YuyoDrift

did u literally just remove 14 secs of talking just to try to "beat me"?........gurl

I mean it is possible to like music but dislike the musician. It's not like they are inseparably connected.

I've built a DIY music streaming server using Koel+Docker, a web-based music player. It's a very neat app.
I have a server with a gigabit port and several TB monthly bandwidth + 500GB storage connected to it, so it perfectly fits a music streaming server.
Now I just have to throw whatever I want to listen to into the server and stream it from anywhere with internet.

Chaotic Harmony has announced that THE SOUND BEE HD will perform at Anime USA, which will be held in Washington DC from October 19-21!
 
 

(Thank you to @ricchubunny for posting about this in a status, which led to @Chi linking it to me!)
 
An account on Twitter, @KISAKI54175241, has begun to make some fairly serious claims against Kisaki, so here we are in the rumors section yet again. At the time of this posting the account has 66 tweets and multiple images. I saved an archive of the page at it is at this moment in case anything happens to it, so please let me know and I will post that somewhere.

Disclaimer: What follows is a translation of allegations made by twitter user KISAKI54175241. I neither endorse nor deny any of the claims made below, and I made a conscious effort to avoid sensationalizing anything in my translations... If you have any questions or feedback in that regard please let me know.

More importantly some of the content below is disturbing. There are mentions of domestic violence and child sexual abuse. Please read at your own discretion or skip to the summary below if you would like to know what happened without getting into explicit detail.

KISAKI54175241's posts (oldest to newest, although sometimes self-retweets that reordered her twitter timeline will cause discrepancies)
 
The translation as the account stands at 2:28 PM -6:00 GMT is complete.

This picture provided by @colorfuljinsei (originally from Kisaki's official twitter?) can serve as a tattoo placement/design reference if you would like to do any comparisons.


In summary, Kisaki has been accused of:
-Inappropriate sexual contact with a young child
-Domestic violence
-Being a habitual benzo seeker/user
-Being suicidal and using this as a manipulation tactic
-Astroturfing tanuki, working to have critical articles and twitters suspended
Allegedly, these matters have been brought to police.

There's something calming about a song that's full of melancholy and sorrow. Like a musical diary written by someone else for your own solace.
Take for example songs from one of the most recognized albums in the Nagoya scene, In the Direction of Sunrise and Night Light by deadman.
 
 
 

Just saw this on Amazon video the other day. I gotta say, it's quite entertaining. Got to episode six, and thought that the season has ended since it was at a good stopping point, only to find out there are 24 episodes! Sweet.
 
@Gaz I'm looking forward to some more Jojo too!

Just saw this on Amazon video the other day. I gotta say, it's quite entertaining. Got to episode six, and thought that the season has ended since it was at a good stopping point, only to find out there are 24 episodes! Sweet.
 
@Gaz I'm looking forward to some more Jojo too!

Autumn Anime 2018 Chart is now available from here:
https://www.livechart.me/fall-2018/tv

Update after 2 weeks: 
These are fucking amazing. 
I don't even know where to begin describing how these babies sound. 
 
Using audiophile jargon, if I were to compare them to the HD600s, I'd say they are less "bright", and more "full". Compared to my HD6XXs, it's definitely a more wild child as the upper mids are strong as hell, and let loose the more you drive them, probably due to the low impedance. It's got a fresh sound, with like a "grip" on the bass, and so it doesn't sound like it spills over. Defintely not as smooth as the HD650/HD6XX in terms of sound, as it's very lively, which is definitely good for rock music. I wish I had a pair of HD660S' to try out but I don't  . I have heard that is sound just like it, and that the only major difference is that the HD660S is smoother and more true to sound.
 
In any case, I'd definitely say I scored big time for these with the price of $150, and I even got a low serial number from the first production run lol.
 

Coincidence?  🤔🤔🤔

| This leftover pizza tastes better once you warm it up.
 
