Spectralion

| One of the best GazettE albums in recent memory.

I can't believe it's been three years since DOGMA. It feels like I just finished roasting it for being the "most underwhelming album of the year" and "ARCHE, Iowa-era Slipknot, and a quarter of DIM shoved in a blender and served cold". To be fair, most of my criticisms came from how stale and similar all the songs felt; the result of going a bit too far in the metalcore direction. Ever the perfectionists, it seems that the band actually addressed all of my complaints with NINTH. By combining the dark and heavy nature of DOGMA with the electronic rock explored with TOXIC and DIVISION and the retro "Gaze-rock" style of BEAUTIFUL DEFORMITY, The GazettE have succeeded in delivering an experience that mixes old and new sounds. NINTH won't win you over if you don't like the direction of the last four albums. If you took more of an issue with the execution of those concepts, than this is what you've been waiting for since DIM.
 
It's been a while since I feel comfortable recommending an album of theirs. NINTH is an easier and more engaging listening experience than DOGMA, with smooth, slick, and balanced production. I don't understand the criticisms of "muddy production" because I don't hear it. I even pulled out my good headphones - the Sennheiser HD600s - and plugged them straight into my Logitech speakers to pluck out minor grievances with the mix and it sounded better that way. This reaches a level that visual kei music can rarely afford to reach. Ruki has advised fans to get great audio equipment to experience each album to the fullest, but I think it's more true now than before. The songs are also arranged very well and flow into each other, and I can't recall a single jarring stylistic transition. All of these elements together makes every song an attractive listening experience. There's also the absence of several elements which used to drag down prior releases: the lack of standout tracks, filler, and clumsy Green Day-ish all English punk songs that stick out. The GazettE cut the fat out of this album in a way I wish Dir en grey could.
 
An album can still have highlights even when it's consistently good. I can't end this review without naming my favorite tracks. The first would be "その声は脆く", a rock ballad which starts on an unassuming note before effortlessly sliding into a thick, melancholic atmosphere. It even has a (short) twin guitar solo, a staple of rock songs I've been missing from their music lately. The follow-up track, "Babylon's Taboo", creates the best one-two punch on NINTH. I could be convinced that this is a heavier take on an unreleased 9GOATS BLACK OUT song. "Falling" is the de facto single of the album, receiving the first music video to push the album, and there's a damn good reason why. "The Mortal" is another track that deserves a shout out for mixing some of NIL-era flavor in the chorus with DOGMA-style riffs in the breakdown, and serves as a great summary for the journey the album takes us on. If The GazettE were still releasing singles, this would have been the second one.
 
NINTH makes a strong argument for keeping a low profile until an album is complete. Visual kei bands can capture my attention with rapid fire single releases, but that makes it harder to impress me with an album of familiar content. NINTH wouldn't be as impressive if they gave us previews and teasers months or years before it was done. I hope other bands are taking notes. If you haven't already, put some cash towards this worthy album. It will be favorably remembered for years to come.
 

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| How does a band that delivers the same music for over 15 years defy expectations?
 
Like DEATHGAZE and lynch., 陰陽座 (Onmyouza) is that type of band that sticks to their guns and delivers the same style of music with each release. Also like DEATHGAZE and lynch., 陰陽座 (Onmyouza) is the kind of the band that won't do much to change your mind, no matter how many times they come knocking at your door with a new sales pitch. When I was a J-music novice, I thought being one-dimensional was a bad thing because I rated diversity much more highly than I probably should have, mostly due to the way many visual kei bands use diversity as a musical condiment. What is more important to me now is that a band delivers every time they announce a new song or album. While the two visual kei bands I mentioned earlier haven't been the paragons of consistency, 陰陽座 definitely is. There's not an album in their catalog that I would consider sub par - this is impressive with a career spanning almost twenty years and fifteen albums - and their newest album, 覇道明王, continues that trend.
 
I'll take the time now and say that if what you've heard in the past has done nothing for you, just listen to the first track "覇王". If that does nothing for you, you are free to go. I have nothing to say that will change your mind. If, however, you have never heard of this band before or "覇王" actually caught your interest, then welcome to what is perhaps the most metal album ever. This feels like, but also far outstrips, 2007's 魔王戴天 (Maoutaiten). 覇道明王 has zero chill, and from the opening piano chords of "覇王" to the fading guitar of "無礼講", 覇道明王 has the potential to keep you hooked without wanting a pause. Unlike past albums, there's no token seven minute ballad to bore you to sleep, or attempts at infusing disparate genres like pop punk and classic rock into their distinct brand of heavy metal. It's straightforward, punishing, rewarding, and everything I never knew I really wanted from this band.

Whenever I finish the intoxicating experience of listening to a new 陰陽座 album for the first time, I always wonder how the next one will surpass this one. They don't always manage to raise the bar, but they never completely shit the bed either. The last four albums in a row have consistently impressed me, but I don't think there's an album of theirs that's clicked as quickly as this one. Unfortunately, I cannot give it a perfect score because I believe it's a tad overwhelming for an initiate to sit through without wanting a breather. However, I'm confident in recommending this album to anyone that likes metal with subtle Japanese flair, dual female and male vocals, or just wants something new to listen to. This is as good of a place as any to jump in if you are unfamiliar with this band.

