Post by ReikoUesugi on Jan 12, 2007 13:26:55 GMT -5
Angura kei
Angura kei (¥¢¥ó¥°¥éϵ Lit. Underground Style) is often classified as sub-genre within visual kei. However, in actuality, angura kei finds its roots way back during the 60's. The word "angura" is a Japanese abbreviation of the word "underground". The concept was first applied by independent Japanese theatre companies who wanted to create something original and Japanese in nature. This was almost a "counter-culture" movement, with aims to challenge the authenticity of so-called 'traditional' genres as well as the westernization that had swept across Japan since the industrial age. Angura kei music is also very closely related to ero-guro.
JrockSaga's furthured explaination of Angura Kei and Eroguro] www.jrocksaga.com/site/content/grab_bag.php?id=69
Ero guro
Ero guro (¥¨¥í¥°¥í, ero-guro?) is a concept or movement or sub-genre, still somewhat loosely defined, that has emerged inside multiple schools of Japanese art and music. The words "ero guro" or "ero guro nansensu" is gairaigo derived from the English phrase "erotic grotesque nonsense", and is sometimes shortened to simply guro (though this shortening is usually used to describe pornography).
History
Ero guro's first distinct appearance began in 1920s and 1930s Japanese literature. After World War I, many cultures in many countries saw a rise in liberation, especially with the cultural movements such as Jazz, the women's rights movements and Caf¨¦ culture. Ero guro can be seen as a byproduct of this worldwide relaxation of sexual taboos.[citation needed]
The movement was generally suppressed during World War II but has re-emerged in Post-WWII Japan [1], especially in Manga and Music.
Over time, the ero guro movement's influence expanded into parts of Japanese theatre, art, Manga, and eventually film and music.
In art and manga
The typifying element of ero guro visual art is the macabre intermingled with sexual overtones. Often the erotic element, even when not explicit, is merged with grotesque themes and features - rather similar to the works of H. R. Giger. Some visual artists who produce work classifiable as ero guro intend for it to be a deconstruction of Otaku sexuality or a critique of Japanese consumer culture. Others produce ero guro as a genre of Japanese pornography and hentai involving blood, gore, disfiguration, mutilation, urine, enemas, or feces.
Examples of well-known guro visual manga artists include Suehiro Maruo, Shintaro Kago, Jun Hayami, Toshio Maeda, Henmaru Machino, and Waita Uziga.
The modern genre of tentacle rape began within the category of ero guro (although it has much older roots in older Japanese art; see The Dream of the Fisherman's Wife), but was so successful that it is now usually considered separately.
Ero guro is also an element in many Japanese horror films and pinku eiga, particularly of the 1960s and 70s, such as Teruo Ishii's Horror of the Malformed Men (½‘õ´¨ÂÒšiÈ«¼¯¡¡¿Ö²ÀÆæÐÎÈËég, 1969) and Giichi Nishihara's Grotesque Perverted Slaughter (¬F´úªdÆæÐÔ·¸×ï, 1976).
Legality
Many countries prohibit pornography that is deemed to incite violence. This may be specifically because of the concern that the portrayed acts might be copied by mentally disturbed sadists, or simply as an outgrowth of the belief that pornography, especially hardcore pornography, objectifies and dehumanizes people.
As such, guro would likely be considered illegal in countries having such legislation. However, the fact that most guro artwork is clearly that - drawn or photomanipulated images not portraying reality - prevents most law enforcement agencies (especially online) from making the pursuit of such material a priority, concentrating instead on material such as child pornography.
In music
Ero guro bands (most often seen as a sub-genre within visual kei or post visual by some fans) typically use shock visuals, as well as lyrics and live imagery, but look less feminine than traditional visual kei. Within the erotic and shock value of the bands' music and performance, there is also humour. It has long been rumoured that Cali¡ÙGari were responsible for the application of the term to music.
Bands described as ero guro include Velvet Eden, Kinniku Shojyo Tai£¬Guruguru Eigakan, Inugami Circus-dan, Rauya, Merry, MUCC, Cali¡ÙGari, and more.
