saiko

I've been wanting to discuss this topic for a long time. Fundamentally since, in the last ten years or so, the ratio of what in this forum has been called "formulaic VK stuff" has increased considerably, which, on the other hand it is closely linked to a phenomenon that has also recently appeared, and that in this forum has been called "idol kei". Of course, as many here quote repeatedly, the abandonment of adolescence does not cease to be a powerful motive in this situation, since it makes the condition of possibility (necessary, though not sufficient) so that one can remove the veils of idealization deposited on certain music or artist (and realize how badly done or executed some productions were; for me an example of it was Ryohei-era ayabie). Finally, in the verge of the end of the decade, another reason is my concern about the fate of the VK in the 2020's, considering that since the second half of the '10 has not thrown some real "quality" or "novelty", something that can be established at the level of "classic", as it actually happened with some releases put out in the period of 2008-2013.
 
It is not easy to discuss all these issues, I imagine, for several issues: perhaps it can hurt the emotions of some users of this forum who, in fact, are very comfortable enjoying the said idealization of certain artists. On the other hand, talking about this with some minimum measure of ownership requires a listening by a broad repertoire of VK, which has at least something from each of its eras (at least the "classics"). And also, it requires some knowledge (at least intuition) about aspects related to composition, instrumental performance, recording, live performance, the dynamics of the consumer market, etc.
 
As, to my pleasant surprise, I have found in this forum people who speak (or at least try) from this knowledge, is that I come to open this thread here in MH. Anyway, I hope that no one is deprived of writing here, contributing from what he/she has and his/her interests.
 
I think that it is best to start on by discussing some basic concepts, instead of directly delving into anything else:
 
1) What are the indicators that make a song "ghostwritten" for you? And that it is not?
2) What are the indicators that make a band "idol kei"? And that it is not?
3) Where would you put its birth date?
4) Do they qualify as "good music" or not? Do you enjoy them? Do not? 
5) Does it seem to you that this certain music goes "against" (to put it somehow) of certain "well-being" of the scene, or of the music itself?
6) Why are you still listening to VK in the 2010s? Are your reasons the same as before? What does it give you that other music does not give you?
 
I read you!

I've been wanting to discuss this topic for a long time. Fundamentally since, in the last ten years or so, the ratio of what in this forum has been called "formulaic VK stuff" has increased considerably, which, on the other hand it is closely linked to a phenomenon that has also recently appeared, and that in this forum has been called "idol kei". Of course, as many here quote repeatedly, the abandonment of adolescence does not cease to be a powerful motive in this situation, since it makes the condition of possibility (necessary, though not sufficient) so that one can remove the veils of idealization deposited on certain music or artist (and realize how badly done or executed some productions were; for me an example of it was Ryohei-era ayabie). Finally, in the verge of the end of the decade, another reason is my concern about the fate of the VK in the 2020's, considering that since the second half of the '10 has not thrown some real "quality" or "novelty", something that can be established at the level of "classic", as it actually happened with some releases put out in the period of 2008-2013.
 
It is not easy to discuss all these issues, I imagine, for several issues: perhaps it can hurt the emotions of some users of this forum who, in fact, are very comfortable enjoying the said idealization of certain artists. On the other hand, talking about this with some minimum measure of ownership requires a listening by a broad repertoire of VK, which has at least something from each of its eras (at least the "classics"). And also, it requires some knowledge (at least intuition) about aspects related to composition, instrumental performance, recording, live performance, the dynamics of the consumer market, etc.
 
As, to my pleasant surprise, I have found in this forum people who speak (or at least try) from this knowledge, is that I come to open this thread here in MH. Anyway, I hope that no one is deprived of writing here, contributing from what he/she has and his/her interests.
 
I think that it is best to start on by discussing some basic concepts, instead of directly delving into anything else:
 
1) What are the indicators that make a song "ghostwritten" for you? And that it is not?
2) What are the indicators that make a band "idol kei"? And that it is not?
3) Where would you put its birth date?
4) Do they qualify as "good music" or not? Do you enjoy them? Do not? 
5) Does it seem to you that this certain music goes "against" (to put it somehow) of certain "well-being" of the scene, or of the music itself?
6) Why are you still listening to VK in the 2010s? Are your reasons the same as before? What does it give you that other music does not give you?
 
I read you!

