WhirlingBlack

I attended two of the shows on this old school tour in osaka and posted them on Facebook. Decides I might just as well repost them here:
 
Day 1:
"
I just attended the best show of my life, and it was a MUCC live.
 
The best way I can describe it is as if I went back in a time machine to 2001 and attended one of their oneman lives. They performed only old songs, including tracks so old several fans noticably did not recognize then, like Kranke (my favorite song!) and Koibito. The entire live felt dangerous and rough, just like one of those 90s lives where the audience are headbanging their necks off and the band is taunting them further into a frenzy. Before VK became a polished business.
 
It was super intense, during some songs the entire audience was moshing and thanks to the intense mosh I ended up in the second row in front of tatsurou during the second half of the live, where I ended up catching him as he stage dived during Orugooru. At the end, when they played Kurutta Kajitsu, we were even ordered to perform a wall of death and delivered it splendidly.
 
https://www.setlist.fm/setlist/mucc/2017/esaka-muse-osaka-japan-2be5b0e2.html
 
Tomorrow is Homura Uta day... can't wait. Dir en grey, take note. This is how you do nostalgia shows."
 
Day 2:
"
So... MUCC day 2 was every bit as good as day 1. Homura Uta day, so practically the whole album was performed, along with some songs from Antique and Tsuuzetsu.

Especially the performance of Kimi ni Sachi Are and Kurayami ni Saku Hana stood out as soulcrushingly beautiful, and tracks like Kokuen made the whole audience mosh yet again while Tatsurou kept jumping into the front rows to make us work harder.
 
Before OYOGE! TAIYAKI-KUN Tatsurou addressed me directly, asking if I knew the lyrics (since I was seemingly the only foreigner at least in the front of the venue). I made an OK sign and he looked surprised and happy and made some comment about it, and then we all sang it together, the entire venue.
 
During the wall of death during Kurutta Kajitsu today, he jumped into the audience and participated for a bit before being rescued back onto the stage. 
 
To be honest, unless MUCC makes further nostalgia tours, I might not attend any more of their lives in the future. Nothing can top this tour no matter how hard they try. Sure, I'd like to see a Zekuu and Kuchiki no Tou tour as well, but until that happens I might just lay off their lives in the future.
 
Todays Setlist:
HOMURA UTA (intro)
ZETSUBOU
SHIAWASE NO SHUUCHAKU
KOKUEN
YAKEATO
KARE GA SHINDA HI
KIMI NI SACHI ARE
MAMA
SHIGATSU NO RENGESOU
BOKU GA HONTOU NO BOKU NI TAEKIREZU TSUKUTTA HONTOU NO BOKU
KURAYAMI NI SAKU HANA
USO DE YUGAMU SHINZOU
KAERANU HITO
KOKONOKA
OYOGE! TAIYAKI-KUN
SUISOU
MAE E
SUIMIN
Encore:
YUME NO MACHI
SHOUFU
DAIKIRAI
KURUTTA KAJITSU (WARAI)"
 
Hope someone here finds it interesting to read!

I attended two of the shows on this old school tour in osaka and posted them on Facebook. Decides I might just as well repost them here:
 
Day 1:
"
I just attended the best show of my life, and it was a MUCC live.
 
The best way I can describe it is as if I went back in a time machine to 2001 and attended one of their oneman lives. They performed only old songs, including tracks so old several fans noticably did not recognize then, like Kranke (my favorite song!) and Koibito. The entire live felt dangerous and rough, just like one of those 90s lives where the audience are headbanging their necks off and the band is taunting them further into a frenzy. Before VK became a polished business.
 
It was super intense, during some songs the entire audience was moshing and thanks to the intense mosh I ended up in the second row in front of tatsurou during the second half of the live, where I ended up catching him as he stage dived during Orugooru. At the end, when they played Kurutta Kajitsu, we were even ordered to perform a wall of death and delivered it splendidly.
 
https://www.setlist.fm/setlist/mucc/2017/esaka-muse-osaka-japan-2be5b0e2.html
 
Tomorrow is Homura Uta day... can't wait. Dir en grey, take note. This is how you do nostalgia shows."
 
