#mucc live

[2015mai24]

【ライヴレポート】MUCC、＜鵬翼・極彩＞再現ツアー日比谷野音公演に「時の流れ、長い年月を感じながら」

MUCCが5月6日、日比谷野外大音楽堂にて＜MUCC 25th Anniversary TOUR「Timeless」〜鵬翼・極彩〜＞のファイナル公演を開催した。過去アルバム『鵬翼』『極彩』再現ツアーの最終公演にして、25周年イヤー締めくくりの公演を12月28日に東京国際フォーラムにて開催することも発表となった同ファイナルのオフィシャルレポートをお届けしたい。

◆MUCC 画像

2022年に結成25年周年を迎えたロックバンドMUCCが、過去のアルバムを再構築したセットリストで廻るツアーを開催中だ。第一弾は2022年10月～12月に行なった＜MUCC 25th Anniversary TOUR 「Timeless」～是空・朽木の灯～＞で、彼らが2003年に発表した『是空』、さらに2004年に発表した『朽木の灯』をコンセプトにしていた。そして第二弾として行なったのが、2023年3月から始まった＜MUCC 25th Anniversary TOUR 「Timeless」～鵬翼・極彩～＞である。そのファイナル公演となったのが、5月6日に開催された日比谷野外大音楽堂でのライヴだ。

この日、関東地方には朝から強風が吹き荒れていたが、野音は公園の木々のおかげか、強風の影響はそれほどでもない。初夏を告げる暑い日差しが降り注ぎ、むしろ風が心地いいぐらいだ。そんな野音にSEとして『極彩』の1曲目「レイブサーカス」が鳴り響いたのは17時35分のこと。トライバルなリズムに合わせ、オーディエンスはハンドクラップしながら期待を高めるばかり。紫色や黄色など様々なスポットライトが点滅し、まさに極彩色となったステージ。そこに主役のMUCCが登場すると、でかい歓声と拍手が���き上がる。鮮やかな振袖の着物をジャケット代わりに羽織った逹瑯(Vo)は、オーディエンスを煽るようにマイクスタンドを高く上げた。

アルバム『極彩』の流れを汲むように、「極彩」へ突入。興奮を煽りたてるヘヴィサウンドが炸裂し、客席を埋め尽くしたオーディエンスも激しいヘドバンを繰り返し、開演から数分も経たずして一体化。ミヤ(G)とYUKKE(B)は立ち位置を入れ替わりながらプレイし、逹瑯は宣戦布告するように歌をとどろかせていく。

「いい天気だな、日比谷！」──ミヤの喜びの声から続いたのは「嘆きの鐘」。ヘヴィな面もありながら、レゲエのリズムやフレーズも飛び交うナンバーだ。曲の途中でブレイクして、「いこうか！」と笑顔も見せる逹瑯。また「ガーベラ」のイントロでは「日比谷、飛べんの？　全員で飛べー！」と焚きつける。とはいえ、ジャンプしながら楽しめるのはイントロ部分ぐらい。なにしろ切ないメロディやメロウな展開も顔を出す曲で、一筋縄ではいかないアレンジが「ガーベラ」の特徴でもある。それでも曲に見事に食らいついていくオーディエンス。バンドとひとつになり、さらに曲とも呼吸をしていく様は、さすが、MUCCの熱心なファンである夢烏(ムッカー／ファンの呼称)たちだ。それに曲そのものも、リリース当時とは違う顔つきを見せている。

アルバム『極彩』をリリースした2006年当時、逹瑯はミヤの書くメロディに応えながら、シンガーとしての殻を破り始めた時期だったと思う。絶望感やネガティビティを背負ってもがいているような唱法が初期だったとしたら、暗闇や密室にいた自身を自ら解放したのが『極彩』に取り組んでいた時期だった。その結果、重苦しさばかりではなく軽やかさなども唱法に備わり、同時に幅広いメロディも積極的に歌い始めていった。そこからさらに約16年経ち、シンガーとして大きく成長した今、逹瑯は当時に思い描いた理想の歌を野音で具現化していく。細部まで気持ちを入れながら、しかし感情過多になりすぎることもなく、言葉のひとつずつがしっかり聴き取れる。早い話、伝わる歌だ。それが曲の新たな顔つきにもなっている。

「晴れたね。雨の野音も嫌いじゃないけど、やっぱ晴れって気持ちいいね。この自然の光も合わせてMUCCを楽しんでいってください。時の流れ、長い年月を感じながら、最後までよろしく」──逹瑯

逹瑯のそんな言葉をはさんで、曲はライヴ会場限定発売シングルの2曲へ。「想-so-」ではバイオリンとチェロ奏者も加わり、優しく切ない歌とバンドサウンドでオーディエンスを包み込む。しかしライヴはここから急展開。ミヤのエッジの尖ったリフに、逹瑯が気のふれたような狂った歌いっぷりが絡み合いながら「リスキードライヴ」で攻め立てる。その勢いのままコーラスやフェイクでコール＆レスポンスも起こし始めた。逹瑯ばかりでなく、メンバー名を叫ばせるコール＆レスポンスで楽しむのはYUKKE。さらにミヤもムチャなハイトーンすぎるフェイクでコール＆レスポンスを楽しみながら、自分も笑ってしまうミヤ。一体感と熱気と楽しさのカオス状態だ。

「たくさんの人がMUCCに真剣に向き合ってくれて、そんな人たちに囲まれてとても幸せだと思います」──逹瑯

バンドを代表して逹瑯が感謝しながら曲は「パノラマ」へと続く。青空が徐々に夕刻へと表情を変えていく中で披露されたこのバラードは、自然の美も野音ならではの演出効果となり、スケール感ある曲となってどこまでも響き渡っていく。

ところが美しさにずっと浸らせないのが、『鵬翼』や『極彩』をリリースした時期のMUCCと言うべきか。憎しみと怒りもこもったレゲエテイスト強めの「メディアの銃声」を叩きつけたと思えば、そこから続くのは「25時の憂鬱」。YUKKEのアップライトベースでドゥーミーな香り漂うベースリフに、ミヤがサイケデリックで荒々しいギターを絡ませる。逹瑯は、怪しくけだるい歌を恍惚とした表情も浮かべながら聴かせていく。照明の色使いもひたすらドラッギーだ。美しき夕刻だったはずが、おかしな���界へ精神を誘い込む世界へ変貌。

こうしてライヴは何度もの急展開を見せながら突き進む。恐らくメンバー自身、このツアーのセットリストを考えるのに相当、頭を悩ませたはず。なぜなら曲それぞれが、あまりにも異なる色を持っているからだ。

