inartistic

Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman.
 
I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic.
 
So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.

Thanks @cvltic for the write up! I got the gist, but the nuance and writer's voice of his tweets/post really add another layer of deliciousness.

Thanks @cvltic for the write up! I got the gist, but the nuance and writer's voice of his tweets/post really add another layer of deliciousness.

Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman.
 
I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic.
 
So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.

"The nail that sticks out gets hammered down"
 
I believe this is the perfect application of that observation to a real situation, both in how everything built up into this shit storm and how poorly the band members are handing this. From my comfortable armchair, it looks like this miscommunication between Ryuusei and the rest of Kyogetsu is an ongoing thing, probably because Ryuusei gives no fucks anymore and the rest of the band doesn't want to be black balled by next week for speaking their minds. It should not be a shock to anyone that yen lubes the scene. deadman, one of the most revered bands by """NET0GYA""" the world over, called it quits because they didn't have enough money to continue. Plenty of other bands threaten disbandment like a manipulative, suicidal lover. Unverified sources have churned out lazy, drama generating articles about how exploitative the scene is for years. But this, this is gold, because it  comes from the mouth of a visual kei band man. We should do our part to save the post about just how expensive it is for a visual kei band to make it these days. At least, it gives me an appreciation for those vk bands that give it their all no matter the outcome, because I can quantify monetary costs instead of effort or dedication, both invisible things that can't be measured well.
 
This also is an interesting insight into the psychology of the Japanese. In America, if an article like this was sensationalized, we'd run with it demanding changes to some or all of the injustices faced by the band. Ryuusei would be a notable figure for stopping the visual kei exploitation. In Japan, he's a nuisance that removed a lot of the sparkle and splendor from a mysterious scene and thus needs to learn a lesson. Shit's cray yo.

 

OK here's the story as complete as I could find it...
EDIT: I added the long blog post about finances!

---

Let's just start with the 2 tweets and the blog post that kicked this all off...

 
Massive post about bandman finances:


Anyone who has ever followed any serious jouren drama or otherwise been privy to how jouren spend their money should rightfully have their suspicions about the truthfulness of these tweets, because it simply doesn't mesh with the well-known behavior of fans of bands with even the remotest success. The knowledge of the "underground" practices of bangya is not required to see how the second tweet went viral for all the wrong reasons; it actually attracted ire from music fans outside of the visual kei scene as well. If you read the replies the common thread is essentially: "Why is it the consumer's fault that you're unable to generate any profit?". Some fans also can be seen generally protesting the perceived popular notion among bandmen that bangya can be treated as ATMs. Some less savory replies even chastise him by telling him if he can't even attract a mitsu then he has no hope of building a fanbase. (BTFO) I really don't think the blog post was the crux of this drama by the way, although HERESY might get asspained if anyone less than the Emperor dares to talk about Reita, it's a relatively innocuous account of the reality.  It was the tweet that "blames" bangya for letting bands die that caused the shitstorm IMO.

Visual kei blogger/archivist Atsuhiko Kamiya wrote a lengthy article analyzing this sort of "Visual Kei Mafioso" attitude towards and the expenses associated with bands, if you're fluent in Japanese and interested in the topic: see here.

Anyway, this series of tweets was rather ballsy as he was biting the 3 gya hands that feed him and alienating potential fans, but I think what really sealed the deal was his behavior after this tweet.

It was abundantly clear that his bandmates (particularly the vocalist, Masaki) wanted nothing to do with the massive controversy that this generated, as the vocalist even went so far as to hold an "apology twicast", and posted many apologetic tweets, even individually replying to people to apologize long before Ryuusei commented on the issue. However, Ryuusei did eventually apologize, tweeting:

 

However, this didn't last long. The next day he posted a blog post where he essentially rescinded his apology and attempted to better explain what he meant, as well as to fuel the absolute torrent of threads about him on tanuki resulting from his statement.
 