Tracklist:
1. INTRODUCTION
2. THIRTEEN
3. GROTESQUE
4. EXIST
5. JØKER
6. RENATUS
7. AMBLE
8. SENSE OF EMPTINESS
9. FIVE
10. INTERLUDE
11. FAITH
12. OBVIOUS
13. A FOOL
 
With the return of bassist Akinori, lynch. has become a 5-member band once again. With tours 「13th ANNIVERSARY –Xlll GALLOWS- [THE FIVE BLACKEST CROWS], 『TOUR’18「THE NITES OF AVANTGARDE #2」“A BLØODY REVENGE”』, and the release of their compilation album SINNERS -no one can fake my bløod, the band has been on the move during 2018. While the announcement for their new album XIII had warranted excitement, it also brought along with it some skepticism from fans.  Seems reasonable since we have seen an abundance of mediocre re-recordings and mixes from lynch. How the band could have possibly had the time to put together an album, let alone what it was going to sound like, was something to be concerned about.
 
First impressions of XIII are positive. The album feels balanced, as Hazuki’s vocals are not the only prominent feature here but the chords and basslines of the guitars that compliment it, providing strength in the mid-range as well as an actual presence. Tracks such as "THIRTEEN", "RENATUS", and "FIVE" are perfect examples of these nuances, as well as some highlight tracks of XIII that are equally enjoyable. Taking note at one of lynch.’s only hindrances, we see that they've stuck to the same composition style as their last two albums, making a large portion of XIII  feel like a collection of B-sides. It failed to strike immediate chords with me, something that D.A.R.K and even AVANTGARDE  had no problem with. Adding to this is a variation in sound, something unfamiliar that I knew would take time to be accepted as the new norm. The balance in vocal and guitar strings, while being right up my alley, leaves the drumming much to be desired. There is reduced dynamic range, isolation, and maybe even a flat signature, ridding any “tail end” from the drums that could give the album more life. With arrangements mimicking the last two releases, and an unfamiliar sound, my first listen through XIII felt like one big blur.
 
However, after giving the album a couple week’s worth of listening, an appropriate break-in period that I felt was needed, XIII by lynch. has distinguishing attributes that separate it from the rest of their discography. The more I listen to it, the more my initial thoughts beforehand seem like fan uneasiness as lynch. has revisited their past work and refined it, throwing in inspiration from Visual Kei bands of the 90s like Kuroyume, Luna Sea, and Laputa. "RENATUS" has become a track favorite, with an astounding atmosphere that gives the aggression of those guitars a stronger bite. I’m a sucker for melodic tracks, and "AMBLE" sounds almost euphoric, providing many moments of elation that I wish could last forever. The versatility in musical instruments during "FAITH" is one to definitely check out. Lastly, the emotional cool-down track that is "A FOOL" brings XIII to a smooth close, without trying too hard to make it obvious.
 
XIII sounds completely different than it did a couple weeks ago, as the album takes on an empathetic atmosphere, driving a nostalgia trip that's going to be different for everyone. The album  is able to express its confidence here with an abundance of melodies and guitar solos, like a tribute to 13 years of lynch.'s past work, with a glint of 90’s Visual Kei thrown into the mix.  Whether this combination will make one feel something is up to the listener, but overall this album certainly has become a standalone release that I can easily stand behind, only after being given some time to warm up to it first. 
 
 

| This leftover pizza tastes better once you warm it up.
 
Tracklist:
1. INTRODUCTION
2. THIRTEEN
3. GROTESQUE
4. EXIST
5. JØKER
6. RENATUS
7. AMBLE
8. SENSE OF EMPTINESS
9. FIVE
10. INTERLUDE
11. FAITH
12. OBVIOUS
13. A FOOL
 
With the return of bassist Akinori, lynch. has become a 5-member band once again. With tours 「13th ANNIVERSARY –Xlll GALLOWS- [THE FIVE BLACKEST CROWS], 『TOUR’18「THE NITES OF AVANTGARDE #2」“A BLØODY REVENGE”』, and the release of their compilation album SINNERS -no one can fake my bløod, the band has been on the move during 2018. While the announcement for their new album XIII had warranted excitement, it also brought along with it some skepticism from fans.  Seems reasonable since we have seen an abundance of mediocre re-recordings and mixes from lynch. How the band could have possibly had the time to put together an album, let alone what it was going to sound like, was something to be concerned about.
 
