carddass

That first song in the teaser sounds great. It's very Bauhaus and that drumline sounds very close to Bela Lugosi. Although I felt the same way after hearing Shuuji's vocals - I'm not sure he matches the feel / look of what Ex-ans used to be. Maybe expecting them to be something they used to be 25-30 years ago is the wrong way to look at it though?

Ray / Koji Suzuki on the other hand is still a great vocalist and we can only imagine what could've been. I can't stand his rockabilly work but whenever he does a tribute to hide, he sounds amazing. At one of hide's birthday live celebrations from a few years back Koji sounded dead-on like hide and he could almost take over as vocalist. Last year he posted the video below.
 Also he did a one-night only Deep reunion live so he's not against waxing nostalgic so he must've really not have wanted to relive his Ex-ans days by withdrawing when he did.
 
 

A new song 'New Order Love Song' was just announced via lyrics published in their mailing list that we might get to hear in a couple of years!
And if you couldn't get enough of that blatant reference, there's also a Bauhaus one mixed in there too:

 
 ◎みんなで歌おう！
 [ニューオーダーラブソング](加納による新しい曲)
 
 今はムーンライト。
 ジキル＆ハイド、「魔方陣」無に間に・・・。
 
 深々とした気配。
 宇宙のレイアウト。
 明暗、何れは・・・、
 愛しTELL----なんてYEAH！！！
 
 やがてニューオーダーラブソング。
 思い出を湯船に。
 聡明なる真相。
 青白い肉のサイン。
 
 恐らく、天使降臨。
 快楽の坩堝に。
 罪業、その妄想。禁断。
 仮面と靴の音。
 
 Who killed Mr. Moonlight?
 I miss you.
 Behind the mask.
 I get bored, I do get bored.
 
 You are mine.
 You are mine.
 

A new song 'New Order Love Song' was just announced via lyrics published in their mailing list that we might get to hear in a couple of years!
And if you couldn't get enough of that blatant reference, there's also a Bauhaus one mixed in there too:

 
 ◎みんなで歌おう！
 [ニューオーダーラブソング](加納による新しい曲)
 
 今はムーンライト。
 ジキル＆ハイド、「魔方陣」無に間に・・・。
 
 深々とした気配。
 宇宙のレイアウト。
 明暗、何れは・・・、
 愛しTELL----なんてYEAH！！！
 
 やがてニューオーダーラブソング。
 思い出を湯船に。
 聡明なる真相。
 青白い肉のサイン。
 
 恐らく、天使降臨。
 快楽の坩堝に。
 罪業、その妄想。禁断。
 仮面と靴の音。
 
 Who killed Mr. Moonlight?
 I miss you.
 Behind the mask.
 I get bored, I do get bored.
 
 You are mine.
 You are mine.
 

I was there and had the time of my liiiife (and I owe it all to YOSHIKI apparently).
 
LUNA SEA is the greatest band on earth. GLAY is awesome. X was X, with all its flaws and problems it still is a good live band. 清春 Was probably the worst show in the entire thing.  Dude stunk up the place in a "Neil Diamond at the Last Waltz" proportion. Not even忘却の空 could save his ass.

Another cover, this time from Kisou. This is one of my all time favourites from DEG...I think it's mainly the chorus that gets me. I just love the way it sounds

From someone I used to know who worked in the field, the members of l'arc got burnt out on each other by the time Real came out. It's why they all started doing solo work. Eventually they got back together and no matter how many times and how long they take a break, they know whenever they get back together they can sell out huge stadiums.  And that is the reason why they're together. And  it helps that they're all actually hard working dudes that are able to juggle solo and collaborative works unlike the band (man) in question on this forum!

X during 1987 and 1988 were at their peak performance. Full of energy and what not.

As much as I like to shit on what the band has become thanks to Yoshiki, if you take a step back and look at the projectory of artists, this isn't really out of the ordinary.

They were 20-23 year old kids then with energy levels and drives to want to realise their dreams. 'Starving artists', so to speak. There's most likely a tension between just doing it for the fun of it with nothing to loose and also doing it to survive ("We have to succeed because it's the only thing we can do now!"). This tension creates a creative output that many artists experience early on in their career. 

If you flash forward 25-30 years later you could say most artists fall into one these categories:

-They disappear
-Replay the hits (Living off past successes)
-Keep growing and releasing works of art that might or might not be as influential as their original hit works

So yeah, I'm sure this is going to be a laughable concept to 90% of the forum here due to what I imagine is a demographic of younger people who can't look back too far but...
 