特に『極彩』を作った2006年当時のMUCCは、“デビリッシュ・イヤー”と名づけ、国内ツアーはもちろん、フェスや海外ツアーなど、怒涛のライヴ活動を行なっている。その過程で刺激も触発もされただろう。新たな曲につながるヒントを掴むこともあったかもしれない。だがMUCCは、自分たちにしかできないことを常に探し求めた。その結果、自由にわがままに音楽を作り始めたのがその時期だったと思う。そのためアルバムは、ひとつの方向性を持ったものではなく、まるでオムニバスアルバムのように違った色合いの曲たちで構成された。だから付けたタイトルが『極彩』でもある。

リリースしたときは初期からのあまりの変化に驚き、ふるい落とされそうになったファンも少なくなかった。しかし、あれから約16年。MUCCの持つ多彩さや多面ぶりも楽しみながら、それぞれの曲に改めてハマり込むオーディエンスの姿が野音に広がっていた。

ライヴ後半、強烈なスラッシュメタル調の「G.M.C」で激しいヘドバンで狂った直後のことだ。逹瑯も、あまりの曲順に自分でも思わず笑いつつ、「優しい歌」へと続いた。MUCCからの温かさと優しさが広がっていく中、オーディエンスはそれを受け止めるように両手を広げ、左右に揺らし、自分たちもMUCCと共に歌う。客席からの歌声を心地よく浴びながら逹瑯が「オマエらのライヴを聴いてんだよ、俺は」と言うと、さらに歌声は大きくなり、大合唱になって夜空に響いていった。そしてステージにレーザーの流れ星が幾つも流れる中、「���星」で感動的にライヴ本編を締めくくった。

アンコールでは、12月28日に東京・国際フォーラム ホールAで結成25周年イヤーのグランドファイナル開催も発表。その前には第三弾ツアーも、第四弾ツアーもある。逹瑯の「最後まで一緒に、盛大に駆け抜けようじゃないか！」という言葉に、野音からでっかい歓声も巻き起こる。

アンコールラスト「WORLD」は、イントロからMUCCとオーディエンスの大合唱から始まった。レコーディングでもファンのみんなからコーラスを送ってもらい、1000トラック以上のコーラスで構成したナンバーだ。声出しも解禁になった今、MUCCと共に新たな世界の始まりを誓うように、1000どころか約3000人のファンが歌う。喜びと幸せに満ちた第二弾ツアーのファイナルとなった。

取材・文◎長谷川幸信 撮影◎冨田味我

■＜MUCC 25th Anniversary TOUR 「Timeless」～鵬翼・極彩～＞2023年5年6日(土)＠日比谷野外大音楽堂 SETLIST SE. レイブサーカス

極彩

嘆きの鐘

ガーベラ

月光

心色

耀-yo-

想-so- [w/ 後藤泰観(Vn)　吉田弦(Vc)]

リスキードライブ

パノラマ

メディアの銃声

25時の憂鬱

ホリゾント

最終列車

謡声

G.M.C

優しい歌

流星 encore en1. 雨のオーケストラ [w/ 後藤泰観(Vn)　吉田弦(Vc)　キラーズオーケストラ] en2. 蘭鋳 en3. TONIGHT en4. WORLD

2023.05.10 quelle: barks.jp

[kyou-no-kyo]

今日の京は、

Miserable - Petit Brabancon

[jpopstreaming]

MUCC to release 'Timeless': A 25-Year Musical Legacy Compilation

MUCC, a trailblazer in the Japanese music scene, is set to captivate fans with the release of their new album "Timeless" on December 28th. This eagerly anticipated album is a culmination of their profound musical journey, featuring an eclectic mix of 12 tracks. These include six songs from the exclusive singles of their album replication tour, "MUCC 25th Anniversary TOUR 'Timeless'", four re-recorded versions selected from the albums performed during the tour, a track from their split single with deadman, and their latest song "Timeless". Among these, one of the venue-limited singles has been remixed, adding a fresh dimension to the album.

To add to the excitement, MUCC has announced a series of in-store events titled "MUCC's Gift-Giving Party from Santa!" in six locations throughout December. In a delightful twist, band members will don Santa Claus costumes, engaging with fans through personalized signed goods, hand-written Christmas cards, handshake sessions, and photo opportunities. These interactions promise to create an intimate and memorable experience for their devoted followers.

The celebrations don’t stop there. Coinciding with the album release is the launch of the "25th Anniversary Special Edition MUCC FUKYU", an anniversary book commemorating MUCC's 25 years of musical legacy. The book, set to be released on December 28th, features content from the music magazine "Ongaku to Hito" and its special issue "PHY", along with recent interviews with the band members. Furthermore, a video collection titled "MUCC Live Chronicle 5 25TH ANNIVERSARY Upper Volume" will be released on February 14, 2024. This exclusive collection, available only to official fan club members through pre-order starting December 1st, includes six selected live performances from the first half of their 25th-anniversary year.

The "Timeless" album is a treasure trove for fans and music enthusiasts alike, featuring tracks that showcase MUCC's evolving sound and artistic depth. From the haunting melodies of "Siren" and "99" to the dynamic "G.G. -Timeless Ver.-" and the reflective "Libra -Timeless Ver.-", each song tells a story, woven into the fabric of MUCC's rich musical history. The album also includes the poignant "Shi no Ubugoe" and the contemplative "Yo -yo-", culminating in the introspective title track "Timeless" and the innovative "Sora -ku- (JaQwa Remix)".

Fans can also look forward to the unique in-store events, starting on December 2nd in Tokyo, with subsequent events in Miyagi, Aichi, and Osaka, where individual band members will participate. These events not only bring the music to life but also strengthen the bond between MUCC and their fans, celebrating the band's enduring presence in the music world.

In conclusion, "Timeless" is not just an album; it's a celebration of MUCC's artistic journey, a testament to their enduring appeal, and a gift to fans who have walked this path with them. It encapsulates the essence of MUCC - a band that continues to evolve, inspire, and connect with hearts across the globe.

Siren

G.G. -Timeless Ver.-

under the moonlight

99

Libra -Timeless Ver.-

Sō -so-

Gerbera -Timeless Ver.-

Shi no Ubugoe

Yō -yo-

Rojiura Boku to Kimi e -Timeless Ver.-

Timeless

Sora -ku- (JaQwa Remix)

[woundedheartwithin]

Just baby boy boppin’ around in this shit under his hoodie

Sugiura 100% listens to visual kei, y’all know it’s true

[argumentl]

2013/1/16 Interview with Kaoru by Tatsuro (MUCC) on Tokyo FM (JACK IN THE RADIO)

Highlights

T: The coupling track (of Rinkaku) is so heavy! Its been 15 years since you first recorded Kiri to Mayu, right?