Day 2:
"
So... MUCC day 2 was every bit as good as day 1. Homura Uta day, so practically the whole album was performed, along with some songs from Antique and Tsuuzetsu.

Especially the performance of Kimi ni Sachi Are and Kurayami ni Saku Hana stood out as soulcrushingly beautiful, and tracks like Kokuen made the whole audience mosh yet again while Tatsurou kept jumping into the front rows to make us work harder.
 
Before OYOGE! TAIYAKI-KUN Tatsurou addressed me directly, asking if I knew the lyrics (since I was seemingly the only foreigner at least in the front of the venue). I made an OK sign and he looked surprised and happy and made some comment about it, and then we all sang it together, the entire venue.
 
During the wall of death during Kurutta Kajitsu today, he jumped into the audience and participated for a bit before being rescued back onto the stage. 
 
To be honest, unless MUCC makes further nostalgia tours, I might not attend any more of their lives in the future. Nothing can top this tour no matter how hard they try. Sure, I'd like to see a Zekuu and Kuchiki no Tou tour as well, but until that happens I might just lay off their lives in the future.
 
Todays Setlist:
HOMURA UTA (intro)
ZETSUBOU
SHIAWASE NO SHUUCHAKU
KOKUEN
YAKEATO
KARE GA SHINDA HI
KIMI NI SACHI ARE
MAMA
SHIGATSU NO RENGESOU
BOKU GA HONTOU NO BOKU NI TAEKIREZU TSUKUTTA HONTOU NO BOKU
KURAYAMI NI SAKU HANA
USO DE YUGAMU SHINZOU
KAERANU HITO
KOKONOKA
OYOGE! TAIYAKI-KUN
SUISOU
MAE E
SUIMIN
Encore:
YUME NO MACHI
SHOUFU
DAIKIRAI
KURUTTA KAJITSU (WARAI)"
 
Hope someone here finds it interesting to read!

I attended two of the shows on this old school tour in osaka and posted them on Facebook. Decides I might just as well repost them here:
 
Day 1:
"
I just attended the best show of my life, and it was a MUCC live.
 
The best way I can describe it is as if I went back in a time machine to 2001 and attended one of their oneman lives. They performed only old songs, including tracks so old several fans noticably did not recognize then, like Kranke (my favorite song!) and Koibito. The entire live felt dangerous and rough, just like one of those 90s lives where the audience are headbanging their necks off and the band is taunting them further into a frenzy. Before VK became a polished business.
 
It was super intense, during some songs the entire audience was moshing and thanks to the intense mosh I ended up in the second row in front of tatsurou during the second half of the live, where I ended up catching him as he stage dived during Orugooru. At the end, when they played Kurutta Kajitsu, we were even ordered to perform a wall of death and delivered it splendidly.
 
https://www.setlist.fm/setlist/mucc/2017/esaka-muse-osaka-japan-2be5b0e2.html
 
Tomorrow is Homura Uta day... can't wait. Dir en grey, take note. This is how you do nostalgia shows."
 
Day 2:
"
So... MUCC day 2 was every bit as good as day 1. Homura Uta day, so practically the whole album was performed, along with some songs from Antique and Tsuuzetsu.

Especially the performance of Kimi ni Sachi Are and Kurayami ni Saku Hana stood out as soulcrushingly beautiful, and tracks like Kokuen made the whole audience mosh yet again while Tatsurou kept jumping into the front rows to make us work harder.
 
Before OYOGE! TAIYAKI-KUN Tatsurou addressed me directly, asking if I knew the lyrics (since I was seemingly the only foreigner at least in the front of the venue). I made an OK sign and he looked surprised and happy and made some comment about it, and then we all sang it together, the entire venue.
 
During the wall of death during Kurutta Kajitsu today, he jumped into the audience and participated for a bit before being rescued back onto the stage. 
 
To be honest, unless MUCC makes further nostalgia tours, I might not attend any more of their lives in the future. Nothing can top this tour no matter how hard they try. Sure, I'd like to see a Zekuu and Kuchiki no Tou tour as well, but until that happens I might just lay off their lives in the future.
 