 
 
 

samples are out x
https://youtu.be/mOJPG0pEUSQ
 
First track has been finalized as Confession -Awakening of Genesis-
The exclusive tracks on each edition have been finalized:
Limited edition track 5: Ancient Resonance
Regular edition track 5: Behind
 
CD cover jackets:

 

I can't recognized Chisa at all! 
 
Bring it on!
Ready for Zero One 2.0

lmao i solemnly swear i'll write out the extended Satsuki drama in the rumors section or something for y'all after my exams next week, but the very very short story is that he was accused of extorting and threatening the 5 fans he had in Japan post-RES until they turned on him. he has by far the worst reputation of any bandman except maybe the dude from Egoist... legendary kusomen

"OBSCURE" is one of the most graphic and notorious music videos ever crafted within visual kei, catapulting the band back into the spotlight after a sudden stylistic shift sent their fans into a frenzy. It's famous for both its shock value and its strong anti-abortion stance. Abortion isn't a dinner table conversation in any country, but I've always sensed that there's an extra level of taboo attached to this topic in Japanese circles. So naturally, Dir en grey went the extra mile with some of the best CGI 2004 could buy. Is there some actual meaning behind this imagery, or is it all shock value?
 
Watching it back now, this video isn't as extreme as a younger, more impressionable me thought. I discovered that there's mostly memorable segments, but most of the video is the band rocking out in a dingy room with bodies hanging from the ceiling. These also are the least offensive parts of the video too, unless you have a particular hate for vomit, leather, or white contact lenses. And if you do, how are you a visual kei fan? Anyway, the room resembles a hospital or a jail, although it's probably the back of an old fishing warehouse. There's nothing else to really discuss here.
 
I tried my hardest to weave together a story that makes sense. The closest I can get is depictions of their anguish over this topic and how it's treated, which could be all they were going for. The main scenes cycle throughout the course of the video, and each of these scenes seem unconnected to the others. To sum it up: there's a demon orgy, robot cocks, a monk ripping a baby's head apart covered in ofuda screaming to the Lord of Light, a dissected half robot/woman creation on a table with a mad doctor, circus performers, depictions of the band as monsters mutilating themselves, and of course the infamous demon geisha eating the apple baby head. The meaning of some scenes are obvious: the orgy depicts sexual irresponsibility, the circus is about how the topic is treated as a joke, and the doctor and robot is supposed to resemble abortion and the act of playing god.  Several elements appear in different contexts, such as the geisha and baby heads. The woman on the table is shown as not in control of her body, the doctor with the huge forceps symbolizes the invasiveness of the procedure, the ofuda which covers the monk is meant to ward off evil, and the constant depiction of monsters and demons is meant to associate abortion with bad omens. The rest of this music video is pure shock value and there's no real meaning to anything.

One thing I should mention before wrapping this up is that Dir en grey threw some serious shade at men in this music video. During the orgy scenes, the women have bare faces but the men are all covered with masks. I have several interpretations of this. One parallel I immediately noticed was to (surprisingly) porn, where it's all too common for the woman's face to be visible but the man is a secondary figure, and videos are associated with the woman and not the man. On a deeper level, it's also commentary on the unequal burden pregnancy puts on women. The men literally "don't see" what happens when they orgasm (hint: the women stop enjoying the orgy and start bleeding out their mouths with pained expressions on their faces), they don't have to deal with it, and they can carry on not caring, mouths transfixed in a smile. I dug deeper into the whole mask angle, and discovered that in Japanese mythology, oni masks refer to the belief in a spirit world in which demons carry out their roles of punishing the unjust and evil, as well as spreading disease. Double dip on the whole "spreading disease" = "venereal disease" bit if you want, but I don't think it goes that far. I think Dir en grey feel that men who do this and don't care are literally demons and worse than the women, but clearly the whole eating the baby's head idea also associates certain kinds of women with demons too. The band themselves aren't exactly human either, with Shinya's deformed body and Kyo's lovely tentacle mouth, so perhaps the band thinks everyone is a demon and that everyone is responsible?

As far as PV's go for visual kei bands, this one is near the top in terms of effort and production values, even for today's standards. I'm sure there's more left to be discussed. What do you think?

Mahiro said Hanasigure so many times it  sounds like new pokémon's name 

hi!! i know it's almost march, but in the spirit of "tradition" here are my end-of-year lists, which i've almost forgotten to do if it weren't for some friends who have been asking  
 
as the title of this post implies, here are the releases i enjoyed most from 2017 without staking any claim for them being the "best." in fact it's likely that you'll either love most of them or hate all of them as i have scant patience for artificially padding my lists in some vague interest of showcasing "variety."
 
there are 3 lists in total: top 10 albums & mini albums, top 10 singles, top 10 limited releases (i.e. distros, live-limited, digital releases, etc.) i apologize for not having time to write comments for individual releases as i used to, but i'll be delighted to know your thoughts if you have any (either specific or general) so feel free to leave a comment below <333
 
 
Top 10 Albums & Mini Albums
 
In this list I omitted best albums or compilations of sorts. I figured this is the only way to avoid a situation where the list is dominated by a bunch of disbanding bands pitting their entire discographies against one another (glamhaze, BLESSCODE, Astaria, BLaive, etc.) which is frankly quite ridiculous. This also means, sadly, that Purple Stone's album is out, even if i fucking love it ;_;
 
overall this is the weakest list among the three. there were a lot of releases in the bracket that ranges from 'enjoyable' to 'very good' but there wasn't one that really blew the rest out of the water. and yes, i potentially hear shouts of 'is this even vk??' but i'm not about to wade into that debate lol. btw shin is sexy, yup
 
 
 
Top 10 Singles
 
as always this is where all the competition lies. GARAK'S, Acephale, DEVIZE, Dangan no LIMIT, IGGY, LAVANS, CLOWD, Jack+MW all put out releases that didn't make the list but had songs that i'd be happy to loop on end for a couple of weeks.
 