K: Yeh, I cant believe I've been in this band so long.

T: That was just around the time MUCC started. Its awsome when I think about it.

K: It was one of the first songs we wrote after we formed. We rented this kind of container in a warehouse, you know the type usually packed onto ships? And we all logded in there together for a week, and wrote some original songs of our own.

T: So at the very start you only had a handful of songs as Dir en grey? Where did Kiri to Mayu fall in the order of songs? What was the very first song you wrote?

K: The first ones were Aoi Tsuki, and Karma. And then Kiri to Mayu came a few songs later.

T: Do you play it live?

K: ...No

T: Hahaha

K: When we decided to re-do it, I listened to it for the first time in ages, and listening to the end was actually embarrassing.

T: What, because of the arrangement or something?

K: Because of everything!

......

T: So, the other song on the release is the Remix version of Rinkaku. This remix is by Yamaoka Akira, who created the soundtrack for the horror game Silent Hill. Why did you ask him to do it?

K: Well, we've known him for a while, and when we started thinking about including a remix, we wanted to find someone to do it who you wouldn't normally associate with this type of thing. So we thought of him, and when we asked him, he agreed.

T: Where did you meet him?

K: Well, like connections through work, he came to our lives and stuff.

T: Do you guys play video games?

K: Yeah, well...not much recently, but yeah.

T: What kind of games do you like?

K: RPGs I guess.

T: Like Dragon Quest?

K: Yeah.

T: Dir en grey plays Dragon Quest! Haha. Do you decide on the main character's name at the start?

K: Yeah, Kaoru.

T: Haha, you call it Kaoru?? Dir en grey uses Kaoru to destoy the Demon King in Dragon Quest?! How cute is that??

.....

T: So later we will take some photos using Dir en grey's new single Rinkaku as inspiration. The theme will be 'Contoured Poses'. Ahh, this is tough. Should I do something? hahaha. Check out our mobile site if you wanna see.

And next is Radio Dragon with presenter Kanno Yui taking about image, and whether people like clean cut types. I wonder what kind of look she likes on a man. Kaoru, can I ask you, what type of woman do you like?

K: I don't have a type.

T: Really? Not like cute girls, or smart girls?

K: No, but....I like lips.

T: Hahaha

K: Like, shiny lips, I like that.

T: Cute and sexy, right?

K: Yeah.

[rubyreal]

ROCK AND READ 115 / Interview with Saki from Amai Bouryoku (English Translation)

——————————————————————

I forgot Tumblr existed... but recently I imported this book literally just so I could read the interview with Saki, so here’s the translation I've been working on!!! This took so long omfggf

——————————————————————

“Amai Bouryoku is a band that formed in 2016 with a raw and powerful theme: “Sweet violence rock dedicated to troubled girls.” Sticking to their basic stance without falter, they’ve been charging forward in the scene with their all-out music and lives. But why did they decide to adopt that theme in the first place? And why did Saki, who describes himself as ‘an ordinary person who hasn’t lived a turbulent life,’ decide to start a band? Furthermore, we explore the reasons behind the band not using social media, why he dedicates himself to visual kei, as well as the secrets of his own ‘troubled’ personality.”

—The purpose of this is to learn about your background, Saki-san. But Sweet Violence has a quite a few mysterious aspects. That’s because the members don’t have personal accounts on social media, right?

From my point of view, visual kei exists in another world. It’s about people from a different realm appearing on stage and providing an escape from reality, isn’t it? If people can casually send messages or replies through social media, for better or for worse, it shrinks that sense of distance. As a visual kei artist, I don’t have the confidence to fully commit to that while maintaining the vibe I want. In those three minutes, one minute before the show, the tension builds up… I value that. The audience’s excitement when the artist themselves appear on stage is the most important. I want to preserve that above all else.

—Because you’re such a unique person, Saki-san, I’m interested in your life journey. You seem to be looked up to by younger bandmen. Are you like an older brother in real life as well?

No, not at all (laughs). I have a family of four: my father, mother, and my older sister. My father has already passed away. 

—I see. I often hear younger bandmen say that when they’re troubled and contact you, you always rush over to help them, and they describe you as a reliable older brother. What kind of personality do you think you have?

“If you’re a man, just do it.” That’s my personality. I think I have an old-fashioned mindset. Maybe that’s why younger bandmen look up to me. I don’t know for sure, though.But of course I would never tolerate male-supremacy or sexism or any of the like. I’m really all about putting ladies first (laughs).

—When it comes to romance, too, are you the manly, dominant type?

Well, about that… when it comes to romance, I’m really really terrible at it (laughs). Just like in my lyrics. I’m not good at confessing my feelings myself either.

—You started blushing (laughs). Recently, you performed as a support band for the two Tohoku shows on MUCC’s “Love Together” tour, didn’t you? Afterwards, Tatsuro-san (MUCC vocalist) said, “Amai Bouryoku gives misshitsu kei (密室系*) vibes, right?” But how do you perceive your band yourself? 

*Misshitsu kei (密室系) is referring to a type of subgenre in visual kei with a more intimate and closed vibe. Literally ‘secret or locked room’

The theme we present is “Sweet Violence Rock dedicated to troubled girls,**” so I think it may have been interpreted that way. To be honest, I’ve really thought about us being influenced by misshitsu kei or us trying to revive it. Even for us, we think we’re a band that’s hard to classify. 

**Troubled girls (拗らせ女子) refers to girls with complicated emotions and relationships

—There’s masculinity, but also a lot of songs with themes of pain. The live shows are intense, but there’s also a pop-esk side to the music. You have an image rooted with a very heavy Kansai dialect. Where are you originally from?

I was born in Osaka, but I grew up in Wakayama. I spent my early elementary school years in Nishinomiya, Hyogo prefecture. From 4th grade, I moved to Wakayama. I lived there until I became an adult. After that, I lived in Tokyo for a few years. Then I came back to Kansai. My parents moved often for work, so we were always moving around. So I don’t have contact with almost any of my friends from my elementary school years.

—I see. So you’re not from a musical family?

My mother was in some kind of folk song club when she was young. The acoustic guitar she used to play was always at home. So, the first guitar I practiced on was my mom’s. My mom liked artists like Mariya Takeuchi, Mariko Takahashi, and Yumi Arai (later Yumi Matsutoya), etc., so when I was a child, I used to listen to them in the car.

—When you were in elementary school, did you prefer sports or studying?

