Saga

These questions reminded me of this video:
 
 
Some things we can take from it:
1) It’s said that Akihabara is a “very tolerant city for men in drag”. The necessity of having to say it give me the perception of being something unusual in other places, potentially weird then.
 
2) Mostly of their clients are woman (aha!).
a) It’s more comfortable to talk with a guy in drag than with another woman.
b) A guy in drag is more special than a ordinary guy and, because of it, more attractive. 
 
3) Being in drag is fashion. It’s about clothing and looking good, not about turning into a “real woman”.
Which we can relate. Hizaki it the prettiest mother fucker, but when he open his mouth he sounds like a really big dinosaur with tiny arms  (just using some hyperbole, love this guy to the heart). That’s a really common thing with visual kei artists. They don’t try to fool you or modify their voice to match their drag character.
 
4) They keep man clothing for social stuff, like going to hospital. This one says a lot of how the japanese society functions in that matter.
For me it sounds like “You can dress yourself as you want: drag, tokusatsu, baseball mascot, but when you are doing you social role, you have to be the ‘real you’ (which is the one in your ID)”.
 
5) Three of themselves are bi, but they don’t use sexual terms to describe it, like “I am A” or “I am B” but they say “I am attracted by X and Y”.
Now, I don’t really know if this is a language thing or if japanese in general are less attached to specific terms to describe their sexuallity.
One of them just do drag to get attention from woman (loved that guy). I guess that relates with point 2.
 
With all that said, I have more questions than answers kek, but I think that these are some important lines of thinking to understand the myth of the japanese man with bra and his place in society.
 
I also recommend a movie called “Close-Knit”. Talks a lot about point 4. The director itself is a transgender, so there is a lot of self insert in it. Really interesting to see:
 
 

New guitarist Makoto joins La’veil MizeriA and new group shot released.
 

Oh Lord, please enlighten me, how do I do the visual kei?
 

Thinking about getting a Takato Yamamoto tattoo, but there are just too many god like works of him.

Oh Lord, please enlighten me, how do I do the visual kei?
 

A easy example about how the looks don't necessarily reflect the person of a visual kei artist is the usage of the hakenkreuz by the earliests bands. We don’t see as much nowadays, but the SS caps always appears, sooner or later.
Of course that there was some classic japanese punk nationalism in some bands here and there, but core of V系 was about shocking after all. So, the imaginary of the nazism is aesthetic, therefore should be used. 
 
As @薔薇の末裔 pointed out, understanding Kabuki is a good way to understand this theatrical musical scene. 
 
Kabuki in its first days was a female theater, a more accessible branch of Noh. But it was just too sexy for that confucian society. “A woman's place is in the kitchen”, said the Shogun (or it was my dad last night?). And then, the boys took the place of the woman, doing woman roles. But the boys turned out into fuckboys. “Notto disu shitto agen”, said the Shogun. And then, old man were doing woman roles. “Hmm”, long and deeply said the Shogun. Keep in mind that everyone was killing everyone in the past sengoku century, so the Shoguns could not fuck around (ha).
 
“Ok, ok, And so what?”. Well, since being really sexy was not an option, the onnagata dudes started doing their own shit to emulate the woman sexyness. First come the fancy wig, then they started showing some little skin and so on. Little by little there was no more “man” or “woman”, but onnagata. A woman that no other woman could be. 
 
At that point, Kabuki without man doing female roles is not Kabuki. Visual kei without man doing female roles is not visual kei? I don’t think so, exist†trace showed their shit and we digged it hard. But I would say that is highly expected to see a man doing female roles in the visual rock scene. D’s “Ouka saki some ni keri” is my pick for today. The contrast of Asagi manly vocals with his woman clothing is a perfectly example of why we love it the way it is. They do it with passion (or for money), and we love them for it, not because their sexual preference.
 
The whole pv setting is a love letter for their culture. And it is just one example, there is so many other bands with pvs with that scenary (and probably there is a “something-kei” for it too). The pompous and bold Glam Rock found it’s home in the japanese costumes and evolved into the coolest thing.
 
