indigo

Not a new band, and they have a different singer now, but maybe Yuma from el-Ethnic Legist-?

 
He's singing for IRON ATTACK! now.

I've been gettin' into Verbal Jint lately !
 
1. Dead Kennedys - Your Emotions
2. Hot Snakes - XOX
3. Misfits - Nike A-Go-Go
4. the GazettE - 黒く澄んだ空と残骸と片翅
5. The Birthday - ひかり
6. 伊集院幸希 (Ijuuin Yuki) - 彼女は金曜日 (feat. RUMI)
7. RIP SLYME - Bubble Trouble
8. Sigh - Corpsecry - Angelfall
9. DIR EN GREY - MASK
10. 亜矢 (Aya) - メーデー

I love all their albums so I'm sure I will love this too.
 
btw. why haven't there been any bitching about that aLbUM TiTle? like with "sustain the UNtruth" or whatever that was

BADBADNOTGOOD and Ghostface Killah will release an album together in February.
 

BADBADNOTGOOD and Ghostface Killah will release an album together in February.
 

Youth Of The Beast - Directed by Seijun Suzuki who directed 40 films in 11 years between 1956 - 1967 and about a dozen films after that. This movie is considered to be his breakthrough. The plot is similar to Yojimbo and A Fistful Of Dollars but this time it's set in the yakuza world. Violent, stylish and highly entertaining, just the way I like it!

Just ordered these;
 
Dir en grey - A Knot Of DVD
Merry - Nu Chemical Rhetoric CD
Alice Nine - Alpha CD & DVD
Kemuri - 77 Days CD
Jay Z & Kanye West - Watch The Throne CD
 
I don't even like Alice Nine and I've never listened to Kemuri (I think they're some sort of ska punk) but all of those were 1,90 € each so I had to buy

Well ive pointed this out on the chat and some said its an interesting idea , so i thought before i forget this ill post this here and maybe other ppl will also jump on this idea . I know there is a topic about a radio , but radios need a lot legal issues to be taken care , especially cause a radio is easier to track by the anti piracy organizations , and making a radio server is like calling out to them "come and get me" , closed community podcats on the other hands dont differ from uploading albums .
So yeah here is the idea , altough my spoken english is bad and sounds more like engrish i will go around trying to record something this week just for fun and post it here , mayhaps (is there even a world like this) others will catch on to this idea as well .
So yeah heres the topic guys lets discuss this out and see where we can get with this .

Artist: 12012 Mini: XII Score: After years of uncertainty, 12012 finally leave their fans a release that shines with confidence.
12012 have been struggling to find their sound for quite some time now. Throughout the years they have had a number of stylistic changes, jumping between gothic hard rock tunes and gentle pop melodies before settling on dark chugfests. It’s ‘Deicida of Silence’ and ‘The Swan’ which grabbed my attention, with new guitarist Saitou embellishing the band’s sound with the technical skill missing from their lacklustre self-titled album. With the announcement of their final EP before an indefinite hiatus, I was expecting 12012 to leave with the same deafening roar they displayed with their latter EPs. On the contrary, ’XII’ signals another sonic change for the band. Rather than creating more confusion for fans, 12012 seem to have found their identity.

What hits you about ‘vicious of absolution’ is how calm it sounds in comparison to ‘The Swan’. The downtuned riffs and thunderous drums have been given less precedence, instead running in tandem with audible basslines and gentle piano tones. Although lacking in sheer volume, the opening track is a brilliant showcase of Wataru’s vocal skill. The poor engrish and harsh vocals that hampered previous releases are gone, leaving us with a strong and emotive voice which has been missing since ‘Seven’. Although a quiet track, the intricate bassline, tinkling piano, and complex drumming in the background perfectly complement Wataru’s voice, creating a dark and despondent atmosphere fitting for the band’s potential final release. Devoid of chugging, screaming, or deafening blast beats, the song sets the tone for the majority of the EP.