I always liked sports a lot more, but I was physically very weak. I had asthma and my tonsils were very weak, so I’d get sick pretty often. My asthma was severe, so in order to overcome it, I started playing soccer. But… I was unbelievably bad at soccer (laughs). I played forward and wing, but I was seriously awful, so I was completely useless.

—Even playing an aggressive, star position (laughs). Rather than being good at it, you liked it. Were you bad at studying?

I also tried my best with studying. When I was in middle school, I ranked 5th in my grade on the midterm exams…

—That’s amazing!

I was better at it than soccer (laughs). But, there were kids who were truly amazing with their studies, so eventually, I stopped studying as much.

—When you were a kid, did you have dreams about the future?

At first, I imagined things like being an astronaut, but, I really always admired the entertainment industry. I didn’t really tell people, but since elementary school, I kind of wanted to work in entertainment. The trigger for me was seeing Hyde from L'Arc〜en〜Ciel and TERU from GLAY on TV. I thought they were so cool.

—So it wasn’t necessarily bands, but the entertainment industry you admired. 

I didn’t even have concepts of being a bandman. I’m actually a pretty normal person, I think. But I didn’t tell anyone I was aiming for the entertainment industry.

—Were you an attention-seeker in class?

I think I was very much an attention-seeker. I was a class representative and also in student council.

—You played soccer, studied, were in student council, and an attention-seeker. You must have been popular, is that right?

Yes, I was popular.

—Has it been that way since you were born? 

I’ve always been popular since I was born, yeah (laughs). But being popular based off your looks can only last until your early 20s. As you get older, you have to rely on things other than looks to really prove yourself. You need to seriously build character and refine yourself as a man. If you’re an adult man, it’s important to fully commit to what you do so you can leave solid results behind. You have to refine your inner self too. When I was a kid, I studied and did sports, but inside, I wasn’t confident in myself, and that had a huge impact. As a person, I didn’t think I was anything special, so I lived while struggling. I kept wondering what’s really important when it comes to living.

—So, you had a lot of insecurities, didn’t you?

I wanted to become a cool guy. True coolness isn’t about how you look, but living a cool life, right? To be honest, I’m not really a delinquent or a rebel, and I haven’t lived a turbulent life. When I thought about what I could become, I realized that all I could do what fully commit whatever was right in front of me. For that matter, if anything, I wanted to be the most rebellious. I am just an ordinary person. Because I’m an ordinary person, I had no choice but to develop talent or sense later in life. In Amai Bouryoku, I thought about a lot of things like that. Or rather, I’m still thinking about it.

—What is it that keeps your life’s theme from blurring?

The one, singular person I’ve looked up to in my life. I met that person as an adult, but everything is thanks to them. 

—Was that after you moved to Tokyo?

Yes. You know the apparel brand #FR2, right? I worked a part-time for a long time at that company. The president of that company, Ryo Ishikawa, is the the only person I’ve admired in my entire life. I still admire him, even now, and when I was younger, I tried to talk like Ryo-san and imitate the remarks he’d make. I was always imitating him like that.

—What was it that drew you in so much?

At that time, Ryo-san was behind VANQUISH, a central brand in gyaru-o culture. He was also expanding into magazines in the style, while also collaborating with people like Kiyoharu-san and SID, which was revolutionary. Around that time, Ryo-san declared, “We are going to present VANQUISH at Tokyo Collection. At Tokyo Collection, a proper and high-level fashion show.

—To expand on that, it’s a show rooted in fashion culture, such as the four major collections, right?

Yes. For a gyaru-o culture brand to join there is completely impossible from a conventional standpoint. When Ryo-san announced it, all the staff were like “Are you for real? A department brand like us will be presenting?” But the backlash and criticisms from the fashion industry were incomparable. That kind of fashion to make an appearance at a venue with all the industry’s leaders, it was met with a storm of booing. But, he didn’t let that head-on wind of criticism stop him, and he made it happen. I think there were even voices saying it was the end of Japan’s fashion industry, lots of people. I was really young at the time and just a mob staff member, but seeing his strong will and determination not to succumb to the pressure first hand really blew my mind. A singular gyaru-o brand could turn common sense on its head like that— I think that’s incredible. Ryo-san said, “If things stay like this, the industry will rot entirely. I absolutely refuse to lose.” And he always said it with a positive attitude too. Because I saw that, I’m doing band stuff with the feelings of not losing to Ryo-san back then. But this is somewhat similar to the current visual kei scene, isn’t it?

—Little by little, it seems like each generation is starting to feeling a sense of urgency and motivation to bring change.

Yes. Right now there’s a sense something big is coming to the visual kei scene, and I’m feeling that same excitement I felt back then. For example, zigzag-senpai (Shintenchi Kaishudan zigzag) is breaking through in an incredible way, and I think they’re so cool. DEZERT and Kizu are also holding solo shows at Budokan. I’m getting the same feeling that the era is on the brink of change, just like how I felt back then. Ryo-san told me, “If you’re going to to do visual kei, do it seriously, for real.” And that’s when I quit my part time. But now, I finally understand what he meant by “do it seriously.” Whether it’s in apparel, as a business owner, or anything else you can think of, after being in a band, I think it all comes down to how you live your life. Audiences can easily see if someone is only pretending to put in hard work. But if you’re seriously dedicating your entire self every day so you can pass their expectations, that becomes your way of life. I don’t have any innate talents or a turbulent life story, but I wanted to live in a way that I could truly love.

—By the way, when did you first become awakened to music, Saki-san?

Even in high school, I was still listening to L’Arc-en-Ciel and GLAY. It started as something entirely casual, but I ended up performing a live at my high school’s cultural festival. It was just because I wanted to stand out. I wasn’t longing to be in a band yet. Even then, though, I was the vocalist.

—So, there was still a bit of that attention-seeking youth left in you. Do you remember what songs you performed in that first live? 

We did Monpachi (MONGOL800). Some famous songs like “Chiisana Koi no Uta.” 

—That’s amazing! But, doing a live in front of a big crowd like that, that must have slowly intensified your desire to pursue a career in entertainment, is that right?

That’s true, but my mom was opposed to it. “The entertainment industry is such a scary world!” She would say, even though she didn’t know anything about it (laughs). So, and this the first time I’m saying this, but I actually secretly applied for a magazine audition with my friends. I got some results there, and started getting noticed.

—Eh? Did you actually debut in the entertainment industry?