 
 
Top 10 Limited Releases
 
aka "the great depression." honestly, making this list every year is always an emotionally draining experience. this year is without doubt the worst: of the 10 bands here, only 1.5 survives today (anfiel, and sheepsleep in their new lineup without kairu). everyone else is gone T____T still, i continue to do it because a lot of bands here are particularly close to my heart and i think of this as a way of paying tribute to how huge a part these bands/bandmen have played in my life. #1 here is also #1 of the year for me.
 
 
 
thank you for reading/listening!!  
 
 

In celebration of Monochrome-Heaven's 10th Anniversary, we've decided to hop in our musical time machine and take a look at some of the important, classic, and downright pivotal J-rock albums of 2007! Below you'll find albums that left a significant impression on us as fledgeling J-rock fans and albums that impacted the fandom at large. So let's put on our nostalgia-goggles and take a look, shall we!!?? 
 
9mm Parabellum Bullet 
Termination

Alongside the likes of ling tosite sigure, these guys were one of the most hyped bands amongst the J-indie fandom at the time - and with great reason. On this album, 9mm crafted the perfect blend of explosive indie rock with elements of punk, hardcore, and metal - creating a sound so dynamic and fresh that even their naysayers couldn't deny it! TERMINATION was only their first full-length album, but it's responsible for inspiring an entire generation of successive bands with an influence that's still palpable to this day. Sadly, 9mm descended into utter mediocrity after this release, but this remains one of the few albums that I'd consider flawless, and it's widely regarded as a classic by fans.
-@CAT5
 
girugamesh
girugämesh

Few albums I have listened to in their entirety as much as girugamesh’s 2007 eponymous release. The 45-minute epic strips the soul bare - from the dynamic opener “Patchwork” to the heart wrenching “Kowarete Iku Sekai”, girugämesh brought out an unmatched explosion of creativeness from a group of friends that, despite barely breaking into their 20s, had given their all into music. It is a quality seldom heard in VK today as they channelled all of their aggression, elation, desperation, pain and longing, relishing the listener in girugamesh’s world of raw emotion where each song held meaning and every individual tune stuck to memory.
 
This is certainly one of the albums that not only epitomized 2007, but defined girugamesh for me. For many of us, bands like girugamesh catered to our angst-ridden adolescence, as we threw away our childish inclinations while gravitating toward the darker side of VK. And it was partially thanks to this album that gave me the faith to continue following them throughout their tumultuous latter years and see their career to their end, finally gaining closure with their swansong “period” that took them back to their formative roots.
-@helcchi
 
bis
Believe in Style

If girugamesh represented the transition into the dark side of visual kei to the generation that were growing up in the 00s, bis held tight to that childhood naïveté as they remained frozen in time, echoing sounds of a bygone era of oshare kei.
An ode to eternal youth, Believe in Style is an endearing Summer album that embodied all the stupid things we did when we were young and all the fun we had - free of consequences and responsibilities, as well as the bitterness we held towards growing up.
 
“Start”, “DAYS” and “SEASONS” were the quintessential high school anthems that perhaps started many people's venture into j-rock, brimming with youthful energy, catchy tunes and an attitude ready to conquer the world. It certainly seemed that success would come easy with the bright-eyed popular young band shooting their way to the top of the indies charts, yet bis’ world was painted through rose-colored glasses. And like many young bands trying to gain their footing in an adult world, the fun was short-lived and they disbanded way too early. Believe in Style would be their first and only full-length album, however not before leaving us with heartwarming memories.
-@helcchi
 
D'espairsRay 
MIRROR

Perhaps the only album I personally covered that sounds just as good today as it did ten years ago, MIRROR is one of the defining visual kei albums of the '00s. Every time I think of the mysterious cover, the riff to "Trickster" starts playing in my mind and Hizumi's crooning is like a harpoon that gets stuck in your head and can't be removed. It's funny to imagine how divisive this album was when it came out because it sounded nothing like [Coll:set], but in retrospect I might consider it the most approachable D'espairsRay album that still maintains the darkness I love them for. There's also bittersweet sentimentality talking, as this is the release which marks the point of no return for many fans.
-@Zeus
 
Eksperimentoj
Eksperimentoj

Having garnered a good amount of clout from the highly regarded band Dhal (a side-project formed by Aoki Robin of downy), vocalist Eugene Wakamikoto's first album with his own band Eksperimentoj was certainly a release of great interest back in 2007. In a lot of ways, Eksperimentoj sounded something like a spiritual successor to downy (who were on hiatus at the time and would remain as such for another 6 years). Eugene wrote and sung the album entirely in English, yet he sounded almost identical to Aoki Robin, and musically, the band played a gloomy, atmospheric style of post-rock that was aesthetically in line with downy as well. Though in spite of the similarities, Eksperimentoj still occupied a space of their own. Unfortunately, this was the only album they ever released, yet it's singular to this very day.
-@CAT5
 
