saiko
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Everything posted by saiko
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VK songs that I deeply regret they didn't become anime openings:
An Cafe - Snow Scene
Penicillin - NICE IN LIP+L
Janne Da Arc - Lunatic Gate
Seriously, I love this kind of anison-kei.
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I feel very pitiful about BPRecords bands. Kiryu have very good musicians within it. I can't stand the fact of their managers trying to squeeze them all they can, and sadly, seeing how things are coming, it seems that I won't have enough of it. I hope Mahiro or anybody don't burn out completely before it's too late...
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Who the hell is Hayato?
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Does anybody know how are Resistar Records bands doing? And also, is it me, or Diaura kinda flopped the non-stop rising popularity they had around 2014-2015?
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Just asking.
They fell out of my own radar after Triangle, actually. That album was a true masterpiece, and continued the greatness of Focus. Those albums really saved visual kei. Ruin, Engima and My Resistance were very promising, but never got to reach the quality of Triangle, imho.
I still love the band, because they are one of the very few artists of the scene that seem talented and genuine, so I try to check out every release they put out till today, but since there is nothing actually worth listening on their most recent catalog, I supposed they run out of ideas, and thus maybe started to lose fans, etc.
I hope they reach Budokan someday. They deserved it.
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If it wasn't for "Jisatsu ganbou", "Meikyou shishui", "Re:plica", "Rodeo", "-0°C", Due'le Quartz would be actually a prety shitty band. Miyavi was already a fierce player and genuine showman back then, but aside from the songs I mentioned, his compositions were very weak plagios of MISSA-era DEG songs like "Zan", "S" or classic "Byoushin". Seriously, it's very hard to listen to their discography entirely, and Sakito's voice makes it only more painful (I'm sure his voice will be remebered as one of the worst to have ever reached the scene).
Bassist and drummer were skilled, too, but their arrangments didn't add anything interesting (Re.plica and Rodeo are the coolest ones, in this sense).
I don't understand how they became so succesful back in the day, considering 2000-2001 was the era in which VK started to dramatically lose all the little, but overall significant, attention it got from the mainstream audicence.-
It's very interesting how this awkward standards became nowadays a legitimate "aesthetic" that is seeked by many people to listen or watch to, with all this "homage-kei" stuff that emerged as a trend in the last few years...
A few years ago I could enjoy it, but today, after realizing how lazy and bagyaish the scene became in general, I find it untolerable. That said, for satisfying my hunger for indie kotekote stuff I have done my own selection of songs that I find actually really well-worked (pre-Gauze Dir, pre-FINALE Pierrot, some Baiser, the Due song I mentioned above, and many others).
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Are you being serious?
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And annoying. God.
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The more I dig into classic vk and pre-vk bands, the more I understand that vk is actually a scene with 3 decent artists out of 17 copy-cats. The sound, lyrics, visuals and overall aesthetics haven't really evolved in the almost 30 years it has existing. The idolized system that is actually the managment strategy of the 95% of the bands born in the last 10 years moreless came out really not surprising.
Tbh, this makes me really, really upset, and seeing bands like Mamireta, Mathilda or Londboy being claimed as the cool novelty makes me want to die instead.
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Sure the musicians seem very skilled, the music decent and look is on point, but what do you see/hear on this band that you actually haven't heard/seen before?
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Is there anyone with the accurate Japanese knowledge interested in doing a translation work for subbimg the dialogues during some live releases? There are some out there with a lot of talking (such as Malice Mizer, Kamijo's bands and Gackt), which I assume is related to the overall concept that the show are about. I'm curious as to why nobody seems to have done it before, since these lives are so well-known by the people in the fandom since the beggining.
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This kind of nationalism kei aesthetics appeal to me, but it has been copied like million times since R-shitei made it a cliché of them and thus became trendy. Ok, so the look's cool. Now I just hope they put it togheter with a decent sound, at least a bit creative, and not just plain boring formulas... For some reason I feel it may have the Kagerou psycho-grunge sound that Mamireta took for their concept... at least that sound hasn't really peaked great levels of plagiarism...
