Shmilly

It was announced at DADAROMA 2nd Anniversary One Man Tour Final 「造花とカラシニコフ」 (1/14) that they will release their 3rd mini-album '「dadaism♯3」' on April 19.
 
In addition their tour 'MASTURBATION.' will begin on 5/20 (SAT) at Shinjuku RUIDO K4 (Yoshiatsu's birthday live) until the tour final on 7/9 (SUN) at Shinjuku RENY.
 
Pictures on Twitter but I'm too lazy to copy them. If anyone has the setlist from tonight I'd love to see it.

It was announced at DADAROMA 2nd Anniversary One Man Tour Final 「造花とカラシニコフ」 (1/14) that they will release their 3rd mini-album '「dadaism♯3」' on April 19.
 
In addition their tour 'MASTURBATION.' will begin on 5/20 (SAT) at Shinjuku RUIDO K4 (Yoshiatsu's birthday live) until the tour final on 7/9 (SUN) at Shinjuku RENY.
 
Pictures on Twitter but I'm too lazy to copy them. If anyone has the setlist from tonight I'd love to see it.

Okay y'all, why are you guys tro
 
[THE CONTENT OF THIS POST IS FOR PREMIUM MEMBERS ONLY.  YOU NEED A MONOCHROME HEAVEN PREMIUM ACCOUNT TO ACCESS THIS POST]

This is incorrect. The free oneman is a thanksgiving event to fans, where they will talk and perform a short live set. Those who buy the single, which is limited to only a few copies, will have priority entry to the 2/3 event.
 
 
This is the correct release information. The obi strip from the single is equivalent to an A ticket for the 2/3 event. The B tickets will be distributed on the day after all A ticket holders have entered the venue.

@『 A F E R N I 』 thanks for reminding me that this is a thing. I was just able to find a copy on Yahoo Auctions. XD

@『 A F E R N I 』 thanks for reminding me that this is a thing. I was just able to find a copy on Yahoo Auctions. XD

Sounds decent.

I have very mixed feelings toward this album. I used to be a huge Versailles fan, but somewhere along the line with their hiatus and the disappointment that was Jupiter, I lost some of the wonder that their epic orchestral arrangements used to bring. I can sum up my main disappointment with this album in one reason though, and that's the mixing. While it's really great to hear new recordings of old hits, several times they are more accurately described as misses, ending up with some of the quirks of the original recordings being polished out rather than having had new life breathed into them.
 
Here's my take: the drums have been brought up in the mix, which is always pleasing with metal music; for the most part, the re-recorded vocals are much cleaner, although this is largely redundant on more recent tracks; and on the other hand, the bass has (disappointingly) sometimes been muted more into the background, leaving standout moments in some tracks like DESTINY a little lacking. In addition, for whatever reason the orchestral accompaniment sounds a lot more synthetic than it did before, meaning some of the atmosphere and spectacle is gone from the more dramatic tracks like Love from a Dead Orchestra.
 
While it's great to see new recordings of the older tracks like Shout & Bites, Dead Orchestra and The Revenant Choir, whether they have been significantly improved by being brought up to date on recording quality and mixing is up for debate. Furthermore, while it's nice that everything was clearly recorded to fit a uniform standard, several of the newer tracks feel somewhat unnecessarily renewed. In my opinion, the original versions were plenty good enough and the new ones are just a little too clean, losing some of their magic. I'm particularly disappointed in DESTINY, where the slick bass in the bridge that kind of served to introduce fans to new bassist MASASHI is all but lost in the mix, and the new vocals feel more clean than emotional compared to the original. That said, when the new takes benefit from being re-recorded, they do really shine. Shout & Bites and zombie in particular are great.
 
To round off this 'best album', the two new tracks are sadly rather forgettable; or at least, upon the first couple of listens, they didn't leave me with too much of an impact. It just felt like 'oh, Versailles are back!' This reveals for me a slight danger at the legendary group's return: while it's clear from their forays with solo work and Jupiter that, despite being individually talented musicians, they work best together as Versailles, this best album also reminds us of their signature style. And while more Versailles can only be good news, they need to be careful to remember what about their composition and world-building made them special, rather than playing it safe, when it comes to future releases.
 
