sai

Augie's correct. The album will be released in Japan and on Japanese iTunes on 19.06.2013, but the album will be released in other countries both physically as digitally in October. I wonder why only October, considering they probably don't have to translate much lyrics (seeing as as far as I heard from the previews everything is in English). Then again, I don't really know the process of something like this.

Everything about VK makes me angry


But mostly the entitled white girls mincing around in horribly tacky lolita fashion thinking their shit don't stink because they listen to music made by a bunch of yellow perils in drag.

2014 for Versus? Too early, 2018 at least.

Recently, Gackt's Mild and Wild Bests. I mean, really? We had like 3 compilation albums since 2009! We had no albums since RE:BORN and he releases a lot of new B-sides and new singles in two CDs! And the special editions have PVs! Really, we had Red and Blue DVDs, couldn't we get something like that?

I'm not liking this at all.. Hope it's not a representation of what the rest of the album sounds like because I'd be really disappointed...

2014 for Versus? Too early, 2018 at least.

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whegdstfv is this i cna’t breatttheeeeeeeeeeeeeeeeeee shiiiiiiiiiiiiiiiiiiiiiiiiitttttttttttttttttttttttttttt imshititng right noooww im gonnanathrow upppp
 
 

 
 

 
(I’ll probably have a serious one on my “serious blog” in the next week or so tho).
 
 

More like dysfunction and megalomania.

I don't know any of the songs listed, but I do know most of the artists. Apart from BIG BANG, they don't really stand out to me.
 
1. DEAD END - 虚無を超えて
2. Plastic Tree - あバンギャルど
3. UVERworld - SPARTA
4. トクマルシューゴ - Decorate
5. Kagrra, - 闇に散りけり…
6. AYABIE - 善悪の彼岸
7. 凛として時雨 - a over die
8. Boris - Statement
9. アルカラ - はじまりの歌
10. NoGoD - Downer's High
 
Most songs I like on here (some I forgot about lol) but of course Shugo wins. This one is one of my favourites of his most recent full-length.

Alright, I guess this has derailed for long enough. Let's get back to the topic at hand and leave the 90s VK vs. current VK for elsewhere (or just make a new thread for it).

My bets are on: "the new album will be revealed in 2047 because at that point we've probably found a way to bring hide back from the dead. If not YOHIO will be our new guitarist."

After listening through the whole thing twice (which wasn't as easy as it sounds, but I will get to that later) I decided I'd drop a review here as well. All GazettE fans beware, this is not going to be pretty.
DISC 1
Disc 1 actually started with a really good SE. It had a kind of dark atmosphere that reminded me of DIM's SE's and I suppose that's a good sign. Unfortunately the rest of the disc fell in its vain. Most tracks sound very similar to eachother, and it doesn't really help that you have two guitarists playing the exact same riffs which hardly creates a good melody. Hedoro had its moments (as a blatant HEADACHE MAN rip-off, that is) but the rest was forgettable. Still, it was nothing horrible on a TOXIC level and for that I have to somehow praise them, even though it's obvious they have no ideas left whatsoever. The bass and drums that should be carrying the rhythm don't do their job, as Reita is hardly audible on this entire album. Kai's drumming doesn't add much either. Also guys, there is something that you call "guitar tuning". Use it.
6/10
DISC 2
The main problem with this disc was me not being able to get through it twice. On an initial listen I thought some parts sounded cool, but when giving it my full attention I realized how incredibly bad this is. Reita skipped the recording sessions, there is no melody whatsoever because you have the two guitarists once again play the same riffs and the synth that could also help with the melody is just making random bleeps here and there. Add some autotune with that and you have yourselves something that was so bad that it didn't even make TOXIC. No matter how much they call this a DIM inspired disc, I don't hear it apart from the obnoxious heavy songs that have stolen parts from songs like OGRE and HEADACHE MAN (one of these tracks had the exact same breakdown as HEADACHE MAN had). The electronics do nothing to the songs but annoy me either and the autotune is just not well placed and very disturbing.
3/10
Overall: 4.5/10. I said everything there needs to be said. So that's why I'm now going to do a track-by-track review in gifs. Because I am bored like that and I have already given a long and plausible reason why I think this album was pretty damn bad.
DISC 1
DEPTH

歪

籠の蛹

ヘドロ

影踏み

余韻

[DIPLOSOMIA]

DISC 2
[XI]

