in VK; poppy choruses with clean vocals and harsh instrumentals + lyrics I don't have to feel embarrassed about. Something that western metal and pop often fail to give me. The visuals aren't really that important to me, since I never watch PVs, but the androgynous beauty pleases me a lot when I do want to watch it tbh. As a big plus, I greatly enjoy the whole VK culture in Japan. I gotta say I love going to a small gig without being pushed around by huge dudes or drowning in the stench of weed and going to instore events and such.

I think it's more linked to the mondial decrease of the physical media market and closing of many physical shop (amazon giving the deathblow) than a mere VK endemic thing (Japan lasted very long, in Italy the "music shop apocalypse" started more than a decade ago and it already got to the point that big chains too closed part of their stores), VK scene being small and losing in popularity makes it so VK specialized stores are among the first ones bearing the brunt of it, but it's not the sole cause.
 
Although it also mean VK (and VK music stores) need to learn to evolve fast if it wants to survive, since it's very connected with the physical media market to make their ¥¥¥ (some changes since early 00's are already noticeable tho, so finger crossed the scene survives even if small)

I have very, very mixed feelings concerning this topic, so all I say may sound confusing. I may sound cocky too, but you guys asked for opinions. I also tried posting this under spoiler but phone won't let me...
 
Brace yourselves, rant is coming:
 
Of course, just like any foreigner, I got into this thanks to piracy. Of course, I do download pretty much everything shared on the VK section, even if just to sample it and delete it half an hour later (I no longer hoard music I do not like).
 
And, just like many people, I occasionally share rips because I know some people will enjoy them and some others might discover a band they will like and support.
Yet I truly despise when my rips are shared outside of this community, even though my common sense (who usually sounds like Yuyo) dictates it's the right way to preserve and spread it.

Maybe it is because here it stays within a community of people who also buy and share their rips and it feels more like an open trade. Key word: feels like.
 
But feelings are not meant to be rational, right?
 
I support about 10-12 active bands. A good portion of my salary goes towards VK. I make certain sacrifices in order to make sure my honmei can have their rice and redbull. Hell, I even pay people to get me goods at lives so they can get more money from me in a more direct way than buying second hand stuff.

Maybe that is why I feel I 'earned' the right to trade rips of the bands I do enjoy yet don't love enough to include in my monthly spendings. And I feel people who share rips here kinda earned the 'right' to get my rips for free. Because they support the scene too.
Sometimes I even dl rips from the bands I do buy from because I'll buy the release with the next paycheck or the following, or sometime in the future when I stop blowing my money on chekis (sorry, Diaura).
 
Which is why it kinda bums me to spend hundreds of dollars on music, share it with people who also support the scene as far as their wallets allow it, and then it gets leaked to people who not only don't support the scene, but feel entitled to be given rips anyways 'because they love the band so much, omg they mah favez!!'
 
I don't mean to say I am a better fan than they are, or a better person, or whatever. I'm probably a pathetic chick who blows her paycheck on asian drag queens who attempt to play metal instead of in... idk whatever shit regular people spend their money on. But it really gets on my nerves to read so many people on social media, especially Hispanics, viewing piracy as a 'right'. Demanding for HQ rips, whining about those 'fucking selfish japs/gringos who get everything and don't share fast enough'. Fuck you! If I buy a release I do not have the moral duty of posting it online. And in those very same communities I see a handful of people leeching, bragging about 'their collections' (virtual collections of course) and sharing our stuff just to make themselves popular. 'Look, I'm such a VK connaiseur because I have two hard drives filled with VK I got from MH. I'm a true fan cuz I have rarez. Now kiss my ass if you want me to share the rip I didn't even originate'.
 
I know a dude who's considered the 'wikipedia of VK' because he's always talking about the many bands he knows and buys. Turns out he doesn't buy shit, he leeches from JpopSuki and here AND HE FUCKING CHARGES FOR IT. HE IS SERIOUSLY MAKING HIMSELF A NAME AND MONEY SELLING OTHER PEOPLE'S RIPS. AS HIS OWN.
 
I understand the role piracy plays in the scene. I know it's exposure, and it helps spread the music and make bands popular. It preserves files online (though I've been all day looking for geek sleep sheep's albums and I cannot fucking find a decent rip, I swear). It also gives way to interesting discussions about music.