 I did some work as a model and got featured in magazines a bit. And around that time, a lot of people in the entertainment industry gave me advice. “Your voice is very rock, so you should do a band.” So, I went to Tokyo and started a band. But I didn’t have a strong sense of determination, and I was just doing it as another way of standing out, not knowing anything, performing at live houses. There’s no way I could succeed like that. Of course, it ended with nothing to show for it. When the people around me were pampering me, telling me to do this and that, I had a mindset like “I can get through life without thinking about anything for myself.” But reality wasn’t that simple. When I was in my early 20s, I was struck by how naive I had been, and that’s when I learned DTM (desktop music production). I didn’t do anything, I didn’t put in any effort, but I had this attitude of wanting to do absolutely anything else than having a normal job. So I learned DTM, and since my mom had a guitar I could play a little bit, so I started making songs.

—Was the band you were in while working your part time at VANQUISH a visual kei band?

No, it was just regular rock. In the end, I didn’t even know what I wanted to do myself.

—Did you have any regrets?

Not at all. I really didn’t know anything at all. Even then, I just went along with the non-visual kei band, and something good came out of it. It was around that time when I met the current members Aya and Yoshi, through a taiban where our bands played together. They weren’t in visual kei bands either. After going through that wandering period, we seriously reflected on what we wanted to do and started moving forwards with our previous band.

—Shounenki. 

During that era of Shounenki, we got signed to our current agency and returned to Osaka. But in the end, our activities didn’t go well and the band came to an end. When the band I properly and seriously had dedicated myself to ended, I found myself in a really dire situation for the umpteenth time in my life. I seriously gave my all to Shounenki, but when it ended, I started questioning what I want to do again, and what I want to sing about. By then, those obscured desires I had to stand out or become famous were no longer there. I started thinking more particularly and clearly about what kind of person I wanted to become. I was recalled Ryo-san’s words. That’s why I was quite slow to realize these things— it wasn’t until I had nothing left in front me that I was forced to confront my mindset.

—Was joining a visual kei band what you originally wanted?

Yes. To put it simply, Ive always liked visual kei. But that’s exactly why it took so much courage to actually do it. Even putting on makeup at first was nerve-wracking. But, I really liked visual kei and wanted to try it, so I started. 

—What was your first performance with Shounenki like?

It was at Ikebukuro CYBER, but it was probably a session event, I think. We made our own music and handed it out everywhere, at places like Takadanobaba AREA, Ikebukuro Blackhole, and CYBER, saying things like “Please let us do a live!” We didn’t have any audience at all. At first, we only had seven people, and they were mostly our friends. It was a rough period.

—That said, it was because of Shounenki catching the attention of a management agency that brought Amai Bouryoku to be born. Amai Bouryoku has been active for 8 years. Do you feel that what you originally wanted to do and what you’re doing now are still connected, Saki-san?

People say that Amai Bouryoku’s style has changed a little over the years, but to me, it doesn’t feel as if it’s changed at all. Fans are the ones who notice subtle changes, so maybe there’s some unconscious shifts, but at the core, nothing has changed at all. When asked if I’m doing what I want to right now, I’d say I am. And more importantly, I’m not doing anything I don’t want to do. The same goes for social media. To me, the freedom to do what I want to comes with responsibility and resolve. I can’t explain it well, but in that sense, I think I’m achieving it. To deliver  the message I want to convey with both responsibility and resolve. For example, even with love songs, I feel as if they won’t be conveyed properly if the depiction is half-hearted, so I write them thoroughly.

—The theme you currently house is “Sweet violence rock dedicated to troubled girls.” Did this become Amai Bouryoku’s theme because, based on your own life, “troubled girls” were the ones you wanted to reach, Saki-san?

Looking back on myself, I was never an extroverted or cheerful person. When I discovered visual kei, what I thought was most amazing was how it was a place that would accept me entirely. Whether it was about appearances or lyrics, I realized there was a place that would accept even the bare, vulnerable version of myself. That feeling of amazement is still very strong for me, which is why I decided to make music that could be a safe space for troubled girls. I’m not strong at all either.

—For you, Saki-san, there’s an image of how visual kei should be?

At its core, it’s an act of rebellion against society, isn’t it? To wear makeup and make music? That’s why I feel it’s important to have a clear reason for doing visual kei. I think people dismissively say things like, “visual kei is just for mentally unstable people, right?” And “Yeah, it’s music for people who emotionally aren’t strong.” And I’m not pretending— I’m seriously not emotionally strong. I’m truly mentally unstable (“menhera”). But I neither affirm or deny that in my music. So when I see bands getting close to fans through photoshoots and baiting them with empty words like sweet lies, I feel conflicted— how should I feel? If there’s a demand for it, I don’t think it’s inherently wrong, but I don’t see that as visual kei. Visual kei is another world entirely. It’s important to maintain some mystery that leaves room for the fans’ imaginations. It’s either that, or you have to completely lay everything bare, there’s no in between.

—When you think about it, Amai Bouryoku is truly the best at using social media. The ultimate way of “not using it.”

That could be true. If we’re going to use, I think we need to thoroughly research marketing and make sure we use it in a cool way. But, rather than focusing on that, we’ve chosen to dedicate our energy to lives.

—While it’s undergoing diversification, what do you think of the visual kei lovers called “bangya” and “gyao?”

I think they are people who just really really love music. When Amai Bouryoku started, we decided to do it without social media, without doing in-store events, without making flyers, and with nothing. Instead, we decided to entirely captivate an audience through our lives and music. At the beginning, when we had no fans, I repeatedly told myself, “The audience is definitely listening to the songs and lyrics.” Of course, it’s only natural for people to want to events where the person on stage is in front of you, and you can take photos and things with them. I think that’s a very natural phenomenon, but for me, I wanted to reach people’s hearts directly. When I think about what people want to fall in love with, as I continue with to sing for a long time, as I continue with the band for a long time, I realize that appearance is important. But more than that, I think the way I live my life is important as well. As a result of betting everything on our songs and lyrics that pierce fan’s hearts, people gradually started gathering and I confirmed that what I was doing was not wrong. Bangya really listen to music and lyrics with their hearts. That’s why visual kei is great. If we felt our music wasn’t being listened to, it would be because our songs and lives aren’t good. Everyone is watching closely and really listening. That’s why we can only be honest, open ourselves up, and make our music hit hard.

—When you were young, you admired looks and attractiveness, but after going through some corruption and frustration, your heart matured. It’s.a way of living without being shameful or embarrassed— you’ve really got guts. 

I don’t think I’ve made an extraordinary amount of effort.

—Saki-san, you often compare lives to group dates, don’t you? 