(TN: 'netogya' is a derisive term for visual kei fans who don't attend shows or instores but instead support bands strictly through online means. They're considered lesser fans by some other fans and as you can see above, by some bandmen. You might see some threads on tanuki where bands get laughed at because while they seem popular their fans are all netogya and foreigners living outside Japan... like KILLANETH :^) )

Ryuusei was castigated for constantly undoing his bandmate's work to move past the whole issue, and for (what was perceived as) backpedaling and then baiting tanuki. This was where I personally saw the writing on the wall for kyogetsu -- his band was going to have to kick him out if they wanted to move past this, and the name "kyogetsu" was virtually unheard of until this happened. That brings us to the news of their disbandment
 
--

I have a few thoughts about this but a lot of them are the same about how I feel about the grown ass vocalist of 0.1 no gosan feeling like it's his god-given right to tell people what they should do at shows...

This drama was really interesting, I wondered if there was a place to make a thread about it but I wasn't sure how it would be received or even where to put it so here's a good opportunity to post a little write-up with some translations... I don't think the information in this thread at the moment paints a complete picture at all. I'll work on it if no one beats me to it.

lmaooo im dead

Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman.
 
I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic.
 
So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.

Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman.
 
I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic.
 
So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.

Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman.
 
I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic.
 
So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.

Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman.
 
I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic.
 
So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.

Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman.
 
I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic.
 
So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.

Tbh I'm glad he made the post, and that he put it in concrete terms. I've always found that side interesting, but haven't had much view into it, aside from talks with unreliable ex-bangya and the odd foreign vk bandman.
 
I do think it's hilarious that so many girls piled onto him for “not doing it for the art,” when vk (and maybe Japanese music in general) is such a commodified, commercially driven enterprise. Where's the anger at Kiryu for releasing 8 types of one single? Why do you support cheki sales which are inherently valueless and exist only to obscure the direct transfer of bangya funds to bandmen? If this is just art, why is that only bands with beautiful members go major? Why is it acceptable that someone in a hardcore deathmetal band can come back two months later in a dokidoki “you're our sixth member ♡” osare band and no one gives him shit? Those practices don't bother me personally--I don't mind artists making a living--but I love the nerve of some of those fans to accuse him of being morally bankrupt when they happily throw their parents' money at any skinny dude who walks on stage with a mic.
 
So yeah, props from me for the Left Eye moment, but also lol at all of Japan crucifying him (as he should have expected). Double lol at Reita, a guy who's lived comfortably off remaking the same 3 mediocre songs for a decade, chiming in. I'd much rather hear the opinion of someone who's been playing in Narciss for 10 years with no hope of every making any money--that's someone who knows about doing things for the art.

I can already hear@emmny buying plane tickets

DISGUSTING 

らせん (Rasen) (Crucifixion x La'Veil MizeriA side project) will be releasing a new single "切断" (Setsudan) on August 9th. It will be sold their live at 恵比寿clubaim (Enbisu clubaim) for 1,000 yen.
 

 
A track listing was not revealed, but based on their other 1,000 yen singles, it will most likely contain two songs.
 
 
 
 
Also, they also released an additional single on May 6th called "死化粧" (Shigeshou). I don't recall seeing a thread here about that, but that's out floating around in space for you kote-kei collectorz out there.
 

 
1. 縋想 (Sugasou)
2. 死化粧 (Shigeshou)

Yes, that's exactly what happened. The post at weloveucp was already corrected, and I tweeted out a correction a while ago. Thanks!

Yes, that's exactly what happened. The post at weloveucp was already corrected, and I tweeted out a correction a while ago. Thanks!

↑
I agree with you that it's somewhat pointless to discover the truth here. And like you, I love the legend of KISAKI and the scene that blossomed around him―whether or not he's a really good person is somewhat irrelevant, as I'll never spend time with him.
But, that being said, I think it's still important to dig into this. When it comes to VK, we're the historians; no one else cares about this shit! So if we find something interesting, I think it's part of our duty to investigate and record it, just for history's sake.
It sucks that digging into KISAKI is often from a witch-hunt point of view, and as a fan, I don't like that... but I think it's important nonetheless .
---
I'm really convinced that the bands are real. Hopefully somebody can figure out the remaining ~tape mysteries~... and maybe when pigs fly, KISAKI will step in and give the *real* truth 8D

