Rights for band Kuroyume up for bidding!

[WhirlingBlack 1043]

If he had actually hanged himself on stage at the end of their indies era, even by mistake, he would've been the greatest legend in vk by far.

 

Also agree with everything you two just posted, couldn't say it better myself.

[Takadanobabaalien 3607]

Yup, can be seen here!

 

 

Also if you read/speak Japanese you should totally check out their japanese wikipedia, it's pretty interesting. I had no idea Kuroyume were invited to Extasy records by Yoshiki but they turned him down because they got a deal from Sony and Toshiba the same week lmao.

[suji 8317]

 

[Pretsy 1343]

^ Can anyone with adequate nihongo knowledge confirm whether that statement he posted matches with that Yahoo reality or not? I am kinda shocked that Hitoki seemed to have no say on this (i.e. is this basically assuming that Kuroyume *IS JUST* Kiyoharu in this case?)

Edited September 18, 2016 by Alroy

[Link_vokals 49]

+1

[Atreides 454]

Kisaki should buy the rights to Kuroyume..

[carddass 273]

On 9/15/2016 at 2:11 PM, Carmelzors said:

Shin and Kiyoharu were always inbetween lukewarm and quite cold relationships when it comes to songwriting procedures so it's given that such tasty gossipy news would eventually unearth early beef between them (especially the record of Shin's credits being left unmentioned on Feminism - and yes, he was still present around demo sessions of that album). Not even fanbase-forced pictures of Shin being uncomfortably stuck together with Kiyoharu + Hitoki in a couple of "reunion" pics would debunk this astounding reality.

 

Makes you wonder that why Kiyoharu INTENTIONALLY left Shin out when Kuroyume (reunited) went off for their 1992-1993 revival tour, huh? Normally most bands would bring in former members for a short while but he didn't!

 

I had never heard the rumors about their differences but always assumed shin left abruptly considering he shot some press photos for yasashi higeki and was in an ad before leaving on the eve of feminism's release. I really need to go back and listen to that album to imagine what was intended to be more shin influenced songs.

 

And I was surprised by shin's non appearance at those kuroyume revival gigs but in light of the money issues and possible animosity regarding credits it makes complete sense that he wasn't there. 

[carddass 273]

On 9/17/2016 at 11:37 AM, Disposable said:

I'm listening to the Nakigara wo tape rip that was uploaded here recently, which you should go download if you haven't done so already, and it's healthy to be reminded every now and then how incredible this band was. Fuck d'erlanger, x japan and the whole lot, nobody was playing music like this. Outside of the odd Luna Sea track like Shade, there's no instances of any other band at the time conjuring this kind of darkness and depravity. The sound of this album has been ripped off on a regular basis for over two decades now. Kuroyume invented visual kei and I pay no heed to any other opinion on the matter. They realised the sound that everyone else had only flirted with at the time. 

I do agree that these albums are epic and I love them to death but I do think there were plenty of other Japanese bands before them that paved the way for kuroyume to become who they were when they started.

 

Auto-mod was always the kuroyume of the 80s. The wobbly falsetto with dark catchy tracks. Kuroyume simply added a colder guitar sound and heavier drums.

 

And in general the posi-punk scene of the mid 80s surely influenced those guys. Of course it goes without saying those British bands like cure, the mission, sisters of Mercy, fields of nephilim all bore ear worms into their heads.

 

Some more required japanese posi-punk -  jrock listening for all of you early fans:

 

G-schmitt

Kokushoku elegy

Late era- the execute

Dance federation (the execute's post incarnation)

https://13gravesociety.bandcamp.com/album/1990-live-and-demo

 

That last band was never popular and is virtually unknown on the internet. They never released anything official but the demos sound like really early kuroyume and surely kiyo, hito, and shin saw these guys live.

 

 

[nekkichi 6043]

3 hours ago, Atreides said:

Kisaki should buy the rights to Kuroyume..

 

she broke

[Atreides 454]

Just now, nekkichi said:

 

she broke

 

Kickstarter for Kisaki to buy the rights then.

[LIDL 692]

Wow, not sold yet?

 

Things like this usually sold really fast.

