saiko
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Status Updates posted by saiko
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So my bf said he didn't like Gauze beyond "Cage", because of Kyo's voice sounding "weird" at him.
Should I dump him?
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Kujo Takemasa's drama can't get me more triggered!
Is it the end of Kiryu?
Juicy drama, cooome oooverrr
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I don't think he'd be kicked out, anyways. If Kiryu ever had to go on without Takemasa, I imagine it'd be because he left of his own accord. I wouldn't blame him, tbh. He doesn't deserve any of this. Whatever he chooses to do is up to him, but no matter what he does, I don't think the Tanuki shitlords would be satisfied. If he stays in Kiryu, they'd get mad because they don't think their idols should have love lives if they're still active. If he left, they'd get mad because their idol left. The only way to please these people is to be single even if you don't want to be and not have a voice, which is pretty terrible, but that's just the way it goes, I'm afraid.
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So, I guess @Cantavanda won't let us now starving to death without the full Malice Mizer DVD rip...
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secret_no_03 reacted to this
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Hello! I'm planning to upload the full thing once I'm sure I won't get into trouble, don't worry!
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saiko and secret_no_03 reacted to this
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@Cantavandayou could upload it to any file cloud out there and share the link here, it is for sure much more private than sharing it on Youtube, I think 🤔
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secret_no_03 reacted to this
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I didn't recall that La'Mule had a song called "eccentric Marxist". Lololololololol. Some great user here translated very carefully all their lyrics, so there's actually an English translation for this song with a funny name. I suggest you all go and read the lyrics.
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Omg, pleased to meet you @hyura!
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When I suddenly remember that there still isn't any Starwave Records artist that reached at least a minimum level of relevance in the scene, I question myself how is it that this label still exists, and why would an artist decide to get signed to a house who hasn't managed to put out any decent production and market strategy for any of its members...
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I'd assume it's partially because most of them aren't going to get signed to any other labels, and partially because most Starwave Records artists get to go overseas at some point. In just the past few years, THE SOUND BEE HD went to the US and Mexico, Mikansei Alice went to Europe, and Scarlet Valse were set to go to Europe before COVID too.
If you're a basically unknown VK band with 20 fans that dreams of performing in America or Europe, it's not the worst move you could make. -
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blood were on darkest labyrinth tho... which is presumably most famous kiwamu associated act, mostly because the scene was doing better back than, they had the opportunity.
starwave seems like a low-budget collaboration between kiwi and FWD where bands that no longer get kagerou sales numbers come to sizzle at.
I'd say tokami were doing pretty well for a SW band, and they birthed zin who later went onto jupiter and w/e she does now.
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Which do you consider are the most "anthemic" vk songs ever?
For me there are quite a few, but "Cage" from Dir should be in the top of the list.
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I'm not counting anything by Deg as anthemic ever since they traded their VK past for the no-homo metalhead neckbeard coin lol fucking Gackt still has more scene cred than them
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Takadanobabaalien and Arkady reacted to this
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IGM_Oficial reacted to this
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MASCHERA's first album "Akutoku no sakae" (1994) is what you have been looking for if you are fond of the sound created by Kuroyume within its early releases. Songs in "Akutoku" sound almost identical to the compositions of guitarist Shin, so this album won't guarantee you much of a almost perfect reproduction of the aforementioned. Although the lack of a more genuine work, the songwriting sounds pretty decent and neatly executed, praising Takuya's sweet solo work and Michi's strongly dramatic stream of voice.
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Himeaimichu reacted to this
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@HimeaimichuYou are welcome! Good listening! Say your opinion here after it!
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R-shitei may have some of the most beautiful ballads ever composed within VK. So tragic, yet so sweet and innocent, that I makes the pain induced even worse...
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My god, how come I never had an interest for Gotcharoka?! VK guitarist never looked SO skilled and 'showmanshiped' like Jun! Also, just those solo-clips gave me goosebumps about every song in the setlist -chord progressions look gorgeous like no release VK in the last time!-.
Totally digging Gotcharoka starting tomorrow!
