saishuu

MELLO was amazing. I wish amonn would come back for real. ):

I like it a lot! Nakata needs to announce a date for this album already.

I like the previews for tracks 2, 4, 6 and 8. Count me as excited too.

Homura Uta (2002), Zekuu (2003) and Kuchiki no Tou (2004) are all worth a listen. Their pre-Homura Uta stuff seems to be widely liked too, but I'm not too familiar with those.

I think that I find my favorite ending tracks tend to be down beat, darker songs. They evoke the feeling on an ending.
D'espairsRay - Kaleidoscope

Girugamesh - Kowarete Iku Sekai

Lite - Arch

Mouse on the keys - Uroboros

Russian Circles - Memorial

school food punishment - tooku hako no naka

Also, I'm waiting for someone to mention Oz's Breathe Trees (though I don't necessarily agree)

One of the unnamed songs from their new album in full, as a theme for some light show (kind of okay quality + ends @3:33-ish)
 
Yeah, back to 2007-2008 I guess? x)

Here's a pic of a bunch of ex-key party bandmen.
 

Shinya be serving fish like crazy

Niiiice! I never listened to much of their stuff, but I looove what I've heard so far. Looking forward to salyu × salyu (!!!), STRAIGHTENER and downy!

Looking forward to listening to BONNIE, Shiina and Miliyah's covers. This should be interesting.

2014.11.12 sale
[CD] PECF-3106 ￥2,778＋tax
 
＜Tracklist＞
01 Return to Earth
02 溺れる鯨
03 開きっぱなしの扉か俺は
04 Message from the front
05 Gloria
06 ベルティナの夜
07 青い炎
08 Anomaly
09 Cry for the moon
10 風によろしく
11 Fortune Kiss
 

their LAST LIVE DVD "andymori ラストライブ 2014.10.15 日本武道館" will be released at 2014/12/24 (5,400yen), which will include complete scene of their last live at Nippon Budoukan at 2014/10/15
 

lol the delusion. "I think if he hasn't made the band BLOOD, you never knew J-rock".

Didn't use enough of that CRaZY*ShaMPoO to wash off the dad aroma 

^ or "NO SM ART"? lol

Artist: 陰陽座 Album: 風神界逅 (Fuujin-Kaikou) and 雷神創世(Raijin-Sousei) Score: I need new pants.
What band could possibly release a double concept album that eclipses their magnum opus? This band.

It may have taken them three years, but 風神界逅(fuujinkaikou) and 雷神創世(raijinsousei) are a monolithic compendium of Onmyouza's self branded youkai heavy metal. Translating to "Fuujin Against the Realms" and "Genesis of Raijin", respectively, these two albums together weave a saga about a war between the gods of wind and lightning. 風神界逅 is the more accessible of the two despite a bit of atmospheric self-indulgence, and is where the concept starts proper. Opener 風神(fuujin) sets a light, brisk pace with wood instruments which builds up into a small orchestra over two and a half minutes. A low rumble resembling thunder from the drummer tops everything off, lending a complexity unexpected of an instrumental introduction, and paves the way for the next few tracks.

Saying that 風神界逅 dominates from this point on is an understatement. Temper your expectations for aggressive metal and in turn be rewarded with the most creative rock music this band has ever written. Every single song is amazing. Tracks that kick serious ass are littered throughout 風神界逅, starting with 神風(kamikaze). A by-the-book melodic heavy metal number that cements the tone for the first half of the album, what it lacks in wow factor it makes up for in consistency. For the uninitiated, this is the first introduction to the sonic angel Kuroneko, the operatic, emotive front woman who nails every note from beginning to end. Her expressive vocals take center stage on every song she's in across both albums and shares singing duties with bassist Matatabi more than ever.

故に其の疾きこと風の如く(yue ni sono toki koto kaze no gotoku), 然れど偽りの送り火(saredo itsuwari no okuribi), and 飆(tsumujikaze) are just as aggressive as 神風 with impressive solos that push the album forward and maintain momentum. 一目連(ichimokuren) is notable for Kuroneko's enka performance, which adds a nice traditional touch and is a treat to hear her use. 無風忍法帖(mufuu ninpouchou) differentiates itself as the purest example of Onmyo's rock and roll spirit. The result of a band comfortable enough with themselves to experiment and have fun, it grooves hard despite breaking immersion. However, the album doesn't solidify it's position as one of the top releases of the year until it hits its climax at 八百比丘尼(yaobikuni). An eight minute progressive behemoth, few words exist to describe how beautiful this track is. A masterpiece that obliterates everything that comes before and after it, 八百比丘尼 starts with a tone suggestive enough to summon spirits and a distorted, hypnotic electric guitar which provides the barest of main melodies. Slow, deliberate buildup comprises the first three minutes, with elements weaving in and out repeated and rephrased as Kuroneko grips your attention for the entire song. Starting strong and improving as the song goes along, it picks up pace with the solo three minutes in. From there, the song starts taking shape, culminating in a second, more technical solo and an explosion of piano, violin, and multiple guitars at the apex. The song comes down from it's climax the same way it started, with the immediacy of the first few minutes replaced by confident resolution. If you listen to nothing else from this album, listen to this.

