tetsu_sama69

Probably to regroup under another name. 

Not surprising since they stopped releasing songs as frequently as before. As much as enjoy some of what they put out I do hope they learn quality is more important than quantity.

Not surprising since they stopped releasing songs as frequently as before. As much as enjoy some of what they put out I do hope they learn quality is more important than quantity.

Not surprising since they stopped releasing songs as frequently as before. As much as enjoy some of what they put out I do hope they learn quality is more important than quantity.

Not surprising since they stopped releasing songs as frequently as before. As much as enjoy some of what they put out I do hope they learn quality is more important than quantity.

Probably to regroup under another name. 

Damn they were a pretty fucking solid band. Top notch releases. Hopefully they'll move onto another project together.

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...
 
 

Replied!

how the fuckity did they sell out black hole a month in advance!?!?!?!!!
they bought views and i think they're running some kind of dadaroma tier scam for this....can sum1 catch the tanuki tea on this
this is fishy like i dont think anyone gives a fuck about d.i.d.'d music anymore so y the sold out unless jp fans r pre-hyping a new nokubura

So I'm guessing millennial means vocalists that were active around 2005-present? Here are a few memorable ones for me that are lesser known.
 
Saki (active 2004-2010)
Bands: Clorican, ClearVeil
While he's not the best screamer, and may sometimes make you wonder: does this dude even know how to scream? (but ironically makes him memorable), his clean vocals are to die for. And even more, when he reaches those higher notes. I miss him so much and want him back.
 
Raya (active 2004-present)
Bands: L'eprica, ANGRAYSE, D'efend Chroma, Sierra de Cobre
If you like art-kei vocals, Raya is not to be missed. He's currently back with L'eprica members and plays with bands Emmuree, DISH, and Sioux, but still no sign of them releasing any new material. Still, I can only hope.
 
Amonn (active 2001-present?, but probably only became well-known with the band MELLO in 2006)
Bands: Diod'honneur, MELLO, Trompe l'oeil
Another art-kei vocalist that shouldn't be missed. Very deep and powerful vocals with amazing delivery. I haven't heard anything from his recent band Trompe l'oeil, but I hope they didn't completely disappear and are still active and planning something new.
 
Oh, and I voted for Ryoga. I don't know much about the other ones, but I'm growing to like Kazuki. I favor Tora over Ryuga so I didn't vote him. They're both great vocalists, but I've always thought Tora was more compelling and emotive.

So... their new maxi-single ""雨ニ、スピーカー" (Ame ni, Speaker)" will be released at 2017/05/31 (2 types)
 
Limited edition (2160Y) will include CD (2 songs) and DVD including "蒼イ林檎" (Aoi Ringo) PV, multi-angle PV and PV documentary
Regular edition (1620Y) will include CD (3 songs) ony
 
[tracklist]
1. 蒼イ林檎
2.SA・KU・RA・N
3. 美しき裏切り者 [regular edition only]
 

 

 
their new petit album Vol.2 "人間失格" (Ningen Shikkaku) will be released at 2017/05/31 too (2800Y)
 
[tracklist]
1. 紫餡ノ百合籠
2. < 骰 / 骰 >
3. たんぽぽ畑
4. 秋入梅
5. 後悔謝罪嗚呼融解
6. 排他的被虐人形
 

 

It's interesting to see all the responses but we specifically aimed to focus on lesser known vocalists to get their names out there.

It's interesting to see all the responses but we specifically aimed to focus on lesser known vocalists to get their names out there.

It's interesting to see all the responses but we specifically aimed to focus on lesser known vocalists to get their names out there.

Sick² new maxi-single "デリバリー・メンタルヘルス" (Delivery Mental Health) will be released at 2017/08/30 (2 types)
 
TYPE A (2160Y) will include CD (2 songs) and DVD
TYPE B (1620Y) will include CD (3 songs) only
 
they will hold their oneman live tour "デリバリー・ヘルスケア"  (Delivery Health Care) since 2017/09/03 at Shibuya REX to their tour final "女の子を騙すだけの簡単なお仕事です。9" (Onna no Ko wo Damasu Dake no Kantanna Oshigoto desu. 9) at 2018/01/04 at AKASAKA BLITZ

REIGN will release their new single "COBALT" on 2017.06.07.
 
Track List:
1.VENOM
2.Death marY
3.MOON CHILD

《DVD》
「VENOM」MUSIC CLIP+OFF SHOT
 

That icon tho.
 
Also welcome! If you're looking for more bands to get into feel free to browse the artists forum and also the monthly recommended tracks in the reviews forum.

@Disposablehow shook would you be if they answered with something like "Neither: I really liked Enamel"

All that stuff linked above is not an option if you hate it like I do, lol.
 