‘story of a different dimension’ leads into more familiar territory, sounding like an experiment between ‘Diamond’ and ‘The Swan’; catchy and instrumentally balanced, yet dark and with a killer riff you’ll be humming for days. Again, Wataru’s vocals are impressive here, perfectly matching the energy of the song without going overboard. The chorus in particular highlights this, as well as the foregrounding of the bass guitar on ‘XII’, which allows the whole EP to sound more atmospheric than previous efforts. Saitou’s guitar work is also given a larger role in this song, infusing it with some much needed energy after the previous solemn affair. Due to its catchiness, infectious rhythm section, and frenetic opening riff, this is easily the strongest song on the EP and one which best shows the band’s newfound confidence.

This leads into ‘the red’, which is reminiscent of 12012’s latter EP. The sludgy guitar is back along with the guttural growling and desperate shrieking. Although out of place compared to the rest of the EP, the song is a perfect fusion of their pop and death metal sounds, with clean vocals and melodic instrumentation placed in parallel next to their binary opposites. Although the weakest song on ‘XII’, it displays a successful amalgamation of 12012’s previous sounds. Although this fusion is explored in every track on the EP to some degree, it’s this song which makes it the most apparent due to the ever-changing musical atmosphere.

In sharp contrast to this, ‘alone’ is taken straight out of 12012’s poppier back catalogue, making it a less challenging track. From the guitar tones to Wataru’s softer crooning, the song could have easily been slotted into ‘Mar Maroon’. Initially I couldn’t bear it; the mildness of the track detracting so much from what I was now used to from the band. However, repeat listens revealed the track to be one of the most musically balanced, with each member being easily audible. Due to this, the song is fuller than ‘the red’ in terms of its sound and allows each member to stand out in their own way. Not only does this make the song pleasant to listen to, but it also helps to convey the sound of ‘XII’ through its rich instrumentation. Complemented by basic guitar chords and beautiful piano, this song shows how 12012 can write a good pop song without deviating from the gloomy theme of the EP.

This skillful mix of genres is also apparent with the EP’s closer, ‘aqua’. The longest track on ‘XII’, this song starts with a simple electronic backing tune and piano. Once again, Wataru’s vocals take centre-stage here alongside a sombre bassline. It takes a while for the song to gain pace but as soon as the drums kick in, ‘aqua’ is given real weight. Matched perfectly by the louder, more insistent vocals, a true sense of closure is given to the EP. Wataru’s plaintive cries also convey the sadness behind the band’s hiatus which makes the song much more emotive. Sadly, this climax is followed by a clumsy guitar solo which sounds like a collection of odd notes thrown together. Unlike the bass solo preceding it some minutes before, it doesn’t seem to match the key of the song and stands out in the wrong way. The song’s length is also a drawback, weakening the effect of ‘aqua’’s impact through its meandering middle section. In spite of this, ‘aqua’ is an emotional piece and a fine way of ending ‘XII’.

I was disappointed with this EP at first. I hated that the band had changed their sound despite creating something unique with ‘Deicida of Silence’ and ‘The Swan’, flippantly disposing a genre that suited them well. Despite its lack of initial impact, I found myself listening to this EP over and over again, realising each track was as infectious as the last. As a result, ‘XII’ isn’t a step backwards at all, but a display of maturity caused by a fusion of everything that makes the band great. The EP is heavy but in a different way; with nothing used to excess. Every track demonstrates each member’s technical skill with darker, heavier material, but also an awareness of the fans and what they’ve wanted since ‘Seven’ or even ‘Play Dolls’. Due to this, they leave the scene with their most memorable release to date, covering all past soundscapes in a fusion that is a pleasure to listen to. If they ever come back - and I truly hope they do - this is the 12012 I want to listen to. This is 12012 at their finest.

