The information is not for Versailles to release but Jasmine You’s family. They didn’t want the cause of death to be public knowledge and therefore it would be very wrong of the members to release it against the wishes of the family.
Same with this. When someone dies, it is their next of kin who makes these kinds of decisions, not their friends/colleagues.
It seems to be the case that when the cause of death is made public, it is something “normal”, which makes it quite a reasonable assumption that when it is not, it is something “shameful”. We know Jasmine You died of an illness and from there is not hard to put 2 and 2 together even without any additional info. I had honestly thought his cause of death was quite widely known by now but if not, I am not going to put it any clearer than that.
1-Last good year in VK was 2011. Since them there is no all-new-faces band that is worth a damn. The only new good bands are composed of people doing stuff before 2011.
2-90s VK is inmensely overrated and It all sound like crap 90% of the time and It actually regressed from the 80s. People LOVE bringing up and hoarding 90s VK stuff because sounding like a “very seasoned conossieur and collector” of VK is a nice ego boost. Sure, you can name a lot of bands that released 1 to 3 demo tapes from March 1993 to August 1994 but that still sounds all like shit my friend. Thanks god for the scene bouncing back in the 2000s
3-Kiryu was an OK band that sank all their potential with their theme. If they made more types of music with broader styles and aesthetics they could have been truely great (but they didn’t).
4-boogieman was better than baroque
5-Hide did’t suicide, he accidentally killed himself
I’d push it a bit to until max 2015 but 2011 was indeed le-gen-da-ry !
Have big big affection for Kiryu BUT i’m still petty to this day that when fans think of “ Neo Japanesque VK bands “, they think of Kiryu instead of their seniors ( and one of the best VK band ever ever everrrr ) Kagrra, !
Here’s a take so hot i don’t even believe it myself, but i want to hear what the counterarguments are if anybody has any…
Ashmaze is the only band since CHE DO A RA collapsed the sound of the 2010s to innovate and chart a new style for vkei.
Everything else is old bands/members still making good music, or new bands also making good music but in 2000s/2010s style.
Kizu comes to mind as someone close to this standard, but aside from being a bit disqualified since Lime started up with Lezard a while ago, they also just don’t feel that new of a sound based on completely arbitrary and feels-based fake rules in my head. Good band, but not a paradigm shift in sound.
In my mental map of vkei history, Gauze collapsed the kote kei sound of the 90s, ofc not wiping it out but making all kote kei bands after either sounding as an older style or deliberate throwbacks. Bands like Naito, mucc, GazettE quickly filled the vacuum and then there was the sound of the 2000s, which came from kote kei but unmistakenly was something different.
Then the same happened with CHE DO A RA, in my opinion, where all the general sounds and style of the 2010s and 2000s were summed up and quite directly lol all other bands were dared to also change. Tho, to my mind, it feels like this didn’t happen, and instead bands have stayed in the same sound and continued working there.
Anyway please tell me how i’m wrong cuz i’m not even saying i believe this (that NO innovation has occured since) i just wanna hear if y’all consider some bands having cleared this bar which i haven’t
I’ve been calling CHE DO A RA a classic for years at this point! Perhaps what you have described is part of necessary steps for an album to transcend and become a classic. I haven’t listened to much Ashmaze though so I’ll have to come back to this later.
My music reviewing skills really don’t suffice for what i’m trying to say, but i have this unprovable sense that CDAR didn’t like quote one band here one band there, but is about what might have happened if someone said “write an album that expresses all the best parts of what the scene’s been on these past 8 or so years, try to outdo many other bands in points of pride like guitar complexity or strong high voices, include melodies memorable on first listen, and execute it with a story interesting enough no one around can look away”
I think that’s the rough template of how in my mind a scene can find an era “wrapped up” in one release?
But i really didn’t mean to end up singing more praises of an album everyone already knows is good; i’m curious who’s come after so far who’s ran with the idea that 2010s sound is no longer new/innovative and started work on a new sound in the scene, like i might say Royz, Mejibray, Arlequin did in the early 2010s
A band who’d sound out of place and bizarre if you played their music in 2015 - in my mind, Kizu, Xanvala, NPC, Zera would fit right in (and sound good!) so they fail this imaginary game i’m playing
a lot of Jpop sucks, and sometimes the idols are only in there to get female fans (if you want an example with underaged female fans, zolpidem is your example). there are so many idol groups where the idols have had some kind of relationship with fans. And it’s not just the idols being bad, the music sucks too. But maybe, it could be because i enjoy music like metal, rock, and such.
Hoo boy, this is gonna be a long read but TLDR: It’s a ramble about why I’m no longer a Metalhead and Octane-Pop/Rock/Core should be a genre.