Todays Setlist:
HOMURA UTA (intro)
ZETSUBOU
SHIAWASE NO SHUUCHAKU
KOKUEN
YAKEATO
KARE GA SHINDA HI
KIMI NI SACHI ARE
MAMA
SHIGATSU NO RENGESOU
BOKU GA HONTOU NO BOKU NI TAEKIREZU TSUKUTTA HONTOU NO BOKU
KURAYAMI NI SAKU HANA
USO DE YUGAMU SHINZOU
KAERANU HITO
KOKONOKA
OYOGE! TAIYAKI-KUN
SUISOU
MAE E
SUIMIN
Encore:
YUME NO MACHI
SHOUFU
DAIKIRAI
KURUTTA KAJITSU (WARAI)"
 
Hope someone here finds it interesting to read!

I attended two of the shows on this old school tour in osaka and posted them on Facebook. Decides I might just as well repost them here:
 
Day 1:
"
I just attended the best show of my life, and it was a MUCC live.
 
The best way I can describe it is as if I went back in a time machine to 2001 and attended one of their oneman lives. They performed only old songs, including tracks so old several fans noticably did not recognize then, like Kranke (my favorite song!) and Koibito. The entire live felt dangerous and rough, just like one of those 90s lives where the audience are headbanging their necks off and the band is taunting them further into a frenzy. Before VK became a polished business.
 
It was super intense, during some songs the entire audience was moshing and thanks to the intense mosh I ended up in the second row in front of tatsurou during the second half of the live, where I ended up catching him as he stage dived during Orugooru. At the end, when they played Kurutta Kajitsu, we were even ordered to perform a wall of death and delivered it splendidly.
 
https://www.setlist.fm/setlist/mucc/2017/esaka-muse-osaka-japan-2be5b0e2.html
 
Tomorrow is Homura Uta day... can't wait. Dir en grey, take note. This is how you do nostalgia shows."
 
Day 2:
"
So... MUCC day 2 was every bit as good as day 1. Homura Uta day, so practically the whole album was performed, along with some songs from Antique and Tsuuzetsu.

Especially the performance of Kimi ni Sachi Are and Kurayami ni Saku Hana stood out as soulcrushingly beautiful, and tracks like Kokuen made the whole audience mosh yet again while Tatsurou kept jumping into the front rows to make us work harder.
 
Before OYOGE! TAIYAKI-KUN Tatsurou addressed me directly, asking if I knew the lyrics (since I was seemingly the only foreigner at least in the front of the venue). I made an OK sign and he looked surprised and happy and made some comment about it, and then we all sang it together, the entire venue.
 
During the wall of death during Kurutta Kajitsu today, he jumped into the audience and participated for a bit before being rescued back onto the stage. 
 
To be honest, unless MUCC makes further nostalgia tours, I might not attend any more of their lives in the future. Nothing can top this tour no matter how hard they try. Sure, I'd like to see a Zekuu and Kuchiki no Tou tour as well, but until that happens I might just lay off their lives in the future.
 
Todays Setlist:
HOMURA UTA (intro)
ZETSUBOU
SHIAWASE NO SHUUCHAKU
KOKUEN
YAKEATO
KARE GA SHINDA HI
KIMI NI SACHI ARE
MAMA
SHIGATSU NO RENGESOU
BOKU GA HONTOU NO BOKU NI TAEKIREZU TSUKUTTA HONTOU NO BOKU
KURAYAMI NI SAKU HANA
USO DE YUGAMU SHINZOU
KAERANU HITO
KOKONOKA
OYOGE! TAIYAKI-KUN
SUISOU
MAE E
SUIMIN
Encore:
YUME NO MACHI
SHOUFU
DAIKIRAI
KURUTTA KAJITSU (WARAI)"
 
Hope someone here finds it interesting to read!

Getting drunk on a thursday despite having to go to work on friday. That's what great weather does to one where I live. Haven't had this nice weather in a long time, and even now it's not all that.
 
Also, I don't get 99% of Blackdoll's posts when he/she posts about music. It's all a big, far WTF, every single time.

Why is it that you still don't understand the purpose of stage names? What is wrong with "Kyo"?