There is no lack of slower, more introspective moments on the album either. Ballad 雲は龍に舞い、風は鳳に歌う(kumo wa ryuu ni mai kaze wa tori ni utau) soars into the stratosphere while Kuroneko puts her opera training to good use. As far as the slower tracks go, this is at the top. Likewise, mid-tempo number 蛇蠱(hebimiko) follows 一目連 with pulsating bass, generous accompaniment, and a mesmerizing chorus that sounds like it came from a spell-book. Very reminiscent of 金剛九尾 era tracks, it surpasses them because it doesn't meander in it's own atmosphere. The album ends on an upbeat pop note with 春爛漫に式の舞う也(haruranman ni shiki no mau nari). It's almost become a tradition to end albums with the most accessible track of them all. If the depth, complexity, or traditional Japanese influence of earlier tracks weren't to your tastes, give this song a spin. It's at odds with everything else on the album, but fits in nonetheless.

If my glowing impressions of 風神界逅 were enough to get you curious, then it's time to blow your mind. 雷神創世 is the better album out of the two. It will go over much better with those desiring a more metal-oriented sound. Consistency is this album's strongest point. Every song uses the same batch of ideas, but Onmyouza synthesizes them in such a way such that they all are distinct and complement each other nicely. Contrast the ominous, brooding opener 雷神(raijin) with rocker 而して動くこと雷霆の如し(shikoushite ugoku koto raitei no gotoshi). The former ensnares the listener with weaving a thick Asian melody backed by hollow drums to produce an atmosphere that demands your attention. The latter has a guitar driven melody with a piano introduction and a notable guitar solo. Both songs feel like they're cut from the same cloth, yet they're on opposite ends of the album. This speaks to the amazing execution of the concept behind this album.

There isn't a moment on 雷神創世 where the music isn't charging ahead at full speed. Songs may feature the occasional slow melody break, but every song is as metal as this band gets. The party starts with the second track 天獄の厳霊(tengoku no ikaduchi), and from there it only gets better! The only snag is 人首丸(hitokabemaru). It's the first time Matatabi has done an entire song with only harsh vocals and no assistance of Kuroneko. He alone cannot capture the dynamic vocal range I've come to expect from Kuroneko, and some dimensionality in the music is missing. Not that 人首丸 is a bad track - it's just that every other track is better.

雷神創世 is the spiritual successor to 魔王戴天(Maoutaiten), and an alternative take on the sound scape explored by 2011's 鬼子母神(Kishibojin). Even the thirteen minute epic 累(kasane) - while not as impressive as 八百比丘尼 - weaves a tale so epic you can feel the emotion without needing to understand the lyrics. Kuroneko's trademark sinister laughter makes an appearance too! Standout tracks of 雷神創世 include 夜歩き骨牡丹(yoaruki kawarabotan), which sounds like a new take on an early Onmyouza sound, previously released single 青天の三日月(seiten no mikaduki), and ending track 雷舞(raibu). 雷舞 is the most straightforward, rock-and-roll album finisher from Onmyouza ever. Both Matatabi and Kuroneko duet the entire time with with an amazing amount of energy, and do a great job of engaging the listener right up to the very end. This is impressive when the album borders on two hours of content.

雷神創世 may be a notch above 風神界逅, but both take the spot as Onmyouza's best albums to date and get better with every listen. I have no idea what direction they will go after this and I have no idea how long it will take them to get there, but I'm ready anticipating something big. Onmyouza have made it clear that they are not done yet. Successfully pulling off a double concept album with only one song that was less than amazing, this is something every lover of metal, rock, operatic female vocals, or Japanese culture and music should listen to. In a year full of amazing music, these two albums sit at the top.

I've never seen any Jeepta songs translated into English, so I tried to do this about a year ago. Again, my Japanese is pretty bad, so I'd take some of these lines with a grain of salt.
 

