RpgRiser

I can scream ( ._.)/

.

From last week in Hungary.
 
 
And some paparazzi pictures.
 

Sounds like a pretty fun game.
 
Dir En Grey - Disabled Fuckboy
Dir En Grey - Bottom of the Fuckboy Valley
Girugamesh - Fuckboy Ahead
Girugamesh - Dirty Fuckboy
 
A few that I could think of,,,for now :'3

Artist: LM.C Single: PERFECT RAINBOW Score: Just a couple colours off from being a "PERFECT RAINBOW"
If you’ve previously released a mini-album titled "PERFECT FANTASY" within the same year with a similar tracklist of eight songs in total, then you’re asking for comparisons. Since "PERFECT FANTASY" was a personal favourite release in 2014, you might already have guessed that I’m not that impressed with the rap rocking electro duo this time. I must confess I judged "PERFECT RAINBOW" with their other mini-album in mind, but who can really blame me? It did, indeed, fall short of my expectations on first listen. But let’s get on to the undeniable comparisons later and dive head first into this colourful rainbow.

Instrumental opening track ‘VantaBLACK’ is a very fantastical and imagery inducing intro. Starting off with some futuristic, spacey sounds, faint piano keys can be heard after these inclusions, then turning into electric currents. It flows into ‘JUST LIKE THIS!!’ wonderfully, which starts with more fittingly used piano taps and Maya soothingly sing a few romantic Engrish lyrics. After this quiet starting point, we’re treated to that massive electro party sound we all know and love by these dudes. The track is brilliant and really stands out after the strong opener. It’s sure to get long-time fans comfortable with its reminiscent sound to older LM.C jams. With a catchy beat and a chorus bursting with energy, it’ll get you up, dancing, and hyped for more. In contrast, ‘MOGURA’ is a dark and heavy song. As the only song to be spotlighted outside the mini-album release, it’s a solid track. However, within this tracklist, it stands out like a sore thumb due to it having a sound not all gumballs and rainbows as would be expected from the pair, ultimately making the track fall flat in the long run. What follows is ‘Amnizia,’ an instantly toe tapping number thanks to its repetitive drum beat. The simple structure and sound actually make this one of the more enjoyable tracks. It's catchy as soon as it begins!
‘Minor Leaguers’ Song’ comes next, and similar to 'MOGURA,' this one's got an interesting spin on sound. It's reminiscent to punk bands like ‘Good Charlotte,' due to it sounding as perfect as one of those cheesy school anthem sing-along songs. While there’s more going on than in previous tracks, it’s actually not that captivating. This track mixes the rapping with an anthemic approach vocal-wise with little bits of parade/orchestra marching like features such as the trumpets and overlapping vocal effect. However, a nice addition to it is the trumpets at the end of the chorus that play in tune to the lullaby ‘Twinkle Twinkle, Little Star;' fitting for a band who often sing about stars. Enjoyable as it is during the listen, in the end, all this makes for is a forgettable track. ‘LADY TALK’ has an 80s disco sound which is a very charming inclusion. The electro currents are old school sounding, and it’s a smooth and slow track which reminds me of ‘PLASTICZOOMS.’ But you know it’s still LM.C you’re hearing with their cheerful tune and sparkly chorus! The following track, ‘キミヨサラバ,’ has a steady tempo just like 'LADY TALK,' and it keeps to a straight path as well. Being the ballad of the mini-album, it's a very pleasant one which still keeps your attention. We come to the end of the rainbow with 'BRAND NEW RAINBOW.' Opening up with a playful funfair sound, the track is highly energetic and doesn't tire, giving the mini-album a closer more pleasing than its opener.
What LM.C has accomplished brilliantly is sticking to the same types of tracks in both releases. We’ve got the disco tune, ‘JUST LIKE THIS!!,’ the mysterious piece, ‘Amnizia,’ the positive track, ‘Minor Leaguers’ Song’ and the ballad song, ‘キミヨサラバ,’ to name just a few examples. The opening and closing tracks are, really, the stand out points of this mini-album, starting and ending the mini-album on a high. The release has a few new and different sounds, which indicates the duo are experimenting with their style. This is all good on its own, but it’s still got some polishing to do. When I’m not comparing it to "PERFECT FANTASY," it’s good. When I’m judging it on its own, it’s still just good. Maybe if both mini-albums were put together as a full-length album, it would've gotten four stars, since "PERFECT FANTASY" is truly perfect. While "PERFECT RAINBOW" is far from perfect, don’t judge this release by its title.

