inartistic

Ooof, wonder why they're leaving PSC (or are they graduating?)

Seems like they had a smaller budget for this PV compared to their older ones―some of the camera work and editing is bad! But I do like the song

And lol at KAMIJO taking a bite of that giant chicken leg

BTW, the CD-R is released by Mis†ake, not Dali (although Mis†ake features the same members + ex member SAKI)

I cannot believe that it's being sold at CDJapan! How nice for fans!

Has anyone ordered from PureSound recently?

Well it's totally composed and produced by the drummer, so... just like their other recent live-limited releases, I think the songs aren't 100% quality. So I think that's why they don't even bother with a proper release.

(Still, I wish they wouldn't do it, 'cause even if the songs aren't the best, I'd still like to hear them!)

That sucks! Even though KYOHEI said they would release another CD, they never did!

I'm EXTREMELY curious about this.

First of all, if UCP isn't closing until March and this release is in December... Then is this single going to be released through UCP? If it is, then I'm guessing the new songs will be a lot like Chariots's previous releases (of which I liked almost 100%).

However, if it IS on UCP then what is the fate of Chariots after UCP ceases activities? Will Riku abandon that too? And if he does and Kisaki is no longer producing for Chariots anymore then will Riku have more free range to try and experiment with new styles?

Personally... The Hikari Hai Yami single releases and the Ashu single did nothing for me. So I'm kind of hoping it's more like the Yuigadokuson-themed releases.

Before I ramble too much though, I'm glad to see the project back whatever the circumstances. I could probably listen to Riku sing the phonebook.

- All releases until March will be through UCP.

- Personally, I think chariots will be done once UCP is. I say this because chariots hasn't been very active, and (as far as I know) it's never been very successful either―KISAKI just kept putting money into it because of his personal relationship with RIKU (again, as far as I know).

- chariots has always more or less been a solo project of RIKU; it's his style (especially the later stuff once it was officially a solo project) and KISAKI no longer producing it probably wouldn't change it much. (Besides, KISAKI is automatically listed as “total producer” for every UNDER CODE release, but that doesn't mean that he necessarily gives much input.)

Necrophilia is a very... New theme in music. Haha.

But WHY is God of Megaromania being released again?

The bonus tracks are re-recordings of old songs. They just happened to pick God of Megaromania for Propaganda's bonus track

I also wonder what's going to happen with your signature inartistic.

Hahaha, you mean what will be there once UNDER CODE is no more? Probably the same thing until I run out of random shit to post. And then a WE LOVE PSC banner.

(BTW, does the “latest update” thing say something about Taku's memorial live? It's a PHP image that's supposed to update constantly, but looks like it's just caching an old version for me)

I personally wouldn't be opposed to another SEVEN. I think that was a style that fitted them perfectly.

Ditto! It was their only major release that felt genuine to me; not overly produced pop for the sake of sales, nor disingenuous forced heaviness for the sake of street cred (IMO at least)

Indeed, the label just didn't have that strong of a line up after Phantasmagoria tanked. He tried really hard to make Chariots successful, not sure what the fan support was like in Japan for Chariots but it was obviously with Western fans it wasn't the same like Phantasmagoria.

Dear Dolce I think was just poorly managed by someone inexperienced. I think what happened to Dear Dolce is a little different than Undercode closing. Yeah there was probably some bad managing of funds on KISAKI's part but Dear Dolce barely lasted a year.

Agree/agree. Dear Dolce closing might have made for interesting news, but it was just tons of tiny bands supported by someone inexperienced. Not really the same.

Re: something you said earlier: I would guess that this is a bankruptcy case. I don't understand how it works honestly, but it seems that lots of business people close their labels, and somehow that clears them of debt and gives them enough funds (new investors?) to start a new one. I wouldn't be surprised if that were the case here (but who knows?).

I'm under the impression that the smaller bands might crumble without UNDERCODE's funding. Cube, Suzaku, Cindy Kate etc. Megaromania and Nega might be able to stay afloat on their own without backing from the label and perhaps they'll be picked up by another.

Not sure what's going to happen to Lin, is he going to use the remaining money to fund Lin or will they move to another label? Is he going to put Lin on hiatus?

It's pretty unfortunate but what was the cause, has there been an explanation? I'm guessing it might not be revealed but can anyone speculate? Lets not be total retards and say EL OH EL TAX EVASION. How about use your brain and have a nice discussion.