To be deeper into to sexuallity stuff we could talk about how Japan society potentially repress the sexual preference of their people in order to have things working “in the right way” and how the west really needs to “talk about it” and not let the individuals be themselves without pushing some agenda into your fuckin throat so it’s fuckin hard to understand these japs using lipsticks just because they like it, but that stress me too much so fuck it.

Waiting for the PV with the Psico shower scene.

Oh Lord, please enlighten me, how do I do the visual kei?
 

damn you Retsu

Oh Lord, please enlighten me, how do I do the visual kei?
 

damn you Retsu

These questions reminded me of this video:
 
 
Some things we can take from it:
1) It’s said that Akihabara is a “very tolerant city for men in drag”. The necessity of having to say it give me the perception of being something unusual in other places, potentially weird then.
 
2) Mostly of their clients are woman (aha!).
a) It’s more comfortable to talk with a guy in drag than with another woman.
b) A guy in drag is more special than a ordinary guy and, because of it, more attractive. 
 
3) Being in drag is fashion. It’s about clothing and looking good, not about turning into a “real woman”.
Which we can relate. Hizaki it the prettiest mother fucker, but when he open his mouth he sounds like a really big dinosaur with tiny arms  (just using some hyperbole, love this guy to the heart). That’s a really common thing with visual kei artists. They don’t try to fool you or modify their voice to match their drag character.
 
4) They keep man clothing for social stuff, like going to hospital. This one says a lot of how the japanese society functions in that matter.
For me it sounds like “You can dress yourself as you want: drag, tokusatsu, baseball mascot, but when you are doing you social role, you have to be the ‘real you’ (which is the one in your ID)”.
 
5) Three of themselves are bi, but they don’t use sexual terms to describe it, like “I am A” or “I am B” but they say “I am attracted by X and Y”.
Now, I don’t really know if this is a language thing or if japanese in general are less attached to specific terms to describe their sexuallity.
One of them just do drag to get attention from woman (loved that guy). I guess that relates with point 2.
 
With all that said, I have more questions than answers kek, but I think that these are some important lines of thinking to understand the myth of the japanese man with bra and his place in society.
 
I also recommend a movie called “Close-Knit”. Talks a lot about point 4. The director itself is a transgender, so there is a lot of self insert in it. Really interesting to see:
 
 

These questions reminded me of this video:
 
 
Some things we can take from it:
1) It’s said that Akihabara is a “very tolerant city for men in drag”. The necessity of having to say it give me the perception of being something unusual in other places, potentially weird then.
 
2) Mostly of their clients are woman (aha!).
a) It’s more comfortable to talk with a guy in drag than with another woman.
b) A guy in drag is more special than a ordinary guy and, because of it, more attractive. 
 
3) Being in drag is fashion. It’s about clothing and looking good, not about turning into a “real woman”.
Which we can relate. Hizaki it the prettiest mother fucker, but when he open his mouth he sounds like a really big dinosaur with tiny arms  (just using some hyperbole, love this guy to the heart). That’s a really common thing with visual kei artists. They don’t try to fool you or modify their voice to match their drag character.
 
4) They keep man clothing for social stuff, like going to hospital. This one says a lot of how the japanese society functions in that matter.
For me it sounds like “You can dress yourself as you want: drag, tokusatsu, baseball mascot, but when you are doing you social role, you have to be the ‘real you’ (which is the one in your ID)”.
 
5) Three of themselves are bi, but they don’t use sexual terms to describe it, like “I am A” or “I am B” but they say “I am attracted by X and Y”.
Now, I don’t really know if this is a language thing or if japanese in general are less attached to specific terms to describe their sexuallity.
One of them just do drag to get attention from woman (loved that guy). I guess that relates with point 2.
 
With all that said, I have more questions than answers kek, but I think that these are some important lines of thinking to understand the myth of the japanese man with bra and his place in society.
 
I also recommend a movie called “Close-Knit”. Talks a lot about point 4. The director itself is a transgender, so there is a lot of self insert in it. Really interesting to see:
 
 

These questions reminded me of this video:
 
 
Some things we can take from it:
1) It’s said that Akihabara is a “very tolerant city for men in drag”. The necessity of having to say it give me the perception of being something unusual in other places, potentially weird then.
 
