depends what you mean by the scene, because very few of those “big” bands are considered to be VK in Japan. VK is now a niche subculture with just as much in common with host clubs and other genres that exclusively plays the small live house circuit as it does the progenitors of the genre. so while I agree that once bands such as DEG and MUCC retire there won’t be any that take their place and start playing to crowds of a similar size, I also don’t think the existence of dozens of tiny VK bands that are constantly forming and disbanding is going to go away either. in the same way that host clubs are going to continue to exist for the forseeable future in Japan there is imo always going to be a demographic of mostly young Japanese girls who are willing to pay to see those bands play and buy their merch. it’s also worth noting that the handful of small VK-focused stores in Japan (Closet Child, Pure Sound etc) continue to stay in business despite well over a decade of Westerners proclaiming the scene dead on the internet
Babymetal is not metal or rock. Its just high schoolers with Daddys money paying real rockers to make music for them
Ie theyre about as truly metal as Taylor swift is country.
Oh yeah Iron Maiden en grey
That’s not a unpopular opinion
That’s a classic gatekeeper opinion
Ok grandpa
Babymetal is the brainchild of a producer who found those girls from an already existing idol group, as well as hired the backing band, AND wrote and arranged most of the music himself. “Its just high schoolers with Daddys money paying real rockers to make music for them” is a patently false statement, unless Kobametal is their dad lol
Also early Taylor Swift was 100% mainstream country, whether any of us personally liked it or not
Kagerou was a great band, but Daisuke’s vocal skills were way better in The Studs.
as someone who is forced to listen to mainstream country every day at my job one thing I’ve noticed is the more modern a country song is the more heavily it will borrow from pop/rnb musically - to the point where often the only clues that it’s even a country song at all are a southern accent and lyrics that sound vaguely supportive of lynching
Is it a hot take that yoshiki is a diva?
I feel like gackt would apologize on the internet if he smoked weed
Edit
I don’t smoke weed anymore but it could go one of two ways for that man either it heightens his ego complex or diminishes it
Misread this as “It’s hot that yoshiki is a diva,” ooh-wee
Are you personally a fan of him?
Nah - the “ooh-wee” in particular was written with clenched teeth 
I am sorry for digging up this relatively old hot take about the Jazz influence in vk but it made me laugh so hard.
I didn’t study music and I couldn’t define what Jazz is or point to a jazz song if my life depended on it. But how on earth were these songs considered Jazz in the first place??? 
That’s like the last thing that would come to my mind in regards to vk.
Honestly? Even a lot of jazz artists would have a hard time pinning it down. Because jazz draws from a lot of different influences (blues, classical, Afro-Cuban music, American stage musicals, West African music, and later jazz players also drew inspiration from rock and even metal, electronic music, and more), it ends up with a lot of derivative genres and sub-genres, and a lot of the inspiration those derivatives take feed back into other forms of jazz. A bebop drummer and a fusion guitarist are both speaking the language “jazz,” but ultimately speaking very different dialects of that language (edited to add: and the birth of those specific dialects are separated by about two decades)
Guilty as charged. As I listen to bands that do that stuff outside of vk. If there was a experimental, avant garde, noise vk band,I would probably be into it.
Not so much VK/Japanese music specifically, but music and audio processing technology in general -
Too many people don’t know what they’re talking about when they’re talking about compression
For starters, a lot of people confuse dynamic range compression and data compression. Despite “compression” being used in both terms, they have next to nothing to do with one another. And confusing them with one another means a lot of people will refer to one when they really mean the other, which itself leads to more confusion
Then, when that confusion has been sorted out and we’re all on the same page of discussing dynamic range compression, there’s STILL confusion because people don’t understand how a compressor works, what the different kinds are, and what they actually sound like
@NewsMan your compression take reminds me of something I noticed he last week’s
There is a ton of younger people who like music, but have zero idea about all the work behind it.
From not being able calling an Audio engineer a “Audio Mix&Masterer” (because they responded to someone to talking about mixing and mastering of VK Bands) to me having to explain yesterday to someone what a label is.
To people forgetting that a composition and lyrics can be protected by copyright. And that music has more rights than copyright involved.
Also
Thumbs up for those who are willing to read or ask about that stuff and not pretend they know stuff.
We all learned at one point in the end.
Tbh I have zero idea about a lot of technical stuff concerning music. I know nothing about mixing and mastering or compression. And I don’t think it is necessary to know to enjoy music.
So I hope you are referring to people who talk about this as if they know. 
I’ve been thinking about this kind of thing for years, I believe it’s a consequence of the commodification of art in general within much of western culture. It’s probably kind of cringe to rehash the old “iTunes is ruining music selling songs for 99 cents” thing but I TRULY believe that it was part of the problem, and helped jumpstart how we see music consumption today (in conjunction with P2P pirating like Limewire and Napster). And this of course continues into the current age with streaming services and how pitiful their payouts to artists are
On the one hand, making art accessible en masse is good for humanity, as art is one of the most important tools a culture has to both reflect on it’s current state as well as rebel against it. It’s a mirror and a window, a magnifying glass and a telescope, all at once. But on the other hand, making art accessible at the expense of the ability for an artist to live off their work is a net negative. When we present art as disposable consumables rather than, you know, art, people stop caring about the work necessary to create it and stop valuing the insights artists have and the skills they had to hone to present their work to us, which itself leads to people not caring about the meaning behind the art beyond it being background noise to their lives