Spectralion

Easy 
 
 

These guys could release 4 hours of whale calling and I would be on board.

quoted from Mikaru:
 
I'm another one of Mikaru created in Mikaru.
I will return to the hell of the devil empire.
End as Mikaru of Dio.
See you after a thousand years !!!
You cannot wait ?
To such a person, I will send the invitation to hell concert.
I will continue to sing in hell.
Let's meet in Death in land !!!
Good Bye !!!
 

so... i'm a fetus.
 

Mahiro wears Tengu's clothes and thoe blue balls on Ishiki's forehead is supposed to be tarantula eyes I think... 

SET-LIST at 2016/05/14:
 
01.独裁
02.Puppet Show
03.硝子の海
04.CARRY DAWN
05.day after day
06.GOD forsaken～僕は君の着飾った身体を共有する世界の隣人などでは無い～
07.抱いて眠れ絶望
08.Silence of Sorrow
09.白夜ニ燃ユル花
10.HAUNTING
11.INSTRUMENT OF HELL
12.Final Call
13.不在という現実絵
14.抒情成せるも唯唯生きて在ればこそ
15.COMA GOLD～The God Dead～
 
EN1
01.雪華
02.last dance
03.Lord's Prayer
04.断頭台は誰が為に揺れる～汝、我は全能の者也～
 


 

Seriously though, look at these beauties.
 

 

 

 

 

 

In celebration of the album's 10-year anniversary, Japanese rockers Boris are re-releasing the album in a new deluxe edition, featuring a second disc full of unreleased tracks recorded at the same time as Pink. In addition, the band will embark on a headlining tour where they will play Pink in its entirety, featuring Earth as support.
Check out one of the new songs, entitled Are you Ready? here:
https://soundcloud.com/sargent-house/boris-are-you-ready
The complete tour dates are as follows:
Boris:
07-22 San Diego, CA - The Casbah *
07-23 Phoenix, AZ - Crescent Ballroom *
07-25 Dallas, TX - Trees *
07-26 Austin, TX - The Mohawk *
07-28 Ybor City, FL - The Orpheum *
07-29 Orlando, FL - The Social *
07-30 Atlanta, GA - The Masquerade *
07-31 Asheville, NC - The Orange Peel *
08-01 Nashville, TN - Third Man Records *
08-03 Carrboro, NC - Cat's Cradle *
08-04 Washington, DC - 930 Club *
08-05 Brookln, NY - Warsaw *
08-06 Philadelphia, PA - Union Transfer *
08-07 New Haven, CT - College Street Music Hall *
08-09 Boston, MA - Paradise Rock Club *
08-10 Montreal, Quebec - Bar Le Ritz P.D.B.
08-11 Toronto, Ontario - Lee's Palace
08-12 Cleveland, OH - Grog Shop *
08-13 Grand Rapids, MI - Pyramid Scheme *
08-14 Chicago, IL - Metro *
08-16 Madison, WI - Majestic Theater *
08-17 Minneapolis, MN - Fineline Music Cafe *
08-18 Lawrence, KS - Granada Theatre *
08-19 Denver, CO - Bluebird Theater *
08-20 Salt Lake City, UT - Urban Lounge *
08-22 Seattle, WA - Neumo's *
08-23 Portland, OR - Wonder Ballroom *
08-25 San Francisco, CA - The Fillmore *
08-26 Los Angeles, CA - The Regent Theater *
08-27 Las Vegas, NV - Hard Rock Hotel *
* with Earth
-http://www.sputnikmusic.com/news/36104/Boris-reissue-Pink-tour/
 
i'll be attending the toronto date, pink is fuckin' badass (im just here for farewell and just abandoned myself tbh)

Tracklist:

Numinöse
Ⅰ. 哀悼 (Aitou)
Ⅱ. Pairidaēza Lost
Ⅲ. Blind Gold
Ⅳ. 棘と艶 (Toge to Tsuya)
Ⅴ. 苦海 (Kukai)
Ⅵ. 目醒めの未視感 (Mezame no Mishikan)
Ⅶ. Heat Haze
Ⅷ. 銀の砂漠 (Gin no Sabaku)
Ⅸ. Saints Ideal
X. 祷りの星 (Inori no Hoshi)
Ⅺ. 残滓 (Zanshi)  
眩き展望 (Mabayuki Tenbou)
1. 幽玄の誘い (Yuugen no Izanai)
2. 憂き世 (Ukiyo)
3. 夢現 (Yumeutsutsu)
4. 暗礁 (Anshou)
5. 幕間劇 (Makuaigeki)
6. 餞 (Hanamuke)
7. Subliminal Sunrise
8. 有終の美 (Yuushuu no Bi)
9. 弛まぬ霊の相続 (Tayumanu Tamashii no Souzoku)
10. Mellow Sleep
11. 微睡みの魂 (Madoromi no Tamashii)
 
  | 2016's first 'must have'.
 