First impressions of XIII are positive. The album feels balanced, as Hazuki’s vocals are not the only prominent feature here but the chords and basslines of the guitars that compliment it, providing strength in the mid-range as well as an actual presence. Tracks such as "THIRTEEN", "RENATUS", and "FIVE" are perfect examples of these nuances, as well as some highlight tracks of XIII that are equally enjoyable. Taking note at one of lynch.’s only hindrances, we see that they've stuck to the same composition style as their last two albums, making a large portion of XIII  feel like a collection of B-sides. It failed to strike immediate chords with me, something that D.A.R.K and even AVANTGARDE  had no problem with. Adding to this is a variation in sound, something unfamiliar that I knew would take time to be accepted as the new norm. The balance in vocal and guitar strings, while being right up my alley, leaves the drumming much to be desired. There is reduced dynamic range, isolation, and maybe even a flat signature, ridding any “tail end” from the drums that could give the album more life. With arrangements mimicking the last two releases, and an unfamiliar sound, my first listen through XIII felt like one big blur.
 
However, after giving the album a couple week’s worth of listening, an appropriate break-in period that I felt was needed, XIII by lynch. has distinguishing attributes that separate it from the rest of their discography. The more I listen to it, the more my initial thoughts beforehand seem like fan uneasiness as lynch. has revisited their past work and refined it, throwing in inspiration from Visual Kei bands of the 90s like Kuroyume, Luna Sea, and Laputa. "RENATUS" has become a track favorite, with an astounding atmosphere that gives the aggression of those guitars a stronger bite. I’m a sucker for melodic tracks, and "AMBLE" sounds almost euphoric, providing many moments of elation that I wish could last forever. The versatility in musical instruments during "FAITH" is one to definitely check out. Lastly, the emotional cool-down track that is "A FOOL" brings XIII to a smooth close, without trying too hard to make it obvious.
 
XIII sounds completely different than it did a couple weeks ago, as the album takes on an empathetic atmosphere, driving a nostalgia trip that's going to be different for everyone. The album  is able to express its confidence here with an abundance of melodies and guitar solos, like a tribute to 13 years of lynch.'s past work, with a glint of 90’s Visual Kei thrown into the mix.  Whether this combination will make one feel something is up to the listener, but overall this album certainly has become a standalone release that I can easily stand behind, only after being given some time to warm up to it first. 
 
 

| This leftover pizza tastes better once you warm it up.
 
Tracklist:
1. INTRODUCTION
2. THIRTEEN
3. GROTESQUE
4. EXIST
5. JØKER
6. RENATUS
7. AMBLE
8. SENSE OF EMPTINESS
9. FIVE
10. INTERLUDE
11. FAITH
12. OBVIOUS
13. A FOOL
 
With the return of bassist Akinori, lynch. has become a 5-member band once again. With tours 「13th ANNIVERSARY –Xlll GALLOWS- [THE FIVE BLACKEST CROWS], 『TOUR’18「THE NITES OF AVANTGARDE #2」“A BLØODY REVENGE”』, and the release of their compilation album SINNERS -no one can fake my bløod, the band has been on the move during 2018. While the announcement for their new album XIII had warranted excitement, it also brought along with it some skepticism from fans.  Seems reasonable since we have seen an abundance of mediocre re-recordings and mixes from lynch. How the band could have possibly had the time to put together an album, let alone what it was going to sound like, was something to be concerned about.
 
First impressions of XIII are positive. The album feels balanced, as Hazuki’s vocals are not the only prominent feature here but the chords and basslines of the guitars that compliment it, providing strength in the mid-range as well as an actual presence. Tracks such as "THIRTEEN", "RENATUS", and "FIVE" are perfect examples of these nuances, as well as some highlight tracks of XIII that are equally enjoyable. Taking note at one of lynch.’s only hindrances, we see that they've stuck to the same composition style as their last two albums, making a large portion of XIII  feel like a collection of B-sides. It failed to strike immediate chords with me, something that D.A.R.K and even AVANTGARDE  had no problem with. Adding to this is a variation in sound, something unfamiliar that I knew would take time to be accepted as the new norm. The balance in vocal and guitar strings, while being right up my alley, leaves the drumming much to be desired. There is reduced dynamic range, isolation, and maybe even a flat signature, ridding any “tail end” from the drums that could give the album more life. With arrangements mimicking the last two releases, and an unfamiliar sound, my first listen through XIII felt like one big blur.
 