2) Mostly of their clients are woman (aha!).
a) It’s more comfortable to talk with a guy in drag than with another woman.
b) A guy in drag is more special than a ordinary guy and, because of it, more attractive. 
 
3) Being in drag is fashion. It’s about clothing and looking good, not about turning into a “real woman”.
Which we can relate. Hizaki it the prettiest mother fucker, but when he open his mouth he sounds like a really big dinosaur with tiny arms  (just using some hyperbole, love this guy to the heart). That’s a really common thing with visual kei artists. They don’t try to fool you or modify their voice to match their drag character.
 
4) They keep man clothing for social stuff, like going to hospital. This one says a lot of how the japanese society functions in that matter.
For me it sounds like “You can dress yourself as you want: drag, tokusatsu, baseball mascot, but when you are doing you social role, you have to be the ‘real you’ (which is the one in your ID)”.
 
5) Three of themselves are bi, but they don’t use sexual terms to describe it, like “I am A” or “I am B” but they say “I am attracted by X and Y”.
Now, I don’t really know if this is a language thing or if japanese in general are less attached to specific terms to describe their sexuallity.
One of them just do drag to get attention from woman (loved that guy). I guess that relates with point 2.
 
With all that said, I have more questions than answers kek, but I think that these are some important lines of thinking to understand the myth of the japanese man with bra and his place in society.
 
I also recommend a movie called “Close-Knit”. Talks a lot about point 4. The director itself is a transgender, so there is a lot of self insert in it. Really interesting to see:
 
 

These questions reminded me of this video:
 
 
Some things we can take from it:
1) It’s said that Akihabara is a “very tolerant city for men in drag”. The necessity of having to say it give me the perception of being something unusual in other places, potentially weird then.
 
2) Mostly of their clients are woman (aha!).
a) It’s more comfortable to talk with a guy in drag than with another woman.
b) A guy in drag is more special than a ordinary guy and, because of it, more attractive. 
 
3) Being in drag is fashion. It’s about clothing and looking good, not about turning into a “real woman”.
Which we can relate. Hizaki it the prettiest mother fucker, but when he open his mouth he sounds like a really big dinosaur with tiny arms  (just using some hyperbole, love this guy to the heart). That’s a really common thing with visual kei artists. They don’t try to fool you or modify their voice to match their drag character.
 
4) They keep man clothing for social stuff, like going to hospital. This one says a lot of how the japanese society functions in that matter.
For me it sounds like “You can dress yourself as you want: drag, tokusatsu, baseball mascot, but when you are doing you social role, you have to be the ‘real you’ (which is the one in your ID)”.
 
5) Three of themselves are bi, but they don’t use sexual terms to describe it, like “I am A” or “I am B” but they say “I am attracted by X and Y”.
Now, I don’t really know if this is a language thing or if japanese in general are less attached to specific terms to describe their sexuallity.
One of them just do drag to get attention from woman (loved that guy). I guess that relates with point 2.
 
With all that said, I have more questions than answers kek, but I think that these are some important lines of thinking to understand the myth of the japanese man with bra and his place in society.
 
I also recommend a movie called “Close-Knit”. Talks a lot about point 4. The director itself is a transgender, so there is a lot of self insert in it. Really interesting to see:
 
 

RESULTS!
 
On to the Results!
______________________________________________________________
 
Best Overall Artist/Band
 
Best Album
 
 
Best Single/Maxi-Single/EP
 
Best Cover Art
 
 
Best Look
 
Best Newcomer
 
Best Veteran
 
Best PV
 
Saddest Disbandment
 
Most Overhyped Band
 
Most Overhyped Release
 
Most Underhyped Band
 
Most Anticipated Release
 
Band that Changed their Sound for the Best
 
Band that Changed their Sound for the Worse
 
Band that you spent most of your money on in 2019
 
What the hell were they thinking!? Award
 
Best Revival/Returns 
 
 
Now I know what you're thinking: 2019 sucked for VK 😅.
I agree lol but thank you to those who voted this year!
 
Let's hope this new decade will be a return to form for the scene!

These questions reminded me of this video:
 
 
Some things we can take from it:
1) It’s said that Akihabara is a “very tolerant city for men in drag”. The necessity of having to say it give me the perception of being something unusual in other places, potentially weird then.
 