Ero guro and angura kei are two similar movements and in music are considered to be closely related. The distinction is that ero guro puts the focus closer on eroticism, sexual corruption and decadence. Angura kei (an anti-westernization movement that began in the 1960's) uses horror to return to something "uniquely Japanese" as Japan has a long tradition of ghost stories and monsters in their folklore.
Nagoya Kei
Nagoya kei (Ãû¹ÅÎÝϵ, nagoya-kei; -kei "type," "style"?) is a term that refers to a subdivision of the visual kei music scene centered in and around the city of Nagoya, Japan as well as other parts of the Aichi Prefecture. Compared with the music of the visual kei scene as a whole, the Nagoya kei sound is generally notably darker and defined by influence from more specific and mainly underground western sources, including British punk and goth/deathrock music of the late 1970's and early 80's including post-punk, and later, grunge and modern death metal. The first bands which were later labeled as "Nagoya kei" formed in the late 1980's and were active in the local livehouse scene, creating the first generation of a family of bands that defined the style that this scene came to be known for. Nagoya kei may be broken down into two distinct "generations". one existing between the late 1980's and the mid 90's, and another active from around 1996. Generally, when the term "Nagoya kei" is used, it distinctly refers to one or the other of these generations. Compared with music scenes surrounding other major cities in Japan, the Nagoya kei scene has been particularly influential on visual kei as a whole, and has thus been given its distinct title
Characteristics
Nagoya kei bands are often noted for being influenced by styles not incorporated by visual kei bands previously, and are often seen as innovators because of this. The early Nagoya kei sound, though varied, was mainly strongly influenced by western post-punk and deathrock of the late 1970's and early 80's. As the Japanese approach to music often concentrates more on melody than rhythm and music is generally composed with lyrics only being added afterwards, there are many notable differences between the Nagoya kei style and the styles from which it evolved. The bands were obviously influenced by these styles, but generally used more complex rhythms and melodies and often used faster drumming and bass or guitar rhythms to fill space with sound even when vocal and lead guitar melodies were slower. Later bands did much the same with different influences such as grunge rock and modern death metal.
History and prominent bands
First generation
Nagoya kei originated in the underground-oriented Nagoya livehouse scene of the late 1980's. The first band to gain a major following was Silver-Rose, whose sound was characterized by post-punk styled rhythms layered under more melodic lead guitar and vocals. Vocalist Yowmay's (y¨-may) style of singing resembled vocalists of the punk and post-punk eras, such as The d**ned's rockabilly-influenced David Vanian, as well as Bauhaus' Peter Murphy. Silver-Rose's style as a whole could be considered prototypical for the Nagoya scene of the early 1990's. Another prototypical style emerged soon after with Kuroyume (ü\‰ô, Kuroyume?), who would later go on to gain much greater popularity and eventually sign to a major label, making them the most well-known in the mainstream of the bands that originated in the Nagoya kei scene. Kuroyume's early music fused deathrock with death metal influence, bringing a much darker sound as well as lyrical and visual style to the Nagoya scene and to visual kei as a whole. Kuroyume are often credited as the most influential band not only on later Nagoya bands, but "indies" visual kei in general. However, some argue that the Nagoya kei scene as a whole should be given this credit. Other prominent bands that emerged in the scene during this period include Of-J, who incorporated post-punk, gothic rock and more pop rock oriented melodies as well as some experimental-influenced sounds; and DIE-ZW3E, whose sound included elements of glam rock, post-punk, deathrock, and later melodic pop-rock. Sleep My Dear, whose members included a few former Silver-Rose roadies, also formed around this time and later went on to sign with a major label, though they did not gain mainstream popularity.