DERANGEMENT

REQUIRED MALFUNCTION

DRIPPING INSANITY

ATTITUDE

GABRIEL ON THE GALLOWS

[MELT]

First post in this thread, blame CAT5 for sort of bringing me here I'm basically trying to find what I like within non-VK, but there's so much to try that I've gotten a bit lost and gave up altogether. I'm secretly hoping you guys can help me find some nice stuff, because I like getting different recommendations from different people! Here's a list of artist I've discovered already and what I liked, to help you a bit in your recommendations. I highlighted my favourites:
 
- Ametsub
- Boris
- ESNO
- LAGITAGIDA
- M-Koda
- nego
- ONE OK ROCK
- school food punishment
- アルカラ
- 凛として時雨
 
I know, still a very short list...but I'm working on it! I hope you guys will be able to help!

| Well at least you tried a little more.
 
So after writing a rather positive review on Alice Nine's new single, a terribly unfunny review of a rather depressing release couldn't be left unpublished. I am very sceptical about the new 12012. I wasn't a big fan of their music before they lost their main composer, but when he was still around there were plenty of individual enjoyable songs that got a definite spot in my music library.
 
When I heard the previews for this mini-album I slowly started to gain hope. The PV totally ruined that image, but that left aside, I had somewhat promising expectations when trying this mini after the shitfest that was their self-titled and CUNNING KILLER. Obviously, I was wrong.
 
身千切りの莟、奇しくも恍惚の桜 is a progressive track that sounds pretty nice up until the 2:40 mark, the rather annoying chugging left aside at some parts. However, when 2:40 kicks in, I just cringe. The heavier section did not match the feeling of the song, was completely unnecessary and Wataru still doesn't know how to properly use harsh vocals. Luckily this section is rather short, so I am able to forgive them for that. If you look past the few irritations this track has, it's fairly enjoyable. They actually seemed to have tried on this one.
 
DEICIDA OF SILENCE was not much different from the average track on their self-titled, apart from the fact that they at least tried a little harder than on most of the formerly mentioned tracks. What I noticed in this mini-album is that the heavier sections always start at around the same point in the song, regardless of length. That falls more into the category of shitting out the same song five times in a row...not cool. Whatever happens at 2:00 I don't even know. Whether he's having a seizure or trying to summon the dramatic overlord Xenu I'm not sure of, but I do know for sure that even though it matches the song it just doesn't sound very healthy. That single section destroys anything slightly decent that the song had.
 
CHABOO-CHABOO was one of my least favourite previews. I don't have much to say about it, it's a typical metalcore song with bad harsh vocals, countless chugging and the overly annoying CLICKCLICKCLICK.
 
夢喰い was my favourite when it came to the previews. It starts and ends very well. The focus is more on the melodic parts than on trying to sound overly heavy and brutal...until once again they think it's necessary to incorporate a heavy section into a song that doesn't NEED a section like that in order to sound good or give it a darker feeling. I get the feeling that 12012 is convinced that they can't make "heavy" songs without having to put in countless amounts of chugging, blastbeats and awful grunting. And with heavy I mean dark songs, strong guitars...like drone, basically. Correct me if I'm wrong, please, I'm not an expert. Anyway, this would've been a great track and probably the best one on the mini if only they would've let that heavy section out. But like with the first track it's fairly short, so I'm willing to forgive them and look past it...again.
 
DOOR TO THE SKY has the same problem as 夢喰い has, misplaced metalcore elements. Overall it's decent with good parts here and there. The thing with these tracks is that you can hear on what parts they actually tried and on what parts they were like "how do we continue this? I don't know, let's just chug and abuse the bass pedals for around 30 seconds and then we'll be able to close it off without having to do anything remotely interesting."
 
12012 still hasn't found their way in their new direction and I don't think they will for the upcoming time. I just hope they realize they can also do the style they want to go for without overabusing the same elements time after time. It's not as bad as CUNNING KILLER or their self-titled, but in all honesty, that's not very hard. I hope at least some people will be able to enjoy this release though.
 
--------
SILLINESS BEYOND THIS POINT, BEWARE!
 
SO. I said this was going to be unfunny. As I'm still slightly torn on the fact I didn't get a flawless victory for my DIVISION review, I'm going to give a brief review of this mini-album in gifs. I am bored once again and my explanation on why I thought this mini wasn't very good has already been written down.
 