HIZAKI grace project
Dignity of crest

Released on New Year's Day of 2007, HIZAKI grace project's first album was significant for me as it ushered in the second wind of my VK fandom, which is still kickin' today. I was delighted to see an old face, Juka (ex-Moi dix Mois), combined with some great neoclassical guitarwork and subtle tinges of MALICE MIZER (dat harpsichord in "Philosopher") that brought me back to when I first learned of VK in 2002. Virtuoso guitarists HIZAKI and Teru went on to form Versailles and Jupiter, but I still come back to Dignity to crest fairly often, as it showcases some of their best riffing.
-@fitear1590

Ling tosite sigure
Inspiration is DEAD

Ling tosite sigure (who were still being referred to as 'rin toshite shigure' by western fans at the time), had to be the most exciting band in Japanese indie at the time. Here you had a demure indie rock trio playing music with the technical prowess and ferocity of a death metal band, and their creativity seemed to know no bounds. Even if you found the vocals grating or annoying, you couldn't deny the Ling's ingenuity. Hell, before I grew to appreciate them, I found myself simply captivated by all of TK's insane riffage alone. Coming from a band so talented, and so obviously inspired, Inspiration is DEAD seemed like a statement - a dig against all of the bands who were content to tread the status quo instead of breaking new ground. And that's exactly what Ling did with this album, as they continued to do for years to come. Inspiration is DEAD remains a fan-favorite to this day, and as the band's final indie release, it's one of the most raw and unkempt records they've put out - a far cry from the polished, formulaic, and generally diluted music they've been producing lately.
-@CAT5
 
LOSTAGE
DRAMA

Just a year after LOSTAGE dropped the classic PLAY WITH ISOLATION, they returned again with this spectacular release. DRAMA took all of the emo-tinged indie rock of the previous album, but accentuated it with hard rock elements which resulted in a fresh and powerful new sound for the band. In fact, you could argue that this is the album that set the tone for the rest of the their career, as the style they crafted here is one that they've continued to hone throughout every album since. Truly a highlight in LOSTAGE's discography and the year 2007 alike.
-@CAT5
 
MERRY
M.E.R.R.Y.

After ten years, M.E.R.R.Y. still remains as one of MERRY's most memorable albums due to the band's versatile sound, which consisted of distorted punk rock with jazzy elements, groovy melodies, and some tender ballads. The singles included are "Blind Romance", "Saihate no Parade (最果てのパレード)", and the tender "Komorebi ga Boku o Sagashi Teru (木洩れ日が僕を探してる・・・)", which all remain as fan-favorite tracks today. In fact, 2007 was around the time of MERRY's prime, as the band had already been signed with major label Victor Entertainment for 2 years, and they had already performed overseas for the first time a few months prior to the album's release. Personally, the album has some of my favorite MERRY tracks ever, including "Utagoe Kissa 『MODERN』 (歌声喫茶『モダン』)", the catchy and melodic "Hirahira Tonderu. (ひらひらとんでる。)" (whose PV was directed by FULL of GUNIW TOOLS), and dat sweet bass solo at the start of "Coq d'or mama (コックドール・ママ)".
-@suji
 
nayuta
solar ribbon・solar children

Never heard of this band? No worries - most people hadn't heard of this band ten years ago either! In fact, nayuta is so obscure that only some of the most hardcore J-indie enthusiasts that I know have come across them, as this album wasn't released widely and almost no information can be found on it today. Still, despite their stature, nayuta has to be one of the best kept secrets of the J-indie scene, and this album is one of the best that you've never heard. On Myspace (yes, Myspace was still a thing in 07), they used to describe themselves as 'Underground hardcore parade music', and while that's actually pretty apt in a weird way, it doesn't do them justice. There's a definitely a hardcore element to their music, which is further emphasized by the rough and noisy production quality, but the band makes creative use of melody while maintaining the beauty of it. Add in some sublime male/female vocals and you have a sound that's as chaotic as it is charming. solar ribbon・solar children may be a hidden gem, but it's well worth excavating to wrap your ears around.
-@CAT5
 
OGRE YOU ASSHOLE
AlphaBeta vs. Lambda

If bands like Ling tosite sigure and 9mm Parabellum Bullet were dominating the aggressive side of Japanese indie in 2007, then on the opposite end of the spectrum, OGRE YOU ASSHOLE were the kings of slacker rock. The band already an album and a mini-album under their belts at the time, but Alpha Beta vs. Lambda truly solidified them as an indie rock force to be reckoned with. Characterized by laid-back grooves, smooth vocals, colorful riffs, and tight instrumentation, OYA carved out a delightful sound on this album that many younger bands like mitsume and siamese cats have aimed at, yet have never quite been able to hit. Hell, even the band themselves have never been able to live up to the sound they established here - and they've released eight albums since!
-@CAT5
 