More and more bands with the "Nagoya sound" were forming and gaining quick livehouse scene popularity in 1993 and 1994, many formed by former roadies of earlier Nagoya livehouse scene bands as with the aforementioned Sleep My Dear. Another band that went on to garner some mainstream popularity was formed by former Silver-Rose roadies around this time, ROUAGE, whose sound was a bit on the darker side of post-punk, though not necessarily gothic rock, and also brought into the Nagoya mix a bit of industrial influence. Along with these, Laputa, whose early sound ---- deathrock and gothic rock influenced ---- has been another of the most influential in and outside of the Nagoya scene, though their sound began to change after they signed to a major label. Romance for~, as named by Kuroyume's Kiyoharu (Çå´º, Kiyoharu?), formed around this time and were later signed with a major label for a short time. FANATIC CRISIS are also tied into the Nagoya scene, but it wasn't long before they, too, were signed. Despite the fact that many of the Nagoya scene bands were in a position to bring the local sound to the mainstream through their major label record deals, in most cases they eventually took different musical directions, often incorporating more styles to appeal to a broader audience after their major debuts. Another influential band, Shizuku (ë~¡, Shizuku?), was formed by a few former ROUAGE roadies. Their aggressive post-punk/deathrock sound and incorporation of lyrical themes and visual styles of apocalyptic near-future war gave them rise quickly in the local scene.
Around late 1994, Silver-Rose had broken up, leaving the now well-known band members to start their own projects or join others. Probably the most fateful of the changes that this brought was highly talented ex-Silver-Rose guitarist Kouichi's addition to Laputa due to a recent vacancy in the position. This would prove to be a major change, as he almost instantly became the main composer of the band's music. Some have credited their attracting major label interests to this change. The Laputa vacancy had been created when guitarist Hideno left to join merrygoround, who had relocated to the Nagoya area from Hiroshima to restart activity with new members. They brought the next major influential sound to the Nagoya scene. Additionally, Kyo, also formerly of Silver-Rose, was added on drums. Their sound was heavily deathrock influenced, often utilizing heavily distorted guitar and complex basslines coupled with the playfully morbid to psychotic/neurotic, obsessive, and often cryptic lyrics of vocalist Kazuma (Õæ, Kazuma?). Kazuma's frenzied and maniacal vocal style often incorporated fast rant-like verses sung in almost a monotone with repetitive inquisitive choruses, which coupled with his equally frenzied stage persona created an image of insanity. His vocal and lyrical styles have since heavily influenced many bands across the visual kei scene as a whole.
It could be said that merrygoround also represent the end of the first generation of Nagoya kei bands in a way. Their peers had mostly gone on to major labels and thus became more active nationally than with the local livehouse scene, or in some cases disbanded and left the scene, while merrygoround remained independent. They also proved to be the most prominent lasting influence on the next generation of Nagoya kei bands.
Second generation
The second generation's roots can be traced to around 1996, but this new group of bands can be considered separate due to the lack of direct participation by members of the first generation, though most of the bands involved were heavily influenced by well-known bands of the first generation.
In 1997, two bands appeared on the scene, kein and Lamiel. The vocalist of kein, Mako (±wºô, Mako?), had been a roadie for merrygoround, and their early sound showed heavy influence from that source. Later, they incorporated elements of grunge rock to create a more unique sound. Lamiel were influenced by Kuroyume and Laputa, and had more of a deathrock sound, but it was notably heavier than that of most of the bands of the previous generation. Later on in 1998 came Phobia, also merrygoround-influenced. These bands became rather popular in the visual indie scene in the late 1990's, particularly kein and Lamiel. Eventually, the bands saw some lineup changes. Two members left Lamiel and joined kein, including guitarist aie, who brought more grunge influence to kein. Phobia's Iori (ÒÀ¿—, Iori?) left the band to join Lamiel, completing the final lineup of the band.
Late 2000 saw the breakup of both kein and Lamiel, but soon after two new bands would be formed, completely made up of ex-members of the former two. The final lineup of kein had included Mako (±wºô, Mako?), aie, and yukino (¤æ¤¤Î, yukino?). These three joined with Lamiel's former drummer, Toki, to form deadman. Former Lamiel members ---- vocalist Yuina (¾SÄÇ, Yuina?), guitarist Iori (ÒÀ¿—, Iori?), and bassist Hiderou (ÐãÀÊ, Hiderou?) ---- became Blast with the addition of former kein drummer Hibiki (í‘, Hibiki?). Blast's sound had taken a more punk-oriented direction and later added more grunge rock influence, while deadman's sound was in ways a continuation of the former kein's.
