chemicalpictures

I would, but tbh I'm really really lazy right now. but do a quick google on their situation, on how he would sometimes go missing without telling any of the members, how he treated the fans really poorly and was instable a lot of times, even back during the old days. and after the revival, he decided to leave after like 8, 9 months, without notice, the band had to tour without him  and then sending a note through a spokeperson and didn't want any contact with any of them or their management, including Akira. Don't take my word on it, look it up
 
Nah, If you are afraid or think you've been wronged or abused you go to the police and negotiate you contractual situation later if needed. He did neither, he went on hiding from the members and the staff. He abandoned his contract. Kei was on the wrong side for sure, he knew it and tried to fix it, if the situation was as you make it look like, he could get kei out of the band easily. There's no defense for going into fistfights. Only problem is that he would have to deal with a two album deal he wouldn't be able to finish, so he made his choice to negotiate out of it. He may have draw the short straw there, but to me it looks like both Akira and Bansaku were in it for the quick cash. If he got blacklisted (which is so not likely, the contract was fulfilled in the end, and in any case nobody would give a rats ass about it if he went back to the indie scene) he should have found a better way to deal with the situation. But yeah, there's no denial it was a clusterfuck for everyone there
 
And this is naive. Most of the times bands actually are not a group effort. Recording is, finalizing touchs and sprinkles sure, but heavy  composition work, not so much. And brq trademark style is so easy to notice during every work kei had done, the argument gets pretty much self explanatory when you get to analise the structures of songs like gariron, gakidou, passing moments, monochrome, life is, 17, rinzen identity, mellow hollow, swallow the night, black bane. Same with easy going ballads. That's all kei. They've changed? sure. They're still brq? most definitely

Dude I don't really know why do you keep going on this idea that kei and ryo are the devil incarnate.
 
Bansaku bailed on the band not once, but twice. Dude is clearly fucked up on the head, and that's well known. Then Akira stood with them for a while and got into that fight with kei that made him left the band, that you could put on his tab, I guess
 
Now, grown up dudes being PUSHED OUT OF THE SCENE by their ex-band members is so laughable it's not even an argument. poor helpless grown ass adults...
 
boogieman disbanded not because they sucked or anything, but simply because they couldn't sell enough to maintain what's was invested in them. The last hurrah with heartless vocalist wasn't enough and their called it quits. It's easy as that, nothing to do with kei or ryo again
 
And even by going with that "sounding like brq", get Sug Life or most of their old releases and look up for the composer. 90% is kei. So they don't do the sound you like anymore, they don't get to call themselves baroque then? When other members left the band on their own?
 
dudes probably are not saints, kei is quite known his troubles, but nobody is. And I really don't see why an old geezer and their senpai like Akira couldn't handle himself or the business properly if he had any interest on it.
 
C'mon, let's get back to the real world for a sec
 

Dude I don't really know why do you keep going on this idea that kei and ryo are the devil incarnate.
 
Bansaku bailed on the band not once, but twice. Dude is clearly fucked up on the head, and that's well known. Then Akira stood with them for a while and got into that fight with kei that made him left the band, that you could put on his tab, I guess
 
Now, grown up dudes being PUSHED OUT OF THE SCENE by their ex-band members is so laughable it's not even an argument. poor helpless grown ass adults...
 
boogieman disbanded not because they sucked or anything, but simply because they couldn't sell enough to maintain what's was invested in them. The last hurrah with heartless vocalist wasn't enough and their called it quits. It's easy as that, nothing to do with kei or ryo again
 
And even by going with that "sounding like brq", get Sug Life or most of their old releases and look up for the composer. 90% is kei. So they don't do the sound you like anymore, they don't get to call themselves baroque then? When other members left the band on their own?
 
dudes probably are not saints, kei is quite known his troubles, but nobody is. And I really don't see why an old geezer and their senpai like Akira couldn't handle himself or the business properly if he had any interest on it.
 
C'mon, let's get back to the real world for a sec
 

b-side sounds really nice I have to say, is that just a weird cut or does it actually have that pause lol?

http://dueljewel.jp/pc/zepp.html
 
Duel Jewel announced their return live on March 1st, 2019, at Zepp Tokyo.
Hayato has apparently made a full recovery from the variety of conditions (functional dysphonia, vocal dystonia, vocal yips) that caused them to disband.

BAROQUE announced the release of the new single, YOU. More details will be disclosed at a later date.
 
 
New tour [FALLING FOR // YOU] announced aswell. details: http://pigmy.jp/live/#falling_for_you
 
a bootleg live version of YOU was leaked last year:
 
 
I do hope they improve the song on the recorded version, cuz this one is a bit bland, tbh
 
 

boogieman remains dead

I found the first season the best one. It helps that I was really familiar with the original pasta, so there's some sentimental value there. I think 3rd season should have followed the original pasta regarding the stairs a bit more, their chosen script for the show was a bit off imo.
 