2) Mostly of their clients are woman (aha!).
a) It’s more comfortable to talk with a guy in drag than with another woman.
b) A guy in drag is more special than a ordinary guy and, because of it, more attractive. 
 
3) Being in drag is fashion. It’s about clothing and looking good, not about turning into a “real woman”.
Which we can relate. Hizaki it the prettiest mother fucker, but when he open his mouth he sounds like a really big dinosaur with tiny arms  (just using some hyperbole, love this guy to the heart). That’s a really common thing with visual kei artists. They don’t try to fool you or modify their voice to match their drag character.
 
4) They keep man clothing for social stuff, like going to hospital. This one says a lot of how the japanese society functions in that matter.
For me it sounds like “You can dress yourself as you want: drag, tokusatsu, baseball mascot, but when you are doing you social role, you have to be the ‘real you’ (which is the one in your ID)”.
 
5) Three of themselves are bi, but they don’t use sexual terms to describe it, like “I am A” or “I am B” but they say “I am attracted by X and Y”.
Now, I don’t really know if this is a language thing or if japanese in general are less attached to specific terms to describe their sexuallity.
One of them just do drag to get attention from woman (loved that guy). I guess that relates with point 2.
 
With all that said, I have more questions than answers kek, but I think that these are some important lines of thinking to understand the myth of the japanese man with bra and his place in society.
 
I also recommend a movie called “Close-Knit”. Talks a lot about point 4. The director itself is a transgender, so there is a lot of self insert in it. Really interesting to see:
 
 

A easy example about how the looks don't necessarily reflect the person of a visual kei artist is the usage of the hakenkreuz by the earliests bands. We don’t see as much nowadays, but the SS caps always appears, sooner or later.
Of course that there was some classic japanese punk nationalism in some bands here and there, but core of V系 was about shocking after all. So, the imaginary of the nazism is aesthetic, therefore should be used. 
 
As @薔薇の末裔 pointed out, understanding Kabuki is a good way to understand this theatrical musical scene. 
 
Kabuki in its first days was a female theater, a more accessible branch of Noh. But it was just too sexy for that confucian society. “A woman's place is in the kitchen”, said the Shogun (or it was my dad last night?). And then, the boys took the place of the woman, doing woman roles. But the boys turned out into fuckboys. “Notto disu shitto agen”, said the Shogun. And then, old man were doing woman roles. “Hmm”, long and deeply said the Shogun. Keep in mind that everyone was killing everyone in the past sengoku century, so the Shoguns could not fuck around (ha).
 
“Ok, ok, And so what?”. Well, since being really sexy was not an option, the onnagata dudes started doing their own shit to emulate the woman sexyness. First come the fancy wig, then they started showing some little skin and so on. Little by little there was no more “man” or “woman”, but onnagata. A woman that no other woman could be. 
 
At that point, Kabuki without man doing female roles is not Kabuki. Visual kei without man doing female roles is not visual kei? I don’t think so, exist†trace showed their shit and we digged it hard. But I would say that is highly expected to see a man doing female roles in the visual rock scene. D’s “Ouka saki some ni keri” is my pick for today. The contrast of Asagi manly vocals with his woman clothing is a perfectly example of why we love it the way it is. They do it with passion (or for money), and we love them for it, not because their sexual preference.
 
The whole pv setting is a love letter for their culture. And it is just one example, there is so many other bands with pvs with that scenary (and probably there is a “something-kei” for it too). The pompous and bold Glam Rock found it’s home in the japanese costumes and evolved into the coolest thing.
 
To be deeper into to sexuallity stuff we could talk about how Japan society potentially repress the sexual preference of their people in order to have things working “in the right way” and how the west really needs to “talk about it” and not let the individuals be themselves without pushing some agenda into your fuckin throat so it’s fuckin hard to understand these japs using lipsticks just because they like it, but that stress me too much so fuck it.

Correct me if I'm wrong, but isn't this brand of indie/math (done to this extent) unprecedented in the VK scene? The sound itself may not be inherently unique, but contextually, you gotta give these boys their props.
 