However, not long after deadman's first maxi-single release, bassist yukino left in order to form his own band. Eventually he formed GULLET with Reo (ÁáÑë, Reo?), also formerly of kein, and vocalist ryo (Ñú, ryo?) who had previously fronted D'elsquel. GULLET resembled earlier kein in ways with merrygoround influence and a heavy grunge rock sound. In late 2003, however, they went their separate ways.
Around this time a notable newcomer had entered the scene. A talented vocalist named Hazuki (È~ÔÂ, Hazuki?) had formed a band called Berry (¥Ù¥ê¥£, Berry?). Though they also carried definite merrygoround influence, they added elements of death metal, grindcore, and at times swing rhythms. After two years, however, they dissolved, and soon Hazuki (È~ÔÂ, Hazuki?) and drummer Naoki (Ö±˜ä, Naoki?) joined with former KeiL bass player Ai (çŒÒÀ, Ai?) to form deathgaze, whose sound was based in more modern death metal and grindcore. They focused on heavy downtuned rhythms using 6-string bass and at times 7-string guitar, along with complex drumming and more melodic vocals, but also included intermittent growling vocals as well as full choruses sung in this style. Hazuki's ability to switch between these singing styles lent itself to their style, and they stood out among their peers and gained popularity quickly.
Soon, however, citing a desire to concentrate on his own music as deathgaze was centered around Ai's compositions and lyrics, Hazuki left deathgaze in early 2004. Later that year deathgaze found a new vocalist with similar style to Hazuki's, while Hazuki had formed a "session" band with ex-GULLET members Reo and yukino called deathgame. (¥Ç¥¹¥²©`¥à¡£, deathgame.?), also the name of a Berry (¥Ù¥ê¥£, Berry?) song. Eventually this evolved into Hazuki's new project, lynch., though yukino stayed on only as a support member and later left the band.
As of deadman's cessation of activities in May of 2006, many of the most prominent Nagoya kei musicians had moved away from the Nagoya scene or have retired from music completely. Newer Nagoya bands have shown more influence from visual kei bands outside of Nagoya, therefore their style is at times much different than the traditional Nagoya sound. The term "Nagoya kei" is not as often used today except in reference to the bands mentioned previously, and the use of this term applied to newer Nagoya visual kei bands is debatable
Oshare Kei
Oshare kei¡¡£¨¤ª¤·¤ã¤ìϵ£© is a sub-set of visual kei that began to appear in Japan around 2001. Oshare means "stylish" or "fashionable". (the literal translation is "fashion conscious")
Visual kei is a music genre that began in the late 1980s and was popular during the Japanese "Band Boom" of 1988 - 1998. When Oshare began, the majority of the Visual scene was normally considered to be "dark" in style and lyrical content, with music similar to alternative, metal, and similar rock genres.
Oshare bands incorporate a sound that is influenced by modern Pop Punk while retaining Visual sounds such as rhythmic shouting, guitar solos and songs that are around 5 minutes in length. The lyrics, in general, tend to focus on subject matter that is positive, often about love and relationships. The clothing style is usually bright and colorful and incorporates Japanese street fashion.
Since the introduction of oshare kei, many visual bands have begun to include brighter colors and more cheerful content into the repertoire, blurring the lines between visual kei sub-genres.
Bands include: Milphinne (¤ß¤ë¤Õ¤£¤Í), Panic Channel (¥Ñ¥Ë¥Ã¥¯¤Á¤ã¤ó¤Í¤ë), Antique Cafe (¥¢¥ó¥Æ¥£¥Ã¥¯-çì¬iµê-), Clavier (Clavier¡«¥¯¥é¥Ó¥¢¡«), Heart, Vinett, HenzeL, Lolita23q (ÉÙÅ®-¥í¥ê¥ð¥¿-23Çø), Ichigo69 (Æ€69¡£), Shelly Trip Realize, Ayabie (²ÊÀ䤨¤ë), Charlotte£¨¥·¥ã©`¥í¥Ã¥È£©, Bis.