As a whole, particularly for new fans, this is a great album. But for someone who has followed Versailles since they first emerged on the scene, as an attempt at producing a 'best' album, it falls a little short.
 
The return of Versailles is like a little kid coming home from school and showing their parents what they made that day. It's cute, but they tried a little too hard.

Merry Christmas from DADAROMA
 
 

The full track is great, it's not just a ballad but another one of their dramatic works. There's some brutal screaming and breakdowns in it too and the full PV is quite moving,
Second track was a meh ballad for me.
Third track is super catchy and sounds like it would be great fun live.

The full track is great, it's not just a ballad but another one of their dramatic works. There's some brutal screaming and breakdowns in it too and the full PV is quite moving,
Second track was a meh ballad for me.
Third track is super catchy and sounds like it would be great fun live.

This is decent. Nothing mind-blowing, but nothing like the worst thing to ever happen to VK. I don't get all the hate YOHIO and co receive from foreign fans, if anything we should be excited that 'outsiders' are actually attempting to make a name for themselves in an essentially exclusively Japanese music scene.

This is decent. Nothing mind-blowing, but nothing like the worst thing to ever happen to VK. I don't get all the hate YOHIO and co receive from foreign fans, if anything we should be excited that 'outsiders' are actually attempting to make a name for themselves in an essentially exclusively Japanese music scene.

This is decent. Nothing mind-blowing, but nothing like the worst thing to ever happen to VK. I don't get all the hate YOHIO and co receive from foreign fans, if anything we should be excited that 'outsiders' are actually attempting to make a name for themselves in an essentially exclusively Japanese music scene.

This is decent. Nothing mind-blowing, but nothing like the worst thing to ever happen to VK. I don't get all the hate YOHIO and co receive from foreign fans, if anything we should be excited that 'outsiders' are actually attempting to make a name for themselves in an essentially exclusively Japanese music scene.

I have very mixed feelings toward this album. I used to be a huge Versailles fan, but somewhere along the line with their hiatus and the disappointment that was Jupiter, I lost some of the wonder that their epic orchestral arrangements used to bring. I can sum up my main disappointment with this album in one reason though, and that's the mixing. While it's really great to hear new recordings of old hits, several times they are more accurately described as misses, ending up with some of the quirks of the original recordings being polished out rather than having had new life breathed into them.
 
Here's my take: the drums have been brought up in the mix, which is always pleasing with metal music; for the most part, the re-recorded vocals are much cleaner, although this is largely redundant on more recent tracks; and on the other hand, the bass has (disappointingly) sometimes been muted more into the background, leaving standout moments in some tracks like DESTINY a little lacking. In addition, for whatever reason the orchestral accompaniment sounds a lot more synthetic than it did before, meaning some of the atmosphere and spectacle is gone from the more dramatic tracks like Love from a Dead Orchestra.
 
While it's great to see new recordings of the older tracks like Shout & Bites, Dead Orchestra and The Revenant Choir, whether they have been significantly improved by being brought up to date on recording quality and mixing is up for debate. Furthermore, while it's nice that everything was clearly recorded to fit a uniform standard, several of the newer tracks feel somewhat unnecessarily renewed. In my opinion, the original versions were plenty good enough and the new ones are just a little too clean, losing some of their magic. I'm particularly disappointed in DESTINY, where the slick bass in the bridge that kind of served to introduce fans to new bassist MASASHI is all but lost in the mix, and the new vocals feel more clean than emotional compared to the original. That said, when the new takes benefit from being re-recorded, they do really shine. Shout & Bites and zombie in particular are great.
 
To round off this 'best album', the two new tracks are sadly rather forgettable; or at least, upon the first couple of listens, they didn't leave me with too much of an impact. It just felt like 'oh, Versailles are back!' This reveals for me a slight danger at the legendary group's return: while it's clear from their forays with solo work and Jupiter that, despite being individually talented musicians, they work best together as Versailles, this best album also reminds us of their signature style. And while more Versailles can only be good news, they need to be careful to remember what about their composition and world-building made them special, rather than playing it safe, when it comes to future releases.
 