Was it bankruptcy? The label was being pretty ridiculous, with stuff like buy all four copies from the shop and receive a special five minute long DVD! KISAKI would also start new projects like the Underground Music MP3 store but quickly gave that up before it even had a chance. The label continuously funded bands that weren't doing well in Japan (Arc, Em~Grief) and I am also told that the attendance at lives have diminished over the last year. Perhaps the bands just weren't appealing to the current generation of fans.

I think it probably just comes down to not doing as well as UCP was in 2004~2006

Tanuki never fails

Just FYI, this has been predicted every year. So yeah, “they were right,” but in the sense that they've continuously predicted the same thing over and over and were bound to be right at some point. Just saying!

You have to understand that Japan doesn't have the same culture. Over there, you can use Christian themes as theme only―a style―without having any deeper implications. LIN's use of “Psalms” isn't disrespectful, but nor is it in a truly religious sense―it's just a word that has no social implication to them.

So they're not doing it to “be cool” nor are they trying to ruffle anybodies feathers. They're not even thinking of things like that. It's just a word.

I'm glad for such a boom. It was always frustrating that full album releases were the norm in most music but not in VK.

I don't like Sadie, but I love that title!

Already? They're gonna release a new album in every year or what?

To me INFERIORITY COMPLEX is their weakest album, but it's still a decent one if we don't compare it to their past releases. As long as they won't flood us with total garbage and I can still enjoy at least some of their songs, I won't complain, though I kinda miss the SHADOWS-era (which was their best imo).

In an interview about INFERIORITY COMPLEX, they basically admitted that they only released the album 'cause their major label forced them to. They said it in such a way as to make it seem like a good thing, but we can see the writing on the wall―those were songs that they churned out in five minutes (hence them being utterly forgettable), not songs that they actually wanted to release.

So, this means that they probably will “flood us with total garbage” because their label forces them to. (Although I wouldn't be surprised if they meanwhile wrote real songs and collected them for a good album.)

Just my two cents

So are they actually leaving PSC? Or they've just switched which major label co-manages them?

“‘We're no longer visual kei!’ they say, as they take off their fur-trimmed coats.”

If that's your definition of visual kei, good riddance

yes, but CD's who I normal buy.. are not that kind of price ^^"

always cheaper.

They really make CD's little by little more expensive.

Regular price in Japan is very expensive compared to other countries. It's the negative point of being a visual kei fan, haha

@Trombe That's really, really cute haha

Does this release contain the rare live only pv's songs, john?

The release contains 4 songs which could be considered “rare:”

- 25:54 (a brand new SE)

- 25:55 (live and web shop limited)

- D PINK NUMBER (live limited goods table privilege)

- Ryuusei Kouba (live distributed)

The only one that's actually rare is D PINK NUMBER. It's a rerecording of standard pink number, which was given to anyone who spent 3,000 yen at the goods table during Dali's live. (I have a rip of that up at headache show, if you need it.)

All other songs have been released on widely available CDs (and even 25:55 and Ryuusei Kouba are sold at regular stores now), so they're not rare at all. (FYI, a few of the songs are rerecorded versions from the band's previous best albums, the world is yours―but nothing has been rerecorded, remixed, or remastered specifically for this release.)

All PVs are previously released.

Oh, woah

I saw this the other day but didn't even put it together. Wow!

Dali was my absolute favorite band! I can't speak for the Eastern sphere, but I take the distinction of biggest and longest (???) overseas Dali fan; since 2005, quite literally, from Day 0.

So, a few years ago (maybe even just one) this news would have been really depressing. But―maybe fortunately, I don't know―I've already come to terms with their disbandment several times over. They've spent the last three years teasing activity one month and then doing nothing for the next 11, so I am, at this point, unaffected.

What very little music (8 publicly-available songs since 2009) they've put out these past years has been great, but it's just not enough. From the perspective of a foreign fan, who can't attend lives, Dali has been an absurd exercise in disappointment.

In that vein, despite Dali being my favorite band, I'm neither surprised nor disappointed that they're breaking up. As weird as it is for me to say this, it is a relief to finally hear what may as well have been said in 2009.

Now, I can finally stop being disappointed over their apparent disinterest in growing as a band, and can finally stop stressing over live-limited releases that I have no chance in Hell of ever owning. But most importantly, I can finally stop holding my breath in vain, hoping that they'll somehow return to real activity.

I love Dali, but their time ran out long ago. I'm glad that they're finally facing that.