I'm usually very picky about horror movies but I found some interesting ones in this thread and I'm going to watch them. Thanks, just wanted to say that

Artist: chouchou merged syrups. Mini: clepsydra Score: chouchou merged syrups. is back in the game and playing for keeps.
Having reigned the latter half of the 2000s as Japan's "go-to" female-fronted indie-rock band, MASS OF THE FERMENTING DREGS left a huge void in the scene when they disbanded back in 2012. Many acts have sprung up in an attempt to claim that abandoned spotlight, but few have managed to distinguish themselves. Bands like Tricot and MAMADRIVE, while competent, still suffer from forgettable songwriting, while other groups are still trying to find their sound (Cö shu Nie, THE★komesuduo), focusing their talents solely on pop efforts (negoto, akai-ko-en), or simply not consistent enough in output (itsue) or quality (uchuu conbini). One band that fell into the trap of inconsistency is chouchou merged syrups., but on their latest mini album "clepsydra", they've managed to patch up the holes in their sound and present themselves as a force to be reckoned with.

Formed in November of 2010 in Kyoto, the quartet quickly garnered interest by signing with the indie-powerhouse label Zankyo Records (cinema staff, People In The Box, mudy on the 昨晩, té, early 9mm Parabellum Bullet) and released their first track "針中察するに" on the label's 3rd compilation subtitled "-brightest hope-". This song alone was enough to grab the attention of indie-heads, as it introduced a refreshing take on the emo-rooted, indie-rock styles played to perfection by bands like 9mm parabellum bullet and Cinema Staff. The intrigue surrounding chouchou swelled into hype as it was announced that their first mini album "since" would be produced by none other than Cinema Staff's bassist, Souhei Mishima. Unfortunately, that hype quickly fizzled out with the mini album being an utter disappointment. "Since" sounded dull and soulless, as if the band were handed blueprints to unreleased cinema staff songs and forced to play them at gunpoint. Even vocalist Chiaki Kawato gave a timid, almost fearful-sounding performance - one that was further marred by her constant straining to hit notes that she either couldn't or shouldn't have attempted to; this is a common, but contemptuous trait amongst Japanese indie-rock vocalists. Because "since" didn't live up to it's expectations, prospective interest in the band diminished and the release of "clepsydra" nearly went unnoticed. Thankfully, chouchou took note of their defects and improved upon them in every aspect.

Contrasting "since" from the get-go, "clepsydra" opens with a 40-second instrumental titled "月光" - a guitar riff that's melancholic, menacing, and shrouded in atmosphere. This piece sets the tone for the first half of the mini album as chouchou delves into a darker, more emotionally-driven sound than they've done previously. The first 2 songs "斜陽" and "白昼夢は色彩の無い" not only showcase this new direction, but they also boast a vast improvement in the band's songwriting. There's plenty of intense, emo-inspired instrumentation to rock out to, but this time it's more precise and colorful. Chiaki's vocal melodies are more congruent with her skill level and there's more power behind her delivery. The gloomy pseudo-ballad "踊る、そして" slows things down to a post-rockish crawl, but fails to reach a substantial climax. This is perhaps my biggest grievance with "clepsydra" - they missed an opportunity to catapult this track into the stratosphere, and instead, ends up sounding like a 4 minute interlude. Subsequent tracks "Havfrue" and "風のように" move the album in a brighter direction and expand on those undeveloped post-rock tendencies by employing a fine balance of twinkly guitar interplay and emotive choral passages. "橙鳴る" brings the album to a brilliant finish. It's intense but delicate, melancholy yet uplifting - the perfect symbiosis of sounds represented in the first and latter halves of the album.

As a whole, "clepsydra" makes it clear that "since" was just a hiccup and the initial hype surrounding the band was warranted after all. With performances lined up at MINAMI WHEEL 2014 and Zankyo Matsuri's 10th Anniversary events, in addition to a brand new track featured on the latest Zankyo Record compilation, the future is looking bright. chouchou merged syrups. may very well solidify themselves as the next female-fronted "it" band of the Japanese indie-scene!

Killing Them Softly - Oh fuck, what a film! Slow-burning, atmospheric, credible and gritty noir-inspired crime from Andrew Dominik, who with his three films have just gotten much, much better with each of them. Brad Pitt's doing one of the best performances of his life so far, and as far as films goes only Inglourious Basterds, Snatch oand Se7en are better.
 
