shizukasou

Hello everyone !

I’m new to this forum, and I think that the best way to start is to present myself.
I’m eiheart, a 27 yo french girl (aka now you know why I talk like shit 8D I’m working on it tho), and I’m back on the VK ship. I started listening to VK in 06’-07’ or something, and I left in 2009 (I remember the last song that I’ve heard and found good was LEECH from gazetto). I left because I was “bored” of the scene (some of my favourites was disbanded tho), I’ve totally lost interest, I needed to see others horizons. But I fell again (with gazetto, how ironic is that XD I’ve heard that DIVISION was their best effort to date, so I’ve decided to give it a try, it was a good surprise and I re-discover my love for their music and all that I've missed). So I came back and take a look at the new scene.
I’m listening a lot of music from all horizons and style, I don’t stick on the azn side (I am not this kind of person nor a fangirl). You can take a look at my last.fm (and you can add me if you wish, you’re very welcome).
I can also participe to the dl section, by uploading my own stuff (oldies of course xD but maybe some can be interested ).
I think it’s all for the moment. If you have questions, don’t hesitate.
Bye 
 

 
(i hope my english wasn't so appalling   )

I second this! ><

MEGA RAYQUAZA LOOKS AMAAAAZING and it's going to be so OP omg. The new move Dragon Ascend looks incredible too! The animation is even prettier than the Draco Meteor one.

Hello there and welcome! Angura kei rocks, I agree ;3 Enjoy your stay!

hes trapped in the cheese vault and its taking longer than expected for him to eat his way out

I think it might be the intro SE that kind of sounds like Megaman.
Check out for yourself though, I found the album here (via Rezker):
 
http://www.4shared.com/rar/Czer-D3tce/GANGSTA.html
 
*edit
I think if that were the case my review would've been veeeeery different.

Does it really matter into what genre it fits best? Will it change your opinion if you can categorize it? It comes down to your taste, if you like it good, if you don't then move on. These arguments are pointless, modern music can't really be put into well-defined genres like before anymore, especially when it comes to rock/metal and all the endless sub-genres, obviouslly there are clear boundries between major genres and exceptions, but almost all music tends to borrow elements that are considered to be distinctive of a particular genre. Not to mention music evolves over time so the sound of what was once called metalcore can't be the same today, music isn't that stagnant, otherwise we wouldn't have so much diversity in music. Everything is IMO.

Both ShanethVarosa and Furik took the words right out of my mouth.I believe this is their best release in years and I'm glad they finally put the energy back into their songwriting, I was left wanting more and if this is just a small taste of their next full length, I' m very excited for it! Not going to do a review for each song but overall this an easy  

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!

Another theory about his absence:
He actually just got into League of Legends.

Completely agree with everything. I'm one of those same people I've been trying to get into them for the longest time but every time i try i leave disappointed. i just can't understand the appeal. They have good points to them but I've rarely heard them produce a great song from start to finish. これを依存と呼ぶなら and 躁と鬱と境界 are the only songs of theirs I really love.

Artist: MEJIBRAY Single: シアトリカル・ブルーブラック Score: Seriously?
I don't often listen to MEJIBRAY, but when I do it's a single because I can't take an entire album of this.

Listening to MEJIBRAY is like playing darts with a very skilled but drunk friend whose precision is impeccable but whose aim is off. Said friend would hit the bullseye more often than not if they took the time to aim before throwing. But in the spirit of keeping the game going as fast as possible, he tosses many darts at the board and hope that enough stick to get him the points he needs to win. The groupies watching who hype his skills overlook this fact. His fans are divided into two groups: one group that sees the potential and the other group which is concerned with the final result. One group hypes his abilities too much and the other underestimates them too much, and that leaves our friend MEJIBRAY in the no-man's land of slightly above average.

This friend knows that he has the talent to play much better - the company of expert-dart throwers he practices with is top-shelf - but he also knows that there is little incentive to play well, so he is satisfied with subpar performance because even if he doesn't win, he still "did well". It works out anyway, right?

No.