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Still wanting this to happen someday. VK started progressively to lose any artistic value in the last 10 years (if it could be said it still had any).
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Sadly, this is the best summary of 2018 for vk so far.
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In the recent years I started to get interest not only in consuming everything what the bands put out, but to try to understand and make meaningful insights about it instead, trying to get close to the band as 'artists' and 'human beings', with their own idiosyncrasies, rather than 'icons' or 'heroes'. It would be awesome to have enough time to spend on doing deep and critic essays on the band's sounds. That's why I like this forum, because sometimes I can find interesenting anaylisis that go far beyond the "I like/dislike this band because of I do it". That said, thanks for your answer. Btw, I always tend to believe, in between other things, that one must try to think that some songs in an album, some arrangments or lyrics, visuals, etc. must be there not because of the band's actual decision, but rather because of, for example, their managment saying "your album has to be 14 songs-long", or "your album must fill the following climaxes, according to what your fans request at live houses". Who knows... As I said above, it would be really, really interesting to have deep and felt interviews of the band members, that say way more than generic lines like "the concept is EVILNESS IN THE WORLD", or "this song is composed by Kaoru".
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I don't think so anymore. Subjective is the act of liking it or not although recognizing the objective superiority of it.
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I thinks it obvious that when she said "super popular" she didn't said "mainstream". Meji was, of course, never to hit Tokyo Dome someday like Sid or AKB48 do, but that doesn't take off the fact that they had very decent levels of popularity, at least within the scene. They actually rocked Koukkaidou, Blitz, Studio Coast and Yagai Ongakudou all by themselves, way more than what every indie vk artist can actually achieve in their life-time.
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How come Koichi does not actually play his on stage? Do you have actual proofs of it? I'm pretty sure he always did, and thus considered him very talented for trying to do it while jumping, dancing and cheering up the public in general...
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This is really interesting. We need more testimonials of V-rockers on any subject they consider relevant for their artistry.
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It would be interesting if any of the users above can tell why they think the band they are bringing on can be considered "unique". From my experience of almost a decade listening to vk, I think the bands with the most unique sound (and overall concept) are the ones that stay in the fandom as the big ones, because they were the bands that contributed to define the estructures of the look, sound, lyrics, performance, etc. that make of vk a stablished and recognizable scene/genre. Sometimes I think it's not that hard to stand out with a creative proposal in this scene, since one of its core atributes since the early times was being vastly plagued of cheap copy-cats (what nowadays it went to the extreme of the parody, and made a genuine subgenre from itself: what in this lands they call "homage-kei"). In this direction, it would be really interesting to trace the different genealogies of sound, visuals, etc. within the scene. For example: the lines of power-metal bands from X; the goth lines of D'erlenger and Kuroyume (then hardcore-punk); the neoclassical line (Malice Mizer, Lareine, Raphael) etc.
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Cool! Send me a private message please!
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Well, cringe over my BT pic all you want babe, but it delivers genuine vk aesthetics instead of idol-kei emptyness. Xoxo
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Basically every tour final date Dir did during their pre-Kisou era. They had a Bodukan for Missa in 1998, another Budokan for Macabre in 2001, and then a lot of big venue lives (NHK Hall, Diamond Hall, Hibiya, etc.) back in the day. I don't know what could have we done if it wasn't for that 1999 Osaka-jou live releasing... Being the only footage from that era available I should have watched and re-watched it countless times. There actually are some digest compilations for Missa and Macabre eras, but fuck them, they are fucking awful to watch! You can't appreaciate a single number, only cutscenes passing each other frenetically... Just compare Kiri to mayu or Erode, which have literally zero live releasings, to 2011's Obscure and Rasetsukoku...ew, why? It really pisses me off, gurl