I've been wanting to discuss this topic for a long time. Fundamentally since, in the last ten years or so, the ratio of what in this forum has been called "formulaic VK stuff" has increased considerably, which, on the other hand it is closely linked to a phenomenon that has also recently appeared, and that in this forum has been called "idol kei". Of course, as many here quote repeatedly, the abandonment of adolescence does not cease to be a powerful motive in this situation, since it makes the condition of possibility (necessary, though not sufficient) so that one can remove the veils of idealization deposited on certain music or artist (and realize how badly done or executed some productions were; for me an example of it was Ryohei-era ayabie). Finally, in the verge of the end of the decade, another reason is my concern about the fate of the VK in the 2020's, considering that since the second half of the '10 has not thrown some real "quality" or "novelty", something that can be established at the level of "classic", as it actually happened with some releases put out in the period of 2008-2013.
 
It is not easy to discuss all these issues, I imagine, for several issues: perhaps it can hurt the emotions of some users of this forum who, in fact, are very comfortable enjoying the said idealization of certain artists. On the other hand, talking about this with some minimum measure of ownership requires a listening by a broad repertoire of VK, which has at least something from each of its eras (at least the "classics"). And also, it requires some knowledge (at least intuition) about aspects related to composition, instrumental performance, recording, live performance, the dynamics of the consumer market, etc.
 
As, to my pleasant surprise, I have found in this forum people who speak (or at least try) from this knowledge, is that I come to open this thread here in MH. Anyway, I hope that no one is deprived of writing here, contributing from what he/she has and his/her interests.
 
I think that it is best to start on by discussing some basic concepts, instead of directly delving into anything else:
 
1) What are the indicators that make a song "ghostwritten" for you? And that it is not?
2) What are the indicators that make a band "idol kei"? And that it is not?
3) Where would you put its birth date?
4) Do they qualify as "good music" or not? Do you enjoy them? Do not? 
5) Does it seem to you that this certain music goes "against" (to put it somehow) of certain "well-being" of the scene, or of the music itself?
6) Why are you still listening to VK in the 2010s? Are your reasons the same as before? What does it give you that other music does not give you?
 
I read you!

I'm curious about what bands have you seen falling after proving they are "good", because this is something I've thinking enough recently. While meritocracy isn't itself more than a fantasy -thus the next I'm going to say could sound a bit pretentious, I know- I 'feel' that in the VK scene, if you prove that you actually have good skills and/or propose something of really 'artistic' value, it won't cost you that much to reach success within your project (when I say "success" I don't aim necessarily at being famous whitin the mainstream market in any way, of course). This isn't something to be just applied to explain every single case of an artist in the scene, but I think we can agree in some generalities. As far as I'm concerned, the 'classics', or even the considered 'famous' bands (which in both cases we can assume are succesful projects for their members, i.e. they can pay bills with it going on), were bands that offered something more-less 'new' and more-less did it pretty well, at least in their beginning- you could say they were 'inspiring' bands. So, in those cases, I find it really difficult for them to 'fall' after that; of course fame can easy come and easy go and one day you fall outside the spotlight, but look at Deluhi, for example: as one member said on their thread, they sold out two venues ten years after disbanding...

I can't stand the guitarist's knock-off Angus Young look, the production is terrible; but for a young band they have some good ideas even if all the songs are starting to blend together and sound rather similar.
 
I'm curious though, how many bands have we seen just like kizu who promptly fell off the face of the earth after bursting on the scene red hot? Countless. They show promise; but so didn't nearly every other band like them. 

I've been wanting to discuss this topic for a long time. Fundamentally since, in the last ten years or so, the ratio of what in this forum has been called "formulaic VK stuff" has increased considerably, which, on the other hand it is closely linked to a phenomenon that has also recently appeared, and that in this forum has been called "idol kei". Of course, as many here quote repeatedly, the abandonment of adolescence does not cease to be a powerful motive in this situation, since it makes the condition of possibility (necessary, though not sufficient) so that one can remove the veils of idealization deposited on certain music or artist (and realize how badly done or executed some productions were; for me an example of it was Ryohei-era ayabie). Finally, in the verge of the end of the decade, another reason is my concern about the fate of the VK in the 2020's, considering that since the second half of the '10 has not thrown some real "quality" or "novelty", something that can be established at the level of "classic", as it actually happened with some releases put out in the period of 2008-2013.
 
