Wakarimashita

🇺🇸 9 more days till their debut 🇺🇸

My name is Jasmine Masters and I have something to say. Yoshiki has done fucked X Japan and Visual Kei, bottom line cut and dry!

Absolutely!
As a lover of heavier sounds I am just kinda disappointed in this "light" turn, they pulled off pieces as Oboreru Sakana, Ame no Waltz and even Lucid Dream that to me are masterpieces, and I just would really like them to go deeper into that way

Good morning my dearest 🙅 family, how are you all😶☺😊? To today's 👭International Children's Day👪 there is for you the Ending of the most successful, emotional and unique 🎬music documentation🎬#WeAreXFilm in the 🎶Music Universe🌌. On May 25, the Fans in 🎌Korea🎌 were able to admire the 🎬Film🎬 in the 📽Cinema📽. Enjoy the best 🎶music documentation🎬 of all time and the 🌞beautiful weather🌞. Let's go to the first June 🌹🌸🌞🌺🌻summer weekend🌹🌸🌺🌞🌻🌹. 

Seen this visual kei career trajectory so many times in my life that I don't even recognise the feeling of disappointment anymore. 
 
The A-side is cute I like it, and I wish the section at the end had been in a song that banged a bit more in general.

It better be Oboreru Sakana #2.

It better be Oboreru Sakana #2.

replaying this since they've posted it. I'm literally drooling all over my place because I freaking love it

It is safe to assume that at this point we'd forget about it anyway!

In an effort to get them to just get this over with already, I will keep sharing embarrassing X-related macro-images.

DADAROMA is, by all accounts available to me, one of the handful of bands from the new crop that have skyrocketed in stature and popularity to the levels previously held by the mid 2000’s indie stalwarts, crashing the party with probably the best case of intuitive visual kei marketing since conditional disbandment by first releasing Oboreru Sakana on Youtube for all gaijins to easily enjoy. Immediate hit in the west relatively speaking, due to its accessibility both in sound and availability, they’ve been on a continual upward surge since. And now two DADAism’s later, the third in the series has just dropped coinciding with the third year into their run.
 
Having now amassed a decent amount of bulk into their discography one can finally make some observations what DADAROMA is, and what they are about. What to note specifically, is that the overall image of their sound is uniquely scattered, and yet aesthetically consistent. Ever since their debut a polarity has been attributed to them; a struggle between the metalcore influence against their wacky, almost The GazettE-esque light-heartedness and a tendency to stick to more traditional nu-metal visual kei riffs and vocal stylings. At this point, three years on from their debut, it can probably be said that this is a false observation. Out of a discography of 47 or so songs, only about 4 or 5 put on their striped deathcore socks, while the rest tread the line of either appropriating the odd stylistic trick from the style or settle comfortably into the visual kei ballad/mid-tempo song territory. What does remain consistent however is their imagery of clowns, sex, clichéd visual kei political commentary and a very loud production that’s as slick as it gets. Looking at the entirety of their output from the past three years one notices that they’ve always been kind of the same; looking, sounding and acting pretty much like they’ve always done and whatever had been mistakenly attributed as a stylistic shift was merely a case of someone being unfamiliar with them. The palette of DADAROMA just happens to be very broad, and they happen to divulge in all the different aspects of it cyclically.
 
What I do think is true however, is that they do some things better than others, and DADAISM 3 is a prime example of it. In the third release of their EP series we see a band distilling all their worst traits into 20-minute slog that’s everything I hope this band will not be about in the future.
 
In their prime DADAROMA uses the interplay of their ability to use metalcore and traditional visual kei’s melodramatic potency to a great effect. In their first PV tracks Oboreru Sakana and Ame no Waltz they bang out a Suicide Silence 101 knock-off and whispery vk vocals at exactly the right times, and climax like the sinking titanic with a lazy vk fade out for the centuries. If perfect 2010’s visual kei was engineered in a laboratory, it’d sound like these two songs did. Fucking tremendous.
 
While for some of the subsequent PV’s they’d showcase their knack for doing other things, I believe that even if they didn’t continue chugging like before, at least they always stayed fun and sexy. When in form, Yoshiatsu gives a degree of gravity to everything he is on and there is no denying what a technically able band there’s behind him; so even when appropriating INSIDE BEAST or being really tacky with Nightmare Before Christmas Tim Burtony jingles, they’re awesome. With DADAISM 3 being something which they haven’t been before: boring.
 
Oddly enough starting out with a high note, DADAROMA’s PV cut this time is MASTURBATION that horrified a segment of the people on this board, and here I’ll make a case for it: MASTURBATION is interesting, loud and very obnoxious. One valuable life lesson I’ve learned from a childhood of watching pro-wrestling is that any reaction is better than no reaction. There’s an inherent value to the over the topness, and especially when it’s quite fitting for a band that’s always been kind of carney, and most importantly sincerely self-aware. Could I do without another mid-period Marilyn Manson dance live song? Yes, but I don’t hate it either and I kind of appreciate it for what it is. Despite everything it still bangs hard and remains true to the band’s spirit.
 
