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  2. Axius

    I apologize for my overreaction i had a rather bad day lol. I re-read the post i got it now.
  3. suji

    worst take on this thread by far. and i've never cared about mucc. yikes. did you even read the announcement? lol
  4. Axius

    Leaving a band that has worked so hard for 23 years. You should retire with your band if your going to want to finish everything. Love the dude but just why "Retire" without your band doing the same. You've been in here for 23 years and put all this effort in? Hopefully he doesnt leave.
  5. Today
  6. Axius

    Haha yes it is. Again I apologize if its rather long this genera has a lot of stuff to dive into. 😅 lol Let me know what you think.
  7. The more people I meet the less I want to get to know the human race ☠️ 

  8. Yesterday
  9. mopkins

    it’s gonna feel weird as hell without him 23 YEARS
  10. EzraEroguro

    Aaaand now I'm sad. Rather, was. Still am. Oof.
  11. Cantavanda

    I'm playing FINAL FANTASY VII (Original) on PC
  12. It looks like we have a clear winner, but I'll let the poll run over till the weekend at least. Next trade off will probably be one where we assign each other themes because I really like that idea too
  13. Desqui

    I second Gazette. I don't know if Ruki does it these days but he used to "rap" sometimes 🤣 But here's more anyway. Or....this. album.
  14. Desqui

    Oy Vey 2020 is not over yet.
  15. Saishu

    This is nonsense
  16. Total Saikou

    What an Xtra title 🙄 Okay, I'll see myself out
  17. Elagabalus

    https://m.youtube.com/watch?v=TlBIa8z_Mts I’ve been a big Genesis fan ever since the release of their 1980 album, Duke. Before that I didn’t really understand any of their work, though on their last album of the 1970s, the concept-laden And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely “Follow You, Follow Me.” Otherwise all the albums before Duke seemed too artsy, too intelleotual. It was Duke (Atlantic; 1980), where Phil Collins’ presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel’s departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged more around Collins’ drumming than Mike Rutherford’s bass lines or Tony Banks’ keyboard riffs. A classic example of this is “Misunderstanding,” which not only was the group’s first big hit of the eighties but also seemed to set the tone for the rest of theiralbums as the decade progressed. The other standout on Duke is “Turn It On Again,” which is about the negative effects of television. On the other hand, “Heathaze” is a song I just don’t understand, while “Please Don’t Ask” is a touching love song written to a separated wife who regains custody of the couple’s child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock ‘n’ roll group? I don’t think so. “Duke Travels” and “Dukes End” might mean something but since the lyrics aren’t printed it’s hard to tell what Collins is singing about, though there is complex, gorgeous piano work by Tony Banks on the latter track. The only bummer about Duke is “Alone Tonight,” which is way too reminiscent of “Tonight Tonight Tonight” from the group’s later masterpiece Invisible Touch and the only example, really, of where Collins has plagiarized himself. Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eighties sound and though the songs seem fairly generic, there are still great bits throughout: the extended jam in the middle of the title track and the horns by some group called Earth, Wind and Fire on “No Reply at All” are just two examples. Again the songs reflect dark emotions and are about people who feel lost or who are in conflict, but the production and sound are gleaming and upbeat (even if the titles aren’t: “No Reply at All,” “Keep It Dark,” “Who Dunnit?” “Like It or Not”). Mike Rutherford’s bass is obscured somewhat in the mix but otherwise the band sounds tight and is once again propelled by Collins’ truly amazing drumming. Even at its most despairing (like the song “Dodo,” about extinction), Abacab musically is poppy and lighthearted. My favorite track is “Man on the Corner,” which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily come off any of Phil’s solo albums, because the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes the band’s hopeful humanism. “Man on the Corner” profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), “that lonely man on the corner” who just stands around. “Who Dunnit?” profoundly expresses the theme of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all. Hugh Padgham produced next an even less conceptual effort, simply called Genesis (Atlantic; 1983), and though it’s a fine album a lot of it now seems too derivative for my tastes. ‘That’s All” sounds like “Misunderstanding,” “Taking It All Too Hard” reminds me of “Throwing It All Away.” It also seems less jazzy than its predecessors and more of an eighties pop album, more rock ‘n’ roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical “Mama,” that’s both strange and touching, though I couldn’t tell if the singer was talking about his actual mother or to a girl he likes to call “Mama.” ‘That’s All” is a lover’s lament about being ignored and beaten down by an unreceptive partner; despite the despairing tone it’s got a bright sing-along melody that makes the song less depressing than it probably needed to be. “That’s All” is the best tune on the album, but Phil’s voice is strongest on “House by the Sea,” whose lyrics are, however, too streamof-consciousness to make much sense. It might be about growing up and accepting adulthood but it’s unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil repeats the song’s third verse at the end it can give you chills. “Illegal Alien” is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad—a wetback trying to get across the border into the United States—but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he’s wearing (probably stolen); and it all seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes it even funnier, and the rhyme of “fun ” with “illegal alien ” is inspired. “Just a Job to Do” is the album’s funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. “Silver Rainbow” is the album’s most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with “It’s Gonna Get Better.” Even if the lyrics seem a tiny bit generic to some, Phil’s voice is so confident (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities. Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight’. All in all it ranks with the finest rock ‘n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument. In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new peak of professionalism. Take the lyrics to “Land of Confusion,” in which a singer addresses the problem of abusive political authority. This is laid down with a groove funkier and blacker than anything Prince or Michael Jackson—or any other black artist of recent years, for that matter—has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love’s failings Collins beats out the Boss again and again, reaching new heights of emotional honesty on “In Too Deep”; yet it also showcases Collins’ clowny, prankish, unpredictable side. It’s the most moving pop song of the 1980s about monogamy and commitment. “Anything She Does” (which echoes the J. Geils Band’s “Centerfold” but is more spirited and energetic) starts off side two and after that the album reaches its peak with “Domino,” a two-part song. Part one, “In the Heat of the Night,” is full of sharp, finely drawn images of despair and it’s paired with “The Last Domino,” which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I’ve heard in rock. Phil Collins’ solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Required and songs like “In the Air Tonight” and “Against All Odds” (though that song was overshadowed by the masterful movie from which it came) and “Take Me Home” and “Sussudio” (great, great song; a personal favorite) and his remake of “You Can’t Hurry Love,” which I’m not alone in thinking is better than the Supremes’ original. But I also think that Phil Collins works better within the confines of the group than as a solo artist—and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.
  18. Rize

