band proper

[ARTICLE] Monsta X Talks Thriving on Diversity as K-Pop Band Embarks on Latest U.S. Tour

Two years into their career, Monsta X’s members aren’t new faces to stateside K-pop fans. Following appearances at KCON LA in both 2015 and 2016, the septet’s Beautiful in the U.S tour has brought them to six American cities as the latest, but not the last, Korean boy band holding solo concerts in the country this year.

Wearing black suits sparkling with silver accessories and effusing an air of muted excitement, Monsta X – Kihyun, Wonho, Shownu, Jooheon, Minhyuk, Hyungwon, and I.M – looked the part of a proper boy band sitting backstage at Playstation Theater last Friday night (July 14). Their first ever New York City performance was one of several sold-out nights of their U.S. tour. The band’s fans, known as Monbebes, came out in droves despite rainy weather, with lines wrapping around the block of the Times Square venue.

Though still a relatively new act, Monsta X has built up the sort of international support that has propelled many of K-pop’s recent top-tier acts to immense success. “The songs, the music itself has a lot energy, so that combined with our member’s teamwork is probably why fans are drawn to us,” said Jooheon, who has co-produced and written lyrics for the team.

Since the release of their 2015 debut EP Trespass, the septet has explored propulsive hip-hop and electropop on their albums and remained active with at least three singles a year. March’s The Clan Pt. 2.5: [Beautiful] topped the World Albums chart and landed at No. 10 on the Heatseekers Albums chart. Led by the percussive “Beautiful,” and followed up by the synth-driven “Shine Forever” in June on an album reissue, Monsta X blended melodic vocals with their typical rambunctious attitude. Both singles, like the majority of the band’s songs, were filled with rap and hip-hop elements, drawing on the genre the members feel suits them the best.

Of course, it’s hippity-hop hip-hop” said I.M, the group’s English-speaking rapper. The five other members in attendance – Hyungwon was unable to join them on tour due to a health issue – nodded their heads in agreement. “All seven members really want to go back to our own color, hip-hop,” added Wonho. “Not that the newer songs aren’t powerful but there was a sort of energy from our earlier songs that we’d like to revisit.

Selling their personalities just as much as their music, the members of Monsta X were chosen through a competition show back in 2015. Since then, they’ve showcased their diverse talents through television appearances and solo music projects. Shownu, who admits to being the most introverted member prior to their debut, appeared on a reality series attempting to break negative stereotypes about male skincare and cosmetics; Kihyun has added to the soundtracks of popular Korean TV shows; both Jooheon and I.M, who also writes lyrics for Monsta X, have dropped mixtapes and worked with other musicians in the Korean music industry.

Rather than distract from their group efforts, the side projects helps each Monsta X member develop as an entertainer. “It’s a very good opportunity to do our individual music,” said I.M. “Because I’m going to show what I like so that people get to know more about me and my intentions.” Jooheon agreed, motioning to the rest of the members with one hand. “Not just [Kihyun, I.M, and I] but the other members are going to also work to have solo releases so that everyone can know that Monsta X themselves, as individuals, have their own colors.

Like the miscellany of members, Monsta X’s discography is hardly one note. Typical of K-pop, the group’s albums feature a variety of genre blending songs, with aggressive electropop and hip-hop dominating the overall pop sonic aesthetics. “Our albums right now explore a lot of different genres, like R&B, ballads, hip-hop, rap,” said Minhyuk. “Our future works are definitely going to keep doing that.

And Monsta X has no plans of slowing down their whirlwind of a career anytime soon. “I don’t know exactly what we’ll do next,” said Shownu. “But we want to be able to come back to the fans as soon as possible with new music and concerts.

Source: Billboard


Done for Tavern Tales’ Sugar|Salt|Water theme!

Twitter doodle! Because modern day Arthur would love the idea of a drive through (and fizzy drinks with their strange colours) and Merlin would be that crotchety boyfriend who complained about calorific value all the time. Or it could be Bradley and Colin too, who knows

Merlin Tag


i still can’t believe this actually happened.

mikey @gerardisnotcis and i met at the fiatp show in stuttgart in february and got talking about pencey prep and i told them the story of how they came to be my first proper favourite band and also how much this album means to me and i may or may not have cried a bit over mikey’s copy. so fast forward a few days and actual angel in human form mikey decides to buy a copy for me.

thank you so much, i can’t even put in words how much this means to me just thank you!