Dir is still managed through free will, it was hardly a dramatic separation that needed to be negotiated under the table. I'm just saying that Yoshikis involvement was of marginal importance given their already quickly rising fame at that point. The curve was already pointing in the right direction and he just jumped on the chance to put his brand on another band that was a surefire success.
 
Also, I'm glad you have friends. Keep it up.

Dir is still managed through free will, it was hardly a dramatic separation that needed to be negotiated under the table. I'm just saying that Yoshikis involvement was of marginal importance given their already quickly rising fame at that point. The curve was already pointing in the right direction and he just jumped on the chance to put his brand on another band that was a surefire success.
 
Also, I'm glad you have friends. Keep it up.

Agreed, not be able to even fill Budokan after being around for a whole year is a real disgrace.
 
Also source on that Dir en greys success is due to Yoshiki money. He just produced their major debut singles. Songs which were already written and done by the time he came into the picture, lol.
I feel like all newcomers overestimate his importance to Dir en grey vastly.

Dir is still managed through free will, it was hardly a dramatic separation that needed to be negotiated under the table. I'm just saying that Yoshikis involvement was of marginal importance given their already quickly rising fame at that point. The curve was already pointing in the right direction and he just jumped on the chance to put his brand on another band that was a surefire success.
 
Also, I'm glad you have friends. Keep it up.

Dir is still managed through free will, it was hardly a dramatic separation that needed to be negotiated under the table. I'm just saying that Yoshikis involvement was of marginal importance given their already quickly rising fame at that point. The curve was already pointing in the right direction and he just jumped on the chance to put his brand on another band that was a surefire success.
 
Also, I'm glad you have friends. Keep it up.

'''My dad totally works for Nintendo you guys, I swear!''

Dir is still managed through free will, it was hardly a dramatic separation that needed to be negotiated under the table. I'm just saying that Yoshikis involvement was of marginal importance given their already quickly rising fame at that point. The curve was already pointing in the right direction and he just jumped on the chance to put his brand on another band that was a surefire success.
 
Also, I'm glad you have friends. Keep it up.

Dir is still managed through free will, it was hardly a dramatic separation that needed to be negotiated under the table. I'm just saying that Yoshikis involvement was of marginal importance given their already quickly rising fame at that point. The curve was already pointing in the right direction and he just jumped on the chance to put his brand on another band that was a surefire success.
 
Also, I'm glad you have friends. Keep it up.

Dir is still managed through free will, it was hardly a dramatic separation that needed to be negotiated under the table. I'm just saying that Yoshikis involvement was of marginal importance given their already quickly rising fame at that point. The curve was already pointing in the right direction and he just jumped on the chance to put his brand on another band that was a surefire success.
 
Also, I'm glad you have friends. Keep it up.

Okay, here's as much details as I can remember right now:
They played the entire MACABRE album. They did the original 10 minute version of MACABRE, but the remakes of Hydra and Rasetsukoku.
They also played ain't afraid to die and children, but no Ash, hoping for that later along the tour.
 
Of the newer material they did Uroko, Un deux and Utafumi.
 
The band was quite active and put on a good show, walking around and interacting with the crowd. They used a screen similar to the Blitz 5 Days performance during Deity and Macabre.
 

Okay, got the setlist up at setlist.fm
 
https://www.setlist.fm/setlist/dir-en-grey/2017/kochi-prefectural-culture-hall-kchi-japan-73e4561d.html

To be honest, this whole event was a disappointment in comparison to what could've been. Don't get me wrong, Dir performed excellently and based on the reactions of the Pierrot fans so did they, but it was just like watching two shorter than usual oneman sets tacked on top of each other rather than the special clash between the legendary 90s vk bands it was billed as. They barely even acknowledged each other beyond short mcs. Based on what could've been, I did leave feeling disappointed, despite that Dir performed a really good set the second day.

To be honest, this whole event was a disappointment in comparison to what could've been. Don't get me wrong, Dir performed excellently and based on the reactions of the Pierrot fans so did they, but it was just like watching two shorter than usual oneman sets tacked on top of each other rather than the special clash between the legendary 90s vk bands it was billed as. They barely even acknowledged each other beyond short mcs. Based on what could've been, I did leave feeling disappointed, despite that Dir performed a really good set the second day.