【DISPUTING THE MYTH_CEO DEMOTAPES】
Let's start talking shit:
-
1. 滅びの序章 (green / black)
● This tape was never in the canon discography. The canon discography does have a “滅序章” (notice only two characters missing), but that one is supposed to have 5 tracks.
● Levia[non-KISAKI] has a demotape called “滅びの序章” which had the exact same cover. Rarez Hut actually sold it: http://www.rarezhut.net/product/levia-%E6%BB%85%E3%81%B3%E3%81%AE%E5%BA%8F%E7%AB%A0
● Remember, on my copy of the grayscale version, the insert appeared to have been longer originally... well, as posted here, Levia[non-KISAKI]'s tape had an insert that was longer (with member info + tracklisting)... I wonder if KISAKI had this Levia[non-KISAKI] tape and just ripped that part off and used the remaining insert for his fake demotape???
-
3. 「KELOID」 -Not For Sale-
● This wasn't listed in the canon discography (only a version with 2 tracks was), and is clearly modern-made/fake.
● The track used for the demotape is familiar... hold that thought
-
4. 「KELOID」
● Again, clearly faked, as per inkjet printing and such. At least the cover/tracklisting matches up to the canon discography, but as pointed out, the tracks are stolen from a VICE∞RISK demotape.
---
【IT STARTS GETTING WEIRD】
OK, so here's where it gets weird. “「KELOID」 -Not For Sale-”, the *semi-canon*, faked demotape that KISAKI sold me via auction. That 2:40 track which is completely different from the “「KELOID」” version...
Champ mentioned that she traded somebody for some SHËY≠DË demotape rips... I traded for the same rips with that same person.
...The Levia “「KELOID」 -Not For Sale-” version of KELOID is the same track as SHËY≠DË's FUNERAL from the “DARK SIDE” rip which I traded for!!
...And as Champ pointed out, FUNERAL by SHËY≠DË is actually FUNERAL by 業!
!_! ?_?
So just by pure coincidence (...??????), KISAKI sold me a fake Levia demotape which featured a track by 業, and someone traded me for fake SHËY≠DË demotape which featured the same track by 業. Coincidence? Or maybe KISAKI mixed up his fake files? Either way it's interesting...
-
Also, I'm quite embarassed to admit it, but I thought I'd figured out what Levia - 滅びの序章 (the actual music on the demotapes which KISAKI sold me) was stolen from, but I can't remember now @_@.
---
Still more to come...

