sukekiyo

[Tokage 5930]

so what is the point of those collabs again other than presenting an opportunity to squeeze out more gya dollaryens & fishing dried-up bandoman corpses out of the sea?  none of the ones released so far really add anything other than that ''oh hey, it's that guy'' novelty that fades after like a minute or so

[EzraEroguro 174]

21 hours ago, Tokage said:

fishing dried-up bandoman corpses out of the sea

Well how about that, you figured it out without us telling you.

 

 

But yeah, initial novelty is cool, then wears off like cheap cologne.

[Dudemanguy 122]

I still like the Merry one.

[crossparallel 180]

I enjoy the collabs, simply because I like sukekiyo's vocal melodies and different vkei bandomen's voices, so it's a pleasure to hear. But then again I didn't pay for this stuff, so perhaps I have no place to be speaking :>

[Pretsy 1343]

Okay, lazy collabs aside

 

Is it just me or does it seem like Yuchi seems get more of that spotlight and not just Takumi & Kyo? I am not just talking about his visual presence but based on making of-scenes and partial live snippets alone his responsibilities may also cover *programming* tweaks you guys hear on ADORATIO for the most part, i.e. semi-drop like synth bass parts and so on.

 

I like how these guys do not limit themselves to one specific role unlike in DEG which seems to rely mostly on Kyo being Kyo and other guys being "just there in the back row". I wonder if Kyo shalt surprise us with other musical surprises than just making odd noises though...even the fucking theremin, please.

 

Edit:

The Yuchi thing I talked about

 

PV example

Edited June 30, 2017 by Alroy

[blacktooth 227]

So that was a theremin that I heard! You're right about Yuchi—he certainly dominates the new album (excuse me, music collection). I actually prefer to see Kyo take the back seat as he becomes more and more the Japanese equivalent of Morrissey. 

[Pretsy 1343]

22 minutes ago, blacktooth said:

So that was a theremin that I heard! You're right about Yuchi—he certainly dominates the new album (excuse me, music collection). I actually prefer to see Kyo take the back seat as he becomes more and more the Japanese equivalent of Morrissey. 

I actually tried to say that Kyo could at least just do theremin stuff aside from vocal gymnastics and he would look more useful that way than just, as you said it, being the post-visual kei equivalent of Morrissey, haha.

Edited June 30, 2017 by Alroy

[platy 3018]

For me this album will be like Vitium. 

The first few times I heard it, it didn't blow my mind as a whole. But I'll come back to it in a month and have it on repeat for a long ass time. 

Only Immortalis had me addicted from the first listen. Regardless though, this is some good shit. 

[Tokage 5930]

Wait a second, since when do their PVs come with built-in english subs? Is this a development that started w/ this new album?

[blacktooth 227]

Quote

I actually tried to say that Kyo could at least just do theremin stuff aside from vocal gymnastics and he would look more useful that way than just, as you said it, being the post-visual kei equivalent of Morrissey, haha.

Agreed. Kyo hasn't impressed me with his voice since... Uroboros. There's nowhere else for him to go in that regard, so he desperately needs to find another way to make himself useful. Theremin is a great start. Meanwhile, I want to see more of these sukekiyo guys stepping up to the spotlight, because they are very talented.

[Jigsaw9 6783]

mmmm this album, yes.

[Kaleidoscope 195]

I think that this album is actually pretty strong vocal-wise, the thing is that Kyo is using his full range in pretty much every song, so it's somewhat hard to surprise anyone with that anymore. Still some pretty amazing performances of him on this album, especially on the first MV song, forgot the title.

[Nowhere Girl 189]

30 minutes ago, blacktooth said:

Kyo hasn't impressed me with his voice since... Uroboros. There's nowhere else for him to go in that regard, so he desperately needs to find another way to make himself useful. 

While I agree that we've heard his full range now, I disagree that he hasn't evolved since Uroboros. Rinkaku and aftermath are definitely impressive and very different from anything previously. He seems to truly care about his art, pushing himself in challenging ways (occasionally to his own detriment; see Ratio ducat, non fortuna 2011.11.11). I'm sure we'll see him explore new avenues in due time.