“Have some empathy“

(A/N): Hello party people. I apologise in advance, my mood has been demolished during the progress of proofreading this  x 

Words: 2,5k

Originally posted by joshdunfuckme

You aren‘t very fond of kids, to begin with, but being the friendly person, that you are, you agreed to take care of your neighbour‘s son. Within the first ten minutes of babysitting the little obnoxious boy, you quickly start to regret that decision. The preschooler is making your attempt at being a good neighbour harder than you‘ve imagined. He‘s really talkative, especially when it comes to asking questions including ‘how‘ or ‘why‘. His imagination is evenly extremely active, judging by how he naturally told you about his imaginary friend. He‘s fully capable of fulfilling most of his needs but chooses not to because he prefers to boss you around in a quiet disrespectful tone. The kid seems to be very spoiled by his parents and used to get everything he wants, which in your opinion sounds like a terrible way to raise a child. Going after their wishes every now and then is totally acceptable, but acting like their personal assistant is not. They need to start learning their boundaries within their first years.

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Backspin: The Kills Talk Tendon Injuries, Career-Suicidal Tendencies, and 15 Years of Kill-ing It

Anglo-American art-punks the Kills, aka Alison Mosshart and Jamie Hince, have spent all of 2017 celebrating their 15th anniversary — most recently with their new Echo Home – Non-Electric EP, featuring a cover of Rihanna’s “Desperado” and a re-recording of “Wait,” one of their first songs ever released. But for several of those years, the Kills were largely off the scene, putting out no full-length albums between 2011 and 2016.

Casual fans may have assumed the Kills’ hiatus was due to Mosshart’s high-profile side gig fronting Jack White’s psych-rock supergroup the Dead Weather, or because Hince was focused on his marriage to supermodel Kate Moss (which ended in 2015). But as Hince reveals during the Kills’ career-spanning Backspin interview with Yahoo Music, it was actually a 2013 freak accident that sidelined the group, as guitarist Hince was forced to totally relearn his instrument.

“I used to have this problem with my fingers locking up from just playing guitar, and then they’d inject cortisone into my knuckles — which is the most painful thing you can ever have done, I think,” Hince begins. “It would sort of make it go away. And then I slammed my finger in a car door, and my hand specialist guy said, ‘Oh, I’ll just jab some more cortisone in it.’ And I went away on holiday and I got a deep bone infection, and I lost my tendon.

“I thought I was wiping some pus away from my hand, but it wouldn’t go away,” Hince continues, while a grossed-out Mosshart (and, frankly, everyone in the Yahoo studio) squirms. “And then I was pulling it [out of my hand], and I was like, ‘That is really weird — look, I’ve got this stringy pus!’ And then my wife went, ‘That’s your tendon, you idiot!‘”

Yes, Hince was holding his actual finger tendon — not pus — out in the open, in front of a horrified Kate Moss.

“So I had to have a tendon transplant,” says Hince, who eventually underwent five operations and lost the use of his middle finger, “and it doesn’t really work. I can’t play guitar with it. So that was it — it was kind of like learning to find a way to play guitar again. I didn’t know if I was going to be able to play guitar. I thought I was going to be one of those studio dudes with gray skin and, like, loads of [takeout] menus, so I started putting my studio together.”

The Kills (Photo: Paul Rosales)

But the Kills finally returned in 2016 with the critically heralded Ash & Ice, and Hince now says that his gruesome injury helped sparked his creativity while making the album. “It was really good, because something like ‘Doing It to Death,’ I don’t think I’d have written that if I had all my fingers. Because I probably would have done something more with a chord, whereas I had to play individual things.”

Over the past decade and a half, the Kills have gone through their share of struggles, both personal and professional, but the bond that Hince and Mosshart formed when they first met in the U.K. helped them persevere. From the very beginning, the London-based Hince knew that the Florida-born Mosshart was committed to the band, before the band even had a name and before Hince was even sure himself.