Angura kei (¥¢¥ó¥°¥éϵ Lit. Underground Style) is often classified as sub-genre within visual kei. However, in actuality, angura kei finds its roots way back during the 60's. The word "angura" is a Japanese abbreviation of the word "underground". The concept was first applied by independent Japanese theatre companies who wanted to create something original and Japanese in nature. This was almost a "counter-culture" movement, with aims to challenge the authenticity of so-called 'traditional' genres as well as the westernization that had swept across Japan since the industrial age. Angura kei music is also very closely related to ero-guro.
JrockSaga's furthured explaination of Angura Kei and Eroguro] www.jrocksaga.com/site/content/grab_bag.php?id=69
Ero guro
Ero guro (¥¨¥í¥°¥í, ero-guro?) is a concept or movement or sub-genre, still somewhat loosely defined, that has emerged inside multiple schools of Japanese art and music. The words "ero guro" or "ero guro nansensu" is gairaigo derived from the English phrase "erotic grotesque nonsense", and is sometimes shortened to simply guro (though this shortening is usually used to describe pornography).
History
Ero guro's first distinct appearance began in 1920s and 1930s Japanese literature. After World War I, many cultures in many countries saw a rise in liberation, especially with the cultural movements such as Jazz, the women's rights movements and Caf¨¦ culture. Ero guro can be seen as a byproduct of this worldwide relaxation of sexual taboos.[citation needed]
The movement was generally suppressed during World War II but has re-emerged in Post-WWII Japan [1], especially in Manga and Music.
Over time, the ero guro movement's influence expanded into parts of Japanese theatre, art, Manga, and eventually film and music.
In art and manga
The typifying element of ero guro visual art is the macabre intermingled with sexual overtones. Often the erotic element, even when not explicit, is merged with grotesque themes and features - rather similar to the works of H. R. Giger. Some visual artists who produce work classifiable as ero guro intend for it to be a deconstruction of Otaku sexuality or a critique of Japanese consumer culture. Others produce ero guro as a genre of Japanese pornography and hentai involving blood, gore, disfiguration, mutilation, urine, enemas, or feces.
Examples of well-known guro visual manga artists include Suehiro Maruo, Shintaro Kago, Jun Hayami, Toshio Maeda, Henmaru Machino, and Waita Uziga.
The modern genre of tentacle rape began within the category of ero guro (although it has much older roots in older Japanese art; see The Dream of the Fisherman's Wife), but was so successful that it is now usually considered separately.
Ero guro is also an element in many Japanese horror films and pinku eiga, particularly of the 1960s and 70s, such as Teruo Ishii's Horror of the Malformed Men (½‘õ´¨ÂÒšiÈ«¼¯¡¡¿Ö²ÀÆæÐÎÈËég, 1969) and Giichi Nishihara's Grotesque Perverted Slaughter (¬F´úªdÆæÐÔ·¸×ï, 1976).
Legality
Many countries prohibit pornography that is deemed to incite violence. This may be specifically because of the concern that the portrayed acts might be copied by mentally disturbed sadists, or simply as an outgrowth of the belief that pornography, especially hardcore pornography, objectifies and dehumanizes people.
As such, guro would likely be considered illegal in countries having such legislation. However, the fact that most guro artwork is clearly that - drawn or photomanipulated images not portraying reality - prevents most law enforcement agencies (especially online) from making the pursuit of such material a priority, concentrating instead on material such as child pornography.
In music
Ero guro bands (most often seen as a sub-genre within visual kei or post visual by some fans) typically use shock visuals, as well as lyrics and live imagery, but look less feminine than traditional visual kei. Within the erotic and shock value of the bands' music and performance, there is also humour. It has long been rumoured that Cali¡ÙGari were responsible for the application of the term to music.
Bands described as ero guro include Velvet Eden, Kinniku Shojyo Tai£¬Guruguru Eigakan, Inugami Circus-dan, Rauya, Merry, MUCC, Cali¡ÙGari, and more.