Things halt to a standstill right afterwards however, when DADAROMA apparently decides to churn out a EP’s worth of mid-tempo ballads and nu-nu-visual kei bangers, channelling pop Lynch and the worm-eaten corpse of that version of Girugamesh nobody liked. I’m making it sound worse than it is, but for a band that’s been so consistent a lull like this is both alarming and a curious choice. Before in songs like Yume Tarareba and Zouka what worked in their favour is both their colourful concept and the contrast in the sound of all their elements. Things that were generic were made cool by their skill and unique character. When a band like this then slows down and makes a collection of energetic live songs and heartfelt bittersweet ballads, I become disaffected when they fall short of the grand theatre of what they could be. Romance Gray is immediately forgettable compared to other songs structured the same way with the sampled rainfall and everything; Itoshi teru doesn’t hold a candle to the songs they’ve made before in a similar style either, and in fact every other song on here can as well be categorised into “they’ve done it before, and they’ve done it better.” Sincerely it is the first time this band has done something twice, and now it’s an EP full of very matter of fact diddies that lack the edge of their prior material, aside from the PV cut that’s a Risley Circus B-side with crass lyrics as its saving grace.
 
When this band takes its foot off the pedal, they can start sounding very generic and tired. This can be circumvented by doing things different. Working with your unique concept, not ripping off Lynch and utilising the tools at your disposal in ways that hasn't been done in the scene before. DADAISM 3 is a paint by the numbers EP from a very professional band no matter how you look at it; it doesn’t hit even close to as hard as 1 or have the diversity of 2. If they’ll settle on treading the same ground like a DOGMA Gazette junior, then they’ll absolutely have to bring back the deathcore for some desperately needed flavour, or otherwise we are due for redux of NOW and GO era Girugamesh. If the history of this band is anything to go by then they'll rebound shortly, but there's always that doubt...
 
 

lmao you're literally sitting here implying people's opinions aren't credible because they aren't ~part of the scene~ and you don't seem to understand why they're getting salty with you?
 
Here's the thing YOU seem confused about. You seem to be confusing "your consumption and interaction with the band are financially irrelevant" to "your opinion is irrelevant and no one should care about it." Let's, for a moment, humor whoever it was in this thread who said vk is "art." Here's the thing about art - once it's produced and released into the world, in whatever form it may be in, it's out of the artists' hands, and it becomes a matter of opinion and interpretation for whoever is consuming it in whatever manner they see fit. You don't get to sit here and tell people the ~correct~ way to consume it (i.e. attending lives in Japan) and you don't get to sit here and tell them their opinions are invalid because they're not consuming it in the way it was "intended" or in the way that is most financially profitable for the band. If Miley Cyrus owns literally thousands of hip hop CDs then I imagine she has her reasons for having her opinions, and while obviously no one is obligated to take her opinion seriously, that doesn't mean it's baseless. In fact, let's rework that last sentence in the context of this thread and see what happens:

"It's kind of like [a foreign visual kei fan] wanting people to care about her opinion on [visual kei]. She's free to do so, but nobody's going to giving it much weight, irrelevant of how much she may or may not be a fan of [visual kei], how many CDs she owns, etc. because it's not based on anything credible."

 

The GazettE - DIM
 

 
I've been enamored with too many albums to name during my time on MH, but strictly speaking in terms of VK, I'd say "DIM" had the greatest impact on me. I joined MH in 2008, so by that time, most of my favorite VK albums were behind me (D'espa's "coll:Set", and Renter en soi's "sphire croid"), and I was beginning to delve much deeper into J-indies. I hadn't listened to The GazettE since the "filth in the beauty" single and completely skipped over SR, so I curiously checked up on Ruki & co. via the "LEECH" single and was completely sold. Pretty much all of the singles leading up to the album grabbed my attention in a major way. I loved what the band was doing both musically and aesthetically (the PVs were gorgeous for their time), and when the album finally dropped I was blown away! I think that may have been the last time that I was so incredibly hyped over a VK album, and to have it fully deliver too! Good times~
 
 

Literally all people not interested in Western VK need to do is not respond and the threads will die on their own.

I hope more songs like Inhale !

Finally something new! Hopefully more stuff like "inhale".

A little while back I said it would have been cool if Gazette had rerecorded Disorder. After hearing what they did here, I'm glad that didn't happen. 
 
Also, I'm still lost on why they decided on a collection of ballads. Is it because they've only released heavy material since Dogma? From the Dark Age to the Dull Age. 

Did you listen to the full single and  just not the pv edit that basically takes out all the cool parts? I just feel like their last single was right up your alley
 

Ima be that asshole.
 
This song is straight garbage.
 
They seem to be stuck in the same rut Mejibray is in which is that they cant stay consistent. One minute they drop a stellar metal track (they are SO good at this. EXPAND ON THAT MY NIGGAS....EXPAND!!!!!!!!!) Then the next is just some average VK-Pop rock. But hey they look good doing it, which is all that matters right? 
 
 

I'll be honest: I don't like this.
I mean, the song is catchy and eveything, I kinda enjoyed the preview and I might end up liking the whole track but it's not what I want from DADAROMA. This feels like a generic dance B-side track you could get from any other pop-rock VK band out there. I started listening to the band (and falling in love with it) with tracks like Oboreru Sakana and Ame no Waltz, I absolutely LOVE their super heavy side and I feel like they kinda gave it up as the time passed by. Yes, I know that they usually put heavier side tracks in their singles, especially if the main track is something 'lighter', but... I just feel like it's not the same thing. Just my opinion tho.
 
PS are we getting another tits & youtube ban video?
PPS Pinhead Tomo XDD