“There’s a culture of saying you’re going to do things, and that’s almost enough, just saying you’re going to do this stuff. I’m not sure how convinced I was that our band was really going to happen, and [Mosshart] absolutely flogged me with it — you know, moving over [to London] and whipping me into shape to do this,” Hince says.

Mosshart recalls the fateful meeting that brought her and Hince together in 2001. “I was on tour with [Florida punk band] Discount, which was my first band. We were touring Europe and England a lot, and [Hince’s] roommate drove the van that we were in. His other roommate booked the tours that we went on. We would always go there and sleep on the floor. I heard Jamie playing guitar upstairs through the ceiling, and I didn’t know him, I hadn’t met him yet, but I thought it was the greatest sound I’d ever heard. I was obsessed.”

“I don’t think she spoke to me for the first week,” Hince laughs. “I would say things to her and she would just light up bright red and not say a word. I’m going, like, ‘Wow, this is really bizarre.’ Then she’d kind of say little words every now and again. Then she’d come round to my place and just sit cross-legged on the floor and roll me cigarettes, and I’d play her music she’d never heard, like Charley Patton, Lead Belly, Velvet Underground, and Captain Beefheart.”

The Kills (Photo: Mario Framingheddu)

“I mean, this whole thing kind of happened really organically, but I was on tour with this other band,” Mosshart explains. “He was really encouraging me to write music, and I’d never really written music; I’d just written lyrics to other people’s music. He was really encouraging and he was like, ‘Take this four-track with you on tour and see what you come up with.’ I would stay up all night with whatever stuff I could get my hands on, and I would record people drumming and then take that and put it in, and then record bits of European radio and talking … using the Dictaphone and just kind of making these … they’re more like art collages with sound, really. Just how my brain works. That was the first stuff that I brought back to him. I’d just show him what I made as a present: ‘Here you go.’”

“I know it sounds a bit stupid saying ‘sound collages,’ but it really was,” Hince marvels. “It was like somebody who just didn’t know how to write songs, almost like someone that hadn’t heard a song before. She was making these things, and they were amazing. They were really amazing.”

However, it wasn’t until Mosshart relocated to England, in a dramatic (and comedic) fashion, that Hince realized that this was going to be a real band.

“When Alison moved from Florida to London, she arrived on Gipsy Hill station with two refrigerator-sized suitcases,” Hince chuckles. “The doors of the train opened and she was just about to push one out and go back for the other one, but the doors closed. She was inside — and she pulled the emergency cable to stop the train!”

“I got yelled at so much,” Alison cackles, blushing beet-red.

“They opened the door. There’s all these people yelling at her. She’s pulling the other fridge-freeze out of the train. One rolls down onto the track. This is the beginning of my band.”

Mosshart and Hince decided to go by the mysterious stage names “VV” and “Hotel,” but they still hadn’t settled on an official band name or even a defined sound yet. However, that didn’t stop them from playing their first gig, at London’s now-defunct 12 Bar Club on Denmark Street, on Feb. 14, 2002. And the rest was history.

“I always think it’s funny that we didn’t know what we were going to sound like,” says Hince. “I thought we were going to be like an acoustic band. Or like [England] used to have this terrible cabaret act called Peters & Lee, a blind guy and his wife — I thought we might sound a bit like that, like middle-of-the-road kind of acoustic-y stuff, because we’d never played out loud before.”

“We’d never had anywhere that we could plug anything in and be loud, so we had no idea what it would sound like to sing through a mic in a room,” says Mosshart. “We were very pleased when we played. We kept looking at each other, like, ‘It’s so loud!’”

“It just all really worked. It kind of surprised us that there was loads of people were just really into it,” says Hince. “We had a little crowd of people afterwards asking us what we were doing next, and we said, ‘Well, we’re going to come up with a name,’ because we didn’t have a name. We just got gigs booked one after the other after that.”

The duo’s raw, lo-fi debut album, the blues-punky Keep on Your Mean Side, made them instant critics’ darlings with British music rags like NME when it came out in 2003 — but the Kills instantly bristled at the idea of being categorized with other trendy “the” bands of that “garage rock” era, like the Strokes, the Hives, and the White Stripes. So they stayed true to their “anarcho-punk” backgrounds and willfully committed “commercial suicide” when it came time to record their follow-up, 2005’s sinister, sparse, and severe No Wow.