Ero guro and angura kei are two similar movements and in music are considered to be closely related. The distinction is that ero guro puts the focus closer on eroticism, sexual corruption and decadence. Angura kei (an anti-westernization movement that began in the 1960's) uses horror to return to something "uniquely Japanese" as Japan has a long tradition of ghost stories and monsters in their folklore.
Nagoya Kei
Nagoya kei (Ãû¹ÅÎÝϵ, nagoya-kei; -kei "type," "style"?) is a term that refers to a subdivision of the visual kei music scene centered in and around the city of Nagoya, Japan as well as other parts of the Aichi Prefecture. Compared with the music of the visual kei scene as a whole, the Nagoya kei sound is generally notably darker and defined by influence from more specific and mainly underground western sources, including British punk and goth/deathrock music of the late 1970's and early 80's including post-punk, and later, grunge and modern death metal. The first bands which were later labeled as "Nagoya kei" formed in the late 1980's and were active in the local livehouse scene, creating the first generation of a family of bands that defined the style that this scene came to be known for. Nagoya kei may be broken down into two distinct "generations". one existing between the late 1980's and the mid 90's, and another active from around 1996. Generally, when the term "Nagoya kei" is used, it distinctly refers to one or the other of these generations. Compared with music scenes surrounding other major cities in Japan, the Nagoya kei scene has been particularly influential on visual kei as a whole, and has thus been given its distinct title
Characteristics
Nagoya kei bands are often noted for being influenced by styles not incorporated by visual kei bands previously, and are often seen as innovators because of this. The early Nagoya kei sound, though varied, was mainly strongly influenced by western post-punk and deathrock of the late 1970's and early 80's. As the Japanese approach to music often concentrates more on melody than rhythm and music is generally composed with lyrics only being added afterwards, there are many notable differences between the Nagoya kei style and the styles from which it evolved. The bands were obviously influenced by these styles, but generally used more complex rhythms and melodies and often used faster drumming and bass or guitar rhythms to fill space with sound even when vocal and lead guitar melodies were slower. Later bands did much the same with different influences such as grunge rock and modern death metal.
History and prominent bands
First generation
Nagoya kei originated in the underground-oriented Nagoya livehouse scene of the late 1980's. The first band to gain a major following was Silver-Rose, whose sound was characterized by post-punk styled rhythms layered under more melodic lead guitar and vocals. Vocalist Yowmay's (y¨-may) style of singing resembled vocalists of the punk and post-punk eras, such as The d**ned's rockabilly-influenced David Vanian, as well as Bauhaus' Peter Murphy. Silver-Rose's style as a whole could be considered prototypical for the Nagoya scene of the early 1990's. Another prototypical style emerged soon after with Kuroyume (ü\‰ô, Kuroyume?), who would later go on to gain much greater popularity and eventually sign to a major label, making them the most well-known in the mainstream of the bands that originated in the Nagoya kei scene. Kuroyume's early music fused deathrock with death metal influence, bringing a much darker sound as well as lyrical and visual style to the Nagoya scene and to visual kei as a whole. Kuroyume are often credited as the most influential band not only on later Nagoya bands, but "indies" visual kei in general. However, some argue that the Nagoya kei scene as a whole should be given this credit. Other prominent bands that emerged in the scene during this period include Of-J, who incorporated post-punk, gothic rock and more pop rock oriented melodies as well as some experimental-influenced sounds; and DIE-ZW3E, whose sound included elements of glam rock, post-punk, deathrock, and later melodic pop-rock. Sleep My Dear, whose members included a few former Silver-Rose roadies, also formed around this time and later went on to sign with a major label, though they did not gain mainstream popularity.