If you're above a certain age and can look back at your past selves from 10-15-20-25 years ago, were you doing more or less of what you wanted to do? Now, just because an artist created something awesome once, or for a few years, doesn't make them able to reproduce those same success years later. It's downright hard. Even when artist produce consistent work later on, you get the majority of the fans saying "Well, it's okay but it's not as good as the _________ album"

And besides, for Yoshiki, moving to LA ruined him and his actual ability to release work. He started living in the hype world which I think LA / Hollywood is known for. The combination of age and environment has produced an unaccountable creative process that leads to 20 years of no substantial releases. Who spends 10 years of their life on a project (Violet UK) and has nothing to show for it? Pure vanity. You feel the anguish from the engineer Dokk about his years working with Yoshiki from that X Japan Podcast.

Anywho, enough of the literal commentary. Let's get back to poking fun.

From someone I used to know who worked in the field, the members of l'arc got burnt out on each other by the time Real came out. It's why they all started doing solo work. Eventually they got back together and no matter how many times and how long they take a break, they know whenever they get back together they can sell out huge stadiums.  And that is the reason why they're together. And  it helps that they're all actually hard working dudes that are able to juggle solo and collaborative works unlike the band (man) in question on this forum!

X during 1987 and 1988 were at their peak performance. Full of energy and what not.

As much as I like to shit on what the band has become thanks to Yoshiki, if you take a step back and look at the projectory of artists, this isn't really out of the ordinary.

They were 20-23 year old kids then with energy levels and drives to want to realise their dreams. 'Starving artists', so to speak. There's most likely a tension between just doing it for the fun of it with nothing to loose and also doing it to survive ("We have to succeed because it's the only thing we can do now!"). This tension creates a creative output that many artists experience early on in their career. 

If you flash forward 25-30 years later you could say most artists fall into one these categories:

-They disappear
-Replay the hits (Living off past successes)
-Keep growing and releasing works of art that might or might not be as influential as their original hit works

So yeah, I'm sure this is going to be a laughable concept to 90% of the forum here due to what I imagine is a demographic of younger people who can't look back too far but...
 
If you're above a certain age and can look back at your past selves from 10-15-20-25 years ago, were you doing more or less of what you wanted to do? Now, just because an artist created something awesome once, or for a few years, doesn't make them able to reproduce those same success years later. It's downright hard. Even when artist produce consistent work later on, you get the majority of the fans saying "Well, it's okay but it's not as good as the _________ album"

And besides, for Yoshiki, moving to LA ruined him and his actual ability to release work. He started living in the hype world which I think LA / Hollywood is known for. The combination of age and environment has produced an unaccountable creative process that leads to 20 years of no substantial releases. Who spends 10 years of their life on a project (Violet UK) and has nothing to show for it? Pure vanity. You feel the anguish from the engineer Dokk about his years working with Yoshiki from that X Japan Podcast.

Anywho, enough of the literal commentary. Let's get back to poking fun.

The new album was announced on Morrie's twitter. https://twitter.com/devilsleep and the official website (http://www.creature-creature.com/).
 
'Death is a Flower'
 
2016-12-28 at lives
2017-02-15 in stores
 
 
 

A QR code was posted on their Facebook or Instagram the other day. Following it led to a URL containing 'Isochronous' which is labeled as Rough in the file name. So grab it before it gets pulled!
 
http://ex-ans.com/exex/ex.shtml

http://ex-ans.com/exex/isochronous_Rough.mp3

 

From someone I used to know who worked in the field, the members of l'arc got burnt out on each other by the time Real came out. It's why they all started doing solo work. Eventually they got back together and no matter how many times and how long they take a break, they know whenever they get back together they can sell out huge stadiums.  And that is the reason why they're together. And  it helps that they're all actually hard working dudes that are able to juggle solo and collaborative works unlike the band (man) in question on this forum!

X during 1987 and 1988 were at their peak performance. Full of energy and what not.

As much as I like to shit on what the band has become thanks to Yoshiki, if you take a step back and look at the projectory of artists, this isn't really out of the ordinary.

They were 20-23 year old kids then with energy levels and drives to want to realise their dreams. 'Starving artists', so to speak. There's most likely a tension between just doing it for the fun of it with nothing to loose and also doing it to survive ("We have to succeed because it's the only thing we can do now!"). This tension creates a creative output that many artists experience early on in their career. 