Ahaha. There’s no man who can expect to take a girl home when meeting her for the first time at a party by saying, “I wanna have sex” right from the toast. I’m not just thinking of my own ego, I also consider how to make things easy for the audience to understand. But I think I was able to make those group date examples after I stopped trying to look cool or avoid being disliked. Love songs come out with nothing but outrageous lyrics, but I think that’s just how men are. Only tricking girls isn’t cool right? Neither are the guys who do that. I believe someone who is super serious about something is really, truly cool. So that’s why I keep exposing myself.

—For example, didn’t your mother get mad when you put out lyrics with things like “sex?”

My mom got really angry. “What are you writing!” She got mad (laughs.) My older sister has kids, and she constantly tells me, “I want to go to your lives, but I seriously can’t. I can’t take my kids with me.” My mom was pretty shocked. 

—Exposing everything would come with that. If Amai Bouryoku doesn’t last another 15 years,  then your family can’t come to the live (laughs).

I’ll try my best to keep going until my niece grows up.

[frostbitebakery]

lshsdf VAST!! Oh man, I had completely forgotten about them I MUST relisten to some of their music. Ahh, and I was also a big Malice Mizer fan in uni XD

VAST (first two albums at least) have shaped my brain like nothing else. Especially Visual Audio Sensory Theater, omg, that album. Here still gives me goosebumps.

I wasn’t a fan of Malice Mizer ngl. Their music was too… theatrical for my taste? I vastly (hah heheh) preferred MUCC (who I also saw live and holy fuuuuuuuuuck zetsubou) but we went to a small goth festival one year and Moi dix Mois was one of the headliners.

Mana

LIVE.

[stirdrawsandreblaws]

♫♪ On Repeat

Rules: Shuffle your On Repeat playlist and list the first five songs in a poll, then have your followers choose their favorite!

tagged by @raenef, sorry it took me a While to get around to this

i don't have spotify (which i assume is where the on repeat playlist comes from) but i do have frequent listen playlists on youtube so i just slapped shuffle on that and let it spit out whatever lol; links to songs below the poll

Last Game

Coyote

GOODBYE MALINCONIA

Fuzz

Kill

tagging literally anyone and everyone who sees this, SHARE YOUR TUNES WITH ME!! LET ME LISTEN AND DECIDE A FAVORITE PLEASE!! <3

[streatfeild]

i‘ve been tagged by @thethickofitt 100 years ago to do a thing (making my own post pc the original one was getting too long lol)

Last Song: Ryuusei by Mucc

Favourite colour: all of them, preferably at the same time. if i have to choose one i‘ll say (neon) pink.

Currently watching: Naruto (ugh yeah i know), started another Santa Clarita Diet rewatch today bc i miss that show. badly

Spicy/Savoury/Sweet: mmmmm savoury

Relationship status: single

Current Obsession: Izumo/Kotetsu (i KNOW), Adam/Fergus, that procreate brush set i bought that i can‘t get enough of

——————

he also tagged me in a shuffle playlist meme that i‘ll put here as well. just because

Rules: you can tell a lot about a person by the music they listen to. Put your mp3 player, iTunes, Spotify, etc. on shuffle and list the first 10 songs and then tag 10 people. Rules: No Skipping!

1. Epilogue from Les Mis in Concert

2. Horrible Theme from Dr. Horrible‘s Sing along Blog

3. shi shite katamari by Mucc

4. The Ballad of Sweeney Todd from Sweeney Todd

5. Live and never die by The Rasmus

6. It‘s not unusual by Tom Jones

7. Ragnarok V: End of the line by The Mechanisms

8. All God‘s People by Queen

9. Angels by Robbie Williams

10. Art Hoe by Call me Karizma

Tagging @witchkingofanmar @captains-clever-goose @ktsphere @spineless-lobster @keldermans @jammydormouse @captainsclevergirl @james-wilsons-mommymilkers @darkmistandodddreams @summerpoison and anyone who wants to do either of them 💚

[the-damnedest-creature]

Jrock/Vkei concerts I have been to for my personal reference

UPDATED DECEMBER 02, 2024:

2010

Gackt (Munich)

D’espairsRay (Budapest)

2011

Gackt (Munich)

Dir en Grey (Budapest)

Versailles Philharmonic Quintet (Vienna)

2012

Kaya & Satsuki (Munich)

D (Vienna)

BLOOD (Prague)

Screw (Vienna)

ACE (Vienna)

ACE & Anli Pollicino (Prague)

Inoran (Vienna)

Crossfaith (Bratislava)

ZIZ & SPEECIES (Cologne)

2013

THE MICRO HEAD 4N’S (Munich)

Orochi (Prague)

Plunklock (Vienna)

Plunklock (Prague)

Satsuki (Munich)

Deathgaze (Vienna)

the GazettE (Munich)

GPK (Brno)

Crossfaith (Prague)

Eat You Alive (Prague)

2014

ADAMS (Prague)

heidi. (Prague)

heidi. (Vienna)

Mikaru & G.L.A.M.S (Vienna)

LOKA (Vienna)

BORN x Lycaon (Munich)

Sukekiyo (Berlin)

HITT (Vienna)

Satsuki (Vienna)

Satsuki (Prague)

2015

ADAMS (Prague)

DIR EN GREY (Berlin)

Mikaru & G.L.A.M.S (Vienna)

MIYAVI (Vienna)

SuG (Berlin)

[k-pop] SHINee & Red Velvet (Prague)

2016

Crossfaith (Prague)

Satsuki (Prague)

DIO & DIRTRUCKS (Wroclaw)

girugämesh (Munich)

the GazettE (Munich)

I Promised Once (+Jioda) (Vienna)

Nocturnal Bloodlust (Budapest)

GYZE (at a metal festival in Zvolenská Slatina, Slovakia)

Mikaru (Poznan @ Japanicon)

2017

Versailles Philharmonic Quintet (Warsaw)

PLASTICZOOMS (Prague)

Mikaru & G.L.A.M.S (Krakow @ Magnificon)

Mikaru & G.L.A.M.S (Prague)

S!N (Prague)

MORRIGAN (Munich)

MORRIGAN (Prague)

MORRIGAN (Warsaw)

LOKA (Prague)

2018

Mikaru solo run (Cologne)

Mikaru solo run (Brussels @ Made in Asia)

Mikaru solo run (Brussels @ Made in Asia)

Mikaru solo run (Brussels @ Made in Asia)

She, in the Haze (Brussels @ Made in Asia)

X Made Alcoholic Santaclaus (Prague)

REMNANT (Brno)

Mana (Helsinki @ Eternal Twilight)

KAMIJO (Helsinki)

DIR EN GREY (Warsaw)

DIR EN GREY (Munich)

