Mr Bacon

My 2 cents. There's two ways of obtaining rarez:
 
1) Trade with traders, foreign or Japanese. Japanese traders are total asshats who think they're better than everyone, period. If you have no rarez of your own you can't get into this game.
Then there's foreign traders, most of the ones I know are, like Tokage said, nice people. The reason why they don't want to share their stuff? Mostly it's because if their stuff gets spread onto every corner of the web they lose their connections with their trader buddies since they didn't keep it to themselves. It's a nasty world but that's how it works, sorry.

2) Buy stuff yourself. This is how I got most of my rarez. I have some stuff I know a lot of people are interested in but trust me, if you pay €50 for like 3 songs that sound like they're recorded through a toaster you wouldn't feel that entitled to share it with the rest of the internet either, unless you poop money in your spare time or something. I don't, so yea.

Does Wataru choking a woman count?

A lot of people seem to confuse deep and low. Someone can have a deep and high voice(Ai, Yomi etc) or a light and low voice(Taama from Roach). Kyotarou as mentioned before just has a light and high voice, but raw. Not deep or low at all.
Sugar's Loki has a low range, and a deep voice so he would count.
Linda from Tokyo Heroes has a relatively low voice, but not really deep(but definitely not light!).
Unsraw's Yuuki has a deep but high voice.

Hi!
 
I kinda went away, and now I'm kinda back

FRY UP THAT BACON BRO...

oh hey welcome back, it's been a while

Welcome home, Master.

Hi!
 
I kinda went away, and now I'm kinda back

Hi!
 
I kinda went away, and now I'm kinda back

Hi!
 
I kinda went away, and now I'm kinda back

Welcome back

Hi!
 
I kinda went away, and now I'm kinda back

Does Wataru choking a woman count?

session band "ヨルクライム(yoru crime)" will change to new band after their live at Takadanobaba AREA at 2016/03/20, although new band name has not yet been finalized
 
"ヨルクライム(yoru crime)" members:
Vo.Juri (ex-DELUHI)
Gt.酒井洋明(sakai hiroaki) (12012)
Gt.じょん(john) (ex-TOKYO HEROES-->Sel'm)
Ba.Aggy (ex-DELUHI-->Garson)
Dr.KAJI (ex-REIGN)

inb4 John leaves this new band

Undercode Productions Presents: The Fake Hospital Swindle
 
also that whole fiasco with Himitsu Kessha Codomo A's drummer

This was the first CD I bought from my own money, still own it.

 

And this was the first one I bought by myself.

They traded in a name you can't google for a name you can't remember!
 
Diggin' the new song though.

A lot of people seem to confuse deep and low. Someone can have a deep and high voice(Ai, Yomi etc) or a light and low voice(Taama from Roach). Kyotarou as mentioned before just has a light and high voice, but raw. Not deep or low at all.
Sugar's Loki has a low range, and a deep voice so he would count.
Linda from Tokyo Heroes has a relatively low voice, but not really deep(but definitely not light!).
Unsraw's Yuuki has a deep but high voice.

..........I do this sometimes hahahahahaha That's how DWP came in to my life, randomly bought 6P.
 
People also fail to realize that 90%+ of VK bands are not trying to sell to you at all. You're not going to their lives and buying like 20 chekis until you get the right one, multiple copies of CDs for instore privileges, etc. Live limited releases are a make sure your fans come and buy your release directly from you(more money for the artist, they don't have to split with CD shop and distribution), especially if they haven't heard it and if they like downloaded it somewhere and they thought it sucked, then they're definitely not going to come to your live and purchase a copy.
Live limited releases are fair game as well on auctions, if you think about it this way, I just spent 3500yen on a ticket to go buy this 1500yen single, add in transportation, etc. You're looking at more than 6000yen, compared to the 3000yen they're asking for at auction.
If you love the band enough, you will always find a way to get a release. Even if it takes years.