http://i59.tinypic.com/2cz7zpx.jpg" width="200" /> Artist: ONE OK ROCK Album: 35xxxv Score: With a little help from their friends, this album is more than just OK.
The "3xxxv5" intro SE isn't anything particularly special. The only thing remarkable about it is the slight notes of electronics sprinkled in. This is a new addition in ONE OK ROCK's repertoire for 35xxxv and important if you're not fond of the bleep bloop trend in mainstream music, because it's sprinkled all throughout this album. As the hype train rolls into the station, "Take me to the top" welcomes you with a punch to the face. It slams into your eardrums abruptly and screams this isn't going to be like any ONE OK ROCK album you've heard before.

If you're already a fan of ONE OK ROCK, the first thing to catch your attention will be the giant jump up in English skills. Working with producer and album co-writer John Feldmann - whose voice can be heard seconds before the song starts as he chimes in, "...hold on, that's exactly what I'm talking about," - has done wonders for vocalist Taka and taken him well out of 'Engrish' territory where he's unfortunately been treading water for the last handful of albums. Their dream of attaining the sound of their American and European music idols has come to pass with the catchiness and content of "Take me to the top", along with the rest of the record, which is as good as anything you'd hear on American rock radio today. The band has thrown down the gauntlet with this high octane album opener. It houses just the right amounts of guitar phaser, tasteful autotune, and gang vocals to get your fist pumping mightily in the air.

The album has its fill of heavy hitters. This includes not one, but two, Rurouni Kenshin movie themes: A main theme in "Mighty Long Fall", and endroll theme "Heartache", respectively. "Mighty Long Fall" works well as the all encompassing flagship song for 35xxxv. The EDM influence is heavy in drummer Tomoya's stuttering hi-hat during the verses and a spacey synth heavy bridge. "Heartache" sits against it back to back in the tracklist, which I'm sure is gut wrenching for the movie fans as it's quite a beautiful song. While it's stripped down to acoustics for the first half it's not a typical ONE OK ROCK ballad, it branches out bigger and grander towards the end than their previous works with orchestral and electronic accompaniment. It's easy to imagine it bringing the theater audience to tears. The thirds single from the album, "Cry Out," rounds out the promotional tracks that carry the brunt of this album stylistically. It's a nice mid-tempo number, but that is also a double edged sword that aids it in remaining the least memorable of the three.

After this, it feels as if the tracks ping pong back and forth between the more classic ONE OK ROCK feeling and the songs that have John Feldmann's stronger influence in them. And it doesn't always sit 100% within the bands musical abilities, unfortunately. Feldmann is famous for being the vocalist/guitarist for the band Goldfinger, producer and co-writer for albums by: Sleeping With Sirens, Papa Roach, Hilary Duff, Panic at the Disco, Ashlee Simpson, and Good Charlotte, among a long list of others. "Cry Out" and "Mighty Long Fall" sandwich the less dynamic and more straight forward "Suddenly", which is one of the weaker songs on the album and justifiably needed the stronger songs to help keep things moving. The rebellious punk inspired "Memories" is situated directly between two down-tempo tracks, "Heartache" and the dismal Cool Fool Rock theme "Decision". The latter felt as if it also was written with the intention to have a punk flavor, judging by some of the guitar transitions in the chorus, but were toned down to almost a Nickelback "Someday" vibe... which makes every fiber of my being cringe in unison. It's already horribly overdone and too trite for a band as young as ONE OK ROCK. I know the boys wanted North American mainstream appeal, but this is not the way.

However, for every boring and stale decision made in the previous song, they absolutely make up for with the Kellin Quinn (vocalist for Sleeping With Sirens) feature track, "Paper Planes". Kellin, being the only guest vocalist I can remember in ONE OK ROCK history, helps this song stand out. But it's such a huge departure from the signature ONE OK ROCK sound that it demands an intense fan reaction of immediate love or vehement despise. "Paper Planes" is a party starter with loads of electronic drums. The guitars get pushed back in the mix as to not compete with the dual vocalists, but the riffs are still bouncy and just as catchy as anything the vocals have going on. One major complaint is Kellin's voice is higher than Taka's, and thusly cuts across more in the mix. It's hard to tell if this was intentional or not, but Taka joins Toru with the guitars in the back seat of this song. In spite of that, the song is so out of left field that it's hard pressed not to be the most memorable earworm on 35xxxv and possibly ONE OK ROCK's entire discography so far. It's just a pity Taka's voice isn't the one that's going to be stuck in my head for weeks with this track.