After Vidya and a slew of experimental singles, it’s a fair assumption to say that most fans were surprised at the speed in which IX -Nine- released their first album. The fact that this would actually be a double album certainly piqued my interest. Following the same stylistic shift that followed Vidya, IX -Nine-‘s latest release is a veritable platter of progression. Evolving from Vidya’s use of traditional instruments and ethereal vocals, Nirdvandva integrates electronic elements to their trademark sound, as well as a sprinkling of industrial, classical, trip-hop and EDM. This culminates in a varied album, appealing to both fans and newcomers. While songs like "Blind Gold" have that familiar atmospheric, even viscous IX -Nine- denseness to them that fans will love, others such as "Saints Ideal" could easily be radio-worthy and a more welcoming invitation for new listeners.  
While there is something here for everyone, there are times when the album feels too experimental, with sections seemingly added to tick off another genre from the hitlist. While the orchestral section of "暗礁" comes across as a tad bombastic, for example, the shifts between rock, metal and dancepop in "Heat Haze" come across as awkward, making for a jarring listening experience. This also seems to permeate into the second album’s tracklist, with a noticeably sporadic flow due to the number of instrumental tracks peppered throughout.
 
In spite of this, Nirdvandva otherwise shines in its experimentation. Previous singles "Pairidaēza Lost" and "Subliminal Sunrise" are a testament to the band’s skilful utilisation of electronic elements, whereas "餞" easily intertwines Eastern instruments with beat samples, leading into a full-on EDM rave. Despite some hiccups, IX -Nine-‘s ability to integrate new genres into their music and still make them their own is interesting to say the least and an effective way of keeping new and existing listeners hooked.
 
Nirdvanva’s first side, Numinöse, is a beautifully crafted album. As with Vidya, the atmosphere and emotions created by tracks like "棘と艶" are both haunting and palpable. The echoing piano that reverberates throughout the track is characteristic of most of the album. This is often punctuated by minimalist drumming, melodic guitarwork and beautifully-employed string instruments. "苦海" and "目醒めの未視感"  are perfect examples of this, utilising large, vocal-free chunks of their play time to enthral the listener with such instrumentation. Dripping with emotion, the majority of this album welcomes you to simply sit and listen, analysing and appreciating each song’s intricacies.
 
That’s not to say that this is not an accessible album, however. "Saints Ideal" is a great example of how IX -Nine-’s electronic additions entice new listeners through more modern approaches. With fluid movements between catchy electronic music bordering on Oshare Kei and surprisingly heavier passages, this song is a welcome addition to the library of most Visual Kei fans. Similarly, "祷りの星" dances between attention-grabbing piano sections and drum-fuelled flurries highlighted by vocalist IX‘s first use of harsh vocals. A new avenue for his vocal work, this is yet another song on the album showcasing his abilities. Throughout most of Numinöse his ethereal voice is the highlight, moving from effortless high vocals to haunting softness. The minimal nature of songs like "Blind Gold" and "Pairidaēza Lost"  allow for his plaintive delivery to affect the listener, demanding their attention. For the melancholic atmosphere of this album, IX’s voice is perfectly suited for the job.
 
In contrast to the delicate nature of Numinöse, the majority of Nirdvandva’s second side, 眩き展望, is dark, even menacing. With a focus on Eastern instruments, tracks like "幕間劇" and "幽玄の誘い" are markedly different from those found on Numinöse. Not dissimilar to Dir En Grey’s "Sa Bir", they show an entirely different side to the band whilst retaining that palpable atmosphere. Eeriness is peppered across 眩き展望, with an emphasis on traditional instruments ("憂き世" as an example) and ominous chanting ("夢現" and "幕間劇") to generate a presence almost. Like Numinöse, this album strives to be as evocative as possible, often resulting in vibes that are characteristic of Akira Yamaoka’s music. His mantra of silence also being a sound is seemingly employed across the entirety of Nirdvanva, with haunting vocal-less passages having just as much weight to them as the album’s many emotional choruses.
 
This oppressive atmosphere gives way to many displays of musical catharsis in the album, however. "弛まぬ霊の相続" shatters expectations by progressing into a straight up rock number, despite its opening. Previous single "有終の美" has a wonderful ebb and flow between acoustic and electronic instrumentation, punctuated with some fantastic drumming. This leads nicely to the drumming in "暗礁" which takes centre stage, literally hammering away the darkness at the start of the track via a sporadic and attention-demanding flurry on the skins.
 
Admittedly 眩き展望 is heavy on the instrumental tracks but each song is a worthy addition to the band’s library. "Mellow Sleep", for example, utilises that signature IX -Nine- atmosphere to create a pseudo-lullaby before leading into a powerful close. As with the EDM ending to "餞", the shredding guitars of this song’s climax is unexpected yet welcome. Like the rest of Nirdvandva, everything feels new yet familiar.
 