 
 
This is just the style. I can understand how it might sound chaotic and senseless to some ppl tho...and it may be that I'm biased because my ears are just acclimated to music like this.
 
But to me, it sounds like a glitchy/IDM-like approach to composing, and you hear this type of thing done in ling tosite/Tk's solo stuff and haisuinonasa, amongst many others. The sokoninaru comparison is especially apt because they've been REALLY hammering, and in my opinion - overdoing-, this style lately.
 
This type of composing can get REALLY tedious if overused, but I think DIMLIM did a fine job in this song of keeping things cohesive, catchy, and interesting, and not just being flashy for the sake of it. It's not an easy balance to strike, and trust me, in comparison to a lot of the stuff out there that takes a similar approach, DIMLIM are doing this style justice. Their VK leanings just make it even more special imo.
 
That said, we'll see how well this plays out on the album...

A easy example about how the looks don't necessarily reflect the person of a visual kei artist is the usage of the hakenkreuz by the earliests bands. We don’t see as much nowadays, but the SS caps always appears, sooner or later.
Of course that there was some classic japanese punk nationalism in some bands here and there, but core of V系 was about shocking after all. So, the imaginary of the nazism is aesthetic, therefore should be used. 
 
As @薔薇の末裔 pointed out, understanding Kabuki is a good way to understand this theatrical musical scene. 
 
Kabuki in its first days was a female theater, a more accessible branch of Noh. But it was just too sexy for that confucian society. “A woman's place is in the kitchen”, said the Shogun (or it was my dad last night?). And then, the boys took the place of the woman, doing woman roles. But the boys turned out into fuckboys. “Notto disu shitto agen”, said the Shogun. And then, old man were doing woman roles. “Hmm”, long and deeply said the Shogun. Keep in mind that everyone was killing everyone in the past sengoku century, so the Shoguns could not fuck around (ha).
 
“Ok, ok, And so what?”. Well, since being really sexy was not an option, the onnagata dudes started doing their own shit to emulate the woman sexyness. First come the fancy wig, then they started showing some little skin and so on. Little by little there was no more “man” or “woman”, but onnagata. A woman that no other woman could be. 
 
At that point, Kabuki without man doing female roles is not Kabuki. Visual kei without man doing female roles is not visual kei? I don’t think so, exist†trace showed their shit and we digged it hard. But I would say that is highly expected to see a man doing female roles in the visual rock scene. D’s “Ouka saki some ni keri” is my pick for today. The contrast of Asagi manly vocals with his woman clothing is a perfectly example of why we love it the way it is. They do it with passion (or for money), and we love them for it, not because their sexual preference.
 
The whole pv setting is a love letter for their culture. And it is just one example, there is so many other bands with pvs with that scenary (and probably there is a “something-kei” for it too). The pompous and bold Glam Rock found it’s home in the japanese costumes and evolved into the coolest thing.
 
To be deeper into to sexuallity stuff we could talk about how Japan society potentially repress the sexual preference of their people in order to have things working “in the right way” and how the west really needs to “talk about it” and not let the individuals be themselves without pushing some agenda into your fuckin throat so it’s fuckin hard to understand these japs using lipsticks just because they like it, but that stress me too much so fuck it.

Really loved the first third of the song. For me, Retsu can go as progressive as he wants. It even made me to listen to some Polyphia again. Sho is is nailing it as always. Felt that the song had space for him to go a bit harder. Looks like that it will be a common feeling while listening the DIMLIM 2.0, which I really like since Rijin is golden.
 
A little stretched and the seconds of autotune is always hard to digest, but without any doubt a solid song.

Looking foward it. Phantasmagoria hits still lives in my heart and so does him.

A easy example about how the looks don't necessarily reflect the person of a visual kei artist is the usage of the hakenkreuz by the earliests bands. We don’t see as much nowadays, but the SS caps always appears, sooner or later.
Of course that there was some classic japanese punk nationalism in some bands here and there, but core of V系 was about shocking after all. So, the imaginary of the nazism is aesthetic, therefore should be used. 
 
As @薔薇の末裔 pointed out, understanding Kabuki is a good way to understand this theatrical musical scene. 
 