It is not easy to discuss all these issues, I imagine, for several issues: perhaps it can hurt the emotions of some users of this forum who, in fact, are very comfortable enjoying the said idealization of certain artists. On the other hand, talking about this with some minimum measure of ownership requires a listening by a broad repertoire of VK, which has at least something from each of its eras (at least the "classics"). And also, it requires some knowledge (at least intuition) about aspects related to composition, instrumental performance, recording, live performance, the dynamics of the consumer market, etc.
 
As, to my pleasant surprise, I have found in this forum people who speak (or at least try) from this knowledge, is that I come to open this thread here in MH. Anyway, I hope that no one is deprived of writing here, contributing from what he/she has and his/her interests.
 
I think that it is best to start on by discussing some basic concepts, instead of directly delving into anything else:
 
1) What are the indicators that make a song "ghostwritten" for you? And that it is not?
2) What are the indicators that make a band "idol kei"? And that it is not?
3) Where would you put its birth date?
4) Do they qualify as "good music" or not? Do you enjoy them? Do not? 
5) Does it seem to you that this certain music goes "against" (to put it somehow) of certain "well-being" of the scene, or of the music itself?
6) Why are you still listening to VK in the 2010s? Are your reasons the same as before? What does it give you that other music does not give you?
 
I read you!

So proud that she finally got her big break after 30 years of trying!!!

yaaasss slay them grandmas

I'm not a fan of kiryu, of cause there are some crazy fan gya are piss because of he's married, but alot of other dislike the video because:
1. According to what I saw on tanuki, his wife is one of the famous gya that's toxic and bitchy towards other fans, and the one who start all this drama?
2.The way he announces he's married, the poop hat is not "I'm shit because I'm married", a lot fans think more like a passive aggressive way to make fun of the fans.
Also the way he speak some fans feel like "I'm not part of this drama, why you make fun and scold us, you could just simply announce you are married".

What's up with the poop hat? It makes the video feel so surreal given the context.
"So this is what a serious adult making a sincere apology looks like? I've learned something today."

it's awful to say but I'm just waiting till these guys disband already so that they can act like human beings again and go on with their own lives instead of having to deal with these parasites...

Surprised BPR left the comments on...they love the drama (gets them views...not sure if anyone else noticed BPR's views slowly sliding off in the past little while could use a boost from some tanooks).

from what i gathered some one on tanuki happened upon an add/comment about the place she works at,googled to see what it was about, then started creeping into her social media sites, cuz ya know, bangyas are crazy. Anyway her name is Erina Yamamoto and she was born in 1992

Btw, many comments on the video seem to be large, so is anyone offering him/herself to translate some of them for us to know the gya's opinion on the subject?

So he married her because her father died... So what? Good lord, Oedipus complex still strikes the life of a human being even in 2019 Japan. Oh Freud, we are not worth a bit of your genius...
 
Btw, man, I can't even listen to a full song without thinking on the cringy Youtuber thing, the more and more shitty realeses they've have been compulsively putting out, Mahiro going blind, this guy having to make a 'serious' public statement about being married trought social media... Poor Kiryu, what have market donde to you?

Btw, many comments on the video seem to be large, so is anyone offering him/herself to translate some of them for us to know the gya's opinion on the subject?

So he married her because her father died... So what? Good lord, Oedipus complex still strikes the life of a human being even in 2019 Japan. Oh Freud, we are not worth a bit of your genius...
 
Btw, man, I can't even listen to a full song without thinking on the cringy Youtuber thing, the more and more shitty realeses they've have been compulsively putting out, Mahiro going blind, this guy having to make a 'serious' public statement about being married trought social media... Poor Kiryu, what have market donde to you?

The band has this routine and now he must be dedicated to his family... shit's hard

From what I understand based on the tweets of the Japanese fans - at the DELUHI reunion it was said that:
 
- JURI, back around Deluhi's disbandment time, was having problems with his throat/vocal cords and needed treatment (which he eventually got, but it took time - thankfully he seems ok now!). At that point however singing was challenging/painful...
 
- LEDA wanted to replace Juri because of Juri's problems with his voice and started looking to recruit a new vocalist with the intention of firing Juri from the band WITHOUT telling Juri any of the above or discussing it with him. Leda intended to keep Aggy and Sujk.
 