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monkeybanana4 and Komorebi reacted to this
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Has Mamo gotten any better today? I love a lot of R-shitei stuff, but seriously, dude doesn't hit a SINGLE note -totally into Sakito(Due le quartz)-level league! It's painful to listen to!
Since they haven't put out many live videos, maybe someone actually looking forward them in Japan could answer this.
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Right? But since R-shitei became very "pretty-but-edgy-boy pop" oriented, thus catered to people who want to see pretty boys and dance... He is very good-looking indeed, and he does have a good in-character performance, so maybe he or even his managment hasn't considered vocal improving a priority, haha.
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This song should enter every citypop top 5 ever made, yay or nay?
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The chorus is certainly memorable. I prefer the Akina Nakamori ver. b/c Takeuchi originally wrote it with her voice in mind. Nakamori has a sultrier, deeper voice, which with the instrumental, feels more appropriate to the lyrics.
https://www.youtube.com/watch?v=HF2uqXDmXAk
As a side note, while the Plastic Love phenomenon was certainly great for the genre, its timeliness and rise still comes off as a bit bizarre/head-scratching to me. Great singer-songwriter becoming an incidental leading figure for a movement largely founded on vaporwave, a meme-driven plunderphonic genre initially meant to be western consumer-capitalist satire. Most video games consumed in the era were Japanese, and six degrees of kevin bacon later, here we are.
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Best Visual Kei
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I looked up for her immediatly after having read about into some Malice Mizer biography.
Her first two albums are insane. I'm spinning them a lot.
The influence they had over MM and Lareine is clear. Core arragments of some tracks where clearly taken by Mana and Közi, and Kamijo and his colleagues as well if them being roadies for the firsts actually happened.
I think finding her should have made Mana and Kamijo go nuts! I mean, it's like Versailles no Bara going goth, what else could be a wet fantasy for them? lol
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Since quarintine became a thing, some Japanese fellows on Youtube have been ripping and uploading a lot of VHS/DVD VK stuff they had collected. This user in particular shared the entire videography of Eins:Vier, and now this PV from a band I didn't know from its existence, but hey, what a great song! It sounds like your typical mid 90s underground VK artist in the claustrophobic post-punk line of Zi:Kill/Kuroyume, but those arrangements! Very inspired for a bunch of indie bandoman! Perhaps they could have done great stuff if they continued to work on together...
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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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Why does Dir en grey's "Yurameki" sound so Luna-Seaesque to me? We all know that Dir, along with almost every vk band, cites Luna as one of his big influences; my question goes in a technical sense. I tried listening to every song Luna put out before "Yurameki", but I haven't found yet one you could say "Here is the guitar/bass/drum sound Dir borrowed for this song"🤔🤔🤔
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2019 has already started and I've been thinking over 2018 that:
- Homage kei trend, which was one of the sweet spots that kept the scene alive in the last 5 years, is pretty much dead. Also, La Veil sucks; Kyouki from Grieva could sing at least a little decently, and their bassist was a beast;
- After watching Lycaon's Eve's new "twin project" I still can't believe how 98% of releases won't get less idolish and/or formulaic. 2018 was catastrophical in that sense: there was almost no cool releases to balance off the rest of the shit. I fear an oversaturation of the market comes and a lot of people lost their interest in the scene (and I couldn't blame on them for that...);
- big bands delivered great but not stand out music, rather uninspired (Dir's The Insulated World and TG's Ninth are the perfect examples for that);
- BPR and Goemon bands aren't cool anymore. Kiryu and Arlequin were skilled, fresh and original when they first came out, but nowadays the ghostwriting is so blatantly obvious, and the overexplotation so painful to notice, that I started keeping good distance from them;
- What the fuck is Diaura doing? We need them to save VK again.
- 2018' VK was saved by the proggy ones, Kizu and Dimlim. Nothing epic, but actually really good; I'll be definitely looking forward them in the future. Got very recently on them, and blame myself for not wanting to put my faith on them when I read all the hype here before. Oh, and don't forget Mamireta's "Ojamashimasu" (the rest of them is pretty much forgettable).
Which is your 2018 balance?