 
日進月歩 / Steady Progress
 
Music and Lyrics: Taku Ishii
 
The beginning is always decided
A game of whack-a-mole where you always hit too late
When you’re doing nothing but chasing after something
It feels like you’ve entered a labyrinth
 
I got strangely worked up
What am I searching for?
What do I know?
 
We repeat a pattern of ups and downs,
It’s not smooth sailing
We explore fearlessly with trial and error, and improve ourselves
It’s only a small, small step
But it has an enormous, enormous meaning
Even if the immediate future is still dark
We’re always continuing to move forward
 
At some point, I lost sight of which way was forward, and my legs stopped moving
Because the route to the place that I need to aim for is one where I’m free to choose,
Should I start blazing my own trail?
 
Every day, every night, we’re advancing
The future where you pass through your goals is all yours
 
We’re rushing forward with all our might
Running wildly every which way
Groping around in the dark over and over again, trying to grab hold of the light
It’s only a few thin, thin rays of light,
But they become a wide, wide road
Even if the immediate future is still dark
We’re always continuing to move forward
 
We repeat a pattern of ups and downs,
It’s not smooth sailing
We explore fearlessly with trial and error, and improve ourselves
It’s only a small, small step
But it has an enormous, enormous meaning
Even if the immediate future is still dark
We can only keep moving forward
 
日進月歩 / Nisshin Geppo
 
Hajimari wa itsumo kimatte
Gotegote no MOGURA-tataki
Oikakete bakka itara
Meikyuu ni haitta kokochi
 
Myou ni kiotte shimatta
Boku wa nani o motome nani o kokoroeru?
 
Bokura wa isshinittai kurikaeshite
Junpuumanpan ja naku tte
Shikousakugo o shimakutte
Jibun o migaku
Tatta no chiisai chiisai ippo datte
Dekai dekai imi ga atte
Issunsaki ga yami datte
Taezu susumi-tsuzukeru n datte
 
Itsukara ka docchi ga “mae” ka o miushinatte ite
Ashi ga tomatte shimatta
Mezasu-beki basho e no RUUTO wa jiyuu sentaku dakara
Chotto kaitaku shiyou ka
 
Higoto yogoto ni ue e to nobotte
Koeta saki no mirai wa subete kimi no mono
 
Bokura wa isshoukenmei tsuppashitte
Uousaou shimakutte
Anchuumosaku kurikaeshite
Hikari o tsukamu
Wazuka na hosoi hosoi hikari datte
Futoi futoi michi ni natte
Issunsaki ga yami datte
Taezu susumi-tsuzukeru n datte
 
Bokura wa isshinittai kurikaeshite
Junpuumanpan ja naku tte
Shikousakugo o shimakutte
Jibun o migaku
Tatta no chiisai chiisai ippo datte
Dekai dekai imi ga atte
Issunsaki ga yami datte
Taezu susumu shika nai n datte
 
Kanji:
http://j-lyric.net/artist/a0537e8/l01f7ef.html

It still saddens me how DJ had such a great peak with Visions and azure back in 2005/2006 and then just forgot how to write memorable and creative songs. This new album is actually alright, probably their best original output since those two releases (2009's [REVIVE] is obviously the best, but it's a re-recordings album). Days, Sunset Riot and SLIP FROM MY HANDS are good songs though.
 
As boring as it may sound in 2014, Lapidary is still their best.

It still saddens me how DJ had such a great peak with Visions and azure back in 2005/2006 and then just forgot how to write memorable and creative songs. This new album is actually alright, probably their best original output since those two releases (2009's [REVIVE] is obviously the best, but it's a re-recordings album). Days, Sunset Riot and SLIP FROM MY HANDS are good songs though.
 
As boring as it may sound in 2014, Lapidary is still their best.

It still saddens me how DJ had such a great peak with Visions and azure back in 2005/2006 and then just forgot how to write memorable and creative songs. This new album is actually alright, probably their best original output since those two releases (2009's [REVIVE] is obviously the best, but it's a re-recordings album). Days, Sunset Riot and SLIP FROM MY HANDS are good songs though.
 
As boring as it may sound in 2014, Lapidary is still their best.

Hoping for more stuff like Daidai:
 


(forgive me, I'm really excited about this)

Hoping for more stuff like Daidai:
 


(forgive me, I'm really excited about this)

yass @ that Litwick cosplay

I'm not much of a gamer at all. I just own a Nintendo 3DS to play Pokémon and some random other stuff. Marked "Nintendo DS" too because I also have one to play older games with.

I'm not much of a gamer at all. I just own a Nintendo 3DS to play Pokémon and some random other stuff. Marked "Nintendo DS" too because I also have one to play older games with.