THEATRICAL BLUE BLACK is that type of performance that starts shaky and fizzles out before the end. Akin to watching a trainwreck in slo-mo, I can pinpoint the moment when the hype train goes off the side of a cliff. Inconsistency has always been MEJIBRAY's Achille's heel - except it's more like Achille's torso - and the only thing I can say in confidence about them is that they're consistently inconsistent. Even with the gigantic target on their chest that I can't resist taking shots at, MEJIBRAY is here to stay. So while they're still relevant and the Little Hype Train That Could struggles to stay on the track while moving at top speed, let's take a look at why it's good to know when to stop.

If you're interested as to when things get bad, the answer is before it begins. THEATRICAL BLUE BLACK is MEJIBRAY's current offering of a single. I've heard good things from many people about this single but I don't see it. I was expecting to be floored but instead I was bored. "Been here, done that" sums everything up. Yet another song with metalcore verses and a pop hook that by some arcane wizardry fits together better than it usually does, MEJIBRAY has covered no new ground. In my eyes, this is a regression of sorts! They've done better than this before.

Let's start with the tone of the guitars. They may be tuned low, but MiA left all the aggression and heaviness at home. These riffs sound djent-like brittle, neutered at the balls and leave no impact. They seem to be low because they have to maintain their cred as a metal band, but when the chorus is the more convincing musical effort the band isn't maintaining very well. The bass makes up makes up for the lack of low-end punch but it's not enough and often gets overpowered by the guitar. The biggest surprise is Tsuzuku, who has removed a lot of the vocal ticks that made him insufferable to listen to. It's evident in his vocal delivery early into the song - the way his singing morphs into an agitated outburst is the product of many hours of practice. His harsh vocals have not improved at the same rate. He is not at the level where he should attempt them, but no obvious pitch-shifting and the ability to maintain his pig squeals is a plus.

But what can I really say that's not me scraping for positive comments? Not much. Singles need X-Factors to draw me in. THEATRICAL BLUE BLACK doesn't have that. Yet another nameless, faceless single that I won't remember by next week, it could have been done by any other band with the same result. I fail to get a sense of what skills or inspirations MEJIBRAY possesses that separates them from their peers. If this is what they call a single, I'm not convinced the hype is warranted.

I'm even more convinced I'm right when I move onto the B-sides. BI"name"JIKA has an even more cryptic name and has it's own set of problems. First off, it sounds like two different tracks sandwiched together. The first part moves with a rhythm that sticks in your head like a harpoon but isn't catchy. An overreliance on electronic elements with barely any melody means MEJIBRAY is treading water until it switches gears halfway through. Once MEJIBRAY commits to the slow, building style of the chorus on the way out they start conjuring something that can keep my interest. But they don't sustain it for long and just when things get started the track begins to fade out. This irritates me, because the one time they stumble onto an idea not fully explored, it's treated as an afterthought.

HATE is MEJIBRAY's last attempt to get my attention, and they resorted to a two and a half minute number that isn't worth listening to. I have no positive comments about this song. Maybe this gets the crowds going when performing but it's a below-average track overall. I was bored faceless by this. Just needless screaming, a boring and simple set of riffs, and a lack of resolution coupled with no direction. They do this type of track now and again and every single time it just fails. I didn't even finish this song because once I knew where it was headed I knew I wouldn't like the destination.

Cut out all the fame and the hype G. Close any tabs that have a picture open of this band. Turn whatever you're listening to off. We're going to have a serious conversation.

I'll start with the fundamental question I want to pose: why?

Why are they at the forefront of the modern visual kei movement? This band is nothing special. Pardon my French, but this was bland as fuck. No immediate appeal, no lasting appeal, no noteworthy moments at all on this single. What was being hyped again, because I totally missed the train? Or rather, I should say the train missed the station. It never showed up!

Adamant on relying on the same bag of tricks that's been passed around the scene for the last few years, MEJIBRAY doesn't put their own spin on their influences. It's a direct copy-paste of the formula that never deviates from it's inspirations and this formula isn't a turn-key. If a successful product is the end goal, going through the motions isn't going to cut it. Bands can't just play metalcore riffs with pop choruses and come up with a hit single. Songs need soul! It's not only about composing the music, it's about feeling the music. Being the music, even! It's about putting your emotions, your heart, your everything into every track. Each track should communicate a message from artist to fan across language barriers the way only music can.