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soan project alone >>>>>>>>>>>> the entire indie vk scene ca. '17 - 18 no matter how much you loathe idol-kei™ tbh.
ninth is a much better album than 3* full releases before dogma (*four if you count traces)
anyway the thing I liked most about 2018 VK is that guy's family sounds fresh again if you take a 7 year break from listening to it, same with withering to death by deg.
dexcore were cute.
once 2019 releases start rolling in with old artists forming new bands it will get better.
tbh nothing ever compares to the 2006-2008 VK drought when a lot of promising indie acts were picked up by universal which averaged them to death and failed to find new audience for the mess that came out of it.
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Wow, never thought BAISER had a major debut, less a single for an anime series opening.
The few stuff I listened from them was pretty much irrelevant to me; also, I felt Yukari's voice ruined every bit of goodness the music could have. He made me recall IZAM's awful voice... So, I always believed they were some kind of nobodies that had relevance because somehow they managed to strike hard into the likers of old-school VK music, but nothing else... Perhaps I'll give them a try now...
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I need somebody to share with my love for this song, because I just can't stop to move my legs to the rythm and if this continues I won't be able to finish my research paper lol
Interesting fact: the credits for the music are to SHINYA, who will be also credited for the music of "Yurameki" a few months after, another classic of Dir that shares with this song the same syncopathed guitars' groove that makes one easily recall Eden-era Luna Sea.
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Does anybody know what happened to Yomi's voice during the last era in Naito? I've never heard such a damaged voice onstage... He tries to put all his best into his performance, but he still sounds like having lots of mucus into his throat... and thus misses a lot of notes. The last live's "Mahora" sounded awful...
Poor Yomi. Although always having some problems since the begining of Naito, I've always felt he is one of the best vocalist in the scene.
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Didn't he say something about having functional dysphonia (or something like that) back when Nightmare announced their hiatus? And yeah, I agree that his voice was nice. It was different. He was supposed to be resting during their hiatus, but he came out with Take No Break almost immediately and he still sounds awful.
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Did I transcribed correctly what Kamijo says in the intro?
ようこそ
ここは 君の ??? 記憶の中
未だ
自分の全部で苦しみを 知らない
小さな蕾お
これから 君は 自分が 生まれるまいにだいて
全ての感情を 知る事の 生る
そ
前線の君は 運命を 占い
リリーと言う
指の 名を持つ
自分の 運命を
There are some words I can't identify clearly, so maybe I missing a の for an を and so on...-
Same with this intro. Gackt's Japanese is more audible, but still have some confusion on some words, perhaps because I can't match them together into a whole meaning...
ようこそ
マリスミゼルの世界
ここに集いし
全ての物に 接げる
今宵
メルベーユと言う思いを含んだ物語が
最後の光を放つ時
この終焉と帰趨と言う中に
飛べられた思いが
その実態を
粗は吹かもしれない。
このメルベーユと言う物語が
閉じられる最後の音
心して聞くがいい
その音の皆の音は
何時の中ように
あなたに
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After looking at Michi (ex-Maschera) and Koji's (ex-La'cryma Christi) new project, a thought came to my mind. I love both musicians, and the music they've put out is ok. But I can't avoid getting cringy vibes from this kind of looks. Don't exactly know why... All I feel is like they are pretending too much; they don't carry that look like it's themselves. It actually feels like they are making fun, doing cosplay of some BL anime instead of doing "art".
This kind of over-the-top fantasy aesthetics looked great on 90s acts like Malice Mizer, Psycho le cemu or even early DeG; they felt "genuine", "fresh", "artistic". Nowadays, when there is a trend of bands that exploit it (the like of Grimmoire, Pentagon, the raid, Yumeleep, Mathilda, BabyKingdom) they seem always forced and, in that way, painful to look at. Those nekomimi and tails are... ugh...
Does anyone else feel the same?
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idk, isn't vkei all about selling you a fantasy? and nowadays more and more bands are capable of demonstrating nice, detailed looks which is not bad imo. it've become harder to distinguish bands that have actual sophisticated sense of style which comes out both in visual and musical aspects from total garbage bands who just can afford an okay-ish makeup tho.
as for alice in menswear, they just look a bit cheap - at that age you either use the full power of makeup and photoshop to look like a fucking fairy or just do something more simple but still stylish.
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