Plastic Tree
Nega to Poji

2007 marked the 10th anniversary since Plastic Tree's major debut, and to pay all their efforts for making it that far, they decided to release the groundbreaking and jaw dropping album that is Nega to Poji. It was a major turning point for Plastic Tree, throwing away the old and bringing out new ideas. Nega to Poji as a whole laid out such a unique charm that if you listened to one song out of the album context you'd instantly recognize the Nega to Poji sound; the dreaminess, the grungy guitars, and Ryutaro's less childish to mesmerizing vocals. Honestly, there really is no bad track on the album as they all give it a perfect balance, except for old, but newer versions of tracks like "Spica", "Makka na Ito", and "hate red, dip it", that might feel like extras to some. I do admit however, that the new "hate red, dip it (loudest sound version)" flows well with the rest of the album. You've got the dreamy "Nemureru Mori" as a tranquil start, the pumping "Fujunbutsu" and "Elegy" to amp up the noise and energy, the heavy "Sabbath", which is possibly their heaviest track other than "Ghost", some impressive drumming in the melancholic "Kuroi Kasa", and the beautiful and heartbreaking "Andro Metamorphose" that received huge debate for copying Mew's song "Comforting Sounds", yet is still loved by most, if not all pura fans. I remember playing this album on heavy rotation the day it released. It was one of the best things I heard at the time and is still an absolute favorite of mine, which I'm sure many fans can agree with as well. Hell, there's even a whole studio version of the album on DVD from the limited edition. 
-@plastic_rainbow
 
RENTRER EN SOI
The bottom of chaos

It's not the album that springs to mind when I think of classics, but THE BOTTOM OF CHAOS is the album I think of when I think of Rentrer en Soi. The sound of a band successfully reinventing themselves to fit the hype sound of the time while still retaining their defining features and simultaneously progressing is as difficult to pull off as it is to describe, but for the most part THE BOTTOM OF CHAOS does this successfully. The album hasn't aged as well as I would have hoped - the production sounds thin, the growls are weak, and the best moments are segments of tracks spread over the whole affair rather than one or two solid songs - but when the entire package is this consistent it's still fun for a spin. Give this one a try if you want to know what fans a decade ago thought the tops in heavy music was.
-@Zeus
 
school food punishment
air feel, color swim

school food punishment debuted with their first mini-album school food is good food back in the spring of 2007, instantly turning heads as one of the new, promising indie bands on the block. Some people were even quick to compare them to Spangle call Lilli line - one of the most prominent female-fronted indie bands of the time. However, It wasn't until later that year with the release of this album that sfp really began to come into their own. The groovy, upbeat power-pop of the tracks like "you may crawl" and "art line" were basically the prototypes for what would become sfp's signature sound later on in their major label years. While the moody and dramatic "loop, share" was like a precursor to the band's 3rd mini-album Riff-rain, which came to be widely regarded as their best work when it dropped the next year. Still air feel, color swim is an important release that marks the development of a band that later grew to become iconic in their own right.
-@CAT5
 
Shiina Ringo
Heisei Fuzoku

Shiina Ringo is a legendary figure in Japanese music, hands down. With her gigantic and diverse discography, it can be quite overwhelming to start digging in. While I started with her most famous albums 勝訴ストリップ (Shouso Strip) and 加爾基 精液 栗ノ花 (Kalk Semen Chestnut Flower), I wasn't officially 'sold' on her until heisei fuuzoku. The album, which was arranged with the help of Neko Saito and served as a film OST, is a collection of self-covers and new tracks (like "Gamble"), all with a sumptuous orchestral/jazz/big band sound. The reinterpretation of "茎 (kuki)" as a sultry jazz number is particularly unreal. For anyone not quite ready for Shiina's pop-rock or more experimental side, heisei fuuzoku is another great entry point to her oeuvre.
-@fitear1590
 
the GazettE
STACKED RUBBISH

2007 might have been the last year I was flat-out head-over-heels in love with visual kei. Great albums and band debuts were happening left and right, its popularity was growing, bands were touring internationally, and people were still allowed to post fan-made content on YouTube (or am I the only one missing hilarious fanvids?). One of my most played albums that year, and probably my most played GazettE album ever, was STACKED RUBBISH. Not only did the singles leading up to the album kick ass, but just about every B-side from them was just as good in their own right, and it's no surprise some ended up making it to the final cut. The album enveloped the singles perfectly too, with just the right amount of variety between upbeat clap-alongs like "ガンジスに紅い薔薇(ganges ni akai bara)" and "SWALLOWTAIL ON THE DEATH VALLEY" and GazettE's classic, bitter aggression in tracks like "BURIAL APPLICANT", "MOB 136 BARS" and "CIRCLE OF SWINDLER". A light sprinkling of Ruki's new-found 'hip hop' influence also gave the album a dose of intrigue, as it opened with the questionably titled and unintentionally hilarious "ART DRAWN BY VOMIT" as well as the unforgettable did-he-really-just-say-fuckboy? engrish in "AGONY". Whether it's for a good laugh or a good headbang, STACKED RUBBISH's epic-ness needs to live on forever in VK infamy. Yes I did probably link the entire album, fight me.
-@doombox
 
Tokyo Jihen
Variety

Let's take a trip back to the past when Tokyo Jihen was saving jazz and Shiina Ringo was still relevant. Believe it or not, Tokyo Jihen's third full-length  娯楽(バラエティ), pronounced Goraku, turns ten this year! Feel old yet?  I would consider 娯楽 to be the black sheep of their discography, mostly due to everyone but Ringo composing music for this release. 娯楽 includes seven tracks from guitarist Ukigumo, five tracks from keyboard player Ichiyo Izawa and one composed by bassist Seiji Kameda. Drummer Toshiki Hata was also asked to contribute, but he declined. There's nothing wrong with it, but when it comes time to name drop Tokyo Jihen tracks, my mind often does not wander here.  娯楽 is best known for lead singles "O.S.C.A." and "キラーチューン" (Killer-tune), and  "金魚の箱" (Kingyo no Hako) which became the theme for the film 魍魎の匣 (Mouryou no Hako), but my personal favorite song is "黒猫道" (Kuroneko-do). It ended up selling 175,000 copies and was certified Gold by the RIAJ.
-@Zeus
 