But I also understand it fucking pisses bands off, many have told me so. It even pisses off western VK bands I know when they see their music up for grabs where they didn't post it. It's sorta disrespectful in a way, to say "yeah, man, I love your art but I ain't paying for it'. I have literally read those words online.
I don't know if my point is even understood here... I've even defended piracy when talking to a few bandomen, saying that it actually promotes their music and gains them new fans. And I understand without piracy most of us wouldn't be here today. Boy, I really wish someone would share those Amai Boryoku live limited EPs. 

But I hate so much that downloads bring people here only to leech instead of for all the other amazing features this community has to offer. I hate that people outside of the community get popular or even get money spreading our rips without even mentioning Monochrome Heaven. I hate the way they talk about us when we don't share fast enough, like we owe them the rips. Like it's our duty to share the day before the release and in HQ...
 
With so many bands posting their previews on youtube, full releases on Spotify and iTunes, is such an open piracy still necessary to promote the music they work so hard to make?
(I refuse to use youtube and Spotify, I hate them, so I'm being cynical by just bringing them up myself). All the people who say 'I don't risk buying releases I don't know I'll like' can now hear the previews on youtube/spotify, right?
 
I think I'd really like to keep the DLs here to the community and the people who contribute, so maybe people elsewhere will stop taking us for granted and have a solid reason to complain about us...
 
I'm ready for the MH trolls to go berserk on my feelings and opinions. Keep in mind these are just rather irrational feels and opinions and that my opinions stem from my own experiences and my own reality, which is not the absolute truth and does not account for other people's experiences.

I was celebrating my birthday on sunday o3o

I didn't read all the comments, but yikes. Some fans blame the bride for starting the whole "mess" while others were upset at the way he made his announcement in the video.
 
Either way, congrats to him! Sad the situation ended up like this though  

I didn't read all the comments, but yikes. Some fans blame the bride for starting the whole "mess" while others were upset at the way he made his announcement in the video.
 
Either way, congrats to him! Sad the situation ended up like this though  

I for one loved that album. Probably my favorite album post-Dim. I liked that it was just a casual pop experience with catchy melodies and formulaic songwriting.  A solid guilty pleasure.
 
But, I still stan the good old Eternal days ガゼット with Yune.

Kiryu will release a new single titled 「手纏ノ端無キガ如シ」(Tamaki no hashina kigagotoshi) on 2019.07.10 in four types.
 
Type A Limited Edition (CD+DVD)
1,800 yen (+taxes)
CD
1.手纏ノ端無キガ如シ
2.
DVD
-MV of「手纏ノ端無キガ如シ」
- Making-of video
All Type Privilege Purchase: Application ticket "A" and application postcard
 
Type B Limited Edition CD+DVD
1,800 yen (+taxes)
CD 
1.手纏ノ端無キガ如シ
2.
DVD
- MV of「手纏ノ端無キガ如シ」
- マルチアングルMV (Multiangle(s) MV)
All Type Privilege Purchase: Application ticket "B"
 
Type C Regular Edition
1,500 yen (+taxes)
CD
1.手纏ノ端無キガ如シ
2.
3.
4.手纏ノ端無キガ如シ(inst)
5.(inst)
6.(inst)
All Type Privilege Purchase: Application ticket "C"
 
Type D Regular Edition
1,500 yen (+taxes)
CD
1.手纏ノ端無キガ如シ
2.
3.
4.手纏ノ端無キガ如シ(inst)
5.(inst)
6.(inst)
All Type Privilege Purchase: Application ticket "D"
 

kinda wish i knew other vkei fans in real life yall

Kiryu will release a new single titled 「手纏ノ端無キガ如シ」(Tamaki no hashina kigagotoshi) on 2019.07.10 in four types.
 
Type A Limited Edition (CD+DVD)
1,800 yen (+taxes)
CD
1.手纏ノ端無キガ如シ
2.
DVD
-MV of「手纏ノ端無キガ如シ」
- Making-of video
All Type Privilege Purchase: Application ticket "A" and application postcard
 
Type B Limited Edition CD+DVD
1,800 yen (+taxes)
CD 
1.手纏ノ端無キガ如シ
2.
DVD
- MV of「手纏ノ端無キガ如シ」
- マルチアングルMV (Multiangle(s) MV)
All Type Privilege Purchase: Application ticket "B"
 
Type C Regular Edition
1,500 yen (+taxes)
CD
1.手纏ノ端無キガ如シ
2.
3.
4.手纏ノ端無キガ如シ(inst)
5.(inst)
6.(inst)
All Type Privilege Purchase: Application ticket "C"
 
Type D Regular Edition
1,500 yen (+taxes)
CD
1.手纏ノ端無キガ如シ
2.
3.
4.手纏ノ端無キガ如シ(inst)
5.(inst)
6.(inst)
All Type Privilege Purchase: Application ticket "D"
 

They will hold their first anniversary one-man live at Shinjuku Ruido K4 on 2019.10.03.

