Delkmiroph

german user here and basically everything what linh said.
one click hoster are more or less safe yes , because its difficult to track.
i wouldnt use public trackers , especially for common stuff, but private ones are usually safe. (like jps).
no need to be overly sensitive about it.

Welcome !!!
I think you should write in english, sorry but i dont understand italian :/
 
Enjoy in MH forum

Hello! my name is Nino and I come from Italy! (^ _ ^) / I recently joined this forum and I immediately fond of! I'm a big fan of the style of Visual-Kei, I like many bands and many artists! ^^ My favorite band are the visual-kei "Phantasmagoria" I particularly like the style of Kisaki, I heard many songs of his previous band (Mirage-Syndrome) is an artist who has all my respect!
 
I do not have a favorite style in the world visual-kei, listening band read and catchy as Spiv States, until the heavy music as Nocturnal Bloodlust. I really like the style of Old School (Metis Gretel, The Pumpkin Head, Mar'derayla)
 
I listen to a lot of bands, but my favorite in particular are:
 
1) Phantasmagoria
2) Lin -the end of corruption world- (old and new)
3) Megaromania
4) Gotcharocka
5) MoNoLith
6) Kisaki Project
7) Chariots
8 ) Wing Works
9) Vidoll
10) Spiv States
11) Schwarz Stein
12) Kaya & Femme Fatale
13) Moi Dix Mois
 
etc ...
 
I could list an endless, but mostly these are my favorites
 
 
I hope to make friends with people who have my taste!

I think both songs sound good, guitar sounds great, but I hope they eventually make more bad@ss songs like they used to. Last album was good, but I want more heavy songs too.
 
Definitely a cleaner look now, and different image altogether. Promo material looks like Sid, Thank You For All looks like some mainstream wuss-rock video, but From the beginning looks like a standard VK `set-piece`.
 
At least the single doesn`t cost too much.

hello again ;D
 

 
I take this pic in 6 days ago looks good!

Artist: coldrain Album: UNTIL THE END Score: coldrain are fighting for international attention, but are they ready? Hailing from Nagoya, coldrain is a five piece band that over the last few years has found itself stepping out of Japan's alternative rock scene and into the global post hardcore market. Most recently, they've spent their time recording with notorious hit-maker David Bendeth. coldrain are the type of band who hit the ground running seven years ago and have no visible intent on stopping any time soon.

coldrain crack open this mini album with some stereotypical teen angst lyrics on "AWARE AND AWAKE". Moving past that, the music has a nice groove to it. The time-signature changes and the transitions from heavy verses to arena-rock choruses show small hints of the band's diversity. However, the entire song is quite cookie cutter, predictable, and falls into mediocrity. I can imagine this serves well as an introduction to new listeners who may not know quite what coldrain are capable of. It's wrapped in an easy to grasp package with all the mainstays of mainstream metalcore virtues. If you enjoyed this song, then the rest of the album will bode well for you, but if you're long-time fan, it might leave much to be desired. "EVOLVE" blasts you in the face with much more intricate guitar work straight away. Just when you expect to hear a standard post-hardcore chorus, the song teases you with a sludgy bridge first, which at least is a step in the right direction. This track shows more diversity in the first minute than the previous track en masse and sounds infinitely more brutal- partially due to Katsuma's solid double bass drum work. "AWARE AND AWAKE" sounds whiny and weak in comparison. Lyrically, "YOU LIE" treads familiar territory that other songs on this album have already covered, but it's much more emotional and bears a stronger alternative rock influence that gives contrast to the bridges and breakdowns. This song proves that sometimes less is more, and band's needn't reinvent the wheel to remain poignant and connect with the audience.