trico
MUSICS

Sometimes brilliance goes overlooked because it's found in the most unexpected places, or in trico's case - a place that wasn't even on the radar for most. 2006 saw the release of the band's first album, but it was just humdrum enough to be negligible. They hadn't become a band that you'd hear readily flying off the lips of J-indie fans, so it made sense that Musics went by barely detected when it dropped the next year. I'm not sure what transpired in the time between these two releases, but trico had clearly become inspired in the interim. As opposed to downy, who were far left-field, and sleepy.ab, who were perhaps a bit too poppy, trico managed to hit the perfect stride of Radiohead-inspired rock, while also forging their own identity. With Musics, the band remained highly accessible while keeping things interesting. They took some interesting creative liberties, employing unusual sounds and subtly progressive arrangements, yet never became overly-experimental or self-indulgent. This was a short but fantastic mini-album, and it's a shame that this was trico's last proper release. I would have LOVED to hear what else they could have gone on to produce!
-@CAT5
 
 Versailles
Lyrical Sympathy

Many of these tracks have been revisited and re-recorded in many releases by Versailles, which should indicate just how influential this release is. The Revenant Choir  was the first release, but Lyrical Sympathy is what opened the door and introduced the band to the world. Classics such as "The Love from a Dead Orchestra" and "Sympathia" are among many fan favorites, and it's always refreshing to hear a power-metal band take a few trends and buck them. Actually, there are only one or two tracks here which haven't made a reappearance because they've even recycled the intro track! A decade ago when I first stumbled across Versailles, I never thought I'd have the opportunity to see them grow and come this far. Lyrical Sympathy holds up if you approach it from an ideas perspective, but as far as execution goes it's a diamond in the rough that I enjoy with the thickest rose-tinted glasses I can find.
-@Zeus
 
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Liked our list? Disagree with our list? Did we miss anything? Feel free to leave your comments below, let us know what you think, and let us know what albums you found remarkable that have turned 10 this year!  

Ru:Natic x Insanity Injection x Glamscure collab single samples are up!
 
 

Better late than never! Here's the newest batch of recommended tracks from the amazing ORZ team! 
 
Check them out and let us know what you think!
@tetsu_sama69's Pick
"PM:500" by ラッコ(LACK-CO.)

I really don't know why it is that LACK-CO.'s ballads always seem to hit me in the right spot. "PM5:00"  is definitely a track to be noted (if you can look past their drummer's current visual style) with its strange power ballad styling. It's very easy to get swept away by the tidal wave of guilt and depression, leaving you stranded in a sea of psychosis emitted perfectly though tenten's vocals and the bands messy but perfect instrumentals. Granted the rap segment of the track seems very awkward but it fits for me since it feels more like the ramblings of a man questioning his choices in life. Unfortunately, since I am not fluent in Japanese, I can't translate what is being said, only what is being musically expressed and LACK-CO. definitely know how to compose a robust track that can't be categorized as something "stereotypical". I really look forward to the release of their first album 『弱肉教職』 (Jakuniku Kyoushoku) , as it's hard to predict how it's going to end up. But if it's spiced up with a track like "PM5:00", then it's sure to land a place on this year's favorites list.

 
@helcchi's Pick
"お邪魔します" (Ojamashimasu) by まみれた (mamireta)

Mamireta have brainwashed me. This song is a drug. From the unnerving yet catchy door-knocking, to the deliriously hypnotic opening riff, to the disturbing lyrical and visual themes, “Ojamashimasu” is the intoxicating psycho fix that VK has been thirsting for. This band is so shameless in expressing their corrupt morals, and so unhinged in their mannerisms, you can't help but feel like many years of lunacy have been packed into the unit's short lifespan. Laden with fast talking featuring the ramblings of a madman, the eccentric vocal delivery adds to the song's intrigue, as this trope is so steeped in VK tradition.
Whilst a passionate chorus cuts through the repetitive rhythm that has pervaded through almost half the song, it quickly spirals into a fast-paced whir of pure neuroticism, leading back into the unnerving yet catchy door-knocking that started it all.
I've lost count of how many synonyms for “crazy” I've already used in writing this, but did I mention that this band is crazy?
Let Mamireta “ojamashimasu” into your head.

 
@emmny's Pick
"朧月夜 (Oborozukiyo)" by 己龍 (Kiryu)

Kiryu have passed 10 years together as a band, a massive milestone for any band, let alone a visual kei band. To celebrate they're...throwing it back to 1997? It's no surprise that Kiryu have an old school influence, especially as the band members have been active since the early 2000's. They're just very good at infusing it into trendy structures with their loud traditional instrumentation. I, however, live for the moments in their dark tracks when they really let loose and wear some blood on their sleeves *wink*. "Oborozukiyo" is three minutes and thirty seconds of kote-kei styled mayhem, melodrama, guts, gore; it's so indulgent and obvious a throwback that it feels like an inside joke between the band and their older fans, with the youth at the butt of the joke. Of course, all parties are in gleeful, head snapping, harakiri'd joy. Mahiro's vocal gymnastics recall the tortured voices of the late 90's, but with an amazingly melodic chorus to match the growls and grunts (all on pitch by the way, eat your heart out Matina and Soleil). The trebly, pitch-harmonic laden guitar lines paired with frequent gyakudai-style rhythm shifts disorient the listener, creating an air of chaotic noise. The track is a throwback, but not a copy in anyway-  a representation fitting of an intelligent band who have grown from the scene and still know how to extract every bit of theatric gold from a sound long forgotten, keeping it fresh 20 or so years later in 2017.
 
