Karma’s Hat

If you have a bazaar nearby where you're at then I suggest just going for that. When I get back home I'm now on just going to buy most if not all my foodstuffs from old ladies selling things from the back of their truck rather than from some oligarchic market chain fuck that shit. One thing I've actually learned about myself is that I'm not anti-social or introverted, it's just that this bullshit dehumanising society pushed me into thinking I was one. I actually really like small talking with vendors just like I liked talking with customers when I was working in a bar no matter how stupid they are, which I would have never expected when I spent like 25 years avoiding the looks from neighbors and other people in transport. It's just a different, more humane environment where you can be how you are and you're in no rush to get anywhere to slave away for someone else's profit. 

Trust me, you struggle to find people who remember him in Sweden. You have to prod like 5 minutes and then they'll go like "oh yeah that guy"
 
 

Trust me, you struggle to find people who remember him in Sweden. You have to prod like 5 minutes and then they'll go like "oh yeah that guy"
 
 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

Yohio is not just some dude like the guys from Emmuree or like Aie who do visual kei as a lifestyle for the love of the sport. He is a sunglasses-indoors-wearing blowhard who's portraying himself as a living legend hot shit CEO. For him to not reach a certain level he aspires to would be devastating. It's make it or break it for him to get there right now with the vision he had envisaged years ago with KEIOS, Desaiha, Lovelipop etc. 
 
And I actually have to disagree, I don't think he is that productive. Right now is the only time he has been consistent since the melodifestivalen hype when he put out two albums in short order, which ended after they forgot about him in Sweden and his second attempt at Eurovision flopped. His release schedule right now is making me so angry, like why does he put out single songs constantly without even really promoting them before he moves on to promoting the next one! The only good rollout he has done recently was for his previous solo track. It'd do better to have put out all the english DISREIGN tracks as a EP because they're already super mediocre so at least you could put 4 or 5 in one package with a PV and a ballad and promote it for weeks and not move on from one to the next without anyone caring.  No one has a relationship with the English DISREIGN and I've seen even his fans being confused and unenthusiastic. Right now there's a new DISREIGN track coming up with almost no warning and he already has three DISREIGN releases in the bag without a PV, and those PVs are his most popular content. He should've put out the DISREIGN tracks as an EP as well that he really actually promoted, and done the legwork in Japan if possible. I just don't think he can stomach playing second fiddle at a multi-man event where only 3 people came to see him, because unlike what his socials would tell you I don't think he can even draw a decent crowd in Stockholm, let alone in Japan. 
 
My armchair booking for him would be releasing YOHIO solo tracks as stand-alone and build up for the album like he's doing, then DISREIGN and english DISREIGN tracks as either 2 track singles or minis with PVs. And it's better for him to put out one release a year that he'd promote right, instead of shitting out tracks without promoting any of them. Less is more etc.  And while I'm sure he is busy playing CEO right now with dad's cash, he could even take a video of him recording something and post it as a daily Vlog because his ( small ) fanbase loves that. The way he abandoned his Patreon too just lowers the value of his brand and decreases the trust between him and the people dumb enough to pay for this trash. 
 
And this thread is great because after all, I think all this western stuff does deserve attention. For one, it's an outgrowth from vk culture so it is interesting in like a scholarly sense, and second the ones that are doing this are the ones who are brave and stupid enough to realise the dreams that more than a few members of this board have had myself included; and as an extension of that it's our duty to savagely tear down their hopes and dreams if necessary. If I was doing music I wouldn't have it any other way.

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

Yohio is not just some dude like the guys from Emmuree or like Aie who do visual kei as a lifestyle for the love of the sport. He is a sunglasses-indoors-wearing blowhard who's portraying himself as a living legend hot shit CEO. For him to not reach a certain level he aspires to would be devastating. It's make it or break it for him to get there right now with the vision he had envisaged years ago with KEIOS, Desaiha, Lovelipop etc. 
 
And I actually have to disagree, I don't think he is that productive. Right now is the only time he has been consistent since the melodifestivalen hype when he put out two albums in short order, which ended after they forgot about him in Sweden and his second attempt at Eurovision flopped. His release schedule right now is making me so angry, like why does he put out single songs constantly without even really promoting them before he moves on to promoting the next one! The only good rollout he has done recently was for his previous solo track. It'd do better to have put out all the english DISREIGN tracks as a EP because they're already super mediocre so at least you could put 4 or 5 in one package with a PV and a ballad and promote it for weeks and not move on from one to the next without anyone caring.  No one has a relationship with the English DISREIGN and I've seen even his fans being confused and unenthusiastic. Right now there's a new DISREIGN track coming up with almost no warning and he already has three DISREIGN releases in the bag without a PV, and those PVs are his most popular content. He should've put out the DISREIGN tracks as an EP as well that he really actually promoted, and done the legwork in Japan if possible. I just don't think he can stomach playing second fiddle at a multi-man event where only 3 people came to see him, because unlike what his socials would tell you I don't think he can even draw a decent crowd in Stockholm, let alone in Japan. 
 
