WhirlingBlack

there's already an anemone and they're better than them

Agreed, didn't see any other foreigners either. in Osaka I saw two who are also members on this forum but in Nagoya it was just hotaru and me as far as I could tell.

While I have no sympathy for this guy and his music whatsoever, I find it amusing that some people tend to associate the vk genre as an ethnic one rather than a cultural one. Sure, VK is a firmly rooted Japanese subculture, but claiming that someone is ineligible to play in a visual kei band because of their skin colour is about as logical as saying that blues or jazz music, equally firmly rooted in the black culture of America, should be exclusively played by black people.
 
The problem with people like Yohio and perhaps this guy (I honestly do not know enough about him to tell) has been explained pretty well above in regards to talent and/or unjustified fame, but there's plenty of domestic japanese artists I'd want to use the same words to describe, to be quite honest.
It's not about western people playing in visual kei bands, its what most do when they are trying to be vk, that's a problem.
 
Or else let's enforce racial exclusivity on all genres and subcultures based on who ostensibly founded it, but I think most would agree that's not preferable or even doable in practice. 

While I have no sympathy for this guy and his music whatsoever, I find it amusing that some people tend to associate the vk genre as an ethnic one rather than a cultural one. Sure, VK is a firmly rooted Japanese subculture, but claiming that someone is ineligible to play in a visual kei band because of their skin colour is about as logical as saying that blues or jazz music, equally firmly rooted in the black culture of America, should be exclusively played by black people.
 
The problem with people like Yohio and perhaps this guy (I honestly do not know enough about him to tell) has been explained pretty well above in regards to talent and/or unjustified fame, but there's plenty of domestic japanese artists I'd want to use the same words to describe, to be quite honest.
It's not about western people playing in visual kei bands, its what most do when they are trying to be vk, that's a problem.
 
Or else let's enforce racial exclusivity on all genres and subcultures based on who ostensibly founded it, but I think most would agree that's not preferable or even doable in practice. 

While I have no sympathy for this guy and his music whatsoever, I find it amusing that some people tend to associate the vk genre as an ethnic one rather than a cultural one. Sure, VK is a firmly rooted Japanese subculture, but claiming that someone is ineligible to play in a visual kei band because of their skin colour is about as logical as saying that blues or jazz music, equally firmly rooted in the black culture of America, should be exclusively played by black people.
 
The problem with people like Yohio and perhaps this guy (I honestly do not know enough about him to tell) has been explained pretty well above in regards to talent and/or unjustified fame, but there's plenty of domestic japanese artists I'd want to use the same words to describe, to be quite honest.
It's not about western people playing in visual kei bands, its what most do when they are trying to be vk, that's a problem.
 
Or else let's enforce racial exclusivity on all genres and subcultures based on who ostensibly founded it, but I think most would agree that's not preferable or even doable in practice. 

SET-LIST at 2015/07/03:
 
01.calm scream
02.Nothingness there
03.the Indifference TV show
04.9-nine-
05.Stench of death
 

Hoooooly shit. What a whiny little baby. He thinks that everyone who listened to his ~*~Super Special Beautiful Masterpiece~*~ and wasn't at the live should get fined? He can seriously go climb a wall of dicks.... that's the shittiest fucking attitude I've ever seen directed towards a band's fans.

True, Tousei is performed pretty on point, too bad its still a pretty boring experience.
 
Personally, as someone who has seen ARCHE live, I can agree that Uroko lacks some of the album energy, I somehow want to say that its partly the audience fault though for not really getting into it, a lot of "great" live tracks like Rasetsukoku derive their energy equally from the band and the audience, so I look forward to seeing it develop, tracks with complex patterns tend to take longer for both band and audience to break into and if I had seen it in Japan I might've had a very different opinion about it.
"Behind a vacant image" only really gets any kind of drive in the last part and I'm confused as to why since it kind of relies heavily on that deep sludgy tone to keep it moving, but for some reason its very treble-happy and lacking low end live.
 
Revelation of mankind works well live, in my opinion, despite the complex vocal patterns. So does Rinkaku although I can agree the vocals part is a very case to case situation, but its been done well at least 7 or 8 out of the 9 times I've seen it so to me its within the error margin.
 
I want to say a contributing reason why tracks like Cause of Fickleness, Chain Repulsion, un Deux, etc. works so well live is that they're rythmically clear. Which is probably another reason why Rasetsukoku became a live classic as well.

Going to London tonight too. If seen, MH members are encouraged to say hello to the blonde guy in the mode of gauze tour shirt.

Agreed. It's very annoying when others ruin that synchronisation, as with last night. Having to focus on staying alive and keeping others alive in front of me by not crushing them is a tedious experience at best.