Just finished Sharp Objects, and it was entertaining. Amy Adams character is nuanced and complex, really interesting. Can't say the same about the support characters tho, many of them aren't even needed. The story also drags a bit, an episode or two, and there's the classic idiot ball trope now and then, but it's okay on the long run. Shoutout to the mother and sister, they both have some great moments. And don't miss the 2 mid credit scenes on the finale, GREAT STUFF.

AIOLIN × Rides In ReVellion collaboration CD will be released at their 2 Man live on 2018/09/08
 
 

I hope their music is better than that logo!

nice! they definitely deserve it!

Indie rock band PELICAN FANCLUB is making their major debut with Ki/oon Records (home of ASIAN KUNG-FU GENERATION, L'Arc～en～Ciel, NEGOTO, LILI LIMIT, Chatmonchy, KANA-BOON, etc.).

On November 7th, they'll release new mini album Boys just want to be culture. They will also embark on a new tour.

More details to come.

The first release wasn't the worst thing I've ever heard, it was just bland and done to exhaustion before. Now, this fireworks song is just OFFENSIVE. I'm pissed they have the balls to charge for such an audio diarrhea

Well, I finally started playing Clone Hero (let's say it's Guitar Hero for PC with some good stuff) and I decided to make a Visual Kei playlist for this game. I've started with Versailles and 9GOATS BLACK OUT. It'll contain bands like DELUHI, DADAROMA, MoNoLith, R-Shitei, ViViD, GazettE, An Cafe......blablablal. Every song will contain Full Difficulty and lyrics on the release, but for now, the songs will contain only Expert diff for both Lead and Rhythm guitars, without lyrics
 
9GOATS BLACK OUT - sink:
 
 
 
 
Versailles - Shout & Bites:
 
 
 
Kagrra, - Utakata:
 
 
DOGMA - the GazettE:
 
 
deadman - follow the night light:
 
 
DADAROMA - Oboreru Sakana:
 
 
An Cafe - Bonds~Kizuna~:
 
 
Luzmelt - sacrifice:
 
 
DELUHI - s[K]ape:goat:
 
 
BIOSPHIA - SUISEN:
 
 
-OZ- - FILMY:
 
 
Matenrou Opera - ANOMIE:
 
 

Their new single 「シャーデンフロイデ」(Schadenfreude)  will be released on 2018.10.10.  (1200 yen + taxes)
 
Tracklist :
1. シャーデンフロイデ(Schadenfreude) 
2. 光(Hikari)
 

 
 

I wholeheartedly disagree with the main points of this review, mainly because I'm pretty confident that this album represents the moment the band is in. I've been saying that if they had released something like 6~8 of those songs and called it a conceptual mini album, the backlash wouldn't be nowhere near what we're seeing. That interview with Chiaki mentioned above only confirmed my claims, this album was necessary for them to evolve as a band, for him as a person, so I'm fine with that. Using the same 12012 as an example, they had to suck hard with DIAMOND and MAR MAROON so we could have SEVEN, their best release IMO. We had to endure the crap that was the self titled to see them finding balance in THE SWAN and XII. Looking at DEZERT discography from afar, TODAY is a great addition. Yeah, may not be what people were expecting after such an amazing album that was Saikou no Shokutaku, but I feel their work will be enriched by it. That's not to say about the composition, cuz shit is tight as ever. There are one or another verses I'm not really fond of, but they always had a few like that. And TODAY is a great song, no matter what DEZERT we are talking about

if I remember correctly, everyone left and Takehito was the only one still in AYABIE, right?
 
So technically he is what's left of the band, and probably is looking forward put a stone on it and end it already
 
Hope he finds some closure and starts a new project, I like the dude

first single was ridiculously good (i mean i had expected to enjoy them but they obliterated even my expectations).
 
so thrilled to see roa back, hopefully he can do with this band what he couldn't with virgil.

I think that's because by not announcing this as some side project or concept album, it communicates to the fans that this is now the direcion they are headed as a band. And, it's just not at all the same kind of music that fans got into band for in the first place. If I'm optimistic, then yeah I'd hope this is just a phase that will end up enriching the band's music later down the road in ways I couldn't imagine. But other bands' histories of this situation (going from hard music to pop) say otherwise. Examples for me are D'espairsRay, Mucc, Girugamesh. At best, I expect some throwback album in a few years that attempts to "go back to the roots" to please old fans but ends up being a watered down attempt that lacks the punch and nuances of what they're trying to re-capture. The major label bug bites hard.
 
Here's a very extreme and weird analogy. It's like if a bicycle company decided they were selling utensils now. Old customers are either leaving or wondering when they'll make a new bike instead of selling another damned fork. You think, "they've gotta go back to making bikes sometime." Then later on, they decide (to bring old customers back) they're going to release a new bike, the first in years, and it ends up being a fork with wheels. That's only going to cater to a very niche group of people and you end up pleasing no one from old and new customers. They should've just opened a new shop with new branding to separate the two. Kinda weird, I know. But all I'm saying is that bands should similarly stick to a few select genres/styles  and build off of that. Industrial metal and pop really have nothing to do with each other. Unless you're doing something like Babymetal or some other kind of experimentation, it just ends up being jarring and divides fans.

| What do we say to the god of death?