Directed by Stephen Kijak
 
Starring 
 
X Japan
 
 
 
June 30th came and went, and while we may have not gotten the album, we might have gotten something arguably more interesting. To the misfortune of the initiated non-Japanese speaking fan of visual kei, there is an inarguable drought of first hand accounts outside of the handful vague magazine articles that are passable at best; and it is to this need that a film about X Japan would seem like an heaven-sent. I still think that the most interesting aspect of the whole story of visual kei is how it exactly got started, and what the people involved were feeling at the time of its inception. "We are X" would seemingly be able to fit the bill, seemingly. I was able to see that it definitely wasn't going to live up to expectations based on its short runtime alone, but I'd be lying if I said that I didn't enjoy a good A&E music documentary so either, and the X story is definitely very interesting. So how does it fare? 
 
We Are X” is a moderately entertaining and a rather brief 90 minute promotional package for Yoshiki’s upcoming world conquest ( it’s still coming you guys. ) that is simply not what it could be. The basic gist of the film is Yoshiki reminiscing about everything that happened in his life leading up to their long awaited [citation needed] debut at the Madison Square Garden, encompassing his thoughts on life, death and all things Yoshiki with bits of historical retrospective sequenced in between. You know what you’re in for right from the start, when the film opens with such grand spectacle that’s only befitting of a man of Yoshiki’s stature ( if you ask him, that is ); dramatic piano music wailing under a Yoshiki monologue lead up to the graphic designer and pyrotechnics ejaculating all over video deck all at once, and after the initial shock of the grand spectacle of it all, it becomes apparent that the film starts to work in two different ways; the slick albeit dripping with cheese rockumentary with interesting historical footage on the one end, and the absolutely stunning character worship of Yoshiki on the other. Although there’s something to be said about the devil reading the bible, I think a cynical reading of this glossy piece of PR is if not perfectly warranted, then at least an amusing exercise for the viewer.
 
The way the story is told is through Yoshiki’s own biography and musings and, the film’s story arch spans X’s career from the beginning to the show at the MSG largely from his perspective, and from here we are beset with the greatest structural problems of the film that completely slaughters it from being of great interest. X and the other band members are established only as they come into his story and information about them is related only in a manner as it specifically relates to him. A central feature of X’s story, which is the Toshi’s cult debacle, gets so much time only because it plays a role in the breakup and reformation, and the way hide is presented is that his greatest asset along with strange magnetism and philanthropy was being Yoshiki’s “producer,” as it was told. Heath and Pata each hardly get word in; is it because they didn’t want to, or that their input is inconsequential to the narrative? Who’s narrative by the way, X’s or Yoshiki’s? Or is Yoshiki X? These characters are attached to the spine of Yoshiki’s project through which they are even allowed exist in this film. You can probably already see what’s going on here.
 
The lost opportunity of having comprehensive member bios becomes perfectly evident when Yoshiki’s own childhood and early bijuaru years are reflected on, and what little was shown of it was easily the highlight of the film. Their lives at this point were danger, death, excessive drinking and the most thrashing cockrock around, so what caused it? What were the motivations, influences and the rest of it? Yoshiki’s dad dying and him getting a drum set. After this he conjured willing and able session members from the nether realm - & Saver Tiger - and he invented X in the vacuum of his own persona! Poor fucking Pata gets literally nothing, probably ending up sharing the same total screen time with Yoshikitty or the hide doll. A proper biography of hide is unjustly totally omitted, and while the whole Toshi cult debacle does occupy a central position the last third of the film, it is terribly vague the way it goes about; he married an unspecified woman and joined an unspecified cult that brainwashed him in a rather unspecific manner for unspecific ends. The film also goes over no songs or albums in any detail, and I mean there is hardly word said about any single note of music they’ve done in specific, nor about their influences and creative process for that matter. For a music documentary it’s exceptionally light on anything musical, except when it’s something that particularly relates to the story of the visual kei grand wizard Yoshiki.
 