 

[Pretsy 1343]

3 hours ago, carddass said:

 

I had never heard the rumors about their differences but always assumed shin left abruptly considering he shot some press photos for yasashi higeki and was in an ad before leaving on the eve of feminism's release. I really need to go back and listen to that album to imagine what was intended to be more shin influenced songs.

 

And I was surprised by shin's non appearance at those kuroyume revival gigs but in light of the money issues and possible animosity regarding credits it makes complete sense that he wasn't there. 

 

This is kinda funny because Shin seems to be really annoyed (he does have good ties with Hitoki though as indicated by most tweets) there, lol.

 

Also, in regards to whatever happened during Feminism songwriting (!) AND recording phase:

 

1) Most critic info tidbits and wiki articles just state that Feminism recordings just took place "around 1995" - even though most songs have been already planned to play during lives right at the beginning of Cruel touring! (November-December-ish of 1994!). So this heavily Kiyoharu-biased information assumes that even songs happened to be crafted in the matter of 2-3 months they had left after Shin's departure! So by logical means and sensible graphic of usual 90s pop/rock recordings in Japan, they merely had time to work on a few completely new songs and just refinement of already finished recordings (additional frills, mastering).  There was one article on SHOXX or some relevant vk magazine back in very early 1995 (January-ish?) when Shin was still in the team, and while discussing their final tour for "Cruel", they already pointed out that there was a "batch of songs" ready and that was Shin's remark! I might be too quick to jump into assumptions but for the most part Shin always had the lead in Kuroyume (main songwriter, the actual definer of their VK style) and hence him being the "main man in charge" of the process. 

 

Let's take a look at one of those songlists off their last Cruel tour, shal l we?

 

Quote

12月4日 NHKホール

 

優しい悲劇

F (feminism)

DANCE 2 GARNET

百合の花束

讃美歌

gossip

BASS SOLO

IN SKY

MISERY

寡黙をくれた君と苦悩に満ちた僕

意志薄弱

autism-自閉症-

VOCAL SOLO

SAD

GUITAR SOLO

棘

十字架との戯れ

& DIE

ENCORE 1

Sick

『sister』

Miss MOONLIGHT

ENCORE 2

CHANDLER

for dear

UNDER...

ENCORE 3

romancia

 

source: their wiki which on the other hand was based on magazine reports of their Cruel tour (there was some livejournal mag scan page dedicated to Kiyoharu and similar figures of mid-90s and earlier periods but I will update this once I find it)

 

But even so, back to the recording revelations - based on my findings off those scans (I will provide the link once I find it), the "main focus" - i.e. feminism-themed products by Hitoki and Kiyoharu were in fact those directions which were mutually decided in cooperation with its producer, Masahide Sakuma (?) ! "Shiro to Kuro", "Silhouette" and the last song were noted recordings by Kiyoharu during POST-SHIN INTERVIEWS (around early spring of 1995?), whereas Hitoki was responsible for creating songs akin to "Kamakiri" during the same period - so why no mentions about other tracks though? Because actual process for Feminism was more of the collage, which extended to the late autumn of 1994!

 

http://www.livefans.jp/events/354752

 

Here you could see the first mention of "Kuchidzuke", which would be initially thought as something totally off Kuroyume's usual flairs but it's not really far off if you remember Shin-approved efforts like "Ishi Hakujaku" (what was initially the transition song for Kuroyume's RoS tour "MCs" as envisioned by Hitoki AND Shin from melodic point of view - see: RoS tour VHSes). Also, if we believe the "close voices" and Shin himself when it comes to his own facebook feeds - he "approved" efforts that were still rooted in Cruel-era stylistics! That also involved "Kaitou Jikken" which aside from being unusually industrial adopted abrasive, almost disturbing flairs Kuroyume has been always known for.

 

So that being said - we have:

 

Gossip

Miss Moonlight (which was described to be very Shin-oriented!)

Yasashii Higeki (the only bit of Shin left in the final recording was his solo - this was confirmed by Hitoki since he admitted that "he would never succeed in doing Shin's things")

Kuchidzuke (oddly enough debuted during the halfway of Cruel touring? Hmmm)

Feminism (another "typical visual kei" effort)

Kaitou Jikken (one of the very first songs planned for recording around January of 1995 if we have to be exact about months)

 

Yet to be questioned:

 

Love Song (then again, no specific remarks have been made about this song while pinpointing Feminism's theme @interviews!)

