saiko

Love people testimoning about their love over little things like cartoons characters. It's always a heart-warming thing to read. Thanks 💖

I was going to laugh but then remembeted RakuxGaki actually surprised me a bit for good with their lastest release. Anyway, hope Dimlim goes fine.

Is this how Japanese trans people adress their coming out publicly?

This is the first thing that comes to my mind every time I read complains about Dimlim.

May someone translate at least some lines?

Same question here!

What's the thing to fear? I don't get what you are talking about, perhaps because I've never payed attention to DID.

Is this even 'vk'?

Kudos to them for this song. It's cool that they took the kote kei archetypical song structure and clichés (like every other indie vk band launching their first releases in the late 90s) and blended it with a really interesting, mysterious, instrumental interlude. Also, I wished they had kept the more androgynous, white face doll-like make up for the rest of their career (very inspired in Malice Mizer, I guess? Is Aya tributing Közi in this video?).

Isn't "kayoukyoku" a Japanese term used for refering to J-pop?

This is the real nerd shit I crave for here in MH. Keep on!

Same opinion here. 'Absolute zero' started with the perhaps obligatory-to-keep-in-metal-trend, Polyphia-like taping, which is actually nice. Then it evolves to the sound of D's first songs released as a major band. Not really impressed, but indeed still very pleasant to my ear. 'Serum' is another one that sounds like classic D. Are them making some kind of throw-back in this single?

Not bad, but I don't need another R-shitei clone into my playlist. Next.

Diaura's 'FOCUS' and 'TRIANGLE' remain to me as the two of the best releases of the whole VK history. Both are filled with a wide range of diverse climaxes and also a very unique composition work. In my opinion, nothing they've released after that to date compares to the gems packed into those two albums, it even sounds repetitive many times. They are one of the best examples of artistry within the scene.

Sounds thrilling!

Is this a trusted source?

English was going well until "Just Defy the common sense notion". And yeah, D is unfortunately another example of going uninspired after a 3rd-4th album despite still being very talented musicians and having many of VK's most iconic songs penned by them. Btw, is Asagi's look a throw back to Yami yori blablabla?

Good for him!

Thank you so much! My question over Kizu's resources origins has to do also with members past activities. None of them have a past of involvement in, at least, 'famous' projects. For example, Versailles, like Kizu, started out with what one can consider great amount of resources, and one can easily reconduct that fact to Kamijo being the ex-vocalist and overall composer and producer of an act that played a key part in the late 90s scene (I'm talking about Lareine). But that's not the case of Kizu; sure Lime was part of many bands like Lezard (was that the name?), but I think we can all agree that none of these bands was as successful or relevant as Kizu got since their first single. Maybe they actually have worked in projects that hadn't this need of high media exposure but nonetheless made a name and/or great sums of money (maybe like being sessionists, and/or producers, and/oror composers, etc.)?

Old-school, a.k.a. kote-kei, homage was cool when it trended back in 2012, but it quickly grew uninspired to me for many reasons, one of them being kote-kei music actually anything but a bunch of uninspired dudes playing awfully composed/executed hardcore punk/thrash metal while having intentions of recreating the atmosphere of solemnity that is in the core of the VK aesthetics with hyper-melodic solos and melodies. So now I'm surprised by the fact that a song released under the Dioora project happened to be really pleasant to listen to (of course, the difference that this song was composed and executed by talented people makes a big difference with average band within the scene that is their object of nostalgia).

Is Damage a label with more artists, or a label founded by Kizu just for themselves?

Still shocked over the quality of recordings, MVs, etc. Kizu have had since their beginning. Now they have their MVs being played out in a giant screen in a city. How come these indie bandomen are THAT loaded?

The thing that I love the most about Karma is the artistry he tries to put over anything they put out. Good or not, he seems to be trying really hard, and for that only he may stay always on my radar.