- AGGY did not agree with Leda's approach of going behind Juri's back and it also seems they had some disagreements about Aggy's bass sounds being replaced so Aggy announced that he would quit. At this point ALL MY RESPECT GOES TO AGGY - he took the blame of disbanding on himself, did not discuss any of this "dirt" in public or create negativity around Leda in any way, and he apparently did not tell Juri either of Leda's plans to fire Juri. It looks like Juri found out about this much later and apparently Juri has flat out refused to do a reunion a couple of years in a row when approached by Abe-san and Leda. It is said that he had eventually forgiven Leda and agreed to do the reunion & Aggy agreed too. Ultimately the amount of mean comments addressed to Aggy all these years is unbelievable!! He was blamed for ruining Deluhi and what not...when it wasn't even his fault...
 
- SUJK - not sure what his position was regarding all this, but he has always seemed to get along well with both Juri and Aggy. The pics & videos of him and Juri posted by Abe-san around the reunion are super cute!! And there's also a pic of Sujk wearing a breakin' holiday bracelet with Aggy.
 
 
DELUHI - though they have all grown up, I personally do not believe Deluhi is coming back... I dearly love their music, but to me Leda has ruined the trust between the memebers - not blaming him in any way... just saying.. he was young and made a mistake.. we all do... it seems he does regret it but nothing can be done at this point. With FED he got a new vocalist and a new bassist - they had potential but imho Leda has carried over some of his leadership attitudes and he also had a ton of side projects diverting his focus from the band. As for BREAKIN'HOLIDAY - after the Deluhi reunion both Juri and Aggy have posted a tweet clearly stating that though they are grateful to Deluhi, they are now to be considered Juri and Aggy of breakin'holiday. I personally find the band very enjoyable, Juri's voice is wonderful, they are experimenting with their sound and style, it's interesting to watch them grow as a band. They are super active social media and post a ton of off-shot stuff.
 
In the end, I wish them all success, to all ex-Deluhi members, to all soon to be ex-FED members and to current breakin' holiday members. I truly believe they all have their strengths and talents but they are also all people and people do mess up sometimes....
 
That's all I had to say - just wanted this to be out there.

they release a new single every 3-4 months ...

Someone translate this into Japanese so Leda can read it.

I feel like most visual kei is like that these days. I hate the overabundance of synths in vkei. It generally turns me off immediately from a band. Especially overly glossy music videos and overproduced songs. 

Watching a performance from someone who recorded it with a phone and actually being there and living the show is very different, also it was just the beginning.
Sometimes it takes some time for the band and the audience to warm up, I've seen them live and it was one of my favorite concert ever, although I found the members not very close to the audience compared to their shows in Japan, they just do their thing and leave.
It'll be worth going if you really like the band and their music or if you like to headbang and jump around a lot cause they play their more heavy stuff during the world tour. 
That was my two cents, hope it helps !

And you know what? If they had said “Hey, the band wants you to buy these cheki instead of taking a few photos. Pick 5 for $20.” I would be fine with that. But they haven’t. Then, the motivation for restricting photos would have had exactly the same motivation as in Japan (monetary).
 
The only reason that I can see for disallowing the Meet and Greet photos seems to be protecting the feelings of their gya back home that can’t meet them anymore. For that, I understand.
 
But there’s only so much of my experience that I’m willing to sacrifice solely to protect the feelings of people who get to see the band multiple times a year, for longer and more diverse set lists, and a wider variety of merch options.

Art which possesses neither public responsibility, nor aesthetic originality, is a very humble form of art. While for much of history, the concept of art did not yet exist, it is clear that there were works of art being produced. It may even be said that art came naturally to the rhapsodes who were later collectively referred to as Homer, when (initially) composing the lyrical interludes of the Iliad, and later making the whole poem lyrical. But these works necessarily laid emphasis on the side of themselves which were τέχνη, until the event of early Romanticism, as defined by Hamann and Herder, in opposition to Kant. It was not until Yeats' middle period that the idea of a unifying system of public responsibility (τέχνη) and aesthetic originality (art) became proper. Since the deaths of Eliot, Pound, Bunting, and others, High Modernism has been reacted against, by the humble Romanticism of gentlemen like Larkin (in England), and the Post-Modernist experiments of gentlemen like Ashbery (in America). My theory is that this is both caused by and contributing to the general downfall of our society, since verse used to, and no longer does, bother to influence society, in any meaningful manner. Until this idea has been revitalised, there may as well be no art at all, considering it simply stands as a kind of cask-monolith, pretending to do what it does not itself even understand.