nitta

Sorry but I couldn't help but think "You would not berieve your eyes, if ten mirrion firefries" 

I think they're just playing the instruments. probably they didn't write any songs.

The town I lived in when I was in Japan was actually JDA's home town (Hirakata) and on a hike, my friend and I stumbled across a shrine. We walked around and saw a wall full of ema (wooden plaques that people write their wishes on), which is super common at shrines. I'm not entirely sure at what the etiquette is for reading them, but just by glancing, I saw a vast majority of them had JDA's name on them. I'm guessing they were wishing for their return. I'm not a fan of them or anything, I just thought this would be a cool story to post for those who were fans.  

Do you think Janne Da Arc will ever be active again ?
By the time I lose hope I see one of their members make a guest appearance somewhere with Janne Da Arc name still between brackets with no ex-.
So what do you think ? I really miss them.

Shinya aged into a nice old woman.

At a glance the artwork looks like an edgy Unknown Pleasures.

Miss Moonlight ?!! 
It is unlikely, but I hope it's a kuroyume cover

except SIXTH SENSE though, that was pure gold.

PIERROT teaser wasn't live. 
I listened to studio version of that song A LOT. That was the studio version.

PIERROT teaser wasn't live. 
I listened to studio version of that song A LOT. That was the studio version.

your presence is no longer needed here, please leave

Tomorrow in Japan!!!!
 
 
who's excited?????????????????????

the optimist in me is lowkey wishing he'd just mail out blank cd-rs with some exclusive hide cheki and a handwritten "yes. THIS is the new album. i've been messing with y'all for that many years now #deal_with_it" notes and some not-for-retail-sale yoshikitty candy to make pownage less poignant but i'll keep waiting for actual confirmed tea ofc
 
 

https://1drv.ms/v/s!AvKt65J9QYgSuj3_v_6L7o0QkiGQ

the god and death stars will release their new single「その家から漏れる匂い」(sono ie kara moreru nioi) on 16th July 2017.
3 songs, 1800￥
 
 

what a dickmove

I've enjoyed most of their post-reunion material to some extent, sure, it's not as good as their pre-hiatus stuff (although that 'Janai' mini-album comes close imo) but it's still got plenty of influences from genres i REALLY like, so its p much impossible for me to hate it lol

Well whoop-de-doo Basil!
Ironic how the cover is just Yoshiki standing below the word "We" - must mean him and his ego.

Wait... if their singles collection is called "it isn't a singles", does that mean that "it isn't a last gigs" is a last live?

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!
 
 

I'm listening to the Nakigara wo tape rip that was uploaded here recently, which you should go download if you haven't done so already, and it's healthy to be reminded every now and then how incredible this band was. Fuck d'erlanger, x japan and the whole lot, nobody was playing music like this. Outside of the odd Luna Sea track like Shade, there's no instances of any other band at the time conjuring this kind of darkness and depravity. The sound of this album has been ripped off on a regular basis for over two decades now. Kuroyume invented visual kei and I pay no heed to any other opinion on the matter. They realised the sound that everyone else had only flirted with at the time. 

loving this avantgardeous self-cover!! 
 
hope to see their two next albums, CREATIVITY and ORIGINALITY, announced soon after.

Let me guess. He's pregnant.

most of the indie Band guys have side job somewhere. May it be as Host, in a Convini or somewhere else. They just can't affort living with the band alone.
Some, but that's probably the lowest percentage have parents who help them out.