More and more bands with the "Nagoya sound" were forming and gaining quick livehouse scene popularity in 1993 and 1994, many formed by former roadies of earlier Nagoya livehouse scene bands as with the aforementioned Sleep My Dear. Another band that went on to garner some mainstream popularity was formed by former Silver-Rose roadies around this time, ROUAGE, whose sound was a bit on the darker side of post-punk, though not necessarily gothic rock, and also brought into the Nagoya mix a bit of industrial influence. Along with these, Laputa, whose early sound ---- deathrock and gothic rock influenced ---- has been another of the most influential in and outside of the Nagoya scene, though their sound began to change after they signed to a major label. Romance for~, as named by Kuroyume's Kiyoharu (Çå´º, Kiyoharu?), formed around this time and were later signed with a major label for a short time. FANATIC CRISIS are also tied into the Nagoya scene, but it wasn't long before they, too, were signed. Despite the fact that many of the Nagoya scene bands were in a position to bring the local sound to the mainstream through their major label record deals, in most cases they eventually took different musical directions, often incorporating more styles to appeal to a broader audience after their major debuts. Another influential band, Shizuku (ë~¡, Shizuku?), was formed by a few former ROUAGE roadies. Their aggressive post-punk/deathrock sound and incorporation of lyrical themes and visual styles of apocalyptic near-future war gave them rise quickly in the local scene.
Around late 1994, Silver-Rose had broken up, leaving the now well-known band members to start their own projects or join others. Probably the most fateful of the changes that this brought was highly talented ex-Silver-Rose guitarist Kouichi's addition to Laputa due to a recent vacancy in the position. This would prove to be a major change, as he almost instantly became the main composer of the band's music. Some have credited their attracting major label interests to this change. The Laputa vacancy had been created when guitarist Hideno left to join merrygoround, who had relocated to the Nagoya area from Hiroshima to restart activity with new members. They brought the next major influential sound to the Nagoya scene. Additionally, Kyo, also formerly of Silver-Rose, was added on drums. Their sound was heavily deathrock influenced, often utilizing heavily distorted guitar and complex basslines coupled with the playfully morbid to psychotic/neurotic, obsessive, and often cryptic lyrics of vocalist Kazuma (Õæ, Kazuma?). Kazuma's frenzied and maniacal vocal style often incorporated fast rant-like verses sung in almost a monotone with repetitive inquisitive choruses, which coupled with his equally frenzied stage persona created an image of insanity. His vocal and lyrical styles have since heavily influenced many bands across the visual kei scene as a whole.
It could be said that merrygoround also represent the end of the first generation of Nagoya kei bands in a way. Their peers had mostly gone on to major labels and thus became more active nationally than with the local livehouse scene, or in some cases disbanded and left the scene, while merrygoround remained independent. They also proved to be the most prominent lasting influence on the next generation of Nagoya kei bands.
Second generation
The second generation's roots can be traced to around 1996, but this new group of bands can be considered separate due to the lack of direct participation by members of the first generation, though most of the bands involved were heavily influenced by well-known bands of the first generation.
In 1997, two bands appeared on the scene, kein and Lamiel. The vocalist of kein, Mako (±wºô, Mako?), had been a roadie for merrygoround, and their early sound showed heavy influence from that source. Later, they incorporated elements of grunge rock to create a more unique sound. Lamiel were influenced by Kuroyume and Laputa, and had more of a deathrock sound, but it was notably heavier than that of most of the bands of the previous generation. Later on in 1998 came Phobia, also merrygoround-influenced. These bands became rather popular in the visual indie scene in the late 1990's, particularly kein and Lamiel. Eventually, the bands saw some lineup changes. Two members left Lamiel and joined kein, including guitarist aie, who brought more grunge influence to kein. Phobia's Iori (ÒÀ¿—, Iori?) left the band to join Lamiel, completing the final lineup of the band.
Late 2000 saw the breakup of both kein and Lamiel, but soon after two new bands would be formed, completely made up of ex-members of the former two. The final lineup of kein had included Mako (±wºô, Mako?), aie, and yukino (¤æ¤¤Î, yukino?). These three joined with Lamiel's former drummer, Toki, to form deadman. Former Lamiel members ---- vocalist Yuina (¾SÄÇ, Yuina?), guitarist Iori (ÒÀ¿—, Iori?), and bassist Hiderou (ÐãÀÊ, Hiderou?) ---- became Blast with the addition of former kein drummer Hibiki (í‘, Hibiki?). Blast's sound had taken a more punk-oriented direction and later added more grunge rock influence, while deadman's sound was in ways a continuation of the former kein's.