If you flash forward 25-30 years later you could say most artists fall into one these categories:

-They disappear
-Replay the hits (Living off past successes)
-Keep growing and releasing works of art that might or might not be as influential as their original hit works

So yeah, I'm sure this is going to be a laughable concept to 90% of the forum here due to what I imagine is a demographic of younger people who can't look back too far but...
 
If you're above a certain age and can look back at your past selves from 10-15-20-25 years ago, were you doing more or less of what you wanted to do? Now, just because an artist created something awesome once, or for a few years, doesn't make them able to reproduce those same success years later. It's downright hard. Even when artist produce consistent work later on, you get the majority of the fans saying "Well, it's okay but it's not as good as the _________ album"

And besides, for Yoshiki, moving to LA ruined him and his actual ability to release work. He started living in the hype world which I think LA / Hollywood is known for. The combination of age and environment has produced an unaccountable creative process that leads to 20 years of no substantial releases. Who spends 10 years of their life on a project (Violet UK) and has nothing to show for it? Pure vanity. You feel the anguish from the engineer Dokk about his years working with Yoshiki from that X Japan Podcast.

Anywho, enough of the literal commentary. Let's get back to poking fun.

A QR code was posted on their Facebook or Instagram the other day. Following it led to a URL containing 'Isochronous' which is labeled as Rough in the file name. So grab it before it gets pulled!
 
http://ex-ans.com/exex/ex.shtml

http://ex-ans.com/exex/isochronous_Rough.mp3

 

A QR code was posted on their Facebook or Instagram the other day. Following it led to a URL containing 'Isochronous' which is labeled as Rough in the file name. So grab it before it gets pulled!
 
http://ex-ans.com/exex/ex.shtml

http://ex-ans.com/exex/isochronous_Rough.mp3

 

SET-LIST at 2015/10/10:
 
-Chapter 1-
SE.Opening
01.GL・But! xxx / 想(sou)
02.Different Malice / DADA
SE.Cur
03.She made no Ans... / 石井秀仁(ishii shuuji)
 
-Chapter 2-
04.Introduction / Genet
05.Friend (AUTO-MOD) / Genet
06.Dawn(f.k.a. sudden change) / Zin-François Angelique
07.Opera (MADAME EDWARDA) / Zin-François Angelique
08.Dancing Death (Phaidia) / Gilly
09.god / Gilly
 
-Chapter 3-
10.dead brain / DADA
11.You / Közi
12.R.O.S.E / 想(sou)
13.Habit of Sex / 石井秀仁(ishii shuuji)
14.NEUENOIR(f.k.a. Sexual Perversion) / 石井秀仁(ishii shuuji)

From someone I used to know who worked in the field, the members of l'arc got burnt out on each other by the time Real came out. It's why they all started doing solo work. Eventually they got back together and no matter how many times and how long they take a break, they know whenever they get back together they can sell out huge stadiums.  And that is the reason why they're together. And  it helps that they're all actually hard working dudes that are able to juggle solo and collaborative works unlike the band (man) in question on this forum!

X during 1987 and 1988 were at their peak performance. Full of energy and what not.

As much as I like to shit on what the band has become thanks to Yoshiki, if you take a step back and look at the projectory of artists, this isn't really out of the ordinary.

They were 20-23 year old kids then with energy levels and drives to want to realise their dreams. 'Starving artists', so to speak. There's most likely a tension between just doing it for the fun of it with nothing to loose and also doing it to survive ("We have to succeed because it's the only thing we can do now!"). This tension creates a creative output that many artists experience early on in their career. 

If you flash forward 25-30 years later you could say most artists fall into one these categories:

-They disappear
-Replay the hits (Living off past successes)
-Keep growing and releasing works of art that might or might not be as influential as their original hit works

So yeah, I'm sure this is going to be a laughable concept to 90% of the forum here due to what I imagine is a demographic of younger people who can't look back too far but...
 