    Hmm, for starters: Try their first full album: GENESIS, it's one of my favorites and Lost November is a sweet track too (sweet vibes as Lily has). Their 2nd full album FOCUS is a good one too And maybe also in handy, their best-album INCOMPLETE (which has most of their greatest hit songs in it ) hmm... And yes, Lily is only released in their Sirius/Lily single. Most of their releases are listenable on spotify anyways, so you can check it out there too Also recommending their latest single release 最果てに降る雪, for some winter vibes!
  19. Nowhere Girl

    So, I just heard Lily and love it to bits. Probably should've started following these guys years ago. Anyway, their discography is relatively large. Any pointers about where to start? Also, is Lily exclusive to the Sirius/Lily single?
  20. Nowhere Girl

    I was in email contact with Ryonai (Blam Honey) between 2008-2009. He liked my music enough to include it on their final memorial album Providence of Decadence. He also asked me for multitrack stems so he could perform my version live. I have no idea if this ever happened, although I'm pretty sure that a final live show did occur.
  21. reminiscing2004

    Very much interested -- any theme works for me I do think it would be neat if one of these times the partners were assigned first and then they would choose themes for each other. But obviously with some leniency and chances for re-rolls so no one gets stuck with themes they feel like they can't satisfy. But Xmas theme or 2020 musical finds sounds great too
  22. omg I want the Baby Kingdom 2021 desk calendar!  It's soooo cute :D Anyone knows where I can get it in the States?

    1. Bunny-Usagii


      Me too, but I think you'd have to proxy it which can be very expensive

  23. KrumpingChihuahua

    I was somewhat shocked when i read it. Mucc was one of those groups that stayed so long without member changes. They are maybe not the most awesome band (that depends on your personal taste too). But there is a lot of stuff from them i like. I don't have the knowledge to judge if Satochi was a good drummer or not, but he belonged to the band. I am also quite sure that they were attuned to each other (do i say it like this? 🤔)
  24. IGM_Oficial

    I don't follow them, but that sucks. I wish him luck.
  25. Total Saikou

    Whoa, that is so left field, I can barely process it... 23 years with MUCC, though! SATOち has been in that band longer than like 90% of marriages. He's been an integral part of the MUCC experience and I'm sad to see him go. But I hope he stays happy and healthy though, the bandoman should always come before the bando. As the Japanese would say, お疲れ様でしたSATOちさん!
  26. Nowhere Girl

    Yeah, about that... From a cursory browse of his twitter account, he still looks damned fine.
  27. Isn’t 20th March 2021 part of winter 2020? I don’t think they ever said december
  28. Elagabalus

    A legendary folk song sung among Turkish, Australians,austirans, and only some Canadians remember the legendary battle that could've ended the great war in total defeat, Made in 1914 - 1915 by a local bard, it was popular when the ottomans would usually sing along with the prisoners or with the enemy when they would agree a local ceasefire to carry their fallen allies (the same time they would be influenced by the French and English) Turku is a turkish folk song stylised with poem ecstatics with instruments similar to sitar but a different acoustic guitar known as "saz" they would generally sing along with groups and don't count as a true "turku" if they dont Many versions exist (I like a Canadian female fronted ballad version better) but the original is always the best and meant to be enjoyed as is I put the lyrics in (that's the whole point..)
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