【EXCLUSIONS】
I posit, but can't prove, that KISAKI (1994 solo project) and De=prive are *real*, bringing the scope of my posts to Levia, LAYBIAL, and SHËY≠DË.
KISAKI (1994 solo project)
It is *canon* that KISAKI released a solo demotape in 1994 with STELLA MARIA vocalist Ray. The rest of the [disputed] canon discography wasn't known until 2007's BEYOND THE KINGDOM, but this demotape was listed on UNDER CODE PRODUCTION's website since at least 2004. That, and the fact that it features a (relatively) well-known musician (STELLA MARIA's vocalist Ray), I find it unlikely that this release/artist was faked.
De=prive
This is actually the least-known band in KISAKI's history. In fact, it's *non-canon*―that is, it came from Japanese VK fans rather than KISAKI himself. Since there's no reason for fans to lie about such a small band (with no releases), and because Japanese VK fans are rather trustworthy with information (moreso than overseas fans or KISAKI himself), I'm comfortable asserting that De=prive was *real*.
(If KISAKI's *canon* live history is *real*, I would guess that De=prive was the unnamed session band in 1994.)
---
【MYTH_CEO DEMOTAPES】
As pointed out in previous posts, KISAKI has been selling shit (anonymously) via Y!J auctions. In early 2014 he started selling Levia demotapes, and I bought almost all of them. Here are descriptions of those, followed by an update (canon + semi-canon) Levia discography:
-
1. 滅びの序章 image
● Green-tinted insert with cover art and spine, but no tracklisting or member information. Contains one track, 2:11, presumably 滅びの序章.
● I believe this is the same one that someone else purchased (although their copy was sold much later, I think).
-
2. 滅びの序章 (grayscale) image
● Same cover, but grayscale. Again, no tracklisting or member information, same 2:11 track as before.
● Again, not listed in *canon* discography―according to *semi-cannon* auction description, live distributed.
● However, it does appear to be old (rather than modern-made), as there is some yellow discoloration and wear on the insert. Additionally, the top of the insert appears frayed, as if it was originally longer, but was carefully torn apart.
-
3. 「KELOID」 -Not For Sale- image 1 / image 2
● Insert is clearly modern-made―background is pixellated while text box is sharp and uses a (sort of) modern font. One track, about 2:40, presumably KELOID.
● Not listed in *canon* discography (there is a canon KELOID, but it has two tracks and different cover art). According to *non-canon*, live distributed.
-
4. 「KELOID」 image
● Again, modern-made, as the insert was clearly printed with a modern inkjet printer, and creases/wear are printed images rather than physical features. It features two tracks, KELOID (5:30) and PRAY (3:57).
● This is listed in the *canon* discography, and features the correct cover art.
● Note that this tape's version of KELOID is 5:30 while the previous one was 2:40... and they're completely different songs.
● And let me just point out that KISAKI saw the same person buying these two tapes with the same Y!J account within the span of one month... you'd think he would at least use the same song in his faked demotape o-o.)
-
So here's our updated Levia discography, with *semi-canon* entries in blue:
Levia
　　1993-01-10 - 滅序章
　　　　1.滅序章 / 2.PROLOGUE / 3.蒼ノ真相 / 4. Die&DEA / 5. EPILOGUE
　　????-??-?? - 滅びの序章 (green)
　　　　1.滅びの序章
　　????-??-?? - 滅びの序章 (black)
　　　　1.滅びの序章
　　????-??-?? - 「KELOID」 -Not For Sale-
　　　　1.KELOID
　　1993-12-21 - KELOID
　　　　1.KELOID / 2.PRAY
　　1994-01-23 - My Duel
　　　　1.My Duel