 
"FADE AWAY" has a fun, fast-paced, bouncy feel and is the high point of this EP, even if the lyrics are contrary to the atmosphere. This feels like the major crowd pleaser on the record and could easily fuel some fierce circle pits. It also carries the album's most infectious chant-along mantra, "until the end, you never learned, you never learned what it means to love". The band 'chooses their moments', so to speak, with the sparing breakdowns to retain a strong momentum throughout the song. They do a good job of keeping things from becoming monotonous by injecting a monstrous breakdown instead of the default pop formula ending that repeats the chorus into oblivion. Opening with an emotive, squealing guitar, "MARCH ON" is another strong showing. This track ushers in some restrained verses and continues the album's theme of chanted vocals, making this song's title easy to remember. The song builds on solid guitar work and explodes into machine gun riffing before the breakdown (which is unfortunately located at the exact same place as the previous song). The interesting guitar effects from the intro return to add dimension to the end and transitions nicely to the next song. "HOUSE OF CARDS" starts slow and sultry, with a lonely resonating bass line and a delayed piano effect that sounds both haunting and seductive. Drums fill in the hollows of the second half, and by the time the instruments have gelled together, most of the song has already passed you by. The last chorus feels like it slips through your fingers, all too soon, as it returns itself to an echoing wisp of notes. Normally I take issue with ending mini albums on somber notes, but this one leaves us with a great cliffhanger for the next release.

 
UNTIL THE END does as much right as it does wrong and it's hard to say who I would specifically recommend this release to when it comes down to new or old fans. They did the smart thing and tacked these songs onto the deluxe edition of their previous album, The Revelation, for international fans. The variety in the tracklist feels like the band wanted to show all of their strengths in the short number of tracks, but it also brought some glaring weaknesses to light. As for strengths, it really plays on Masato being one of the few English singing Japanese vocalists who was raised bi-lingual from birth. His English is about as perfect as you'll find in this scene. The band has a great pop sensibility and knows how to change with the times; being one of the few bands that has actually gotten heavier as they've gained popularity. Regardless, the major weakness of this album is the stale and formulaic songwriting. One of the pitfalls of having good pop sensibilities is the double-edge of sticking to the cookie cutter format of pop songs. The moments when this album gambles on mixing up that formula are when it truly starts kicking some ass.

 

Kanji lyrics:
 
1. HALO
 
 
2. テリトリー
 
 
3. Monroe
 
 
 
Romaji lyrics:
 
1. HALO
 
 
2. TERRITORY
 
 
3. Monroe
 
 

I hate photos. I always look like shit (I'm not photogenic), so when I'm ""good"" (it's rare), I'm happy. xD
My PP from twitter :
 

Tracklist :

01.凛
02.糸
03.あかしあ
04.僕はここに居る
05.野ばら
06.言葉にできない
07.すなお
08.胸に零
09.煌々
10.あすなろ
11.かるめると花
12.アンゲルディエ 雪の彩
13.アンゲルディエ 月の彩
14.アンゲルディエ 花の彩
15.Air

アンゲルディエ songs are re-recorded.

awww Temari <33333

"KINGDOM" [CD track list]
01.Blood Moon
02.DARK WINGS
03.Mother Doll
04.月の杯(tsuki no sakazuki)
05.血に濡れた一角(chi ni nureta ikkaku)
06.断罪の銃士(danzai no gunner)
07.SECRET HANGAR
08.アネクメネ(anökumene)(instrumental) (included in regular edition)
09.猿王の腰掛け(en'ou no koshikake)
10.風に嫁いだバイラオーラ(kaze ni totsuida bailaora)
11.微熱～雨の幻想曲～(binetsu～ame no fantasia～)
12.Another Kingdom(instrumental) (included in regular edition)
13.黒薔薇の騎士(kurobara no kishi)
14.Rosenstrauss
15.終焉～宇宙への回帰～(shuuen～sora e no kaiki～)
16.終焉～宇宙への回帰～(shuuen～sora e no kaiki～)(instrumental) (included in limited edition TYPE A)
16.終焉～宇宙への回帰～(shuuen～sora e no kaiki～)(King & Royal Blood Orchestra ver.) (included in limited edition TYPE B )
 
[limited edition TYPE A DVD track list]
01.終焉～宇宙への回帰～(shuuen～sora e no kaiki～) (PV)
02.終焉～宇宙への回帰～(shuuen～sora e no kaiki～) (PV making)
 

Thanks for bringing this to our attention!
 