Edited June 30, 2017 by Nowhere Girl

[Pretsy 1343]

Uhm. Actually if we believe what Kyotakumrau reported there (by courtesy of her, once again - for writing such constructive reviews on lives and stuff)

 

Quote

2017.06.17 sukekiyo at Kyoto Gekijo

00 visualization intro
01 疑似ネクロマンサー
02 leather field
03 襞謳
04 マニエリスムな冷たい葬列者
05 focus
06 艶
~session~
07 hemimetabolism
08 されど道連れ
09 死霊のアリアナ
10 vandal
11 グニャ結論。そして血眼。
~session~
12 耳ゾゾ
13 黝いヒステリア
14 anima
15 aftermath
16 嬲り

Screen was down across the stage as the video intro started. In the beginning it was hard to see actual band members, but we could see them filmed live by cameras, each member had their own. Kyo started facing his new equipment stand with cameras, microphones and synthesizers.

Necromancer is an incredible piece, they chose it as an opening for the album and for the show for a reason. It’s a medium tempo song, very melodic, with many different pieces inviting us to this new world. Piano and guitars, electronic beats, soft and hard parts are all dancing around each other here.

Uta was wearing all black, long sleeve shirt and loose type pants, Mika had sukekiyo’s t-shirt. For Takumi I wasn’t able to see that clearly besides the obvious black. Yuchi you probably already saw: tanktop, shorts and high white socks. Kyo’s outfit was very similar to the first Kyoto’s one, he just wore black shirt instead of white (but he had boots from the PV instead of those in the photo).

Comparing the first show of this tour in Tokyo and the last in Kyoto I felt like they, especially Kyo, felt much more comfortable with the new material, Kyo definitely experimented more with the style and sounds. But for all 3 shows I had this feeling of a jamming session being back, partly because of the closeness of all of them and them facing each other a lot. Especially when they checked in with Mika, the little smiles they shared.

The screen went up at the end of leather field. During that song it focused on Kyo. But also I remember the images of flowers, cherry blossoms and lilies, but perhaps it was during the first song. When Kyo stayed in front of his new stand they used cameras for him and projected the image on 5 small screens above the stage (manierism - if you’re a mobile member photo from 6/16 is from that song). Some songs got all band members projected on each one. Song that got new PVs had parts of them on the curved screen surrounding the stage.

Kyo was so active today, be it dancing, walking to the sides of the stage or pointing at fans. The curved screen behind the members made stage much smaller, but Kyo still had a lot of space.

en is a lovely ballad with Takumi on piano, Kyo’s melody changing speed a lot. There’s a part when it gets quiet, and as anticipation grows ot hits you right back. And with a slow piano with Kyo’s soft singing it morphed into a soft session. I wish they released those somewhere as well…

Saredo is so sensual, with a ‘lazy melody’, but quite heavy at the same time. You just want to start dancing as Kyo did.

Ariana is a faster electronic song where Kyo uses voice synthesizer. Yuchi is playing on a kind of 'electronic drum’ (I was totally meant to check what’s it actually called in February…). It’s another song that makes you wish you could move move. I feel it finishes quite abruptly, but vandal following was a nice flow.

At some point, when Kyo was taking a mic from his stand in the front of the stage he knocked it down, but he kept singing and after getting it up he dancingly walked around with it, in the end 'riding it’ (was it during vandal???).

Second session was much darker… Kyo kept repeating something and while I have some guesses about one part I’m not sure enough… sessions are in a way improvised parts so I don’t we will ever know.

After session there was another part packed with energy and it felt like a torture to be just sitting. On the second day my seat was farther down from the stage so I could actually see a bit of the audience and I feel that compared to the previous seated shows people were even more still than before… I could be because of new songs? Well, torture doesn’t really sound like something abstract here

After anima the screen came back down and aftermath was very quiet. Stage was lit by cold blue light. Just seeing the screen coming down was heart breaking as they kept the same setlist for all nights we knew that it means the end is approaching… aftermath is so beautiful and the flow with it as the second from last was very good.

Then came 'screams and sounds of the darkness’ that prelude Naburi. That ending really stays with you. Naburi starts with Uta’s accoustic guitar as a main part, it’s very gentle first. The screen was used to hide the stage with blue lights directed at it, that made the stage behind it totally hidden. They also projected lyrics.
Soft melody slowly keeps building and building the anticipation, until the harder part starts. While Yuchi and Uta join in the chorus, end roll comes up and we could see band members as the the light changed to red. Kyo was using a small synthesizer, standing with his back to the audience.