As a whole, particularly for new fans, this is a great album. But for someone who has followed Versailles since they first emerged on the scene, as an attempt at producing a 'best' album, it falls a little short.
 
The return of Versailles is like a little kid coming home from school and showing their parents what they made that day. It's cute, but they tried a little too hard.

I have very mixed feelings toward this album. I used to be a huge Versailles fan, but somewhere along the line with their hiatus and the disappointment that was Jupiter, I lost some of the wonder that their epic orchestral arrangements used to bring. I can sum up my main disappointment with this album in one reason though, and that's the mixing. While it's really great to hear new recordings of old hits, several times they are more accurately described as misses, ending up with some of the quirks of the original recordings being polished out rather than having had new life breathed into them.
 
Here's my take: the drums have been brought up in the mix, which is always pleasing with metal music; for the most part, the re-recorded vocals are much cleaner, although this is largely redundant on more recent tracks; and on the other hand, the bass has (disappointingly) sometimes been muted more into the background, leaving standout moments in some tracks like DESTINY a little lacking. In addition, for whatever reason the orchestral accompaniment sounds a lot more synthetic than it did before, meaning some of the atmosphere and spectacle is gone from the more dramatic tracks like Love from a Dead Orchestra.
 
While it's great to see new recordings of the older tracks like Shout & Bites, Dead Orchestra and The Revenant Choir, whether they have been significantly improved by being brought up to date on recording quality and mixing is up for debate. Furthermore, while it's nice that everything was clearly recorded to fit a uniform standard, several of the newer tracks feel somewhat unnecessarily renewed. In my opinion, the original versions were plenty good enough and the new ones are just a little too clean, losing some of their magic. I'm particularly disappointed in DESTINY, where the slick bass in the bridge that kind of served to introduce fans to new bassist MASASHI is all but lost in the mix, and the new vocals feel more clean than emotional compared to the original. That said, when the new takes benefit from being re-recorded, they do really shine. Shout & Bites and zombie in particular are great.
 
To round off this 'best album', the two new tracks are sadly rather forgettable; or at least, upon the first couple of listens, they didn't leave me with too much of an impact. It just felt like 'oh, Versailles are back!' This reveals for me a slight danger at the legendary group's return: while it's clear from their forays with solo work and Jupiter that, despite being individually talented musicians, they work best together as Versailles, this best album also reminds us of their signature style. And while more Versailles can only be good news, they need to be careful to remember what about their composition and world-building made them special, rather than playing it safe, when it comes to future releases.
 
As a whole, particularly for new fans, this is a great album. But for someone who has followed Versailles since they first emerged on the scene, as an attempt at producing a 'best' album, it falls a little short.
 
The return of Versailles is like a little kid coming home from school and showing their parents what they made that day. It's cute, but they tried a little too hard.

I have very mixed feelings toward this album. I used to be a huge Versailles fan, but somewhere along the line with their hiatus and the disappointment that was Jupiter, I lost some of the wonder that their epic orchestral arrangements used to bring. I can sum up my main disappointment with this album in one reason though, and that's the mixing. While it's really great to hear new recordings of old hits, several times they are more accurately described as misses, ending up with some of the quirks of the original recordings being polished out rather than having had new life breathed into them.
 
Here's my take: the drums have been brought up in the mix, which is always pleasing with metal music; for the most part, the re-recorded vocals are much cleaner, although this is largely redundant on more recent tracks; and on the other hand, the bass has (disappointingly) sometimes been muted more into the background, leaving standout moments in some tracks like DESTINY a little lacking. In addition, for whatever reason the orchestral accompaniment sounds a lot more synthetic than it did before, meaning some of the atmosphere and spectacle is gone from the more dramatic tracks like Love from a Dead Orchestra.
 
While it's great to see new recordings of the older tracks like Shout & Bites, Dead Orchestra and The Revenant Choir, whether they have been significantly improved by being brought up to date on recording quality and mixing is up for debate. Furthermore, while it's nice that everything was clearly recorded to fit a uniform standard, several of the newer tracks feel somewhat unnecessarily renewed. In my opinion, the original versions were plenty good enough and the new ones are just a little too clean, losing some of their magic. I'm particularly disappointed in DESTINY, where the slick bass in the bridge that kind of served to introduce fans to new bassist MASASHI is all but lost in the mix, and the new vocals feel more clean than emotional compared to the original. That said, when the new takes benefit from being re-recorded, they do really shine. Shout & Bites and zombie in particular are great.
 