The tail end of this album brings back more of that old ONE OK ROCK feeling. The upbeat songs are reminiscent of Nicheシンドローム, and slower ballads bring to mind the more recent 人生×僕＝ which ONE OK ROCKers should enjoy, though, with upgraded language pronunciation and more straight forward lyrics. I believe it was smart on the bands part not to alienate their core fanbase entirely with this album. But it was certainly a blast to hear all the new elements that they included, giving Feldmann so much free reign and making a lot of these new elements feel like their natural progression. It may be hard hearing that this is the album the band has always intended to create once they gained the ability to do so, but I think the band is on the right path to making a footprint in the global market. And with the new friends made on recent tours, they have the right connections to take them wherever they want to go next. It's clear they aren't letting anything stop them now. This is the new and improved ONE OK ROCK and they're holding nothing back.

A MASSIVE Happy Birthday to the previous lot. So sorry I missed out on doing these recently yet again.
 
And, another massive shout out to today's lot and in particular, RpgRiser (have an awesome one, dear friend!), elias, Tenak1992, Kyara as well!!

Sounds like a pretty fun game.
 
Dir En Grey - Disabled Fuckboy
Dir En Grey - Bottom of the Fuckboy Valley
Girugamesh - Fuckboy Ahead
Girugamesh - Dirty Fuckboy
 
A few that I could think of,,,for now :'3

I saw nekkichi doing this with status updates and felt it should be a topic.
 
#replace_vk_song_title_w_fuckboy
 
 
Dir En Grey - Different Fuckboy

Persona 4 The Golden *q*
Best JRPG ever!
Until Persona 5 comes out of course :'3

[CD track list]
01.the way down
02.wait
03.worm
04.stick
05.swallow
06.2-2
07.<3 attack(heart attack)
08.loop
09.feel
10.over
11.haze
 
[limited edition DVD track list]
FACT "WITNESS" JAPAN TOUR 2014 at ZEPP TOKYO 2014.06.04
01.new element
02.drag
03.a fact of life
04.ape
05.witness
06.error
07.What Is Your Objective?
08.Pressure
09.start from here
10.FOSS
11.slip of the lip
12.devil's work
13.the shadow of envy
14.I hope I'm wrong
15.part of it all
16.fog
17.disclosure
18.miles away
19.termination

I had an interview today.
I was offered the job on the spot and the interviewer said he'd be disappointed if I didn't pursue management within the company.
And then, to top it all off, after the 2 week training period I'll be making a dollar an hour MORE than I was originally asking for.

Totally seconding your views there jig - neat review
 
Btw, I apologize beforehand for misinterpreting band's words about composer roles - they had a talk session @ Tokyo Kinema Club @7/2 where they revealed a few tidbits about behind-the-scenes stuff in Vitium and whatnot (thx to the blog owner for visiting that one, heh):
 
Source: http://ameblo.jp/nmnl-tgdeg/entry-11987120044.html
 
ps. I tried to interpret the trivia parts mentioned in my link, so feel free to correct me...
 
Leather Fields:  Yuchi
- Yuchi wanted to define his "groove" here (?)
 
Dunes:  UTA
- Mika thought the drumline here was very "touching" (lol?)
 
Dot: SE
- Takumi played this briefly in some Ameagari no Yuushi tour gigs...
 
Foster Mother: Yuchi
- Yuchi wrote this right away after their Kyoto live (?) and let Takumi do his twists afterwards
 
Ameagari no Yuushi: Takumi
- Demo was very folky, a la Elisabeth Addict pt. 2 (this detail was taken from their barks interview btw), and they came up with the final arrangement (a.k.a Vitium ver.) before their Germany live
 
Maniera: Yuchi
- Yuchi also played guitar in this one (?)
 