IX -Nine- have come a long way in their budding career, with a staggering amount of quality songs released in a short space of time. Nirdvanda proves that IX -Nine- are far from a one-trick pony and that they are a band who is willing to diversify whilst still retaining their trademark sound. Despite a few hiccups, Nirdvandva is a musical journey and one of the few albums that are truly immersive. With an array of new genres, themes, and atmospheres under their belt, I’m more excited than ever to see where their next release takes them.
 
 
 
You can nab this tasty fella here-
http://number9.buyshop.jp/  

Here's some great riffs we've been digging recently
 
HaKU - gravity
 
 
 
 
 
girugämesh - patchwork
 
 
 
 
 
Luna Sea - Storm
 
 
 
 
MIYAVI - "Selfish love –愛してくれ、愛してるから– (Selfish love -aishitekure, aishiterukara-)"
 
 
 
 
L'Arc～en～Ciel - HEAVEN'S DRIVE
 
 
 
 
RADWIMPS - 会心の一撃
 
 
 
 
deadman - 盲目の羽根と星を手に (moumoku no hane to hoshi wo te ni)
 
 
 
 
  Thanks for reading!
 

I got new glasses last week! My first brand glasses by Tommy Hilfiger haha. I love these so much, they are so huge compared to the ones I previously used! I wasn't even supposed to buy myself new glasses, but the shop had a sale and everything was -50% off...
 

it is announced at Develop One's Faculties one-man live "O.S.N.F" at Takadanobaba AREA at 2016/05/06 that their new maxi single "斑(mura)" will be released at 2016/07/13 (1,500yen)
 
[track list]
01.斑(mura)
02.100年前からこんにちは(100nenmae kara konnichi wa)
03.この世界が嫌いな人へ(kono sekai ga kirai na hito e)
 

Original blog post here:
https://blog.vellumatlanta.com/2016/05/04/apple-stole-my-music-no-seriously/
 
 
TL;DR: Apple Music might upload your local music files to their servers, encode them to AAC 256 kbps and remove the local copies.

Welcome to the biggest surprise of 2016 so far.  If anyone asked me a few years ago which j-rock artist do I think will dabble in the djent genre of metal, I'd probably say Dir en grey or Gazette, but Satsuki? The guy with the angelic voice and less than brutal growls?  And yet here we are with one of his two March 19 releases, Apocalypse. This is a four track EP, the other, Eclipse, is a fuller 9 tracks. But for right now we're dealing with Apocalypse, the heavier of the two releases. 
 
It opens with "Reincarnation", a moody intro that gives off a vibe of a dystopian post-apocalyptic society, then it leads into the title track, which is a surprising take on bands like Meshuggah, Tesseract, and Periphery. The riffs are thick and chunky, but there are hints of haunting melodies buried beneath the chaos. Then Satsuki's trademark angelic vocals come in and it almost feels like home. 
 
But then "Burning Out" comes in and we hear Satsuki's new and improved harsh vocals. A vast improvement over his slightly perturbed Cookie Monster vocals in Rentrer en Soi's final live. Satsuki clearly got some coaching on how to growl correctly. 
 
The EP ends with "Revelation", a track that could have fit in on the latest Meshuggah album. Satsuki (and the band) seem to understand how djent works, and I'm pleasantly surprised at how well it's pulled off. Great syncopated grooves and head nodding riffs. 
 
The only problem here is the production (which also applies to Satsuki's other release "Eclipse", but I'll get to that another time). Again, everything is mixed too loud. I listened to this via high quality streaming on Tidal with Sennheiser ear buds, and it all just sounded flat and lacking in dynamics. I shouldn't have my phone volume at less than half way and it sounds like I've got it full blast. This will always be a pet peeve of mine. 
 
Overall I'm pleased, especially since Satsuki's solo career has been less than impressive, merely cranking out toothless and nondescript J-pop/rock ever since RES disbanded. Here's to hoping Satsuki has finally found some direction. 

I started reading Junji Ito's 'Uzumaki' today. I've never been so transfixed and horrified in all my life.  

What the fuck is this?! 

Interesting review of lyrics/music combo!
 
I want to post my thoughts soon too.
For now though,  
Polished and nice sounding, but boring and all over the place.
Pretty accurate track listing though, by the 3rd song I'm checked out.

it is announced at 己龍(kiryu) one-man live tour "彩霞蓋世" tour final at TOKYO DOME CITY HALL at 2016/04/24 that their new full album "百鬼夜行(hyakkiyakou)" will be released at 2016/06/29 (3 TYPE)
 
 
btw they will hold their one-man live tour "百鬼夜行(hyakkiyakou)" since TSUTAYA O-East at 2016/06/29 and up to tour final at Nippon Budoukan at 2016/08/29