Kamakiri (strongly influenced by earlier efforts like "Sick" which may not be really  in touch with what kind of theme both Hitoki and Kiyoharu promoted on Feminism)

 

So that makes 7 songs (since "gossip" is a b-side) which we need to inspect when it's about fairness and correctness of credit sharing between these two - or THREE in this case since Japanese media has been always playing nice games on Kiyoharu instead rather than his band fellows. Go figure.

 

tl;dr this "sudden" transition phase is more than enough to cast second thoughts on anything Kiyoharu when they were quickly eager to drop the visual act and achieve mainstream attraction of mid-90s trends.  You may sense newly-awakened Shin bias right here but reasons I defined above are more than enough when it comes to justifying my siding. This guy deserves more than all that crap for being "just another background guy".

 

I know that most Kuroyume fans here are really worried about preemptive doom for Kiyoharu's spotlight career but think of his faults - shouldn't he finally realize that his multifaceted project selfishness has just given him a very bitchy image among adequate and understanding critic circles?

 

Here's hoping that he realizes this karma  but otherwise:

 

*EDIT: so the scans in question can be found in kuroyumescans@tumblr and jrock scans@livejournal. Mind the era (10.1994-02/03.1995) for wider scope of band's own words. Oh, and Morgianasama@livejournal provided other mags for those live reports so google her out!

 

 

Edited September 25, 2016 by Alroy

[herpes 1597]

me trying to understand @Carmelzors's post

[carddass 273]

12 hours ago, Carmelzors said:

 

 

 

First off, great breakdown about this period and in trying to share facts and not just vapid fan-girling analysis that most visual kei bands get. Now I'm going back to listento Feminism with a fresh set of ears. I honestly thought the album had little to no Shin involvement since the sound was far removed from the first few albums. Although the bridging album Cruel does make it possible to see how they went from mayoeru yuritachi to feminism, the latter album just felt very bubble-gummy pop compared to what came before it. I had thought it was more the label pushing the band to go more mainstream that really drove the sound in feminism and then fake star before kiyoharu and/or hitoki started doing what they wanted with the harder sounding Drug Treatment and Corkscrew.  

Shin to me was really the heart of the sound of those first few albums before they went major and I never heard of people suggesting he had no part in it or that he was just a bit player and that sounds downright silly. Anyone who listens to those Pre-kuroyume bands Garnet and Sus4 will hear that, while there are some similarities, the sound was flat and nothing exceptional compared to what was immediately present in those early kuroyume releases. The difference being Shin was playing alongside kiyoharu and hitoki.

Ishi hakujaku always felt like it should have belonged on mayoeru yuritachi as it appeared on. Although the one downtempo piece yuri no hanataba does sit nicely in the center of that album and ishi hakujaku might have taken away that emphasis if it was somehow squeezed onto there. The recorded version on Cruel is good too but somehow slightly neutered compared to the more morose quality it had on the RoC live VHS.

I just noticed Shin released some demos / early recordigns from his Vinyl years and I need to give those a spin. 
https://soundcloud.com/magnum_opus_p_d

And I guess this is the best place to ask but does anyone have any kuroyume bootlegs from 91-95 they'd be willing to share?

kuroyumescans and morgianasama@livejournal are great resources but my understanding of Japanese only allows me to understand text on a superficial level. As such, I haven't had much luck understanding Shin's facebook / twitter without having to run it through google translate which can lead to more confusion that clarification sometimes.

 

Edited September 25, 2016 by carddass

[suji 8317]

Kuroyume auction has ended at 680,000 yen

 

http://headlines.yahoo.co.jp/hl?a=20160926-00000106-nksports-ent

[LIDL 692]

3 minutes ago, midi:nette said:

Kuroyume auction has ended at 680,000 yen

 

http://headlines.yahoo.co.jp/hl?a=20160926-00000106-nksports-ent

 

Waaa, hope those who wins it are fans.

[The Piass 3472]

I thought the auction was to end on October 9th  

[Zeus 7997]

18 minutes ago, The Piass said:

I thought the auction was to end on October 9th  

I mistranslated it. The auction officially ended today at 1pm (got confused at what 26 day 13 meant so I thought it meant 26 days lol).