If you're above a certain age and can look back at your past selves from 10-15-20-25 years ago, were you doing more or less of what you wanted to do? Now, just because an artist created something awesome once, or for a few years, doesn't make them able to reproduce those same success years later. It's downright hard. Even when artist produce consistent work later on, you get the majority of the fans saying "Well, it's okay but it's not as good as the _________ album"

And besides, for Yoshiki, moving to LA ruined him and his actual ability to release work. He started living in the hype world which I think LA / Hollywood is known for. The combination of age and environment has produced an unaccountable creative process that leads to 20 years of no substantial releases. Who spends 10 years of their life on a project (Violet UK) and has nothing to show for it? Pure vanity. You feel the anguish from the engineer Dokk about his years working with Yoshiki from that X Japan Podcast.

Anywho, enough of the literal commentary. Let's get back to poking fun.

Toshi went to church camp for a while and was never the same
 
(or whatever that cult/brainwashing stint was about)
 
EDIT: holy shit remember toshi's band w/ the like 13yo kid in it lmao

I've been watching some old X-Japan videos few days now and these guys were really cool back then. It reminded me of why I was such a big fan of them! Toshi was a beast on the vocals, Pata and Taiji were super smooth glam rockers, even Yoshiki was fairly cool there and hide brought his crazy energy to the band. These guys were throwing TV's out of hotel rooms, kicking people during lives and there are slut stories about hide and co floating around the web.
 
Then fastforward, I check some recent live material........... Yoshiki introduces every song, Yoshiki does some overdramatic shit, Yoshiki and (now ballss-less) Toshi have some random heart warming conversation on the stage. What happened? When did this band become Yoshiki & co.? He was never this prominent back in the day! And what happened to Toshi?

Unfortunately he was senpai-ed into the band. You can't go against your elders, ya know?
And besides, it's a sweet gig for him. He barely has any band commitments, he plays a big concert once a year and maybe records for like a week and then he can go back to his solo and Luna Sea. Win-win!

SUGIZO please get out of this

Band leader Hiroshi Sasabuchi started CQ from the ashes of Tokyo Shoegazer after that band's singer left, possibly to go back to her main gig as vocalist / band leader of Presence of Soul. Tokyo Shoegazer's guitarist Kiyomi Watanabe and Yoshitaka Sugahara (also in Presence of Soul) came along for the ride to CQ.  Jun Shibuya ex vocalist of the great indie shoegaze band honeydip (and later tron) joined as vocalist of CQ after providing guest vocals for Tokyo Shoegazer on a compilation album after their first vocalist left before turning into CQ.

CQ  recorded an album 'What a Wonderful World' in 2014 but only released 300 copies as CD-R's at live shows and very briefly on the vinyl junkie website. They then released the EP 'What a Cruel World' later that year which promptly sold out due to their being only 300 copies again.  At the end of 2014, the first bassist Ooba Wako left the band. (https://www.monochrome-heaven.com/topic/32413-cq-ba大場和香ooba-wako-will-depart-new-lp-what-a-wonderful-worlds-end-release/)

In 2015 'What a Wonderful World' was released again as 'What a Wonderful World's End' with 3 new songs which was properly released as a CD/vinyl combo with a larger press run and sold directly from the vinyl junkie website. 'What a Cruel World's End' was released at the same time featuring live versions of the same songs on the EP from the previous year. 

Later in 2015 they released one more EP 'From Dusk til Dawn' EP that was only sold at their live shows. In early 2016 they announced that all of the available albums would not be repressed or sold again at vinyl junkie or at their live shows once they sold out. In summer of 2016 they released a collaborative single with some Japanese comedian singer-guy. (https://www.youtube.com/watch?v=01KuKC8qPjQ)
 
With no formal mention at all, original bassist Ooba Wako is listed as being a band member on the official website, vinyl junkie page and also her own twitter: https://twitter.com/wakowass

Their official website used to be somewhat informative but the refresh for the 2nd album stripped away all mention of the old releases as per the norm of bands wanting to erase their past for no good reason. A few other live clips that the band officially uploaded to youtube were subsequently removed too.
http://www.cq-band-jp.com/

Instead the vinyl junkie website has more information about the band:
http://vinyl-junkie.com/label/cq/?special=Discography

Here's an article in English from last year:
http://www.japantimes.co.jp/culture/2015/04/03/music/cq-will-take-worlds-end/#.V-wqWZN95mA

CQ will release a new album: Communication,Cultural,Curiosity Quotient. Release date is on Nov. 2nd. Album will be released by VINYL JUNKIE RECORDINGS. (￥2,593)
 

 
1.Disco Crimson
2.Primal
3.Strummer
4.Romance
5.Alien vs
6.Bradley Goes To Summer's End
7.Last Song
8.Discord
 

You can get this song on iTunes: https://itunes.apple.com/jp/album/id1157850626
 
CQ are Vocal.Guitar Jun Shibuya Guitar Kiyomi Watanabe Guitar Yoshitaka Sugahara Bass Wako Ohba Drums Hiroshi Sasabuchi

http://www.cq-band-jp.com/

This is kinda funny because Shin seems to be really annoyed (he does have good ties with Hitoki though as indicated by most tweets) there, lol.
 