I personally would not advice to use a full template, because I appreciate users who try to make their posts as pretty as possible and we should just let them. I do think however that a few more things should be mandatory, being:
The name of the release and the band name in both kanji and romaji for easier searching purposes. The release date The tracklist (already mandatory) A cover image of the CD (except for cases of old rips where it's near impossible to find a cover image) I'll discuss this with the other staff members and I'll get back to you about this, but I think that yes, the posts should be a bit more elaborate and informative.

I think everyone does those things aside from one person in particular 
 
who in addition also tends to upload easy to find releases in shite quality which should be discouraged unless it is for the purposes of assembling a discography thread. Actually scratch that, even then it's bollocks. It would be preferred if people uploaded the rips not their own only when it's something that is in high demand. Might as well get demon android back otherwise. 

I think it would be nice if more people would specify the format/bit rate in the description text. Though I do agree that people should always include artwork and the release date.

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.

new look
 

They're gonna need some ice after Kamijo's burn tbqh
 
Anyway, hope this turns out better than their previous efforts. I assume the album will follow after this single? It'll be the third single + they announced they had been working on a new album already, so I assume this will come after.

Artist: girugamesh EP: Gravitation Score: After a few years of borderline radio-friendly stagnation, Girugamesh have hit back with quite possibly their best release yet.
After a few years of borderline radio-friendly stagnation, Girugamesh have hit back with quite possibly their best release yet. Last year's Monster symbolised a beacon of hope for both fans and the band. The aggression was back, the heaviness was back, Girugamesh was back. Although steeped in pop-sensibilities at times, the album took a 180 from pop to electronic metalcore, leaving the burning wrecks of Now and Go far behind.

It's been a year since their last full-length Monster, and Gravitation not only keeps this reclaimed heaviness in place but polishes it to perfection. Kicking off with their hardest song to date, 'Go Ahead' lures you in with gentle tones before ripping your head off. Satoshi's transition from gentle crooning to terrifying growls, for example, are nothing short of frisson worthy. Having the rawest vocals, the hardest breakdown, and the most memorable chorus, this song characterises the EP and spearheads their new sound. As a song that can only be described with superlatives, 'Go Ahead' highlights how Gravitation has led the band to a new level of heaviness. This permeates throughout the EP. While 'Reflection' displays a hard metalcore influence, for instance, 'Vortex' goes beyond that, opting for a thrashy deathcore vibe; a massive departure from Go in many respects.

I thought it would let up at some point but the whole EP is like this; every time a lull in the intensity is expected, it continues its bombardment of chunky riffs and pleasantly incessant drumming. This is exemplified best in 'Reflection' where Satoshi tries to do some severe damage to his throat...in the best possible way. They could have included a slower, gentler track to give the listener a breather, but instead they opted for five heavy songs varying in loudness and intensity. The infectious electronic elements and catchy vocals which have characterised their more recent efforts are used to full effect here, modernising their previous sound and making each track as memorable as the last. All of these elements culminate in 'Vortex' which, replete with screams, riff-heavy guitar work and double-bass pedaling, is the best way to end Gravitation: in the same loud and exciting way in which it started, exuding a confidence not found on their older material. This is the Girugamesh we wanted after Music and the band sure as hell knows it.
 
By cramming everything their fans love about them into one neat package, Girugamesh has created their best effort yet. Contrary to more recent releases, the intensity and loudness of their old sound is back and better than ever. While taking a new form reflective of some current "-core" genres, classic Girugamesh permeates to the point where they might win their older fanbase back.

Upon listening to Gravitation it's clear that Girugamesh are back and louder, heavier and better than ever!

I agree totaly with you, sometime i think that the label forces the bands change your music (for example style). This case to try earn more money (many times this way)

Hi! I revived my user here just to post this since I'm moving in less than a month, and like to get rid of these items before then!
The prices have been EXTREMELY lowered!
 