However, after giving the album a couple week’s worth of listening, an appropriate break-in period that I felt was needed, XIII by lynch. has distinguishing attributes that separate it from the rest of their discography. The more I listen to it, the more my initial thoughts beforehand seem like fan uneasiness as lynch. has revisited their past work and refined it, throwing in inspiration from Visual Kei bands of the 90s like Kuroyume, Luna Sea, and Laputa. "RENATUS" has become a track favorite, with an astounding atmosphere that gives the aggression of those guitars a stronger bite. I’m a sucker for melodic tracks, and "AMBLE" sounds almost euphoric, providing many moments of elation that I wish could last forever. The versatility in musical instruments during "FAITH" is one to definitely check out. Lastly, the emotional cool-down track that is "A FOOL" brings XIII to a smooth close, without trying too hard to make it obvious.
 
XIII sounds completely different than it did a couple weeks ago, as the album takes on an empathetic atmosphere, driving a nostalgia trip that's going to be different for everyone. The album  is able to express its confidence here with an abundance of melodies and guitar solos, like a tribute to 13 years of lynch.'s past work, with a glint of 90’s Visual Kei thrown into the mix.  Whether this combination will make one feel something is up to the listener, but overall this album certainly has become a standalone release that I can easily stand behind, only after being given some time to warm up to it first. 
 
 

| This leftover pizza tastes better once you warm it up.
 
Tracklist:
1. INTRODUCTION
2. THIRTEEN
3. GROTESQUE
4. EXIST
5. JØKER
6. RENATUS
7. AMBLE
8. SENSE OF EMPTINESS
9. FIVE
10. INTERLUDE
11. FAITH
12. OBVIOUS
13. A FOOL
 
With the return of bassist Akinori, lynch. has become a 5-member band once again. With tours 「13th ANNIVERSARY –Xlll GALLOWS- [THE FIVE BLACKEST CROWS], 『TOUR’18「THE NITES OF AVANTGARDE #2」“A BLØODY REVENGE”』, and the release of their compilation album SINNERS -no one can fake my bløod, the band has been on the move during 2018. While the announcement for their new album XIII had warranted excitement, it also brought along with it some skepticism from fans.  Seems reasonable since we have seen an abundance of mediocre re-recordings and mixes from lynch. How the band could have possibly had the time to put together an album, let alone what it was going to sound like, was something to be concerned about.
 
First impressions of XIII are positive. The album feels balanced, as Hazuki’s vocals are not the only prominent feature here but the chords and basslines of the guitars that compliment it, providing strength in the mid-range as well as an actual presence. Tracks such as "THIRTEEN", "RENATUS", and "FIVE" are perfect examples of these nuances, as well as some highlight tracks of XIII that are equally enjoyable. Taking note at one of lynch.’s only hindrances, we see that they've stuck to the same composition style as their last two albums, making a large portion of XIII  feel like a collection of B-sides. It failed to strike immediate chords with me, something that D.A.R.K and even AVANTGARDE  had no problem with. Adding to this is a variation in sound, something unfamiliar that I knew would take time to be accepted as the new norm. The balance in vocal and guitar strings, while being right up my alley, leaves the drumming much to be desired. There is reduced dynamic range, isolation, and maybe even a flat signature, ridding any “tail end” from the drums that could give the album more life. With arrangements mimicking the last two releases, and an unfamiliar sound, my first listen through XIII felt like one big blur.
 
However, after giving the album a couple week’s worth of listening, an appropriate break-in period that I felt was needed, XIII by lynch. has distinguishing attributes that separate it from the rest of their discography. The more I listen to it, the more my initial thoughts beforehand seem like fan uneasiness as lynch. has revisited their past work and refined it, throwing in inspiration from Visual Kei bands of the 90s like Kuroyume, Luna Sea, and Laputa. "RENATUS" has become a track favorite, with an astounding atmosphere that gives the aggression of those guitars a stronger bite. I’m a sucker for melodic tracks, and "AMBLE" sounds almost euphoric, providing many moments of elation that I wish could last forever. The versatility in musical instruments during "FAITH" is one to definitely check out. Lastly, the emotional cool-down track that is "A FOOL" brings XIII to a smooth close, without trying too hard to make it obvious.
 