Also, in regards to whatever happened during Feminism songwriting (!) AND recording phase:
 
1) Most critic info tidbits and wiki articles just state that Feminism recordings just took place "around 1995" - even though most songs have been already planned to play during lives right at the beginning of Cruel touring! (November-December-ish of 1994!). So this heavily Kiyoharu-biased information assumes that even songs happened to be crafted in the matter of 2-3 months they had left after Shin's departure! So by logical means and sensible graphic of usual 90s pop/rock recordings in Japan, they merely had time to work on a few completely new songs and just refinement of already finished recordings (additional frills, mastering).  There was one article on SHOXX or some relevant vk magazine back in very early 1995 (January-ish?) when Shin was still in the team, and while discussing their final tour for "Cruel", they already pointed out that there was a "batch of songs" ready and that was Shin's remark! I might be too quick to jump into assumptions but for the most part Shin always had the lead in Kuroyume (main songwriter, the actual definer of their VK style) and hence him being the "main man in charge" of the process. 
 
Let's take a look at one of those songlists off their last Cruel tour, shal l we?
 
 
source: their wiki which on the other hand was based on magazine reports of their Cruel tour (there was some livejournal mag scan page dedicated to Kiyoharu and similar figures of mid-90s and earlier periods but I will update this once I find it)
 
But even so, back to the recording revelations - based on my findings off those scans (I will provide the link once I find it), the "main focus" - i.e. feminism-themed products by Hitoki and Kiyoharu were in fact those directions which were mutually decided in cooperation with its producer, Masahide Sakuma (?) ! "Shiro to Kuro", "Silhouette" and the last song were noted recordings by Kiyoharu during POST-SHIN INTERVIEWS (around early spring of 1995?), whereas Hitoki was responsible for creating songs akin to "Kamakiri" during the same period - so why no mentions about other tracks though? Because actual process for Feminism was more of the collage, which extended to the late autumn of 1994!
 
http://www.livefans.jp/events/354752
 
Here you could see the first mention of "Kuchidzuke", which would be initially thought as something totally off Kuroyume's usual flairs but it's not really far off if you remember Shin-approved efforts like "Ishi Hakujaku" (what was initially the transition song for Kuroyume's RoS tour "MCs" as envisioned by Hitoki AND Shin from melodic point of view - see: RoS tour VHSes). Also, if we believe the "close voices" and Shin himself when it comes to his own facebook feeds - he "approved" efforts that were still rooted in Cruel-era stylistics! That also involved "Kaitou Jikken" which aside from being unusually industrial adopted abrasive, almost disturbing flairs Kuroyume has been always known for.
 
So that being said - we have:
 
Gossip
Miss Moonlight (which was described to be very Shin-oriented!)
Yasashii Higeki (the only bit of Shin left in the final recording was his solo - this was confirmed by Hitoki since he admitted that "he would never succeed in doing Shin's things")
Kuchidzuke (oddly enough debuted during the halfway of Cruel touring? Hmmm)
Feminism (another "typical visual kei" effort)
Kaitou Jikken (one of the very first songs planned for recording around January of 1995 if we have to be exact about months)
 
Yet to be questioned:
 
Love Song (then again, no specific remarks have been made about this song while pinpointing Feminism's theme @interviews!)
Kamakiri (strongly influenced by earlier efforts like "Sick" which may not be really  in touch with what kind of theme both Hitoki and Kiyoharu promoted on Feminism)
 
So that makes 7 songs (since "gossip" is a b-side) which we need to inspect when it's about fairness and correctness of credit sharing between these two - or THREE in this case since Japanese media has been always playing nice games on Kiyoharu instead rather than his band fellows. Go figure.
 
tl;dr this "sudden" transition phase is more than enough to cast second thoughts on anything Kiyoharu when they were quickly eager to drop the visual act and achieve mainstream attraction of mid-90s trends.  You may sense newly-awakened Shin bias right here but reasons I defined above are more than enough when it comes to justifying my siding. This guy deserves more than all that crap for being "just another background guy".
 