DIR EN GREY (Cologne)

Mikaru & G.L.A.M.S (Prague)

Mikaru & G.L.A.M.S (Warsaw)

2019

Mikaru solo run (Cologne)

the GazettE (Munich) 

[It is entirely possible something else happened in 2019 - but I have since forgotten, and apparently have not written it down, so it might be lost to time. :( ] 

2020

DIR EN GREY (Berlin)

DIR EN GREY (Wroclaw) 

Mikaru & G.L.A.M.S (Warsaw) 

Mikaru & G.L.A.M.S (Prague) 

=PLAGUE= 

2024

DIR EN GREY (Warsaw) 

DIR EN GREY (Warsaw) 

DIR EN GREY (Berlin)

DIR EN GREY (Berlin)

JILUKA (Bratislava)

DIR EN GREY (Tokyo)

MUCC & DEZERT (Tokyo)

Luv PARADE (Yokohama)

THE GALLO, DazzlingBAD, Dorothy, GrimAqua, Kuroneko (Tokyo)

-Shintenchi Kaibyaku Shudan- ZIGZAG (Kanagawa)

Luv PARADE (Osaka)

RAZOR (Osaka)

-Shintenchi Kaibyaku Shudan- ZIGZAG (Kobe)

-Shintenchi Kaibyaku Shudan- ZIGZAG (Hiroshima)

2010: 2 | 2011: 3 | 2012: 9 | 2013: 10 | 2014: 10 | 2015: 5 2016: 9 | 2017: 9 | 2018: 14 | 2019: 2(?) | 2020: 4 =PLAGUE=  2024: 14

Country & city count: Czech Republic: 22 (Prague: 20 | Brno: 2) Germany: 22 (Munich: 12 | Berlin: 6 | Cologne: 4) Austria: 15 (Vienna: 15) Poland: 11 (Wroclaw: 2 | Warsaw: 7 | Krakow: 1 | Poznan: 1) Belgium: 4 (Brussels: 4) Hungary: 3 (Budapest: 3) Slovakia: 3 (Bratislava: 2 | Zvolenská Slatina: 1) Finland: 2 (Helsinki: 2) Japan: 9 (Tokyo: 3 | Osaka: 2 | Yokohama: 1 | Kanagawa: 1 | Kobe: 1 | Hiroshima: 1 )

Top artists (seen more than twice): Mikaru (15) DIR EN GREY (12) Satsuki (5) the GazettE (3) MORRIGAN (3) Crossfaith (3) -Shintenchi Kaibyaku Shudan- ZIGZAG (3)

_______

Coming up: Mikaru & G.L.A.M.S (Warsaw) Mikaru & G.L.A.M.S (Prague) Nightmare (Warsaw)

Current live count: 91

[2015mai24]

MUCC、『志恩』・『球体』ツアー　Zepp Shinjyuku公演オフィシャルレポート

MUCC 画像を全て表示（10件） 7月26日（水）にZepp Shinjukuで開催された『MUCC 25th Anniversary TOUR「Timeless」～志恩・球体～』のオフィシャルレポートが到着した。

MUCCが、2023年7月26日（水）に東京Zepp Shinjukuで『MUCC 25th Anniversary TOUR「Timeless」～志恩・球体～』を行なった。結成25周年を記念して、過去に発表したアルバムを軸にするツアーを2022年から開催しているMUCC。この日は、2008年に発表した8thアルバム『志恩』と2009年に発表した9thアルバム『球体』を中心にしたツアーのひとつ。またライブ・タイトルでは一切触れていないものの、7月26日はギターのミヤの44回目の誕生日でもある。

そのミヤがセレクトした開場BGMと、ミヤの誕生日を祝う気持ちで、開演前からすでに熱さも充満するソールドアウトとなったZepp Shinjuku。SE「球体Instrumental」が響くとハンドクラップも起こり、ステージは照明で赤く染まっていった。まず登場したのはサポートの吉田トオル（Key）とAllen（Dr）。そしてストロボ・ライトも点滅し始めたステージに現われるYUKKE（Ba）とミヤ（Gt）。一気に高まる興奮と緊��感。SEが「99」のシーケンス・フレーズへと切り替わり、一人、照明を浴びながらミヤがギター・フレーズを奏でていった。泣きと哀愁のメロディが夢烏たち（オーディエンス）の気持ちを惹き込んでいく。

だがその直後のこと。逹瑯（Vo）がステージに登場し、大きく足を広げたと思えば、衝動の塊のような咆哮をとどろかせた。同時に何本ものスモークが激しく上がり、バンド・サウンドは業火のごとく夢烏を襲う。身体も脳も叩き起こされ、荒れ狂う海原のように極悪なうねりを夢烏たちはフロアに作り上げていった。 『志恩』と『球体』の世界観を現在のMUCCが再構築した曲が、1曲目となった新曲「99」だ。歪んだ声や突き抜けるメロディを駆使した逹瑯のボーカル、メロディック・デスの旨味もたっぷり吸った攻撃的リフやリズム。そこに煽情的なフレーズも入り込む。この25年間で培ったMUCCの圧倒的実力は、ライブに次ぐライブでさらに研ぎ澄まされ、熱量も説得力もハンパじゃない。

「オイ��新宿！ 俺の誕生日だ、暴れてけよ!!」―ミヤ

本日の主役自らが夢烏たちを荒っぽく歓迎。逹瑯も「全力で祝おうかー!!」とシャウトのように叫びながら、曲は「咆哮」へ。ラウドで激情たっぷりの音が暴れ狂う。 なにしろ、『志恩』と『球体』は、AVENGED SEVENFOLDやBULLET FOR MY VALENTINEらとのカップリング・ツアー＜Taste of Chaos 2008＞など、MUCCが精力的な海外ツアーを行なっている最中にリリースや制作されたアルバムでもある。エレクトロやメタル・テイストも強めで、ハジけていく曲や尖ったナンバーも多い。つまりライブで威力を発揮する曲たちだ。そうしたナンバーを次々とたたみ掛け、熱を注ぎ込み続けるMUCC。歓声も掛け声も思いっきりあげながらモッシュでぶつかり合う夢烏たち。熱狂と狂騒の渦がMUCCを激しく彩り続けていく。

「新宿区歌舞伎町でここだけが唯一、治安がいい場所。思う存分、はっちゃけて、暴れていってくれ」―逹瑯

ライブの様相は激しさを増すばかりながら、MUCCを愛する夢烏たちしかここにはいないから、治安は確かにいい。一切の遠慮なく強烈なプレイや邪悪な歌いっぷりで圧倒しながら、楽しさマックスの笑顔もこぼすメンバーたち。夢烏たちの身も心も激しく突き動かしながらライブは展開していった。