Hakuro: SE/Takumi
- this is apparently a " short (re)mix" of sukekiyo's EU/JP tour impro sessions
 
Celeste: Kyo + Takumi
- the result of Kyo being inspired by some movie (which they don't mention for some reason) and Takumi + Kyo's wild brainstorming
 
Focus: Uta (Takumi credited himself for arranging on barks.jp though)
- Mika uses djembe here
 
 
+ the whole band was very thrilled about having Toshi to collab in Ameagari and apparently Kyo is fanboying the actor in Focus collab (and he invited Mikami personally to do cameo in Vitium, hmmm)
 
 
I am rather surprised how Yuchi-heavy this record really is, haha.

Artist: sukekiyo Album: VITIUM Score: The essence of sukekiyo, molded into perfection. sukekiyo has managed to slowly convert me from being a mildly disinterested bystander to a casual listener who's always on the lookout whenever something new pops up concerning the band. Their first full-length IMMORTALIS proved to be a slow-burning behemoth of many faces (and facets), and their latest offering VITIUM isn't too far off from that impression either. Kyo and co. don't seem to be in a hurry, as evidenced by the size of this new 'mini' album which is still longer than most bands' albums. Throughout these 37 minutes, they present their compositions in typical sukekiyo fashion: sprawling, mysterious, unpredictable. This time around, however, it seems they were able to craft a more unified sound for themselves (as if they weren't already unique enough), with a concentrated approach to boot. Each song sounds more coherent in and of itself, while still retaining the "expect the unexpected" avant-garde quality they've come to be known for.
VITIUM starts off powerfully and majestically with "leather field" – a dark flower blooming and branching out in sukekiyo's aural grotto. Hints of manic aggression and weirdness also rear their heads, prefiguring what's to come in the second track "dunes." This song introduces a demented vibe with its jittery guitars and drums, the band's interpretation of violent jazz-metal. Surprisingly, we are treated to an interlude next ("dot") that doesn't do much in itself but it serves as a fitting ambient intro to the following "foster mother." Kyo's deep croons drift onto a hypnotic beat complemented by beautiful guitar flourishes and keyboards that evoke an ambiguous atmosphere, on the edge of tranquility and uneasiness. One of the standout tracks for sure!
As VITIUM's centerpiece, "雨上がりの優詩 (Ameagari no yuushi)" pales in comparison to "foster mother," although it is a decent slower number complete with some fantastic textures and a soothing, airy outro. The atmosphere continues through "maniera," but it quickly turns into a quirky explosion of psychedelic metal tinged with calmer acoustic noodling. If DIR EN GREY drove out to the desert high on mescaline, this is what they would jam out. If "maniera" was the hallucinatory freak-out, the second interlude "白露 (Hakuro)" serves as a soundtrack to expulsion – not as fun but still necessary. All the more so, it heightens the magnificence of the follow-up, "celeste." Switching between tumbling piano sludge and schizophrenic episodes, it's a strong indicator of what sukekiyo is capable of. Naturally, after all of this there's no other way to go but softer, as "focus" closes the record with ethereal floaty melodies... or so it seems until the flamenco bit kicks in, segueing into one last creepy look into the abyss.
As you can tell, this mini album is quite a trip from start to finish. Whereas IMMORTALIS seemed overly long and drawn-out at times, VITIUM manages to capture the band's perfected essence, more powerful and twisted than ever. It is clear that sukekiyo has finally found its own voice. Let's just hope we'll get to hear that voice more in the future as well!

Not the range I normally sing in, but it was really fun to do this
 

Here's my new cover, after a long time! ^^
 

So many pretty boys and girls around here! 
Sorry in advance. :'D 
 

moody train selfie

Had lil before Christmas party at a friend's house >w<
It was pretty awesome,and that toy gun is for one of my senpais,he was having too much fun with it,I confiscated it x)
And I love hats now :'3
 
 

Wanna be my little house elf? I could use some company too You look nice in a hat

Had lil before Christmas party at a friend's house >w<
It was pretty awesome,and that toy gun is for one of my senpais,he was having too much fun with it,I confiscated it x)
And I love hats now :'3
 
 

'cause... OOR <3

 
huehue. I so love the shirt and that beanieee > . < <3

I had to get fancy (and buy a dress) to do family things so naturally this means picture time.