That's by far one of the most common defenses for sharing. The reasoning goes along the lines of: 1) sharing is bad; 2) however sharing has some good consequences; 3) therefore, on balance, sharing is ok insofar as the good consequences outweigh the 'wrongness' of the act.
I can't agree with this argument because it falsely casts sharing as the precondition for people to find out about new bands and presumably become interested in buying CDs. Some users say that well yeah it's 2015, so filesharing is inevitable (which is true, although its inevitability has no bearing on whether it's the right thing to do). What these people also fail to point out is that precisely because it's 2015, the ease with which a band can advertize themselves and raise awareness of their music, and the extent to which this has already been done, is unprecedented. On the consumer end, it used to be the case that the only way to get to know a band is to rely on word of mouth, rent CDs from Tsutaya (or your friend), or low-quality illegal rips on the Internet. Fast-forward to 2015 where there's Youtube and Twitter and Facebook. Most bands today upload previews for their releases way before they go on sale, and some even upload the full title track and PV in 1080p. Like Owl mentioned there's even Trombe's news for all of us who don't know Japanese or are too lazy to scour Twitter. It's ridiculous to think people who still buy CDs make purchases by randomly taking a stab the dark and find new favorites by buying arbitrary releases from new indies bands they haven't heard. So the more pertinent question for me is: are these materials not sufficient for one to make informed judgments whether a CD is worth buying? If they are, then it's untrue that without filesharing the vk band will fail to gain appreciable reach to international audiences. The alleged "good consequences" credited to filesharing can now be achieved through numerous other means. If no, then said person probably won't buy the release even if someone shares a rip with him/her--in which case this entire position collapses into a poor excuse for not paying for a commodity one desires. It's surprising how some people cheerfully ignore the potential of these social media avenues for supplanting piracy as convenient (and hopefully morally more acceptable) ways to know about a band, but are always more than happy to adduce their emergence as rather dubious 'evidence' of how piracy is now ok "because it's 2015."
I also have issues with the third premise because the problem of magnitude is tricky. It draws all our attention to the miniscule gain in sales the band enjoys from the handful of people who, apparently, couldn't make up their minds whether to buy their CD after watching the band's youtube preview and had to listen to the FLAC to make their final decision--and sweeps under the rug all the losses in sales that band suffers as a consequence of this. Even if we grant that not everyone who downloads free music would have bought the music had it not been available for download, it isn't difficult at all to weigh the scales; for if it's indeed the case that piracy benefits the band in the purported way, we'll have to seriously wonder why bands bitch about illegal downloads every few days. As such it's probably less appropriate to think of the inadvertent losses incurred as some kind of 'collateral damage' that accompanies the larger good of getting international fans to buy music, than it is to conceive of the small gains in the latter group as being incidental to the harm piracy inflicts on overall band sales.
Anyway, before I'm accused of being hypocritical: obviously I'm one of those who download sometimes since I can't afford to buy every single CD I want to listen to (nor can I find all of them), and I've have been complicit in sharing a fair bit of my music. Honestly I don't think the situation now is ideal because there are a lot of things vk bands (and the industry in general) can do and should be considering to mitigate the problem. So there's still work to be done. All I'm just saying here is that I'm not convinced by the usual self-righteous rhetoric that attempts to justify unregulated filesharing, and hopefully fans can endeavor to do a little more to support their favorite bands.
Tl;dr: The pseudo-utilitarian argument of 'small harm is justified because of bigger good' fails because (1) the good can be brought about, or at least reasonably approximated, via other less damaging ways today; (2) it's highly suspect if the harm is in fact smaller than supposed good.

I don't see why it's so hard not to respect the band's wishes.
 
It's their music, not ours.
 
Some bands don't care, others clearly do.
 
Music should not be free, it's the product of their hard work, and should be treated as such, a product that in order to enjoy/obtain, pay the money you're supposed to.

First it's useless to rely on people honesty. One person is enough to upload a release.
 
But the moral part here that you shouldn't upload stuff if the band you respect ask not to.
 
Yeah it's 2015. Discovering bands has become easier. Every band has website and most of them provide previews of upcoming releases so you can decide if you wanna buy it.
Thanks to @Trombe we can learn a lot about newly formed bands and their release dates. Try, decide, buy.
And yeah music isn't free. It's weird to see how people claim something they want to be free should be free for real. Music is intellectual property and the result of efforts put into it. So no wonder bands are pissed when their releases are shared. I would've be pissed too if my ideas or results of works were shared to everyone besides my will.
Yeah it's hard to get your hands on every release and buy everything, but I think people should support bands they like.
 
Strange that noone spoke about Nocturnal Bloodlust yet.

Maybe they'll play some Acmahead songs, since they were both in that band?

deadman - there's nothing i can say to properly explain how brilliant they were. their disbandment was a massive loss to the scene and i still feel the hole today, but at least aie is active in some amazing bands. and i wont speak on my bias for mako because it'll be a long rant long story short he needs to come back (again), his guest appearance at the hollowgram live wont suffice!!!
 
RENTRER EN SOI - the band wrote their best material towards the end of their career, so considering they disbanded at what i consider to be their peak is a massive slap to the face
 
D'espairsRay - i love despa, never really liked monsters all that much but i still have room for their music in my heart regardless of the direction they would have taken (but if they were to continue making music i dont think it would have ended up very well so im a lil conflicted)
 
9GOATS BLACK OUT - ryo's hollowgram is a big bag of shit, uta's work in sukekiyo doesnt touch 9GBO and hati is too good of a bassist to be inactive so theres no choice but to reunite for the greater good of visual kei and mankind
 
amber gris - IDGAF IF ITS BARELY BEEN A WEEK THEY NEED TO RETURN
 
(not a band but whatever) i wanna see yuina (ex. blast, lamiel) to return to VK
 
sugar - they were consistent throughout their career and the interplay between the members was really electric, also their dark nagoya goth sound meets jazz is something that hasn't been replicated
 
merry go round - yeah the members are old men rn and hideno is probably nowhere to be found but the pairing of hideno+kazuma made for bizarre and very interesting tunes so i'd like to see them come back because VK needs that kind of energy rn
 
cocklobin - phenomenal+consistent, they had quite a few styles in their arsenal and all were executed so well, plus it was iori at his best which is clearly lacking from femme fatale LOL. im also kind of partial to nigu's vocals even if he sounds like a walking caricature of aki's voice