Another aspect of the story that is completely absent is a proper survey of visual kei. The culture is hardly explored in any way, nor does X get drawn into the larger context of things and is merely portrayed as a hugely popular rock band that was quite influential in the domestic market. I have a theory on why this is so: the film is aimed at an all-American market as a promotional piece: the 90-minute mark cannot be exceeded under any circumstance, and visual kei may only be brought up as an object to prop up the band. One segment of the film has a few lines by members of bands such as Dir en grey, Luna Sea, Mucc etc. and the total of what they were allowed to say was: “ekkusu kakkoi sugoi desu ne.” One might have been able to set this aside if it weren’t for the fact that a couple of minutes later Yoshiki’s American entourage gets MINUTES of screen time, including Gene Simmons who even gets to have a personal anecdote on how X would be huge in the west if it weren’t for the Anglo-centrism of the American audiences. 
With these direction choices in mind, I feel that X was portrayed more in the way that the American public would like to digest the band: a big insular arena rock sensation that’d be the biggest band in the world if it weren’t for unfortunate circumstance. This doesn't kill the film exactly, but it makes it of lesser importance and interest. 
 
Now why the film is like this is because all this is after all, it is a promotional package for X’s long delayed triumphant conquest of the western music market. Its structure is built around the MSG show, with the original attempt at the west sequined in the latter middle part of the run time so it could be later brought up as a setup for their return. After going through the disbandment and the tragic deaths set to an image of Yoshiki being outrageously portrayed with wings behind him, it’s right at the end of the film where he is still standing defiant and fully convinced that he still has to do it, he has to besiege the billboard and he must do it for hide and Taiji; and then cue to an awesome cringe inducing montage of weeaboos wearing bootleg shirts and an assorted collection of Yoshiki’s cool celebrity “friends,” as they were called. It depends on your point of view whether this is amusing or just simply enraging. At this point, I admit to subscribing to the former school of thought. 
 
So, for people who are interested in visual kei and X, it falls short of expectation. What does it have for the outsider? Well, it’s a mixed bag. First of all, it is a cheesy TV documentary level production made by a guy who’s previous documentary was about the hardcore musical renegades The Backstreet Boys, so the emphasis is on the word production; and still despite all this it occasionally appears to assume general knowledge from the viewer while totally catering to people who’d be exposed to X for the first time. The music isn’t spoken of and only clips of it are played, so you either must know it beforehand or take the word of everyone in the film that X is this great band from Japan you haven’t heard of. Obviously, my memory isn’t 100% but I’m fairly confident that the only song mentioned by name in the film was Art of Life.
I’ll have to say that it’s not boring though, because the bare bones of the saga are interesting and all the early X stuff is awesome. So considering that anyone with the misfortune of having read this is most likely quite well versed in the bijuarus, I can say there's worse ways of spending your time. I'd watch a Japanese record store employee telling about the best selling vk records for two hours ( probably rather than this, actually ) so I'm definitely biased towards everything even remotely related to visual kei. You’re should be good as well if you go into it with the same mindset you would have watching some Vice documentary on a Sunday morning while eating breakfast.
 
                                                                               

It's quite blatantly obvious at this point that X is merely a cash grab. Yoshiki spends more time licensing and branding sub-par shit than doing any form of music. Selling some re-packaged footage at obscene price points and playing short "dinner shows"  where only elderly businessmen and Yakuza have the economical means to attend seems to be their game these days.
 
Stop embarrassing the name of X Japan any further and disband, please.

It's quite blatantly obvious at this point that X is merely a cash grab. Yoshiki spends more time licensing and branding sub-par shit than doing any form of music. Selling some re-packaged footage at obscene price points and playing short "dinner shows"  where only elderly businessmen and Yakuza have the economical means to attend seems to be their game these days.
 
Stop embarrassing the name of X Japan any further and disband, please.

It's quite blatantly obvious at this point that X is merely a cash grab. Yoshiki spends more time licensing and branding sub-par shit than doing any form of music. Selling some re-packaged footage at obscene price points and playing short "dinner shows"  where only elderly businessmen and Yakuza have the economical means to attend seems to be their game these days.
 
Stop embarrassing the name of X Japan any further and disband, please.

someone call yukika right now and turn them into the old kagerou spin off copy band we need and DESERVE in 2017