Visual kei might as well have originated from two drunk Greeks twiddling around with a lyra after making love to other one's niece. I don't give a fuck. Visual kei is to a large extent my essence and being, but I would rather burn in hell for all eternity than listen to 30 seconds worth of any nu glam/sleaze cockrock, or even all their Kissy forefathers for that matter. I'd rather play 2010's The GazettE covers for a millennia in purgatory than subject myself to any of the bands linked above for a single solitary second. The guys from Bataar and Seremedy may not share my opinion to the same extent, but it's a likely scenario that they'd rather sound like VEXENT/Killaneth/GenericnuVK than OldlyCrew. Most likely these dudes grew up with mid 2000's nu metal kei as well, so whatever the gentleman from X Japan were listening to back in the day has no bearing on their lives. They're white and they want to play Vortex and Remember the urge, and that's kind of it. Wearing a Poison cumrag on your receding hairline is no less hack than rocking a 15$ emo fringe, so if they're dead set on jacking an aesthetic wholesale, then both of these options are just as socio-culturally irrelevant as the other. The concept is not the biggest factor holding them back from being up to the Japanese standard though: it's the execution. 
 
The problem here is that they're really bad and can't even do the little that they do without being embarrassingly bad, so they're forever doomed to play handout gigs at battle of the bands held in youth community centers; begging for Japanese tours from a drug-addled, rapidly aging Kenzi whom Yohio presumably blew to get his start there; or just kneel and pray for the rapid advancement of future technologies that will allow scientist to resurrect the other guy from ADAMS so they can warm up for them at their subsequent tours in the Donetsk and Luhansk republics; remaining forever unsigned, forever stuck in shitty local band limbo.
 
I try to follow these bands to the best of my ability not only out of morbid curiosity, but because if I could find 4-5 able vk fans then I'd start a weeaboo kei band myself. So while I'm sympathetic, I'm also twice as angered by their poor music, their poor taste and seemingly narrow frame of reference in visual kei, based on what I've heard and seen from ~sources~. 
 
I believe not many people have watched the original carting out the corpse of weeaboo kei video, so here's some cliffs (as far as I can remember them):
 
Back in the day there used to be a dozen vk bands in Scandinavia, now there's practically none and the ones that exist are woefully inactive. Finland used to have quite a few, although ranks of the members were very incestuous. If you can believe it, they were actually even worse than the Swedish bands and the two most long-standing ones even tried rebooting before fading into complete irrelevance. The one that I last recall having a proper concert, called "FAEK", has not updated their Facebook since Autumn of 2016. One curious aspect of the scene was also that a lot of the participants didn't really seem to be active visual kei fans, and yet despite that they used JAME to promote themselves and performed largely at cons and warming up for Satsuki/Plunklock tier bands that happened to be touring and performing at a venue called Gloria that receives some strange government money to minimise the L's the organisers take booking these shitty bands. The most longstanding band of the "scene" called "Karmia" appears to have dropped any pretensions towards vk and has settled for being a shitty local rock band. Here are the results: ( fyi the youtube superstar's former troupe that stole their name from Uverworld have also seemingly left vk behind in favor of a more western approach. Unsurprisingly their social media stature plummeted as dropping the Japanese rock shtick just unveils what they really are: one in the rank of millions of shitty local rock bands )
 
 
DIE/MAY is now the only one left and while shitcanning Seike will definitely help, they'll eventually do the routine of downshifting until turning to radio silence and then the eventual disbandment post on facebook, if they'll even bother. Aside from Tuomas and Heikki they also have afaik have one or two guys from the best Finnish vk band in HISTORY that larped TOXIC/DIVISION period The Gazette called "Desier," whom while very bad, managed to sound like an actual visual kei band on a shoestring budget and minimal ability. Conceptually they had a good thing going though. How DIE/MAY performs in their current iteration I will find out this weekend, unless I prefer trying to get cancer outside instead. Any Bataar fans sharing the hashtag can come say hi!
 
edit: This post is already a mess so it won't hurt any that I'll add something that I just thought: conceptual coherency is a problem. When I got to thinking about the last.fm's of these guys that I've seen, or the fates of Overworld and Karmia, I'm not surprised that people seemingly can't make heads or tails of what they exactly sound like. DESIER used to sound like The Gazette because afaik the composer was a huge fan, but then bands like Jenlayn and Karmia straddled a strange territory of sounding like just shitty rock music, in all its terminological ambiguity. It's not entirely farfetched that the amount of band members in the entire history of the scandinavian scene who are as vk savvy as the average member on this board, is as low as 3 or less. I actually briefly trolled a Crestillion live stream two weeks back asking what their favorite Madeth Gray'll tape was and whether they prefer Key Party or Matina. Not replying to me was a perfectly understandable response, but I have no doubt that they had absolutely no idea what I was talking about either. Visual kei in the west is being represented by Yohio ( who's old last.fm you can easily find ), and guys who literally only know Filth in the Beauty and The Final. That's tragic. 

We always have the door open for guest submissions so really if anyone feels we might be lacking in certain tastes. Hit us up sometime. 

We always have the door open for guest submissions so really if anyone feels we might be lacking in certain tastes. Hit us up sometime.