MEJIBRAY doesn't do this. MEJIBRAY is incapable of doing this. I've tried to get into them on multiple occasions and each time it leaves a worse taste in my mouth. I went back to their first single just to see if it's them or me and it's them. There were traces of promise on their first two singles that have been suppressed for a good while now. MEJIBRAY need to get back to their roots. DIE KUSSE was a step down from Karma & KILLING ME not only in terms of complexity, but delivery, energy, and passion. This is another step down from that. Where's the energy of the band? Everyone sounds so bored, like this has become a routine for them. The passion in the delivery of the choruses are so forced and unconvincing the songs never elevate. The thrill that only a great solo can instill in the listener; the type of solo to get your heart pumping and your feet tapping? It's not here.

At the beginning of the review, I said there were two groups: those that see potential and those that want results. I am in the latter group. Potential means jack shit if you can't deliver. Nobody will remember a band for their potential - only for what they delivered. As long as MEJIBRAY continues to not explore their potential and are content with substandard performances, they will never be deserving of all the hype or attention they get.

Score: | How disappointing...
 
Let's get something out of the way early: this album sounds like shit.
 
The production is abysmal. Their standards have been slipping ever since I BELIEVE IN ME, and the EXODUS EP released not too long ago was a little dry for my taste. In comparison, this is a desert. A vast, barren desert where the bass and treble are too damn high, and the midsection is non existent. For a casual listener of music, this may not be an issue. But for an enthusiast like me who invested a few hundred bucks into his listening equipment, I hear nothing but production flaws. It's enough to turn potentially great songs into good songs, and mediocre songs into indistinguishable rumbling, and it's enough to take a point off the top automatically.
 
There is the odd occasion in which I can overlook lackluster production if the quality of the music is great. I've been a fan of lynch. for years, and they are one of my favorite bands, so this would be one of those times...except it's not. This album is both too long and too repetitive, and whatever ideas lynch. had didn't stretch over all songs equally. There are tracks like ENVY, DEVIL, and PHOENIX that are okay, but there's nothing that's really good. Just average songs and shit songs.
 
What's lacking is enough to scratch off two more points. There's not enough clean vocals, pop influence, or melodic variety for my tastes. For example, BULLET was decent up until the one minute mark, where the band launches into 2014's dullest breakdown. If it were just BULLET, I'd write it off as a bad track. But there are too many nameless, faceless tracks that follow one after the other that feel like cut and paste sections of melodies. Almost every track is awash with monotone harsh vocals, which becomes unpleasant to listen to after the sixth or seventh track. If it weren't already bad enough, every time there's an opportunity for a track's arrangement to grow they either repeat themselves or launch into a breakdown. The songs themselves feel too constrained and recycled, and while I don't mind if a band recycles riffs from time to time, three times in one album is too much. If you want examples, attempt to describe to yourself the differences in riffs on MAD, MERCILESS, and GUILLOTINE. I can't.
 
So 2014 comes and goes and lynch. swings and misses again. The constant misplaced metalcore influences are irritating, and lynch.'s inconsistency on the detail and creative fronts are sinking their credibility as a band that can produce decent albums at worst. If they're going to continue to show so little compositional enthusiasm, they may as well just stop.

@filth_y - everyone has their own opinion, but Uroboros is up there because it kicks ass on so many levels. Not only is the album heavy (in a much better way than DSS) but it also has some of their most experimental and interesting songs yet. Toguro and Stuck Man, for example, are just brilliant.
Also Diabolos sounds nothing like Vinushka. The latter is so much better

I'll go with MUCC's "Arcadia". When I first listened to it I was like "omg, what is this, what happened to you guys" (I'm not really fond of...dance music, if I got the genre correctly, there are so many I may be mistaken), but it eventually grew on me. Now I pretty much love it.

bruhhhhhhhhhhhhhhhhhhhhh, tell me about it. Oda is a genius. How do you keep shit so consistently interesting!!???

OH THANK GOD.

Well...Alright...
 

Well...Alright...
 

Silly, that's just bon chan.

Sounds excellent. Between this and Giru's mini, it should be a good couple weeks!

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You need my girls i know