Dirty and dark crime with long, credible and so, so, so well-written dialogs, brutal and realistic violence and a fantastic portrayal of the different sides to the gangsters personality.
 
The only reason I am not giving this a 9/10 is because of the slow-mo shooting scene. Could've done with the slow-mo. But other than that, great. Andrew Dominik is a really impressive director. I am awaiting his next film, but with his slowpoke tempo I guess that we'll gotta wait a long time for that.

voted, it changed

I'm often listening to a song and I'm thinking "I like this song" and when the song ends and a new one starts I forget the earlier song. This doesn't happen always but still sometimes.
 
So what I'm trying to ask is that how many times do you usually have to listen to a song to be able to remember it? Do you forget it instatly after it ends; you remember that the guitar riff was great or it had a catchy melody or something but just can't recall how the guitar riff or the melody went. Can you even say that it had a catchy melody if you forget it almost right after the song ends? Do you remember anything about the song except that it was good until you listen to it again? Does it depend on the song?
 
I hope that wasn't too confusing. Let me know what you think.

True! That's what you get for going with practical special effects and actual miniatures. It just doesn't get old the same way as CGI does. Same goes for Metropolis too IMO. Because they used miniatures it stil manage to look fresh even to this date. Or Godzilla fo that matter. When buildings are destroyed there, they get destroyed and therefore it still looks real as fuck. After all, it is real, and something real doesn't get old or dated. Awesome!
 
 


From Blade Runner
 
 
 

 
From the set of Metropolis. One of my all time favourite pictures.

Just ordered these;
 
Dir en grey - A Knot Of DVD
Merry - Nu Chemical Rhetoric CD
Alice Nine - Alpha CD & DVD
Kemuri - 77 Days CD
Jay Z & Kanye West - Watch The Throne CD
 
I don't even like Alice Nine and I've never listened to Kemuri (I think they're some sort of ska punk) but all of those were 1,90 € each so I had to buy

Blade Runner - Over 30 years old and still looks amazing! Can't say the same for many movies.
 
Once Upon A Time In The West - This movie is a real work of art. And that music.

L.A. Confidential - Quite good and stylish neo-noir film in which the characters are the best thing. All 3 main characters played by Russell Crowe, Guy Pearce and Kevin Spacey were great.
 
Like Father, Like Son - Main character finds out that his 6 years old boy isn't actually his but has been swapped at birth and his real son has been raised by another family. Pretty simple plot but so complicated situation. The cast did a good job, I especially liked the little kid. Very thought-provoking even if you're not a parent yourself.
 
Cold Eyes - Solid crime thriller about a special surveillance team tracking down a smart criminal and his gang. It managed to keep me interested the whole 2 hours and that is the most important thing in thrillers. This film is actually a remake of Johnnie To's Eye in the Sky and To even makes a funny cameo.

Just figured that I'd pass this information along for those of you who are interested in the Japanese emo and screamo scenes. it's pretty informative!
 


Where To Start: Japanese Screamo <----click this link to read the full post
 


Where to Start: Japanese Emo <----click this link to read the full post
 
 

I like how the vocalist has a kind of rap flow 9/10. and thanks, I found a great-sounding band!
 

 
vocals start at 1:30

I like D'erlanger and that's a great song. I had to listen to it before making my list.


1. 椎名林檎 - 旬
2. Huckleberry Finn - A
3. Kid Cudi - The Mood
4. m.o.v.e - Monster Amplifier
5. The Hives - Go Right Ahead
6. Down - Temptation's Wings
7. 浅井健一 - はかない命
8. System Of A Down - Bubbles
9. Crystal Lake - Twisted Fate
10. The Back Horn - 雨
 
pretty mediocre list but kenichi asai and the back horn saved it.

Kagero's new song is fucking AWESOME imo

where's STRAIGHT OUTTA OSAKA?

where's STRAIGHT OUTTA OSAKA?