To round off this 'best album', the two new tracks are sadly rather forgettable; or at least, upon the first couple of listens, they didn't leave me with too much of an impact. It just felt like 'oh, Versailles are back!' This reveals for me a slight danger at the legendary group's return: while it's clear from their forays with solo work and Jupiter that, despite being individually talented musicians, they work best together as Versailles, this best album also reminds us of their signature style. And while more Versailles can only be good news, they need to be careful to remember what about their composition and world-building made them special, rather than playing it safe, when it comes to future releases.
 
As a whole, particularly for new fans, this is a great album. But for someone who has followed Versailles since they first emerged on the scene, as an attempt at producing a 'best' album, it falls a little short.
 
The return of Versailles is like a little kid coming home from school and showing their parents what they made that day. It's cute, but they tried a little too hard.

I have very mixed feelings toward this album. I used to be a huge Versailles fan, but somewhere along the line with their hiatus and the disappointment that was Jupiter, I lost some of the wonder that their epic orchestral arrangements used to bring. I can sum up my main disappointment with this album in one reason though, and that's the mixing. While it's really great to hear new recordings of old hits, several times they are more accurately described as misses, ending up with some of the quirks of the original recordings being polished out rather than having had new life breathed into them.
 
Here's my take: the drums have been brought up in the mix, which is always pleasing with metal music; for the most part, the re-recorded vocals are much cleaner, although this is largely redundant on more recent tracks; and on the other hand, the bass has (disappointingly) sometimes been muted more into the background, leaving standout moments in some tracks like DESTINY a little lacking. In addition, for whatever reason the orchestral accompaniment sounds a lot more synthetic than it did before, meaning some of the atmosphere and spectacle is gone from the more dramatic tracks like Love from a Dead Orchestra.
 
While it's great to see new recordings of the older tracks like Shout & Bites, Dead Orchestra and The Revenant Choir, whether they have been significantly improved by being brought up to date on recording quality and mixing is up for debate. Furthermore, while it's nice that everything was clearly recorded to fit a uniform standard, several of the newer tracks feel somewhat unnecessarily renewed. In my opinion, the original versions were plenty good enough and the new ones are just a little too clean, losing some of their magic. I'm particularly disappointed in DESTINY, where the slick bass in the bridge that kind of served to introduce fans to new bassist MASASHI is all but lost in the mix, and the new vocals feel more clean than emotional compared to the original. That said, when the new takes benefit from being re-recorded, they do really shine. Shout & Bites and zombie in particular are great.
 
To round off this 'best album', the two new tracks are sadly rather forgettable; or at least, upon the first couple of listens, they didn't leave me with too much of an impact. It just felt like 'oh, Versailles are back!' This reveals for me a slight danger at the legendary group's return: while it's clear from their forays with solo work and Jupiter that, despite being individually talented musicians, they work best together as Versailles, this best album also reminds us of their signature style. And while more Versailles can only be good news, they need to be careful to remember what about their composition and world-building made them special, rather than playing it safe, when it comes to future releases.
 
As a whole, particularly for new fans, this is a great album. But for someone who has followed Versailles since they first emerged on the scene, as an attempt at producing a 'best' album, it falls a little short.
 
The return of Versailles is like a little kid coming home from school and showing their parents what they made that day. It's cute, but they tried a little too hard.

Nah, it's pretty cool. The previous two were limited to 100(!) copies each so I was pleased enough to get hold of a re-issue. 

Nah, it's pretty cool. The previous two were limited to 100(!) copies each so I was pleased enough to get hold of a re-issue. 

Nah, it's pretty cool. The previous two were limited to 100(!) copies each so I was pleased enough to get hold of a re-issue. 

Thanks to the update I was able to order a copy this time ^^ Thanks Delk!

inb4 that lawyer sends KISAKI to jail
 

Don't want to be Kisaki's Errand Boy anymore.