I just find it so incredible how they used cameras and lights, we could see the real members, but also their multiple shadows on the front screen and the view kept changing with the melody. Towards the end Kyo started his mad dance. The rythm here was more violent.

But at the end lights changed back to hiding blue ones and there was only one spotlight on Uta as he played the last part on accoustic guitar.

This ending. We couldn’t see the band leaving really. But after this song, song with so much energy and this delicate guitar ending, there’s so much light.

 

SO HE CAN ACTUALLY DO SOMETHING ELSE THAN CHANTEUSE TRICKS!

Edited June 30, 2017 by Alroy

[blacktooth 227]

That's fair. In the past few years he's hit some higher and higher tones, but that doesn't really do it for me anymore. That's all I could think of going through this album. He's going to need to try some new vocal styles now that we've heard his whole range. 

Spoiler

I still think he sounds like Hatsune Miku in Rinkaku though.

 

[Nowhere Girl 189]

18 minutes ago, blacktooth said:

That's fair. In the past few years he's hit some higher and higher tones, but that doesn't really do it for me anymore. That's all I could think of going through this album. He's going to need to try some new vocal styles now that we've heard his whole range. 

  Reveal hidden contents

I still think he sounds like Hatsune Miku in Rinkaku though.

 

I mean the guy screams, growls, croons, whispers, cackles, uses falsetto, chest voice, head voice, squeals, raps, ululates, inhales, throat sings, and that's not even including his normal singing voice. As someone who isn't versed in vocal tech, I'm probably missing 20 more things he does. Is that not enough? Or maybe the issue you're having is that it's too much. Technique super-saturation.

[blacktooth 227]

I think it's the latter. I can remember some of his moments that have amazed me the most: the first time I heard his deep growls in Vinushka, the chanting bit in Juuyoku, those insane headtones in the Macabre remake, things like that. He does so many things and he does them so well, but I think he does them too much. Sometimes I just want a song where he stays in his powerful midrange for the most part, then whips out a trick as a surprise. Otherwise it's just not special anymore.

[Ozileras10 371]

What is your favorite song from Adoratio so far?

Mine is Hakudaku (白濁) 

 

[Dudemanguy 122]

With Kyo, it's true that you don't really have the "wow" factor anymore since he's had the full bag of tricks out in full display for years now. However that doesn't mean I don't immensely enjoy his voice. I guess he might abuse the falsetto range a little more than necessary (I don't mind it though), but every aspect of what he does vocally I think is handled well. It's safe to say there's not another vocalist out there like him.

 

Personally, I'm enjoying the two PV tracks the most (襞謳 and 艶) along with 耳ゾゾ and 黝いヒステリア.

Edited July 1, 2017 by Dudemanguy

[emmny 4139]

3 hours ago, Tokage said:

Wait a second, since when do their PVs come with built-in english subs? Is this a development that started w/ this new album?

kyo invented english

[EzraEroguro 174]

I dig Hida Uta. Goddamn.

[Tokage 5930]

9 hours ago, Carmelzors said:

Uhm. Actually if we believe what Kyotakumrau reported there (by courtesy of her, once again - for writing such constructive reviews on lives and stuff)

 

[LIVE REPORT HERE] 

 

SO HE CAN ACTUALLY DO SOMETHING ELSE THAN CHANTEUSE TRICKS!

 

come through synthpop chanteuse!!!!!!!!!!!!!!

[r... 720]

黝いヒステリア is incredible. Song of the year for me. Buuut, the new mix is not as good as the "single". (DIR EN GREY does the exact same of thing to their singles and it pisses me off too)

[crossparallel 180]

I don't get it, Kyo's far from my fave but - he writes lyrics and music, comes up with concepts for the live shows, hell the live shows are some of the best I've ever seen. And you're telling me we're hanging on some fucking theremin to determine his worth? 

[platy 3018]

My favorite track is 擬似 ネクロマンサー. The section that starts around 2mins is so fucking good, I've had it stuck in my head for days. 

The bass really stood out throughout  this album for me. Also shout out for the sections of electro beats (I'm a peasant and dunno any other way to refer to it) in what felt like most songs. It works.

Yeah, kyo's singing usually  gives me ear orgasms, but in adoratio the credit goes to the other musicians in sukekiyo. It feels like they carry the singer, whereas in other albums everyone compliments each other.

Edited July 1, 2017 by Platy