@plastic_rainbow's Picks
"管" (Kan) by umbrella

umbrella is a band that I regrettably have not paid much attention to until recently. I don't know what I was thinking at the time, but I've finally realized the greatness of their soft and melodic rock sound, plus their heartbreaking and soothing ballads are to die for. "Kan" sits as one of those beautiful tracks but takes it up another level. The beginning feels cinematic with the playing strings until a steady drum line and lovely guitar walk in. Yui's comforting vocals both sing like a slow heartbeat and an ocean wave that clashes against a rock gently; the perfect balance of softness and passion put into a ballad. Although umbrella may fall short because of their messier production, especially in their early days, they deserve much more love than they already do. I mean, if those mellow guitars don't tug at your heart strings then you must be on crack.
 
"Snow the Dark" by Spook Jack

Not being a fan of The Candy Spooky Theater, this new solo project of their vocalist Spook Jack (aka Jack Spooky) took me by surprise. While Spook Jack continues to portray his 'spooky' character, his solo work is not the usual fun spoopy-Halloween trope that The Candy Spooky Theater was. Instead, it's downright gothic and dark industrial. Apparently, Full (ex. Guniw Tools, Nookicky, Shilfee and Tulipcorobockles) collaborated with his solo project and although it's not certain how much he was involved in producing the music, some Nookicky influences can be heard. The slow tempo, the ghostly ethereal singing, the use of pianos and harmonious noises in "Snow the Dark" all make up the sound of Nookicky. However, being much darker, the track opens with a haunting industrial vibe, setting a gothic and bone-chilling atmosphere. Spook Jack's ethereal vocals tinged with a gloominess works wonderfully and reveals how mesmerizing his voice can be, unlike his The Candy Spooky Theater performances. If Spook Jack keeps this up with his new approach to a sinister and despairing night of horror, I'm all for it.
 
"ニヤ" (Niya) by Large House Satisfaction

There seem to be little to no fans of Large House Satisfaction here, so it's my job to make you start listening to them now, especially to those who like some new J-indie music. Large House Satisfaction is a three-piece band that have been around for over 10 years and play garage to classic rock music accompanied with harsh grating vocals. If you like Thee Michelle Gun Elephant, The Birthday, or any of Chiba Yusuke's side projects you may be interested in them. Usually their music is upbeat and faster-paced, but once in a while they'll chug out a few slower-paced songs as well. "Niya", from their newest album Highway to Hellvalley, happens to be one of those slower songs, yet is still stirred up by their punching garage-y guitar riffs and thick bass lines. The vocalist goes all out, and even sounds like he's about to croak, but his harsh singing effectively renders this piece as truly endearing. You'll be singing 'darling darling' all night once you listen to this.
 
Guest Blurbs from @Ada Suilen
 
"蛙-Kawazu-" (Kawazu) by キズ (Kizu)

In the contemporary visual kei scene, it's incredibly hard to find something appealing and worthy of some attention. One of the few times I had such a feeling has been with the second single of the new band Kizu, where the lead track "蛙-Kawazu-"shows their unexpected and engaging style: a powerful melody driven by astonishing riffs, and intense vocals by the former singer of Lezard, who seems to have found his own maturity with this new band. I can surely consider Kizu as one of the most interesting rookies of the year.
  "愚かしい竜の夢 " (Orokashii Yuu no Yume) by D D has been one of my first visual bands, and they are nowadays one of my fixed listenings. When they came back from the hiatus, they redid one of their dearest themes and tried to experiment with something new, which I enjoyed but not so much as I thought I would. But I was sure that one day this band would have found their unique energy, and in their fifth mini-album, a limited release, they used what made them so popular for the visual fans. The title track is surely one of the best works in their career, featuring an incredible mix of languages (a la Rozova Dolina) and a clash of tempos, going from soft to powerful in a blink, with a great technique and sublime vocals. If you had lost hope in D, with this track you will surely find it again.

Thank you for reading everyone!

I think this is hard because even during La'Mule's heyday, they were not exactly popular overseas. I had a lot of trouble getting their releases back in the day beyond sending Japanese yen cash in an envelope to Brand X... CD Japan did not carry many indie releases at the time. This was partially because the indie VK reservation system was more complicated and generally were less pressings and a lot of live-only distribution stuff.
 
Some good indicators back then (and seconding some of these already mentioned):
 
- Live venues used and live attendance
- Magazine feature count including did the members have their own column in a VK mag?
- TV / radio appearances
- In store / taiban / misc. event invitation count including what bands did they often play with? Back then bands would mostly play with other bands on the same scale as them unless it was a label event
- Flyers (Back then most bands did not use colored flyers, but more well off bands did)
- Release packaging and/or extras (Ex: Was there a first press? Did pressings come in digi packaging or have other high quality features?)
- Were "bootleg" candid shots sold of them in Harajuku?
- Number of cosplayers (Because at the time, VK fandom was still very much tied to Harajuku, cosplaying on Yoyogi bridge, etc.)
- And last but not least, how big of an influence they had on the scene/their contributions to the scene
 
La'Mule checks off a lot of these. Also they were on the Soleil label, which had a lot of the best (read as most popular) VK indie acts at the time signed, including La:Sadie's. While Soleil didn't ultimately survive, their sub label Matina did. Of course Matina would then basically become Undercode Production.
 