身千切りの莟、奇しくも恍惚の桜

 
DEICIDA OF SILENCE

 
CHABOO-CHABOO

 
夢喰い

 
DOOR TO THE SKY

I was going to say "VK-only" at first, because if there is one part within the Japanese rock scene that rips people off the best, it's Visual Kei. However, on request I broadened it to all Japanese rock music. Here's the idea:
 
What would you call the biggest crime or rip-off within the Japanese rock scene? The way VK bands release tons of types and only give you the opportunity to get all songs when you buy all those types? The fact that most limited editions only contain a PV DVD and come in jewel cases without any sort of extras? The live-limited releases that are impossible to get? The tendency of some artists to fill half of their album with already released songs? Why do you think it's a shame and a financial crime? Rant to your heart's content!

I secretly expected this thread to have popped up already (because Augie usually starts Alice Nine review threads), but since it hasn't, I figured I'd open up a review thread for the second instalment of Alice Nine's 3 month-consecutive single releases.
 
I liked DAYBREAK for what it was, a more mellow side of Alice Nine that successfully showed their progress as musicians. It wasn't their best, but it was a nice single. When I heard Shou would be the one composing the A-side for SHADOWPLAY, I was a bit worried. Shou has only composed one track for the band so far and that one is one of my least favourite Alice Nine A-sides of the past few years. Needless to say, Shou really outdid himself on this one.
 
SHADOWPLAY is a song that I'd put in line with their GEMINI album. It's a bit difficult to get into at first, but when it hits, it HITS. The piano in the background was a nice add to the general feeling of the song and doesn't mindlessly play in the background as some songs usually tend to have. It's a vital part of the song and I love how they incorporated it. The guitar solo is probably one of the best solos of theirs I heard since GEMINI and the general atmosphere of the song is just very epic and powerful.
 
Scarlet is a song I hadn't heard before but apparently has been played live before the release. Scarlet matches the atmosphere of the A-side. It's dark, more distorted and overall rather powerful. The bass shines in this song, and listening to it really gives you the idea that they really thought this through. I personally prefer SHADOWPLAY over Scarlet, but Scarlet is still a good song. The guitarwork after the solo is the best part of the song in my opinion, it really shows how well Hiroto and Tora can blend together.
 
My final rating for the single:
 

 
I prefer it over DAYBREAK, and I'm really excited for their third single now!

I secretly expected this thread to have popped up already (because Augie usually starts Alice Nine review threads), but since it hasn't, I figured I'd open up a review thread for the second instalment of Alice Nine's 3 month-consecutive single releases.
 
I liked DAYBREAK for what it was, a more mellow side of Alice Nine that successfully showed their progress as musicians. It wasn't their best, but it was a nice single. When I heard Shou would be the one composing the A-side for SHADOWPLAY, I was a bit worried. Shou has only composed one track for the band so far and that one is one of my least favourite Alice Nine A-sides of the past few years. Needless to say, Shou really outdid himself on this one.
 
SHADOWPLAY is a song that I'd put in line with their GEMINI album. It's a bit difficult to get into at first, but when it hits, it HITS. The piano in the background was a nice add to the general feeling of the song and doesn't mindlessly play in the background as some songs usually tend to have. It's a vital part of the song and I love how they incorporated it. The guitar solo is probably one of the best solos of theirs I heard since GEMINI and the general atmosphere of the song is just very epic and powerful.
 
Scarlet is a song I hadn't heard before but apparently has been played live before the release. Scarlet matches the atmosphere of the A-side. It's dark, more distorted and overall rather powerful. The bass shines in this song, and listening to it really gives you the idea that they really thought this through. I personally prefer SHADOWPLAY over Scarlet, but Scarlet is still a good song. The guitarwork after the solo is the best part of the song in my opinion, it really shows how well Hiroto and Tora can blend together.
 
My final rating for the single:
 

 
I prefer it over DAYBREAK, and I'm really excited for their third single now!

Can you guys not do this here and take it to PM? Thank you very much.

THANKS NUMBER GAY. I'M GOING TO PUSH YOU OFF A CLIFF AND INTO A GIANT PAPER SHREDDER
 

tbh, you're all penis wrinkles

UR GAHT-DAYUM STRAIGHT WE ARE

DO YOU THINK THIS IS A MOTHERFUCKING GAME

COME AT ME BRO

DO YOU THINK THIS IS A MOTHERFUCKING GAME

Finally!!!!!