I'm listening to history repeat itself.
 
A heavy visual kei band is a dime a dozen, but one that can do the gritty D'espairsRay x MUCC x KoЯn sound justice is rare. DEZERT was one of those bands I kept in my rotation off the strength of how well they paid homage to what's becoming an increasingly rare style, but I also felt that there was more room to evolve. DEZERT hasn't really innovated on their previous style since 2011, and if they were going to stamp their legacy on the scene they needed to create a groove all their own. My guess is that they suspected this, and took a huge gamble in changing their sound. The risk in changing your sound is threefold. The first is that you always risk alienating some of your fans. The second is that once the direction changes, bands rarely course correct. The third is that preserving the identity of the band - or the identity the scene has ascribed to you - is nigh impossible, so in some respects it's like starting over.
 
TODAY is the day I relive the nightmare that was 12012's MAR MAROON, when a core band decides to go pop rock. This sudden stylistic shift swings in out of nowhere to blindside even the most ardent fan. I suppose we should have seen it coming since they've been going soft since their second album 最高の食卓 (Saikou no Shokutaku), but it's one of the few times the virulent outrage of the international scene has some merit. The fact that it came without warning adds insult to injury, although one can argue if a band actually owes their fans an explanation for the type of music they want to create. This is the textbook definition of "gunning for the charts", a switch in direction more drastic than D'espairsRay's REDEEMER, and while listening to this album I find myself traveling down a familiar road once more.
 
Notice that I haven't talked about the music yet; that's because, at a primal level, it doesn't really matter.TODAY is musically competent, coherent, and well put together when taken at face value, but I do not find it compelling, interesting, or memorable. I simultaneously respect their musical chops and ability to compose music in a new style while rejecting this style entirely. I am not able to separate old DEZERT from new DEZERT. If I want pop rock, I'll find a pop rock band. If I want metal, I'll find a metal band. When I want messy metalcore, I come to DEZERT. With how fragmented the scene is, there's very little overlap between the fans who would enjoy タイトルなし (Title Nashi) and the fans who would enjoy TODAY. There are songs that hearken back to the old days, such as "普通じゃないIII" (Futsuujanai Ⅲ) and "蛙とバットと機関銃" (Kawasu to BAT to Kikanjuu), but they feel halfhearted, and they are nowhere near as heavy as many fans would want. There's not even a single use of harsh vocals on the entire album! Seeing them leaving their roots, substituting harsh growls and vocal fry for oohs and aahs and abandoning the low end almost entirely, hurts at a deeper level than I'd like to admit.
 
Who is to say if this is the music that DEZERT wants to make, or if they feel pressured to find success, but I'm certain they just lost a lot of fans with this move. I won't be surprised if they drop the visuals entirely, or at least tone it down, since they sound like a totally different band. Perhaps they can come out of this with more fans when they lost and end up better off for it, but with how many times I've seen this scenario play out, I can verify that it rarely ever works. TODAY marks the day that DEZERT disbands for a lot of fans, as they retreat into their back log and stick with cuts such as 「特製・脳味噌絶倫スープ〜生クリーム仕立て〜」 (「Tokusei・Noumiso Zetsurin SOUP~Sei CREAM Shitate~」) and 精神科医（拒食症）のスナッフフィルム集  (Seishinkai (Kyoshokushou) no SNUFF FILM Shuu). It's an incredibly difficult pill to swallow, but that's probably for the best. They aren't going back, and to hold out hope for otherwise is foolish. For those that found a new band to love, I hope they find enough success to deliver more. Even if I take it for what it is, TODAY doesn't do anything for me, and it's a shame because I can sense the band put a lot of energy into this. From now on, I'll be watching out of pure interest, but from a very, very far distance. If this marks even the halfway point of their career, I'll be impressed.
 
All I can say is that it's a blessing in disguise that I never got more invested into this band.

I wholeheartedly disagree with the main points of this review, mainly because I'm pretty confident that this album represents the moment the band is in. I've been saying that if they had released something like 6~8 of those songs and called it a conceptual mini album, the backlash wouldn't be nowhere near what we're seeing. That interview with Chiaki mentioned above only confirmed my claims, this album was necessary for them to evolve as a band, for him as a person, so I'm fine with that. Using the same 12012 as an example, they had to suck hard with DIAMOND and MAR MAROON so we could have SEVEN, their best release IMO. We had to endure the crap that was the self titled to see them finding balance in THE SWAN and XII. Looking at DEZERT discography from afar, TODAY is a great addition. Yeah, may not be what people were expecting after such an amazing album that was Saikou no Shokutaku, but I feel their work will be enriched by it. That's not to say about the composition, cuz shit is tight as ever. There are one or another verses I'm not really fond of, but they always had a few like that. And TODAY is a great song, no matter what DEZERT we are talking about

it's me again. picture taken before the GYZE concert earlier this week

So being a real fan means accepting being robbed by scalpers? lmao