XIII sounds completely different than it did a couple weeks ago, as the album takes on an empathetic atmosphere, driving a nostalgia trip that's going to be different for everyone. The album  is able to express its confidence here with an abundance of melodies and guitar solos, like a tribute to 13 years of lynch.'s past work, with a glint of 90’s Visual Kei thrown into the mix.  Whether this combination will make one feel something is up to the listener, but overall this album certainly has become a standalone release that I can easily stand behind, only after being given some time to warm up to it first. 
 
 

| This leftover pizza tastes better once you warm it up.
 
Tracklist:
1. INTRODUCTION
2. THIRTEEN
3. GROTESQUE
4. EXIST
5. JØKER
6. RENATUS
7. AMBLE
8. SENSE OF EMPTINESS
9. FIVE
10. INTERLUDE
11. FAITH
12. OBVIOUS
13. A FOOL
 
With the return of bassist Akinori, lynch. has become a 5-member band once again. With tours 「13th ANNIVERSARY –Xlll GALLOWS- [THE FIVE BLACKEST CROWS], 『TOUR’18「THE NITES OF AVANTGARDE #2」“A BLØODY REVENGE”』, and the release of their compilation album SINNERS -no one can fake my bløod, the band has been on the move during 2018. While the announcement for their new album XIII had warranted excitement, it also brought along with it some skepticism from fans.  Seems reasonable since we have seen an abundance of mediocre re-recordings and mixes from lynch. How the band could have possibly had the time to put together an album, let alone what it was going to sound like, was something to be concerned about.
 
First impressions of XIII are positive. The album feels balanced, as Hazuki’s vocals are not the only prominent feature here but the chords and basslines of the guitars that compliment it, providing strength in the mid-range as well as an actual presence. Tracks such as "THIRTEEN", "RENATUS", and "FIVE" are perfect examples of these nuances, as well as some highlight tracks of XIII that are equally enjoyable. Taking note at one of lynch.’s only hindrances, we see that they've stuck to the same composition style as their last two albums, making a large portion of XIII  feel like a collection of B-sides. It failed to strike immediate chords with me, something that D.A.R.K and even AVANTGARDE  had no problem with. Adding to this is a variation in sound, something unfamiliar that I knew would take time to be accepted as the new norm. The balance in vocal and guitar strings, while being right up my alley, leaves the drumming much to be desired. There is reduced dynamic range, isolation, and maybe even a flat signature, ridding any “tail end” from the drums that could give the album more life. With arrangements mimicking the last two releases, and an unfamiliar sound, my first listen through XIII felt like one big blur.
 
However, after giving the album a couple week’s worth of listening, an appropriate break-in period that I felt was needed, XIII by lynch. has distinguishing attributes that separate it from the rest of their discography. The more I listen to it, the more my initial thoughts beforehand seem like fan uneasiness as lynch. has revisited their past work and refined it, throwing in inspiration from Visual Kei bands of the 90s like Kuroyume, Luna Sea, and Laputa. "RENATUS" has become a track favorite, with an astounding atmosphere that gives the aggression of those guitars a stronger bite. I’m a sucker for melodic tracks, and "AMBLE" sounds almost euphoric, providing many moments of elation that I wish could last forever. The versatility in musical instruments during "FAITH" is one to definitely check out. Lastly, the emotional cool-down track that is "A FOOL" brings XIII to a smooth close, without trying too hard to make it obvious.
 
XIII sounds completely different than it did a couple weeks ago, as the album takes on an empathetic atmosphere, driving a nostalgia trip that's going to be different for everyone. The album  is able to express its confidence here with an abundance of melodies and guitar solos, like a tribute to 13 years of lynch.'s past work, with a glint of 90’s Visual Kei thrown into the mix.  Whether this combination will make one feel something is up to the listener, but overall this album certainly has become a standalone release that I can easily stand behind, only after being given some time to warm up to it first. 
 
