saltofstones

1. Everything those old schoolers say is true. VK is in a period of stagnance run by money and looking cute to grab the tweens who want drag queens to drool over.
 
2. VK music was COMPLETELY different back then than what it is now. The music had diverse sounds rather than the same old shit being rehashed over and over. Visual Kei has become a conglomerate of pumping out over produced over done tacky bitches.
 
3. How are they being hypocritical? Their bands could never be easily compared to the sound of another. Now almost all VK bands are just overdone copypasta. And it's the TRUTH. You just don't want to accept it because you aren't mature enough yet to see it. But don't worry, you'll get there soon. We've all been in your position of haughty egoistic opinions. 
 
4. Calling them pricks and saying they should be spat on shows you are wildly immature and need to sit back and take a deep breath and actually THINK before you type. Especially when you are insulting the forefathers of your supposed loved genre of music. With out any of those "pricks" there wouldn't be VK. 
 
5. Anything Pierrot, Dir en Grey, Luna Sea, Kenzi did were all VASTLY different than the generic manufactured VK that is running rampant in the market today. Maybe I'll make an infographic that will show you the lines of descent between these bands and the new acts that are stinking up the place with their shoddy guitar riffs, clang-bang drumming, and cartoon styled vox.
 
666. Get some salve for that bruised ego of yours if you get upset over the opinions of others. You can't change them. And if ANYONE has a say on what VK has become it's definitely the people who laid down the ground work for what is here today.

In my opinion THAT is actually what i really love about the old looks. Surely, the outfits were sometimes really silly and exaggerated and the make up sloppy, but i prefer it that way dozen times. Why? Because I feel the old styling looked more raw, dynamic and interesting. It wasn't the complete über-perfection which it is now, some guys looked like Drags, others like punks, the others like a bad version of Sayako from Ju-On. I really dislike how most vk make-up nowadys looks so polished, everything has to be precise and perfect from teint, complexion to eyes and the boring hairstyles.
It makes sense though - new VK guys rather look like Hosts (who are supposed to look like ultimate perfect bishonen straight from your wet manga fantasies) than frilly New Wave boys with Boy George make-up (or oh so spooky goths in drag).
I guess that's where everyone's opinion differs, depending on their taste and aesthetic preferences. I personally adore a well done old school make up (and I tell you - it's very very difficult. I've tried it a few times and it still looks rather "meh". You can fail pretty hard at a late 90s Matina/Soleil style make-up if you aren't really good with the tools. Also: see all early 00s cosplays. All the people who wanted to look like Mana or oldschool Kyo and failed epically...). Especially the white faces are my faves, because they can be expressive (almost Harlekin like), yet it doesn't really matter how beautiful the person is who wears it - they don't need to be super beautiful bishonen and the focus lies more on their style and make up.
Of course I can see and understand people who like new VK make up better. It's more polished, clean and it can be worn outside the stage in mundane life as well- so it is more versatile. Old VK styling is rather extreme and especially the outfits aren't supposed to be worn daily.
 
But I still miss this style though and I am happy a few groups now are still dressing that way.

Suits and ties, almost every VK band has done this by now. If you were that upset about copying, just listen to Tokage. I mean, I like them, but seriously? After something as obvious as Tokage you put them into the copycat chair because they are wearing suits? In comparision, this is a very minor offense. Everybody's friend wears that sooner or later. You don't have to dig through VK to affirm this, it's everywhere, and shit happens. Their songs themselves are much more prone to that kind of criticism. Yet, still most people like them, because they bring a bit of the late 90's back, and that's okay. Now, really, wearing suits with ties should be a non-issue.

DS is finally live! We're a bit exhausted at the moment as we've been finalizing a lot of things today in anticipation of the launch. So forgive me for not having much to say right now!
 
If you'd like to read more, we have a fairly detailed post of what's coming up next in development here: http://deadeyes-star.com/blog/2013/12/introduction-to-deadeyesstar-1
 
I'd also like to introduce our staff! Be sure to give them some love!
@Aion @AmeToMuchi @Biopanda @Champ213 @Friederike @Ito @karin-adele @Kaye @meat @Peace Heavy mk II

Unpopular opinion: MEJIBRAY has nothing to do with the GazettE in terms of "rip-offness"
 
Sure, Tsuzuku is a fan of Ruki's and the GazettE's, admittedly. And this moderately shows in his visuals at times.
Sure, the band has some songs in their catalogue that seem to have some similarities to a few of GazettE's tunes.
...about 3 songs out of a total 48 (and counting).
...which usually only resemble GazettE stuff for like half a minute each.
(remember DIE KUSSE where everyone shouted "ripoff, hahaa!" only because of the introductory part that never ever repeats again? ;> )
 
So it's getting a bit weird and old to read all the "durrrr Gazetto copybando" stuff. Feels just like around 7-8 years ago when all I heard everywhere was "durrrr Gazetto sounds like Diru" (no they didn't, lol).