Before the internet explosion, I remember either finding out about new music from friends or hearing songs on the radio. And when I could finally afford to buy a release, I felt excited and thrilled to be able to purchase a CD and listen to the release for myself. Afterward, I would put it on repeat for weeks on end, soaking myself into the release and sorting out how I felt about it. I guess it was like a journey starting from anticipation and ending on my fully fleshed out thoughts. On a random side note, I still remember using the now-outdated CD player since portable MP3 players weren't in wide use yet.
 
With the internet, things have changed. On the pro side, I managed to discover Japanese music, and as a result, stumbled upon VK, finding so many popular and esoteric bands, which I have come to enjoy. As others have mentioned, and for me personally, the internet became a gateway into the world of VK (and music in general)  and helped to expand my tastes in music. No longer was I listening to the radio and asking friends for recommendations. I ended up digging info as to what was being released and who was what (artist) from different (fanmade) websites, forums dedicated to anime shows/Japanese music/etc., and YouTube (although, it was quite a different beast back in those days). So, thanks to the Internet, I've managed to widen my music library, enjoy great stuff, and connect with amazing people who share the same musical interests even if we don't live in the same place.
 
The downside, as people have already mentioned, is the amount of time spent on an album/single/release/artist is much less because of the sheer amount of music that gets released. I feel I have less time to mull over on a particular release. Instead, I listen to it a few times to gather my initial thoughts, and then move on to listen to the next latest thing that's being released. Thus, it makes it hard to really dig deep into the music and truly give it the time it most likely deserves. Also, as someone mentioned earlier, I barely use my physical CDs nowadays except to rip it since I mainly use my computer or phone to listen to music as opposed to the ancient CD player, lol.

Before the internet explosion, I remember either finding out about new music from friends or hearing songs on the radio. And when I could finally afford to buy a release, I felt excited and thrilled to be able to purchase a CD and listen to the release for myself. Afterward, I would put it on repeat for weeks on end, soaking myself into the release and sorting out how I felt about it. I guess it was like a journey starting from anticipation and ending on my fully fleshed out thoughts. On a random side note, I still remember using the now-outdated CD player since portable MP3 players weren't in wide use yet.
 
With the internet, things have changed. On the pro side, I managed to discover Japanese music, and as a result, stumbled upon VK, finding so many popular and esoteric bands, which I have come to enjoy. As others have mentioned, and for me personally, the internet became a gateway into the world of VK (and music in general)  and helped to expand my tastes in music. No longer was I listening to the radio and asking friends for recommendations. I ended up digging info as to what was being released and who was what (artist) from different (fanmade) websites, forums dedicated to anime shows/Japanese music/etc., and YouTube (although, it was quite a different beast back in those days). So, thanks to the Internet, I've managed to widen my music library, enjoy great stuff, and connect with amazing people who share the same musical interests even if we don't live in the same place.
 
The downside, as people have already mentioned, is the amount of time spent on an album/single/release/artist is much less because of the sheer amount of music that gets released. I feel I have less time to mull over on a particular release. Instead, I listen to it a few times to gather my initial thoughts, and then move on to listen to the next latest thing that's being released. Thus, it makes it hard to really dig deep into the music and truly give it the time it most likely deserves. Also, as someone mentioned earlier, I barely use my physical CDs nowadays except to rip it since I mainly use my computer or phone to listen to music as opposed to the ancient CD player, lol.

It also seems like they will be releasing three live-limited singles titled 「フルニトラゼパム」, 「196番地の女」, and 「DEAREST」. It will be on sale starting from their one-man live at Hokkaido on 2019.05.11. There also seems to be a contest in which users can retweet/vote these songs, and the one with the highest will have an MV made for it.
 
 

They will hold their first anniversary one-man live at Shinjuku Ruido K4 on 2019.10.03.

They will hold their first anniversary one-man live at Shinjuku Ruido K4 on 2019.10.03.

They will hold their first anniversary one-man live at Shinjuku Ruido K4 on 2019.10.03.

It also seems like they will be releasing three live-limited singles titled 「フルニトラゼパム」, 「196番地の女」, and 「DEAREST」. It will be on sale starting from their one-man live at Hokkaido on 2019.05.11. There also seems to be a contest in which users can retweet/vote these songs, and the one with the highest will have an MV made for it.