Kabuki in its first days was a female theater, a more accessible branch of Noh. But it was just too sexy for that confucian society. “A woman's place is in the kitchen”, said the Shogun (or it was my dad last night?). And then, the boys took the place of the woman, doing woman roles. But the boys turned out into fuckboys. “Notto disu shitto agen”, said the Shogun. And then, old man were doing woman roles. “Hmm”, long and deeply said the Shogun. Keep in mind that everyone was killing everyone in the past sengoku century, so the Shoguns could not fuck around (ha).
 
“Ok, ok, And so what?”. Well, since being really sexy was not an option, the onnagata dudes started doing their own shit to emulate the woman sexyness. First come the fancy wig, then they started showing some little skin and so on. Little by little there was no more “man” or “woman”, but onnagata. A woman that no other woman could be. 
 
At that point, Kabuki without man doing female roles is not Kabuki. Visual kei without man doing female roles is not visual kei? I don’t think so, exist†trace showed their shit and we digged it hard. But I would say that is highly expected to see a man doing female roles in the visual rock scene. D’s “Ouka saki some ni keri” is my pick for today. The contrast of Asagi manly vocals with his woman clothing is a perfectly example of why we love it the way it is. They do it with passion (or for money), and we love them for it, not because their sexual preference.
 
The whole pv setting is a love letter for their culture. And it is just one example, there is so many other bands with pvs with that scenary (and probably there is a “something-kei” for it too). The pompous and bold Glam Rock found it’s home in the japanese costumes and evolved into the coolest thing.
 
To be deeper into to sexuallity stuff we could talk about how Japan society potentially repress the sexual preference of their people in order to have things working “in the right way” and how the west really needs to “talk about it” and not let the individuals be themselves without pushing some agenda into your fuckin throat so it’s fuckin hard to understand these japs using lipsticks just because they like it, but that stress me too much so fuck it.

A easy example about how the looks don't necessarily reflect the person of a visual kei artist is the usage of the hakenkreuz by the earliests bands. We don’t see as much nowadays, but the SS caps always appears, sooner or later.
Of course that there was some classic japanese punk nationalism in some bands here and there, but core of V系 was about shocking after all. So, the imaginary of the nazism is aesthetic, therefore should be used. 
 
As @薔薇の末裔 pointed out, understanding Kabuki is a good way to understand this theatrical musical scene. 
 
Kabuki in its first days was a female theater, a more accessible branch of Noh. But it was just too sexy for that confucian society. “A woman's place is in the kitchen”, said the Shogun (or it was my dad last night?). And then, the boys took the place of the woman, doing woman roles. But the boys turned out into fuckboys. “Notto disu shitto agen”, said the Shogun. And then, old man were doing woman roles. “Hmm”, long and deeply said the Shogun. Keep in mind that everyone was killing everyone in the past sengoku century, so the Shoguns could not fuck around (ha).
 
“Ok, ok, And so what?”. Well, since being really sexy was not an option, the onnagata dudes started doing their own shit to emulate the woman sexyness. First come the fancy wig, then they started showing some little skin and so on. Little by little there was no more “man” or “woman”, but onnagata. A woman that no other woman could be. 
 
At that point, Kabuki without man doing female roles is not Kabuki. Visual kei without man doing female roles is not visual kei? I don’t think so, exist†trace showed their shit and we digged it hard. But I would say that is highly expected to see a man doing female roles in the visual rock scene. D’s “Ouka saki some ni keri” is my pick for today. The contrast of Asagi manly vocals with his woman clothing is a perfectly example of why we love it the way it is. They do it with passion (or for money), and we love them for it, not because their sexual preference.
 
The whole pv setting is a love letter for their culture. And it is just one example, there is so many other bands with pvs with that scenary (and probably there is a “something-kei” for it too). The pompous and bold Glam Rock found it’s home in the japanese costumes and evolved into the coolest thing.
 
To be deeper into to sexuallity stuff we could talk about how Japan society potentially repress the sexual preference of their people in order to have things working “in the right way” and how the west really needs to “talk about it” and not let the individuals be themselves without pushing some agenda into your fuckin throat so it’s fuckin hard to understand these japs using lipsticks just because they like it, but that stress me too much so fuck it.