“We were supposed to be a proper band and do the sort of thing that people do on their second record, like cross over and make much more palatable music — and we made much more unpalatable music,” shrugs Hince. “I couldn’t believe that we were lumped in with this new wave of garage rock. … I was so offended by this ‘garage rock’ thing. I really wanted to be anti-garage.” Hince recalls being delighted when he played the album for Laurence Bell, head of the Kills’ label, Domino Records, and he got the reaction he’d hoped for. “We were all sitting on my bed in Room 105 at the Chelsea Hotel, and I played it on a little boombox. He said, ‘It sounds like LL Cool J.’ I was like, ‘Yes! We’re not a f***ing garage rock band. See?’”

The Kills never wanted to pigeonhole themselves (“I don’t want to get into a rut of playing the same songs and same kind of style of music. … I always wanted to be a band that changed,” says Hince), so the experimentalists took another bold artistic detour with 2008’s immediate and at times almost poppy Midnight Boom, which featured the boisterous breakthrough single “Sour Cherry” and production from Alex Epton of Baltimore indie/hip-hop act Spank Rock. Then the duo’s dynamic changed even more during the making of their fourth album, 2011’s Blood Pressures, as Hince settled into domestic bliss with Moss while Mosshart hit the road with the Dead Weather.

“I started a relationship — I settled down, really,” Hince recalls. “My ex-wife’s social group is a real social environment. There was always tons of people around, and you were always encouraged to perform: ‘Play that song!’ I really hate that stuff, and this is the first time that I broke through it, and it was enjoyable. ‘My God, it’s enjoyable!’ It was actually quite encouraging getting feedback from people when you were writing a song. They’d go, ‘I love that,’ so you think in your head, ‘This is a song that’s gonna work.’ I’ve never had that before. Writing songs was always something you did in private, in secret.

“It was the first time I realized you could make a record being happy,” Hince continues. “I always thought you had to channel a bit of negativity to be creative, and really live hard. We used to talk about that a lot. That’s kind of what ‘keep on your mean side’ meant — it was about keeping in touch with some negativity and misery in order to be able to make something positive. This was the first time I spent most of the time just sitting around with friends, playing guitar and drinking wine, which I’d never done before. … I never had an acoustic guitar before, and it’s the first time I was playing by a fire. Just all these songs just happened. It wasn’t a torture for me, like it normally is.”

At the same time, Mosshart’s Dead Weather experience helped her build her confidence and hone her badass performance skills, and when the Kills finally reconvened, the result was an album with the formerly aloof singer’s growling, rock-goddess vocals front-and-center like never before. “I did learn a lot doing the Dead Weather, because I toured so heavily and did so much stuff I actually hadn’t done before,” Mosshart says. “I was all fired up, so by the time we came back to do this, [Hince] was in a happy place, I was just going a thousand miles an hour, and we made this record.”

Which brings us to the present, as Hince (healed hand and all) and Mosshart look forward to another 15 years of Kill-ing it. “The next 15 years, I don’t know,” Mosshart muses. “I mean, I hope it keeps being as exciting as it is, or more exciting, and we keep feeling creatively inspired. It’s all about that — the reason we’re still doing it is because it still feels so great to do, and it’s still so inspiring, and we still have so much more that we feel like we have to do. So we’ll carry on until something changes.”

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One For Both Teams Part 4

Summary: (High School AU) Starting fifth year in a completely new area proves less confusing than Y/N thought, as she easily befriends a number of people. The only thing is, not all of them get along, and Y/N finds herself torn between them.

WIP List

Chapter List


Originally posted by mylastlove-mylastsong

Part Four

“Now, your homework for next class is to do task seven through twenty-three. Class dismissed.”

You let out a soft sigh and started packing your bag, shoving your pencil case in after your book.

“Y/N, a word, please.”

You looked up and met Ms. Carter’s gaze, before nodding.

“Oh, you’re in trouble,” Clint mumbled playfully beside you, and you scoffed quietly in amusement.