 

Playing the Megaman X Legacy Collection 1&2, even though I've played the X-series games about a million times.
Trophies mostly.

this is something i'd like to do, maybe give me a few days

 
i feel like the people who would benefit the most from the document are the people who are interested in the friendship dynamic of the band, or people who want to know more about the circumstances behind AK's return. so, the focus is less the band as a musical unit and more the band as a group of people. if you want music, wait for the Messe DVD/blu-ray. that said i loved it and the clip of AK's triumphant return made me cry lmao

 
i translated all the lyrics on tumblr if that's of interest to anyone: http://c-u-l-t-i-c.tumblr.com/
lyrically this album isn't as interesting as some past entries (i really liked AVANTGARDE for this), but the GROTESQUE/JØKER pair is interesting, and FAITH + SENSE OF EMPTINESS are up my alley.

Hello, I started enjoying visual kei in 2008 (so a decade ago lol) when I found Deluhi and VAMPS, but I drifted away to the American alternative scene while discovering GACKT and others along the way. Last year I got with my SO and he was really into visual kei and once I saw what he was talking about it all came back to me. Now I listen to stuff like DAMY, X Japan, Morrigan, Halloween Junky Orchestra, TRNTY D:CODE and Yoshiki and SUGIZO's solo projects. My SO and I have this ritual where he'll find new music videos throughout the week, then we'll watch them all to discover new artists. Making friends has always been a struggle for me, but I hope I can make friends here and we can share our love for vk and discover new music together. Thanks for reading this and I'm so excited to meet you guys! 
☆*:.｡. o(≧▽≦)o .｡.:*☆

Welcome to the forum (finally)!
Now that's quite an intro haha. With an artist list like that I think you'll fit into the community just fine .
I was brought up on Anime OPs too, so its nice to see another fan join us.
 
What I really find interesting is that you dove into Japanese Hip-hop around 2010, as I used to be a big fan in the late 90's/early 00's, but actually jumped ship around '08-'10 haha.
What artists could you recommend from around that time?
 
 

The studs seemed like typical Nagoya stuff for the most part (or typical aie stuff I should say), but it was Daisuke’s wildly incongruous voice that kept the band from being truly great in my eyes. 
 
That and I feel like alansmithee was mostly forgettable. 

Update after 2 weeks: 
These are fucking amazing. 
I don't even know where to begin describing how these babies sound. 
 
Using audiophile jargon, if I were to compare them to the HD600s, I'd say they are less "bright", and more "full". Compared to my HD6XXs, it's definitely a more wild child as the upper mids are strong as hell, and let loose the more you drive them, probably due to the low impedance. It's got a fresh sound, with like a "grip" on the bass, and so it doesn't sound like it spills over. Defintely not as smooth as the HD650/HD6XX in terms of sound, as it's very lively, which is definitely good for rock music. I wish I had a pair of HD660S' to try out but I don't  . I have heard that is sound just like it, and that the only major difference is that the HD660S is smoother and more true to sound.
 
In any case, I'd definitely say I scored big time for these with the price of $150, and I even got a low serial number from the first production run lol.
 

Update after 2 weeks: 
These are fucking amazing. 
I don't even know where to begin describing how these babies sound. 
 
Using audiophile jargon, if I were to compare them to the HD600s, I'd say they are less "bright", and more "full". Compared to my HD6XXs, it's definitely a more wild child as the upper mids are strong as hell, and let loose the more you drive them, probably due to the low impedance. It's got a fresh sound, with like a "grip" on the bass, and so it doesn't sound like it spills over. Defintely not as smooth as the HD650/HD6XX in terms of sound, as it's very lively, which is definitely good for rock music. I wish I had a pair of HD660S' to try out but I don't  . I have heard that is sound just like it, and that the only major difference is that the HD660S is smoother and more true to sound.
 
In any case, I'd definitely say I scored big time for these with the price of $150, and I even got a low serial number from the first production run lol.
 

Vo. BYO (ex-SCREW) new band "KHRYST+" has formed
 
[members]
Vocal. BYO
Guitar. XXX
Bass. XXX
Drums. XXX
 
their first live will be at 2018/11/01 at TSUTAYA O-WEST
 
https://khryst.jp/
https://twitter.com/khryst_official
https://www.Instagram.com/byo_official
 

Haha, pretty much this.