My armchair booking for him would be releasing YOHIO solo tracks as stand-alone and build up for the album like he's doing, then DISREIGN and english DISREIGN tracks as either 2 track singles or minis with PVs. And it's better for him to put out one release a year that he'd promote right, instead of shitting out tracks without promoting any of them. Less is more etc.  And while I'm sure he is busy playing CEO right now with dad's cash, he could even take a video of him recording something and post it as a daily Vlog because his ( small ) fanbase loves that. The way he abandoned his Patreon too just lowers the value of his brand and decreases the trust between him and the people dumb enough to pay for this trash. 
 
And this thread is great because after all, I think all this western stuff does deserve attention. For one, it's an outgrowth from vk culture so it is interesting in like a scholarly sense, and second the ones that are doing this are the ones who are brave and stupid enough to realise the dreams that more than a few members of this board have had myself included; and as an extension of that it's our duty to savagely tear down their hopes and dreams if necessary. If I was doing music I wouldn't have it any other way.

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

I think a lot of that feeling of people coming and going stems from the western boom years and like other people said, from the fact that it has somehow been hogtied into the same brain rot caravan with Kpop and therefore people tend to become aware of both simultaneously, allowing for lateral movement between the two. Then there's that other breed of us getting into our 30's finally coming to grips with mortality and that this is a very fruitless endeavor, so now there's also these existential crisis' going on with the older guard. This basically goes a long way to explain why everyone in this scene is so fucking stupid, you were either into a dumb fad when you got in or you were dumb enough to stay for too long. 
 
But like, about the psychology of people who come and go, being gya one day and rastafari the next — I never got that. I have, my entire life more or less, liked the same things and I never really dropped out of anything. There's some faux pas you'll find from the times when I was like exploring stuff like western metal when I was 16, but everyone goes through that one way or another when you build your frame of reference and refine your taste and ideas of what music should be about. The people who change every word in their bio on an yearly basis with only the words "I stan" remaining in place can't be counted on for anything. How do they even finish meals is beyond me let alone stick with something when everything they do is so dependent on if the weather is fair. They're the same people who'll abandon their folks into a home, but take a taxi from another city once the inheritance is on offer; just picking the carcass of cultural capital that other people worked for, that other people laboured to put out there. I'm in this shit for the long haul and this relationship will end only when one of us dies, either me or the scene. No matter how reprehensible I think the scene operates or what I think of the fucking people in it, it's still important to me. 

the forum is living off of its premium member section bro. otherwise it could've been dead already. 
 
I understand where you are coming from because your frame of reference is inherently mainstream pop and rock oriented. There is more music than we could even listen to in our lifetimes that is made non-profit, strictly for the communities they're coming from. There are bands that are even legendary only touring occasionally even if they're not political. I'm opposed to capitalism, I'm opposed to sales. This is just my opinion, but I don't support the economical model of visual kei even though I love its music and history, so I also don't care if it dies out because its economical model was made redundant by the 21st century. If it can adapt to the streaming model then god bless. 
 
 

I don't mean to fight, but people do this all over the world. Just not in the music you listen to, mate

Then the majority of their income comes from their job as a physics professor or as a host, I reckon. 
 
This horse has been beaten to death on this forum. When children are starving and people are being droned and shot all over the world with the compliance or the guns of the governments most of us belong to, then even considering to pose downloading music as an ethical question is stupid and embarrassing. There's no reason for anyone here to care, those who download will dl and those who won't won't. I stream bands on spotify when they are there, I bought Anfiel's second album digital because i liked them back then, I wouldn't pay a buck for david if it's able for purchase online because I think they suck, but I'll still dl it to know what it's about — everyone else will continue to do more or less the same unless they have a mental disorder where they live vicariously through their fave bandmen. 

I honestly don't know what there is to gain by white knighting some high school dropouts rockstar dreams in the year 2020. The world is in lockdown, the polar caps are melting; I think if you're making art for profit in this age then you can fuck the right off and get a real job, even if it's visual kei where half of the appeal of this niche comes from the weird economy that sustains it. 
 