“Yes, Ms. Carter?” you replied, slipping your bag onto your shoulder and walking up to the blackboard.

“I’m in a dreadful hurry,” she replied, grabbing her notebooks and laptop. “Could you do me a favour and make sure the classroom looks decent? All chairs put up, board clean, that sort of thing?”

She glanced hurriedly at the clock on the wall.

“Of course,” you said, placing your bag on the floor and wiping down the board.

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What everyone is ACTUALLY thinking

Louis: This looks dumb AF.

Harry: Look cool, look cool. Louis is watching. Look cool.

Niall: Finally! Proper boy band choreography! Wicked.

Liam: And five, six, seven, eight…and Niall - for the shimmy, for the shimmy, for the shimmy…

Zayn: HowTF am I meant to know how to row a canoe? These bitches know I don’t go near the water. 

anonymous asked:

hi! soo, skam made me realize that norway has some incredibly talented bands and musicians I'd never heard of before. do you maybe have any recommendations for more bands or songs that are rather unknown outside of norway? like what are your faves? style or if it's norwegian/english doesn't really matter, just wanna get to know more stuff :) thank you and have a wonderful day/night


i’m soooo happy you sent me this!! i’m always up for chatting about music and norwegian music?? fUCK me the f u ck up!!!

i genuinely believe susanne sundfør is one of the most talented musicians of our generation. she’s just.. amazing. ten love songs is a masterpiece - my faves off that album are darlings, kamikaze and accelerate

i’ll never stop talking abt karpe diem honestly so…… heisann montebello is a fucking masterpiece, so is kors på halsen, ti kniver i hjertet, mor og far i døden tbh. my faves by them are gunerius, her andddd ruter (it was v hard to only pick three omg)

arif is a great rapper ahh, my faves by him are 8ball, 7 and alene

kaja gunnufsen deserves wayyy more recognition imho - her latest album is in my top three albums of 2016. my faves by her are årets beste fest, borghild and unik

razika!!!! such a good, wholesome band of awesome women. my faves by them are gi meg gi meg gi meg, syndere i sommersol and verdens beste by

honningbarna is a good ol’ punk band (a proper one), they’re amaziiing live and my faves by them are la alarmene gå, fuck kunst (dans dans) and vi kliner

hjerteslag is greatttt. my faves by them are sang til sonja, sammen alene and linedanserinne

red headed sluts ARE FUCKING SO UNDERRATED (they changed their name to smth lame but we dont talk about that) - the whole people with faces album is great, but my faves are be mine, you look like and elf and i want to kill you (strip) (i also think they’re interesting bc you can lowkey hear the vocalist’s norwegian accent lmao)

thank you!! i hope you have a wonderful day/night as well ((^:

Rock Press Tokyo HizakixKamijo interview 2016

The age when there is no guarantee that you can create music whole life even if you sell million CDs

Since the formation in 2007, having outstanding powerful performance, aesthetic worldview, having made it‘s aggresive expansion to overseas, Versailles hit Visual Kei scene with it‘s powerful presence. At the end of 2015, they announced that band will be revived from hiatus (which began in 2012) , on 8/7 at Maihama Amphitheatre.  And finally they will release the best songs album titled The Greatest Hits 2007-2016 on 9/14. At ROCK PRESS tokyo we talked with the brightest members of the band - vocalist KAMIJO and guitarist HIZAKI. Talking frankly about music and Visual Kei scene, the words of these two people were really impressive.

-First of all,I‘d love to hear about when you came up with the idea of revival.

KAMIJO:As Hizaki-kun started  suggesting the idea of resurrection more and more often , I thought that I want it to happen too . Then we decided to meet with all members and decide about it. And the result of it, and the visual proof of our mutual feelings was the event at the end of last year.

HIZAKI:After all, all members wanted to revive Versailles. But somehow we couldn’t say the words “I want to be Versailles again”. And it became forbidden words to pronounce. We with Versailles‘ members without KAMIJO-san made another band. And as I‘m the leader in this band, being the vanguard I had the feeling that I wanted to break that forbidden rule .