La'Mule had nowhere near the advertising, financial backing, number of fans, etc. of bigger bands like L'Arc, GLAY, etc., but mainstream music and its success has almost always been a reflection of labels and bands being able to ride a trend with bands just below being able to create the undertow influencing these trends.
 
This is why La'Cryma Christi, Malice Mizer, Shazna, and Fanatic Crisis are considered the "4 god bands" of VK in the 90s, despite the fact they were not the most popular and their music hasn't endured as well as aforementioned GLAY, L'Arc, etc. Malice Mizer's and X Japan's influence was especially prolific as it's only in more recent years that most VK bands have made the move from 5 person bands (one singer, two guitars, one bass, one drummer) to different member counts (more often 4 now), and you no longer see someone designated as the "girl"/"onnagata" of the band.
 
Anywho, when I was a teen this was my favorite La'Mule song:
 
 
 
And over the years, this has become my favorite:
 
 
 

so it's gonna have blu-ray quality pivs...but blurays themselves will be scratched to death, rendering them unwatcheable? sleek

Bleach those brows, baby! 

Definitely one of their best works

I put back my little faith on NoGoD after that Godly Missing. 
 
And the album intro start strong.
 
...but after that it turn into poop.

Another translation of mine, this time of one of the best songs by NoGod (for me). I hope that you like it.
 
Kanji:
いつまでもあの夜空で
輝いて君を照らしていられれば
いつの日かまた触れ合える気がしてた
囁いて ただ僕の為に

夢を見ていたよ 目覚めることないような朝 頭痛が酷くなる
掌の中で 滲む地平線 見せて欲しい

通じ会いたくて 感じられなくて 心が痛すぎて
繋ぎとめたくて 離れられなくて また 一人になって

もう 寒い風すらも感じない
僕は 熱を求めてる

いつまでもあの夜空で
輝いて君を照らしていられれば
いつの日かまた触れ合える気がしてた
待っていて そこに再び帰るまで ずっと

だけど 気付いていたんだ
本当は もう戻れないことを
それでも 想い続け照らし続け
永遠に 守りたくて

いつまでもあの夜空で
輝いて君を照らしていられれば
いつの日かまた触れ合える気がしてた
囁いて ただ僕の為に 君だけは
どうか見ていて この空を 
 
Romaji:
Itsumademo ano yozora de
kagayaite kimi o terashite i rarereba
itsunohika mata fureaeru kigashiteta
sasayaite tada boku no tame ni.

Yume o miteita yo mezameru koto no nai you na asa zutsuu ga hidoku naru
tenohira no naka de nijimu chiheisen misete hoshii.

Tsuuji ai taku te kanji rare naku te kokoro ga ita sugite
tsunagi tome taku te hanare rare naku te mata ichi nin ni natte.

Mou samui kaze sae mo kanji nai
boku ha netsu o motome teru.

Itsumademo ano yozora de
kagayaite kimi o terashite i rarereba
itsunohika mata fureaeru kigashiteta
Matte ite soko ni futatabi kaeru made zutto.

Dake o kizuiteita you na
hontou wa mou modorenai koto wo soredemo
omoi tsuzuke terashi tsuzuke towari mamoritakute.

Itsumademo ano yozora de
kagayaite kimi o terashite i rarereba
itsunohika mata fureaeru kigashiteta
sasayai te tada boku no tame ni.

Kimi dake wa tooka mite ita kono sora wo.
 
Translation:
Forever in that night sky
You, shining, can illuminate me
I felt like if I could touch again someone
Please whisper for my sake.

I was dreaming and it didn’t seem I woke up
Morning headache becomes atrocious
I want to show you the horizon spreading in the palm.
 
I don’t feel it because I want to meet you
My heart is too painful
I wanted to join but I couldn’t go away
 
I neither feel cold winds
I am looking for the fever.
 
Forever in that night sky
You, shining, can illuminate me
I felt like if I could touch again someone
I waited and I stayed there for all the time
 
But I was aware
Of what I can’t return
It still continues to shine and to illuminate
I want to protect it for the eternity.
 
Forever in that night sky
You, shining, can illuminate me
I felt like if I could touch again someone
Please whisper for my sake. 
 
Please look at this sky.
 
Kanji from here
Romaji from Jpopasia
Translation is mine, so credit me before posting it elsewhere!
 

Okay NoGoD, PROOF yourself that you still have that fire!

When a vk dude is legitimately handsome and not just a miracle product of the Holy trinity. (make up, photoshop and good lighting) 
 
 
 

I'm meeting Yoshiki for a Q&A session on the 19th of October, if there aren't any news by that point on the album I'll just ask him for a release date.
My best guess is that he'll immediately cancel the Q&A and have his guards escort me off the premises. 

No, but at least you will have more chances to be alone and not around people who make you want to become a serial killer all the time.

if you can't organize your life, at least organize your music

y'all should know by now that ''best of' usually equals ''single a-side compilation'' like 99% of the time...
 
also lmao a card game anime OP? imagine some 9 year old's face when he accidentally stumbles upon one of their edgier older songs

I don't know but I've been repeatedly blasting MAMA for the past three weeks.