I know that most Kuroyume fans here are really worried about preemptive doom for Kiyoharu's spotlight career but think of his faults - shouldn't he finally realize that his multifaceted project selfishness has just given him a very bitchy image among adequate and understanding critic circles?
 
Here's hoping that he realizes this karma  but otherwise:

 
*EDIT: so the scans in question can be found in kuroyumescans@tumblr and jrock scans@livejournal. Mind the era (10.1994-02/03.1995) for wider scope of band's own words. Oh, and Morgianasama@livejournal provided other mags for those live reports so google her out!
 
 

I'm listening to the Nakigara wo tape rip that was uploaded here recently, which you should go download if you haven't done so already, and it's healthy to be reminded every now and then how incredible this band was. Fuck d'erlanger, x japan and the whole lot, nobody was playing music like this. Outside of the odd Luna Sea track like Shade, there's no instances of any other band at the time conjuring this kind of darkness and depravity. The sound of this album has been ripped off on a regular basis for over two decades now. Kuroyume invented visual kei and I pay no heed to any other opinion on the matter. They realised the sound that everyone else had only flirted with at the time. 

Shin and Kiyoharu were always inbetween lukewarm and quite cold relationships when it comes to songwriting procedures so it's given that such tasty gossipy news would eventually unearth early beef between them (especially the record of Shin's credits being left unmentioned on Feminism - and yes, he was still present around demo sessions of that album). Not even fanbase-forced pictures of Shin being uncomfortably stuck together with Kiyoharu + Hitoki in a couple of "reunion" pics would debunk this astounding reality.
 
Makes you wonder that why Kiyoharu INTENTIONALLY left Shin out when Kuroyume (reunited) went off for their 1992-1993 revival tour, huh? Normally most bands would bring in former members for a short while but he didn't!

Just some observations on my part regarding kuroyume when they returned in the late 00's. 
 
They released a heck of alot of A-B-C type releases, most likely because of AVEX's business model, and  I always felt like an artist like kiyoharu wouldn't actively do something like that unless he had to.  I always think of Avex as like dealing with the devil, you get the label support and advertising push (sometimes) but I'm sure artistically you're trading off something.  In kuroyume's case, it led to an excessive release cycle of singles / albums / dvds. that perhaps didn't sell well or rather, in the end, didn't leave kuroyume / kiyoharu with a profit when everything was said and done. Hence SADS and his solo project going on at the same time. I mean, this is the same guy who quit / stopped SADS despite the band having like 10-20 new songs written during the 13 tour just to go solo. 
He pretty much rolled from kuroyume to sads and sads to solo with hardly any break. Instead we were all getting kuroyume / sads music left-and-right like it was Christmas again. Maybe it wasn't so much that he was trying to treat the fans with kuroyume and SADS again but rather some big fat cash advance that caused them to reform.

If I want to be optimistic about all this, if someone buys the rights to all things kuroyume, maybe we'll get some old early 90's concerts on DVDs. I would surely shell out my hard earned cash for those!

Just some observations on my part regarding kuroyume when they returned in the late 00's. 
 
They released a heck of alot of A-B-C type releases, most likely because of AVEX's business model, and  I always felt like an artist like kiyoharu wouldn't actively do something like that unless he had to.  I always think of Avex as like dealing with the devil, you get the label support and advertising push (sometimes) but I'm sure artistically you're trading off something.  In kuroyume's case, it led to an excessive release cycle of singles / albums / dvds. that perhaps didn't sell well or rather, in the end, didn't leave kuroyume / kiyoharu with a profit when everything was said and done. Hence SADS and his solo project going on at the same time. I mean, this is the same guy who quit / stopped SADS despite the band having like 10-20 new songs written during the 13 tour just to go solo. 
He pretty much rolled from kuroyume to sads and sads to solo with hardly any break. Instead we were all getting kuroyume / sads music left-and-right like it was Christmas again. Maybe it wasn't so much that he was trying to treat the fans with kuroyume and SADS again but rather some big fat cash advance that caused them to reform.

If I want to be optimistic about all this, if someone buys the rights to all things kuroyume, maybe we'll get some old early 90's concerts on DVDs. I would surely shell out my hard earned cash for those!