KAMIJO:If Hizaki-kun wouldn‘t have spoken those words, other members couldn‘t talk about it as well. And I didn‘t want to do Versailles without these 4 people, so I‘m very grateful for that .

HIZAKI:When you have a band, the most important thing is to respect each member, but in long term activities I started to become less and less engaged to it . We had an activity pause in order to come back, but if you would look from outside, Versailles was able to create excellent individual players. As we did it, we understood that it‘s the most important thing before going forward.  I think Versailles required these 3 years.

KAMIJO:By working outside Versailles, we became the biggest rivals as we played together as individuals. It turned out to be a big advantage to Versailles.

-Looking to each other from sideways, You were aware of each other.

HIZAKI:Rather than being alone on sideways, there were many faces beside me looking toward! (laughs) But when band was formed, everyone thought ‚‘‘I want to be the most outstanding!“ I also remember how I felt at that point.

KAMIJO:There were way too many people involved, and instead of speaking with members, we started creating even more situations to communicate with other people. It turned out into big amount of misunderstandings, even though I had a part of me that couldn‘t share feelings, I ensured that I could talk to members directly no matter what happens. I have a feeling that we returned to being a proper band.  

-Although it was activity pause of 3 years, if you look at the restart of the band by standarts of the world relativity, it‘s really a short period of time.  You also started solo activities besides Versailles and you want to keep both of them but now will you be putting more energy to Versailles . What are you thinking about development ?

KAMIJO:We are going to put the same amount of power to both of them. But, to begin with, if I didn‘t have Versailles as a mother band there wouldn‘t be any solo activities.

HIZAKI:I learnt to switch the feelings fast. In fact, I don‘t need time to switch anymore. Although my solo album Rosario comes out on August 3rd, even if events between solo and Versailles would overlap, feelings-wise it would be totally OK. I‘d go to both of them treasuring it equally.

KAMIJO:Conversely, before activity pause of Versailles, we only had Versailles as a place of expression. If we wanted to express the part of ourselves that doesn‘t fit with the image of Versailles all the time it would be difficult to find balance .  And now with everyone having an individuality of themselves, they can hit Versailles with suitable parts for the band . Therefore, our unity has improved. Or  rather we are able to feel comfortable now.

HIZAKI:Simultaneously, we did various things. It may look difficult , but when you have a part of comfort in the width of expression, feelings-wise it may be easy . I think this may be applied to only both of us (laughing)

KAMIJO :  It‘s a clear thing that we will do activities as Versailles,but it‘s very hard to understand the goal of it. But personally, there are thoughts ‘‘Can I express myself more?“, ‘‘Can I have space to do things I want to do?“ . Of course we have to spread the width of Versailles as well, but personally the most important thing for me as an artist is the mindset ‘‘What I can do in this field?‘‘. It turned out to be a big advantage for me .

—Recently , Versailles and other Visual Kei bands which were formed at the same time by disbanding or pausing activities makes an impression that they are tired. Upon revival, have you been aware of these thoughts thereabouts?

KAMIJO :  Yes…. As we felt sorry that only we have happy news, if you will bring positive thoughts into scene, I believe it will be alright.

HIZAKI:Now, it‘s a tough time to work on visual kei scene in Japan , to be honest.  But you know, no matter how much you can‘t sell CD ‘‘someone“ make one step forward. There are people like that in any era.  That‘s why, in order to become that ‘‘someone‘‘ I‘m going to do it with feeling.

KAMIJO:I can‘t say about Japanese music scene as a whole , but at least, being myself active and being able to live up the field called Visual Kei, I feel that we need to enliven it more.  If Versailles doesn‘t stand on the top when we have a pride as we would be.  I want everyone to think that it‘s more cooler for a rock band to go on a stage with a flashy make-up. I want you to know more. I want to walk possessing this feeling.

-To embrace such a passionate feeling, You are going to held full revival live ‚‘‘Chateau de Versailles‘‘.  It‘s a very important live.

HIZAKI:We stood on the stage together on December last year and on June this year, even though audience had a chance to see the new Versailles, but the real revival in it‘s true meaning will be on that day. I want to make the live which will make cry and smile at the same time. I want everything to be extreme, because I think that it‘s Versailles. I want to make live that will explore all sort of emotions.