I think my outlook of the world is grim enough that I starting to see the point gatekeepers are trying to make (particularly in Punk, Metal, and Hardcore scene) especially about the overuse of certain terms, like Metalcore for example. I mean if I ask someone what a Metalcore is I would get many different answers, some would say Converge, Hatebreed, and the early Dillinger Escape releases Plan Imo one of the few that leans to the Hardcore aspect the most, (Honorable mention to Sons of Abraham) Others would say Killswitch, All That Remains and BFMV as Metalcore That are leaning more into Post-Hardcore and Emo (also two genres with confusing usage) territory with not only its clean singing, but also its lyrics being mostly about romance, some with more profound thrash influence like Avenged, and Early Trivium are the clearest example (personal favourite era of mine) which eventually evolve into Modern Metalcore, or as those elitist called, “Octanecore” with stuff like Bad Omens, current Asking Alexandria and basically every Architects release after Holy Hell where even the Metal aspect is dubious at best like, where’s the riffs? Are you really a Metalcore band if you replace more than half of the guitar parts with synths? Eh, It doesn’t matter anyways since even the guitar is mostly “djent” (A.K.A carbon copy of Meshuggah, and Mick Gordon, and most of em get the wrong idea why their stuff is so good) the drums are mostly the same, bass were non-existent, with overly produced sounds and the vocals are pop vocals with screams that tries way too hard to sound like Chester Bennington. With that out of the way, I can say that I fw some stuff though, In fact I thereby denounce my Metalhead status, and embrace my status as a poser as I only ever listen to few popular bands anyway, plus most stuff that trve metalhead listen to aren’t my thing, y’know Brutal Death, Black, Doom and the like. I do feel that Octanecore should be a genre as that would give Metalcore it’s true meaning back, and give few pretentious douchbag a reason not to use Melodic Hardcore as an excuse to not use the word Metalcore. My wishful thinking is that if Octanecore got popular enough that would give a reason for mainstream pop artist to use actual intstrument even if it’s overproduced as I believe some of the pop artist (the ones that wrote the music themselves) are far more talented songwriter than most of these Modern Metalcore artist. It’ll funny if Chapelle Roan collaborate with Poppy and have Heavier (in Pop sense) Guitar parts or Bruno Mars and BMTH.
Oh yeah last thing, remember when I said that I fw some octanecore bands? Yeah, The GazettE, there, I said it.
I saw this video recently on youtube where someone else was talking about this! I really don’t listen to much metal (aside from black metal) so i don’t exactly recognize the stakes, but your writeup & that one i heard by that youtuber are helping me make sense of my own tastes + what my band mates are talking about.
Lately i’m really into trying to figure out wtf “emo” means bc i’d figured it was like my chemical romance, blood on the dance floor, and fall out boy, and kinda had no interest. But now i’ve heard american football, sleeping with sirens, and her words kill - and learned i love all these, but now i’m even less informed about what “emo" means, and what “metalcore” does and doesn’t lmao
I remember that one periphery double album everyone hated ended up being the only one of theirs i really liked! I guess now i see how it’s closer to octanecore - but to use that guy’s definition of splitting riffs and melody, i guess that periphery album and what i’m used to from vkei is 50% riffs 50% melody.
Makes me think something really unappreciated about this scene is how the same song might how straight power chords, all vocal melodies in the chorus, but then like five lines of layered guitars in the A-melo or other instrumental breaks.
Yeah I saw that video too, and It makes me finally realized why I love those 2000’s metalcore era so much, as not only I can remember the lyrics but I also find myself humming the guitar riffs (sometimes even bass and drum parts) perfectly. Compared to Modern Metalcore when I just realize that other than the vocals I barely remember the instrumentals, at best it was the instrumental part outside of the main instruments like the Violin for Imminence case.
Um btw I’m using this response as an excuse to say you got the wrong link. The link you gave redirect me into a Naitomea song. Not that I complaining though
feel free to recommend me sometime anyone you like from 2000s metalcore if you like! i’m realizing there might be a lot more in the scene for me than i thought
Eh? Well verse? Not really. as I said I’m only listen to few popular bands, but if you insist.. I sorta already give you the names on my write ups but as for 2000’s Metalcore (As in Metalcore albums released in 2000’s) if you want Hardcore Punk influenced stuff you should listen to Jane Doe by Converge, Miss Machine by Dillinger Escape Plan, and Perseverance by Hatebreed. If you want something Influenced by Melodic Death Metal and had clean singing, I would recommend the first four Killswitch Engage albums (which had two different vocalist for each of two) The Poisons by Bullet for My Valentine and Waking the Fallen by Avenged Sevenfold. and Finally if you want something more Thrash Metal inspired you should check out Shogun by Trivium.
Btw, there’s more Hardcore Punk Influenced Metalcore bands if that’s more of your thing like Poison the Well, Sons of Abraham, Overcast, and Zao. I just recently discover them though.
Edit: After many consideration let me rewrite this entire post