 

Yeah I also think there's a good chance he has bought at least a good portion of those views. I just find strange that he doesn't apply the same philosophy to the rest of his content. The Mitsugi guy struggles to get 200 views even, and half of the comments are yohio commenting under the Yohio account, Keios entertainment account, Rehn music group account and others. 
 
Anyway I find him very fascinating and endlessly entertaining. He was really unproductive around 2018 and early 2019 and seemed to have been in depression around that time according to twitter, only to self-help himself back to shape for the latter half of 2019 when he started his big campaign to get KEIOS finally going after numerous false starts the 8 odd years prior. On the website they have purged the labels real history, like his girl group, Mitsugi Senior Oskar Bruzell or something like that who appears to have become a member of the Swedish liberal right wing party since; and speaking of right wing, the Ex-Yohio drummer who was also the drummer for Marduk was caught ordering nazi merch with Arioch/Mortuus lmao. So Yohio the band is actually, according to the logic of guilty by association, tied to the far right. 
 
I'm going to hedge my bets on him continuing almost until the end 2020 before he gives up and becomes inactive again, but I wouldn't put it past him to give up by mid autumn either I imo the Keios resurgence is already losing stream. If they're paying for views then the majority of their income has to come from being featured on Melodifestivalen playlists on spotify, and that can't be a whole lot of money in 2020. 
 

Recently I've been wondering about the seemingly gigantic social media following of certain Swedish visual kei personalities, and how little traffic they actually do get despite of it. 
 
Case and point: The Weebkei King Yohimbe has been on a massive release and promotion campaign for his record label. Having previously been in the habit of starting something and abandoning it only moments later, he's now been on this kick for more than a few months, even putting out new stuff by DISREIGN, English DISREIGN, some gaijin chump who nobody listens to and sings with a really hokey put-on gravely voice called Mitsugi and then his solo stuff. He still hasn't gotten rid of all his old habits tho, since he has in the meantime stopped doing both his podcast and daily vlogs, and is extremely unproductive on Patreon for his astonishingly perseverant 21 patrons. All of this hasn't made him get any bigger numbers than before, and I think we all know that he has hit the ceiling with his flop career a long time ago. That's not what I'm trying to get at though.
 
When he puts out a PV it goes into 100k's of views in relatively short order, but when he puts out anything else it literally makes no numbers whatsoever. He put out a new song two days ago and it ended up auto-generated on Youtube under his channel name, and in two days it has gotten only 2.7k views. What about the tweet with the preview of the track? 374 likes. Somehow while my boy is more active than he has ever been, he only does huge numbers for a selected handful of songs with PVs just like he always has, his twitter numbers continue to trend downwards and the spike he got for his Youtube channel subscribers a long while back is highly suspicious to say the least. Even the attention that he appears to get for his PVs doesn't translate to anything else, because his label and projects that are in it are languishing in obscurity. How does that work? I know Nocturnal Serenade was promoted by the Youtube algorithm, but surely not all his PVs can be that lucky, unless he has come up with a way to really game the system. How does this shit work
 
 

Recently I've been wondering about the seemingly gigantic social media following of certain Swedish visual kei personalities, and how little traffic they actually do get despite of it. 
 
Case and point: The Weebkei King Yohimbe has been on a massive release and promotion campaign for his record label. Having previously been in the habit of starting something and abandoning it only moments later, he's now been on this kick for more than a few months, even putting out new stuff by DISREIGN, English DISREIGN, some gaijin chump who nobody listens to and sings with a really hokey put-on gravely voice called Mitsugi and then his solo stuff. He still hasn't gotten rid of all his old habits tho, since he has in the meantime stopped doing both his podcast and daily vlogs, and is extremely unproductive on Patreon for his astonishingly perseverant 21 patrons. All of this hasn't made him get any bigger numbers than before, and I think we all know that he has hit the ceiling with his flop career a long time ago. That's not what I'm trying to get at though.
 
When he puts out a PV it goes into 100k's of views in relatively short order, but when he puts out anything else it literally makes no numbers whatsoever. He put out a new song two days ago and it ended up auto-generated on Youtube under his channel name, and in two days it has gotten only 2.7k views. What about the tweet with the preview of the track? 374 likes. Somehow while my boy is more active than he has ever been, he only does huge numbers for a selected handful of songs with PVs just like he always has, his twitter numbers continue to trend downwards and the spike he got for his Youtube channel subscribers a long while back is highly suspicious to say the least. Even the attention that he appears to get for his PVs doesn't translate to anything else, because his label and projects that are in it are languishing in obscurity. How does that work? I know Nocturnal Serenade was promoted by the Youtube algorithm, but surely not all his PVs can be that lucky, unless he has come up with a way to really game the system. How does this shit work