Nisimalder, I agree with what you're saying about losing control etc and I'm all for it. The thing is, the back and the front are two different things. I was about 12 feet from the stage on Saturday and had plenty of room to headbang and jump around. Last night, however, I was 5 feet from the stage and spent all night getting crushed by people who clearly didn't give a shit about others. There were a lot of girls just getting shoved around by huge guys. That kind of shit really annoys me.

Best part of today's show: the setlist.
Worst part: all those mosher guys that look like they're straight from the soccer teams fighting division. (I don't care what people think, I prefer the Japanese way.)

Overseas Fukai stands at 0 plays, Asunaki at 1 and New Age Culture 2, none of them would qualify as "commonly played" in terms of overseas performances, but both more "common" than Fukai.
In terms of total times played, New Age Culture is at 94 and Asunaki at the slightly lower 79, both a pretty negligible difference compared to Fukai's 95.
So I'm not sure what parameters you're using, but perhaps a preferable one would be "songs I'd like to hear live"? That's the one I use and it generally serves me pretty well.
If we're talking rare you might as well just beg them to play Toriko. It's not going to happen but at least that would qualify as rare using your parameters.

Setlist is underwhelming and it has nothing to do with ARCHE. It's the fact that they feel like they can shorten their already very short setlists just because they can get away with it overseas... plus lazily just throwing together the encore by squeezing all their most overplayed tracks together. I'm surprised dead tree isn't in there.
 
If they don't play Fukai on any of the gigs I'm attending I'll throw the VULGAR scorebook in Kaorus face at the last gig.

Setlist is underwhelming and it has nothing to do with ARCHE. It's the fact that they feel like they can shorten their already very short setlists just because they can get away with it overseas... plus lazily just throwing together the encore by squeezing all their most overplayed tracks together. I'm surprised dead tree isn't in there.
 
If they don't play Fukai on any of the gigs I'm attending I'll throw the VULGAR scorebook in Kaorus face at the last gig.

Setlist is underwhelming and it has nothing to do with ARCHE. It's the fact that they feel like they can shorten their already very short setlists just because they can get away with it overseas... plus lazily just throwing together the encore by squeezing all their most overplayed tracks together. I'm surprised dead tree isn't in there.
 
If they don't play Fukai on any of the gigs I'm attending I'll throw the VULGAR scorebook in Kaorus face at the last gig.

I really miss this band called MUCC, It's sad how they suddenly disappeared without a trace in 2005.

DECAYED CROW is an excellent live track, though.

Personally I think there are several ways to look at a "worst song", a song that you dislike because of the way it sounds, and a song that you dislike because you've heard it so many times you're sick to death of it.
 
For me, THE FINAL falls into the second category. I really don't think I need to hear or see it live again for the next decade or so, but I don't think its a bad track per se.
 
In the first category it's a lot more difficult, because several of the songs I used to dislike I enjoy nowadays because of their freshness value, and some tracks I used to adore ten years ago I might be tired of, like THE FINAL.
 
I have often said that S is their worst track in my opinion, but at the moment I think The Domestic Fucker Family is worse.
 
The beauty of this kind of discussion is that no one is wrong. I'll just be silently judging everyone calling tracks like Я TO THE CORE and HYDRA -666- bad.

Personally I think there are several ways to look at a "worst song", a song that you dislike because of the way it sounds, and a song that you dislike because you've heard it so many times you're sick to death of it.
 
For me, THE FINAL falls into the second category. I really don't think I need to hear or see it live again for the next decade or so, but I don't think its a bad track per se.
 
In the first category it's a lot more difficult, because several of the songs I used to dislike I enjoy nowadays because of their freshness value, and some tracks I used to adore ten years ago I might be tired of, like THE FINAL.
 
I have often said that S is their worst track in my opinion, but at the moment I think The Domestic Fucker Family is worse.
 
The beauty of this kind of discussion is that no one is wrong. I'll just be silently judging everyone calling tracks like Я TO THE CORE and HYDRA -666- bad.

Just waiting for the announcement of a macabre themed tour now. Probably won't happen but it'd be nice if the Gauze thing wasn't a one off deal, and their ticket sales haven't been higher in many years than it was then so, one can always hope.

Just waiting for the announcement of a macabre themed tour now. Probably won't happen but it'd be nice if the Gauze thing wasn't a one off deal, and their ticket sales haven't been higher in many years than it was then so, one can always hope.

Just waiting for the announcement of a macabre themed tour now. Probably won't happen but it'd be nice if the Gauze thing wasn't a one off deal, and their ticket sales haven't been higher in many years than it was then so, one can always hope.

16. THE FINAL
 
I wonder if they did that just to tease me...

Glad that everyone now can see the superior version of Tsumi to Batsu live, even though Kyo's vocals weren't as on point as it were in other shows on the tour, it's still one of their best live tracks all things considered. I hope that they'll consider playing it alongside or in place of the new version some more in the future.