All items + rules can be viewed on my sales-tumblr here: http://tokyo1213.tumblr.com/
My tumblr will be updated with more the next coming days (LUNA SEA, lam.(like absolute myself), Calmando Qual) **UPDATED ALREADY!**
 
I also have tons of flyers so if you're interested in a specific band I can check if I have them.
 
examples:
 
Since1889 - DIABOLOS - 2€
INORAN - apocalypse - 3€
alice nine - TSUBASA (w/ DVD, type A) - 3€
alice nine - JEWELS (type A) - 3€
alice nine DVD - Discotheque play like a RAINBOWS -enter&exit- (limited edition) - 9€
alice nine photobook + CD - Dive into the sun - 24€
alice nine fanclub magazines - 2€ each
ヴァルナ (Valluna) CD - Neo Infernal - 11€
ヴァルナ (Valluna) CD+DVD - Distopia - 16€
the Raid. - live distributed promo-DVD + flyer (was given out in november 2013) - 2€
 
 
Magazines:
Vicious - June 2000 - 3€
Includes artists as PENICILLIN, SEX MACHINEGUNS, Pierrot, Gackt, SOPHIA, Plastic Tree, Malice Mizer, Lareine etc.
 
Vicious - November 1997 - 3€
Includes artists as HAKUEI, Laputa, Malice Mizer, L’arc~en~Ciel, GLAY, ROUAGE, GUNIW TOOLS etc.
 
KERA vol. 162 (february 2012) - 4€
Includes articles of Kyary Pamyu Pamyu, street snaps, styling tips, make-up tutorials, V-ROCK festival ‘11, etc.
 
Shoxx vol.80 (october 1999) - 3€
Includes artists as J, Gackt, Raphael, Lareine, Plastic Tree, La’Mule, Pierrot etc.
 
NewsMaker no.168 (september 2002) - 4€ (together with dir en grey poster - 7€)
Includes artists as RIP SLYME, Dir en grey, J, SOPHIA, wyse, BUCK-TICK, SEX MACHINEGUNS, tetsu69 etc.
 
 
Double-sided Dir en grey poster from NewsMaker no.168.  - 5€
has never been used.

Yes, I believe that the band is always grow up and try always innovate with your songs and way to express the your love to music. However, the focus of plastic tree band is continous to fans. the old band plastic tree always gonna live with us and mainly with the fans that follow they since first release

eat, mh, edohsama, Lycaon, sleep (when its later)

1. Nibble things. From fruits, pudding, any kind of chips and/or nuts, coookies, pie, cakes, tart, ice cream, trail mix, anything!
2. Reads my old manga collection (Shonen Mags, doraemon, kariage kun, kobo chan, Crayon Shinchan, Sailor Moon, Dragon Ball Z, Garasu no Kamen, etc)
3. Walking back and forth from my laptop desk-living room-bedroom for few times and moaning "gawd so boring!"without realizing that am doing it until i realize it later.
4. Watching TV only to switches channel never endingly for 5 minutes and then turn it off with a long silent sigh.
5. Open my messenger, send everyone offline messages containing a part of various lyrics. And then change the name of friends with labels they're fit for according to me.
6. Unboxing boxes of old CDs and Casette. Found old records (mostly 90s releases like TLC, Hanson, Boy groups, Girl Groups, techno groups, etc) and play it and sing along loudly.
7. Login tumblr. Being random. Vent anything. Reblog things.
8. Login gay dating site. Oogling hot mature guys for few moments. Leave notes to some of em.
9. Drawing or writing things. Trying hard to be creative. Got lots confidence of Picasso and Khalil Gibran. But only ended with crumples of papers.
10.. Washing dishes, doing laundry, dusting things, clean the bathroom, vacuum the couch and rug, sweep the floors.
11. Walking or biking around the neighborhood or few blocks. Meeting neighbors that walking their pet or babies and goes "aww... So cute".
12. Playing any games on consoles or online using laptop.
13. Sleep.

I was talking about your style musical in private group about pura, all answers is different to them. I think that they are different every way to who is fan. Personally I love they and I think that in each new release exist one a perspective musical that makes so excited to know what they gonna do.