しかし中盤には、もちろん『志恩』からの「小さな窓」や、『球体』からの「讃美歌」など、想いの溢れる言葉や音で、心をつかんで魅了するMUCCも。それぞれの楽曲を生み出して、すでに10数年もの時が経った。その間にバンドとして、メンバー個人として経験した出来事の中には、当然、悲しさや寂しさを伴なうこともあったはず。そうしたことが意識せずとも曲にフィードバックされ、メロウな曲や歌から自然に滲み出る様々な想い。生まれたとき以上に膨らみと包容力のある曲になって、夢烏たちの心を丁寧に包み込んでいった。

だがミヤの呪術的なフレーズを合図に「志恩」へ突入すると、ライブは再び急展開。照明で不気味な陰影も浮かべた表情で、メンバーは邪悪な音を叩きつけていく。「空と糸」では「起きてるのか、新宿！ コロナでなまってんじゃねーぞ!!」とリフを弾きながらミヤはさらに焚きつける。鋭利で凶暴なMUCCサウンドが夢烏たちを激化させ続ける。しかし、そんなもんでは本日の主役は満足しない。「今日のために、わりと緩めの会場選んだつもりだ。やれるヤツは、やれ!!」とミヤ。そうして始まった「フライト」では、夢烏たちの肩車がいくつも出現し、曲のキメと同時に、ミヤの誕生日を祝うクラッカーのテープのごとく跳び、そのままクラウドサーフも。こんな祝福されたら、やっぱり黙っちゃいないのがミヤ。「フライト」の勢いのまま「1曲��加します！」と、『極彩』からの「謡声」をブチ込んだ。イントロ直後に慌てふためく吉田トオルの姿に、全く予定になかった曲だったことが伺える。こうしたお祝い返しなどもありながらライブはエンディングへと向かっていった。

アンコールでは、一人、ミヤが感謝しながらステージに登場。「44歳になりました。ありがとうございます。18～19歳で上京して、すぐ歌舞伎町でバイトを始めたんですよ…」―ミヤ カラオケ屋でお客さん勧誘のバイトをしながら曲を作っていた話や、バイト時代の様々なおもしろい出来事も暴露。「俺の第二の故郷は、ここなんで」と、お笑いトーク・ライブと化すミヤ＠Zepp Shinjukuである。YUKKEと逹瑯も加わって、歌舞伎町にまつわる話が止まらない。トリオ・ザ・MUCCの独演会となっていく。

また話は、グッズのひとつ“パイ扇”のことに。LEDで鮮やかに光る扇子だ。「みんな、点けてみて。せぇ～の！」とYUKKEの言葉を合図に光らせると、吉田トオルが「ハッピー・バースデー・トゥ・ユー」をピアノで弾き始め、LEDス��リーンには“HAPPY Birthday TO MIYA”の文字やキャンドルのCGが。夢烏たちが歌いながら祝う中、ステージには巨大な誕生日ケーキも登場。さらに、MUCCのFC旅行＜ムックランド＞シリーズのキャラ“チャッピー・ラビット”（ミヤがデザイン）も駆けつけて、生みの親を祝福。にぎやかで愛に溢れるお誕生日会となった。

約20分のトーク・ライブの後は、フライングVを持つチャッピー・ラビットも交えて「蘭鋳」を全員でかき鳴らす。曲の中盤、座ってからの一斉ジャンプの合図を出すのは、もちろん主役のミヤだ。「MUCC最初の44歳、一緒に遊ぼうぜ！ 歌舞伎町、全員、死刑!!」―ミヤ

全身全霊で楽しむMUCCと夢烏たち。そして25年前のバイト中、この第二の故郷で見た人間ドラマから作った「娼婦」も披露。いろいろな曲展開が入ってくるあたり、当時からの音楽的貪欲ぶりが現われている。この日のラストを締めくくるのは、未来に向けた願いも込めた「WORLD」。メンバーがハーモニーを歌いながら曲に入っていくと、夢烏たちも歌声を響かせていく。MUCCの演奏と夢烏らの歌はひとつになって、さらに夢烏たちは愛も込めて手を掲げ続ける。互いに笑顔を見せながら感動のエンディングを迎えた。

取材・文＝長谷川幸信　撮影＝冨田味我

セットリスト MUCC 25th Anniversary TOUR 「Timeless」～志恩・球体～ 2023年7月26日(水)Zepp Shinjuku 01 99 02 咆哮 03 アゲハ 04 梟の揺り篭 05 オズ 06 レミング 07 ファズ 08 アンジャベル 09 カナリア 10 浮遊 11 燈映 12 小さな窓 13 讃美歌 14 志恩 15 空と糸 16 塗���潰すなら臙脂 17 シヴァ 18 フライト 19 謡声 20 hanabi 21 リブラ ＜ENCORE＞ 22 蘭鋳 23 娼婦 24 WORLD

quelle: spice-eplus.jp

2023.08.03

[kyou-no-kyo]

今日の京は、

Pull the trigger - Petit Brabancon

[jrockvisualkeinews]

『NEWS』

MUCC announces a live tour “Daydream” starting in November and a talk event tour “MC”!!

[bun-lapin]

Kinda sad today.. MUCC was the first band I saw live so whenever I want to think about the past I'll usually put this song on

[aayakashii]

ooooh 🫐🎵🩷!!

🫐 some place you’d love to visit

I'd like to visit my online friends, no matter where they live :') but as for a specific place, I'd like to visit Ireland!

🎵 favorite artists

Oh god, here comes the wall of text mhdjshdj

As for western artists, I love Florence + the machine, Agnes Obel, Sevdaliza, Sneaker Pimps, Portishead, Placebo, The Cure etc etc...

Now, as for eastern artists, I LOVE vocaloid and my favorite producers are either the weird ones or the ones that use flower (she's my fave) :'D I like utaites like eve, nqrse and sou and some visual kei bands too like BUCK-TICK and MUCC :D

🩷 dream job?

Winning on the lottery and never needing to work again💅🏻

[yougetsu]

what do u think about the parade tribute albums? i discovered them recently and i'm not keen on the songs

Anon, honestly I haven't listened to the albums that often. I have a few favourites from Tsuchiya, Endo, Cube Juice, Miu Sakamoto, and minus(-) I think. Endo's minimalist version of Sasayaki is refreshing, but the ones that have stayed with me are Ai No Soretsu by Der Zibet and Jupiter by Mucc.

Tatsuro's live performance of Jupiter is really beautiful.