KAMIJO:Rage, the listening not only with impression, performance, visuals, excitement, direction.  I want the scale of everything to be extended. I know that any band knows how to present themselves but I want to make a live which will make you think ‘‘Versailles is the best and the coolest no matter how you look at it‘‘. In fact, any musician would say these words. Versailles want to create that form of idealism.

-Now please tell us about The Greatest Hits 2007-2016 album which will be released on 9/14.

HIZAKI: 『The Greatest Hits 2007-2016』, how to say, we were in playful mood, so in the end, it‘s exaggerated title (laughing) . I think it‘s going to be an album packed with history and future of Versailles.

KAMIJO:This album instead of being re-mastered is completely re-recordered. Also it will include 2 new songs. While picking songs, other members unanimously said ‚‘‘Let‘s pick this‘‘ and that‘s how we decided our tracklist. All members thought that it‘s the best material of Versailles.  

HIZAKI:Well,because Versailles are epic-oriented all songs are long (laughing). We barely made it to duration.

KAMIJO:  (laughs) . Talking about personal listening place of course, microphone is important. During the single Ascendead master I adapted one method but I sing all songs holding microphone in my hand. There is microphone that musicians often use SHURE SM58(SM58-LCE). It is often being called GOPPA. As depending on distance sound may get scratched, so if you listen carefully, it may sound funny. I adjust my fingers on live depending on songs.

HIZAKI:Concerning instruments, basically I will make phrases of songs as it was.  As I‘ll fully include the gained experience into the way of overlapping sounds, I want everyone to enjoy the balance of our 5 personalities.  Fans especially are excited about two new songs, here will come the fighting spirit.

KAMIJO:As every sound came out to news songs , I thought  ‘‘Ah, this is Versailles after all‘‘. I think all the fans will feel the same. I want them to listen to it as soon as possible.  After all, if you don‘t feel the future, it is not revival then.

-As revived band there are two mindsets : ‘‘We will offer the things of former years ‘‘ or ‘‘We will move forward while creating new things‘‘, each of it has different style. Each has good points , but Versailles decided to strictly move forward.

KAMIJO: That‘s right. That‘s why we decided to include new songs as well. As Versailles will celebrate it‘s 10th anniversary next year, in order to make 2017 Versailles year, to head towards future, we have to go forward. Versailles as a band is in condition if we are constantly thinking about difficulties.

HIZAKI:Individual roles are more firm now. For example,now Teru tells about his views actively.

KAMIJO:Revival is not a reunion. Activities has a meaning if you have a goal , we are going to deliver this kind of music to fans.

-Talking about goals, what is current goal of Versailles?

KAMIJO:Versailles is a band that aggressively went to world tours, but we want our music to reach even more people around the world.  This goal was always clearly stated, but we want to be the only ones who can do it .

HIZAKI:When going to overseas , various people comes to our lives. From people who loves Japanese culture , cosplayers, metal fellows, to old people. There aren‘t many bands who have a chance to go overseas, we are a band who can use this opportunity.

KAMIJO:Steadily,with album coming out, everytime we repeatedly go to domestic and overseas tours.  As japanese artists, Japan is the country where we held our first live. As representatives of Japan, we also experienced a lot of pressure . We want to do activities as revived band not forgetting about those feelings.

HIZAKI:Not speaking about visual kei bands, but speaking about the music scene as a whole, there are many people who wanted to be a part of boom of Cool Japan and went overseas. Some had light feelings,others gave bad impression.  Local people thought  ‘‘It‘s stuff of this level. I‘m bored.‘‘ Tired people becomes even more tired, distant people becomes even more distant, but I think that if we can bring people back one more time I‘d be happy.

KAMIJO:As a boom of Japan was ceased, and more bands started going to overseas, I‘ve become more stricter . But even more people started going to Versailles‘ lives. Also, there are people who have waited for us, I want to meet with even more people from now on….  Besides, Hizaki-kun, do you have things that you want to do first? (laughs)

HIZAKI:Eh? ‘‘First‘‘ is very hard. I won‘t leave my dreams and goals to the end. I want to do various things.  I want to do them all. Of course, I want many people to look at us doing it. I want to roll out into TV and festivals (laughs). But simply I want to go to the top. Though I don‘t know what it takes to reach it (laughs).