Cool, I enjoyed their album.

I used to have favorite bands and I still do consider a selected few as being my absolute favorites, but lately I tend to think of my favorite music more in terms of albums. I find that it's very hard for a band to consistently release quality material or at least a majority of it (quality as in being to my liking since there's a lot of subjectivity involved in what constitutes a quality release). There are bands that almost always release stuff I absolutely love (ex. The Birthday Massacre, DEG, Ling Tosite Sigure), but there are also bands who have certain releases I really enjoyed, but not necessarily all their stuff is that good in my eyes. I tend to think most bands fall in the last category for me, hence why my favorite music is usually certain albums and less certain bands. When it comes to my favorite bands, yes, I have trouble picking an absolute favorite album since I love them all. As for genres, I like a lot of them, but there's also quite a lot of stuff I don't like in almost all of them so they're not that representative for my music taste. Also there are genres that I usually dislike but there's still one or two bands I find amazing in that particular genre. I use genres as vague indicators for what I might like, but ultimately the sound of that particular band is what matter the most.

The beginning sounded familiar, then I realized it sounds almost exactly like Dezert's song MONSTER with a bit of Mejibray's Sabato thrown in the mix.

Throwing my initial skepticism aside, I decided to give YOHIO's album a spin. Much to my surprise, what I found was something beyond my wildest dreams.
 
The record begins with a tasteful intro track that immediately sets the epic and grandiose mood of the album. As soon as the dubstep break kicks in, we can feel his undying urge to "break the border" which can be attributed as the overarching concept of the whole release. Next, we are treated to a couple of powerful and immensely catchy visual rock tracks. The overall spirit of innovation is present throughout, as the artist breaks those borders that limit genre classifications, melding his art into something transcendental - it's a musical "REVOLUTION" (to quote the title of one of the more outstanding and totally not tired songs of the record).
 
YOHIO shows us his versatility even more in the next segment (this album can easily be divided into separate thematic parts that make up a whole concept, but more about that later) that contains a more poppy type of music. Be it the infectuous power-pop of Heartbreak Hotel or the simply matchless never-before-heard intense beauty of Sakura, falling (penned together with Gackt, another maestro whose innovative song structures amaze us year after year now) YOHIO decides to conquer our hearts, taking no prisoners. Little do we expect the shocking continuation...
 
The album takes a sudden darker turn with the arrival of the next track. INNOCENCE is like the unrelentingly aggressive yet captivating masterpiece MEJIBRAY or the DIR EN GREY guys have tried and tried but failed to conceive over the past years. When YOHIO screams, he screams for all of us, and we immediately make that connection subconsciously - a transcendental and almost religious experience/bond between artist and listener. This feeling is then heightened and pushed to the extreme on the next set of more emotional songs, of which the highlight is TIMESCAPE, a totally necessary and interesting piano instrumental.
 
YOHIO continues with another instrumental number, this time showcasing his impeccable guitar skills. Seriously, for a moment I thought I was listening to Steve Vai but then I realized - YOHIO is the Steve Vai (Su...Suteibu Waii?) the Japanese market never had. Thus, in this sense BREAK the BORDER becomes much more than a mere album (however fascinating it might be): it is a cultural mission statement, a proclamation of creativity and the generous offer to hand down that exceptional creative streak to the thousands... no, millions who will surely be listening! Finally, the album closes with the ever-strong title track, concluding this fantastic musical journey.
 
In conclusion, we can say that YOHIO's debut album is not only a flawless set of songs but a concept album chronicling the inner drive and torments of the artistic mind. The first segment (tracks 1-3) does what, indeed, is in the title of the album: it breaks down the borders with its unusually innovative approach. The second part (4-9) symbolizes the conflictual emotions and desires he carries, a genius bogged down by the mere earthly elements of this world, the artistic spirit forever tied to ever-fallible physicality that entraps it. After we have broken all borders what remains? This fascinatingly diverse musical "anarchy" is calmed and concluded by the ending segment (10-12) that delivers the message of purity and staying true to oneself. The artist is reborn like a phoenix from the ashes, and can begin his musical adventures anew, sometime, somewhere...
 
A truly beautiful album if I ever heard one. This will no doubt be mentioned among the classics, when we take a look back a few decades later.
 
Fooled ya? ;D Happy April 1st!

ART-SCHOOL new mini album "The Alchemist" will be released at 2013/03/13 (1,800yen, limited 5000)
 
[track list]
01.Helpless
02.フローズン ガール(frozen girl)
03.The Night is Young
04.Dead 1970
05.光の無い部屋(hikari no nai heya)
06.Heart Beat
 
http://www.art-school.net/