I'm busy with real-life stuff lately, so still working through it... but in the mean time:
There's a ton of meat to chew through here. So for your benefit and mine, let's define some terms and bounds:
---
【TERMS】
I'll use these terms to differentiate between the “alternate realities” that we're working with:
● “canon” - official; information given by KISAKI and recorded in multiple publications
● “semi-canon” - information from KISAKI but in an unofficial capacity (eg. information in his secret auctions)
● “non-canon” - information from a 3rd party (eg. rips floating on the net)
● “true” - something that actually happened or exists in real life
---
【BAND HISTORY】
So here's our *canon* (but not necessarily *true*) version of KISAKI's band history. Note that I'm only listing the begin dates of these bands―not every single appearance or revival.
● 1992~ SCARE CROW (roadie)
● 1993~ Levia
● 1994~ LAYBIAL
● 1994~ SHËY≠DË, garden (support), KISAKI (solo project)
● 1994~ garden, Ruby (support), SHËY≠DË (one day revival), De=prive (session?)
● 1995~ STELLA MARIA, 廃人黒薔薇族 (session)
● 1996~ La:Sadie's
● 1997~ MIRAGE, アンチフェミニズム
● 2000~ Syndrome
● 2003~ 妃&関西貴族, KISAKI PROJECT
● 2004~ Phantasmagoria
● 2010~ 凛 -the end of corruption world-
● 2014~ 凛 -THE END OF CORRUPTION WORLD-
---
【DOPPLEGANGERS】
I'll quickly touch on dopplegangers. Many of KISAKI's early (canon) bands were followed by later bands with the same name. I'll designate those with [non-KISAKI].
● Levia[non-KISAKI] - active around 1993(?); V. 冬樹 / G. 沙霧 / B. AINE / D. HIRO
● LAYBIAL[non-KISAKI] - Matina band active around 1999
● GARDEN[non-KISAKI] - Matina band active 2000~2002
● De≠prive[non-KISAKI] - First band of Madeth gray'll vocalist, active possibly around 1995~1996?
---
【WHAT WE'RE INTERESTED IN】
This thread is questioning two things, as I see it:
1. Are KISAKI's early bands *real*?
2. If so, are those early bands' discographies *real*?
KISAKI's time in the following bands is conclusively *real*, based on multiple sources of information, extant releases, photos, videos, etc.:
● SCARE CROW, garden, Ruby, STELLA MARIA, 廃人黒薔薇族, La:Sadie's, MIRAGE, アンチフェミニズム, Syndrome, 妃&関西貴族, KISAKI PROJECT, Phantasmagoria, 凛
The following bands are *canon*, but their *real*-ness is questioned:
● Levia, LAYBIAL, SHËY≠DË, KISAKI (first solo project), De=prive
---
【DISCOGRAPHY】
Here are the *canon* discographies of the bands which we're questioning (anything in green is *non-canon*):
Levia
　　1993-01-10 - 滅序章
　　　　1.滅序章 / 2.PROLOGUE / 3.蒼ノ真相 / 4. Die&DEA / 5. EPILOGUE
　　1993-12-21 - KELOID
　　　　1.KELOID / 2.PRAY
　　1994-01-23 - My Duel
　　　　1.My Duel
LAYBIAL
　　1994-05-01 - MISS
　　　　1.Dejavu / 2.MISS / 3.virgining Pleasures / 4.Refuse / 5.MOTHER / 6.One More Love
　　1994-05-30 - カケラ
　　　　1.カケラ
　　1994-06-20 - 混乱
　　　　1.混乱
SHËY≠DË
　　1994-07-01 - 奴隷華
　　　　1.DOLL / 2.奴隷華
　　1994-09-01 - 瑠璃の雫
　　　　1.insanity / 2. XXXXX / 3.夢遊病者
　　1994-10-01 - DARK SIDE
　　　　1.CRIME / 2.FUNERAL / 3.苦悩二果テニ (or 1.DARK SIDE ?)
KISAKI (solo project)
　　1994-11-10 - ONCE...
　　　　1.ONCE... / 2.届かぬ思い
Note: in Levia's canon biography the line “DEMO TAPE発売記念2DAYSワンマン公演開催” indicates that a live was held to celebrate the release of a previous demotape. These lines don't indicate additional demotapes, as some of you were confused about.

To give some ~expert confirmation~ on a few things:
 
- myth_ceo is KISAKI. He sold UCP limited items, his own personal items, and even sold samples which he got from other bands (eg. in his blog he mentions SID giving him a sample of their new single, and then the next day myth_ceo was selling it). I'm also 100% sure that this was KISAKI himself and not a staff member.
 
- KISAKI closed myth_ceo and now has another account on Y!J, something like iyouxi or something (not on PC and can't remember the name). I know it's him for the same reasons listed above (funnily, some people actually complained on that account about him selling samples).
 
- He also has an mbok account which is something like deho_san (again, can't remember), though he doesn't use it often.
 
- His time in STELLA MARIA is 100% confirmed. In addition to tapes, we have flyers and videos confirming.
 
- His time in garden is 100% confirmed. In addition to the real tape being sold on Y!J a ton of times, there is video of garden somewhere.
 
- I'm actually 90% sure the "Once..." tape is real as well, although probably not released as "KISAKI PROJECT" as his official website calls it. The reason I'm sure it's real is that it features the STELLA MARIA vocalist, and it was mentioned on UNDER CODE's website back in 2003 at least.
 
So really what is in question (well, was in question) are the bands Levia, LAYBIAL, and SHEY=DE. As I mentioned before, I bought some tapes from KISAKI, but basically they are fake. However, I want to give some more complete info on them, if you'll just wait for another post. (And sorry for not posting before, but I was still unsure about certain things. Champ's post about the SHEY=DE tracks is what made the difference for me.)
 
I will go ahead and say this, though: although we now know that these demotapes are fake, there is still more to this plot...! Please wait for my next post.

8th copy incoming