KAMIJO:Speaking about now, like before, we can‘t say that success is a clear result. Success can be in different forms depending how person looks at it. Although we can‘t determine success by ourselves, but we can set it lower or higher. While we are aware of improvement, I think it‘s important how far we can set criteria of success. Even if our standarts and policy may differ from other people , we are going to pursue it firmly anyway. In our case, we are aiming to become the flashiest, the most beautiful band with the best melodies in the world. To achieve it, we must follow success and results that we get.

HIZAKI:No matter where you held lives, and try to sell million CD, we live in the era that doesn‘t assure that we can create music whole life. That‘s why I think it‘s a waste of time pursuing this goal. We should treasure ideas we want to deliver, activities we want to do .

KAMIJO:That‘s right. However, our timespan as a band is going to be longer as we will celebrate 10th anniversary next year, I want to deliver ideas and the best scenery in a shape of reward .

-In regards to revival, to continue creating music in contrast with tension, you feel strong feelings.

KAMIJO:We don‘t want to lose to any other band either. To firmly show that, we want to show the best we have got on 8/7 Maihama Amphitheatre. I want you to witness the miraculous moment of revival by all means. Even if people who live far away this time can come to see us I‘ll be very happy. Versailles is a band which consists of many dramas. Our biography is pretty grand. We can deliver many dramas even from revival , you don‘t know what will happen even on 8/7 . Please don‘t miss even a single moment of Versailles.

I hope I managed to express members’ feelings through translation. Perfect translation is not possible. Please forgive me for possible mistakes. Please credit me if you repost translation.

anonymous asked:

How come you don't like hv? Apart from the fact that they 'can't sing'? I have mix feeling about them but I don't Hate them. I just wanna know why you don't like them? xx :)

from a musician/performer stand point? rena has the weakest voice i have ever heard and the idea of having a live band is useless,
i don’t think they’re passionate musicians whatsoever and i don’t think they worked that hard to get where they’re at, i don’t think they deserved to get that record label with 5sos since they’d already been signed to Hollywood Records and fucked it up
not to mention, hv worked their entire band from another girls voice and used their mother to get their manager and record label
they don’t write their own songs, and the ones they do tend to be sexist, or romanticise mental illness or abusive relationships
in other words, they’re bad song writers, and as artists all they’re trying to do is be relatable

from a normal person stand point? they and their mother used a young girl to gain popularity only to then kick her to the side once they got where they wanted,
they used Julia’s voice and songs up until they got signed at which point they decided Cherri Bomb didn’t exist anymore and since then have acted like it never existed period.
they have a complete disregard for who helped them get to where they are.
rena is pushed way too much to the front and i don’t see the point of them even being in a band,
they’re in over their heads; they stopped playing acoustic shows in public and instead went to the sound check line to play for people who don’t even want to see them because of “security” reasons, when proper bands are still out there playing acoustics in parks and parking lots
songs like fuqboi, makeup, unholy are completely wrong, and offensive and i can’t believe people like them,
their fan base is mainly young people, mainly girls, and when i say young, i mean YOUNG, and most of the songs they write like guys my age, unholy, like lovers do, fuqboi, makeup, cannibals, pure, are COMPLETELY inappropriate for their fan base and they know that
they never apologise for anything they’ve done wrong and that’s just blatantly ignorant,
their biggest appeal is trying to be relatable which is not what music or musicians are about and they gain their fame from other musicians like 5sos or Paramore,
they sat by and let other people make them famous

off the top of my head, that’s all, but anyone else is free to add on

Nobody Like You (Part 9)

AU Fic
Lay x Reader

Part 1 || Part 2 || Part 3 || Part 4 || Part 5 || Part 6 || Part 7 || Part 8 || Part 9

           You had propelled yourself a step away from the bed a moment before a disheveled-looking Suho burst into the room.

           “What—” he was asking before his eyes scrawled over the atmosphere between Lay and you, from the abandoned washcloth bleeding the covers into a darker purple to the tension as visible as a scream written in size 72 font. He hastened to the bedside.

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