However, not long after deadman's first maxi-single release, bassist yukino left in order to form his own band. Eventually he formed GULLET with Reo (ÁáÑë, Reo?), also formerly of kein, and vocalist ryo (Ñú, ryo?) who had previously fronted D'elsquel. GULLET resembled earlier kein in ways with merrygoround influence and a heavy grunge rock sound. In late 2003, however, they went their separate ways.
Around this time a notable newcomer had entered the scene. A talented vocalist named Hazuki (È~ÔÂ, Hazuki?) had formed a band called Berry (¥Ù¥ê¥£, Berry?). Though they also carried definite merrygoround influence, they added elements of death metal, grindcore, and at times swing rhythms. After two years, however, they dissolved, and soon Hazuki (È~ÔÂ, Hazuki?) and drummer Naoki (Ö±˜ä, Naoki?) joined with former KeiL bass player Ai (çŒÒÀ, Ai?) to form deathgaze, whose sound was based in more modern death metal and grindcore. They focused on heavy downtuned rhythms using 6-string bass and at times 7-string guitar, along with complex drumming and more melodic vocals, but also included intermittent growling vocals as well as full choruses sung in this style. Hazuki's ability to switch between these singing styles lent itself to their style, and they stood out among their peers and gained popularity quickly.
Soon, however, citing a desire to concentrate on his own music as deathgaze was centered around Ai's compositions and lyrics, Hazuki left deathgaze in early 2004. Later that year deathgaze found a new vocalist with similar style to Hazuki's, while Hazuki had formed a "session" band with ex-GULLET members Reo and yukino called deathgame. (¥Ç¥¹¥²©`¥à¡£, deathgame.?), also the name of a Berry (¥Ù¥ê¥£, Berry?) song. Eventually this evolved into Hazuki's new project, lynch., though yukino stayed on only as a support member and later left the band.
As of deadman's cessation of activities in May of 2006, many of the most prominent Nagoya kei musicians had moved away from the Nagoya scene or have retired from music completely. Newer Nagoya bands have shown more influence from visual kei bands outside of Nagoya, therefore their style is at times much different than the traditional Nagoya sound. The term "Nagoya kei" is not as often used today except in reference to the bands mentioned previously, and the use of this term applied to newer Nagoya visual kei bands is debatable
Oshare Kei
Oshare kei¡¡£¨¤ª¤·¤ã¤ìϵ£© is a sub-set of visual kei that began to appear in Japan around 2001. Oshare means "stylish" or "fashionable". (the literal translation is "fashion conscious")
Visual kei is a music genre that began in the late 1980s and was popular during the Japanese "Band Boom" of 1988 - 1998. When Oshare began, the majority of the Visual scene was normally considered to be "dark" in style and lyrical content, with music similar to alternative, metal, and similar rock genres.
Oshare bands incorporate a sound that is influenced by modern Pop Punk while retaining Visual sounds such as rhythmic shouting, guitar solos and songs that are around 5 minutes in length. The lyrics, in general, tend to focus on subject matter that is positive, often about love and relationships. The clothing style is usually bright and colorful and incorporates Japanese street fashion.
Since the introduction of oshare kei, many visual bands have begun to include brighter colors and more cheerful content into the repertoire, blurring the lines between visual kei sub-genres.
Bands include: Milphinne (¤ß¤ë¤Õ¤£¤Í), Panic Channel (¥Ñ¥Ë¥Ã¥¯¤Á¤ã¤ó¤Í¤ë), Antique Cafe (¥¢¥ó¥Æ¥£¥Ã¥¯-çì¬iµê-), Clavier (Clavier¡«¥¯¥é¥Ó¥¢¡«), Heart, Vinett, HenzeL, Lolita23q (ÉÙÅ®-¥í¥ê¥ð¥¿-23Çø), Ichigo69 (Æ€69¡£), Shelly Trip Realize, Ayabie (²ÊÀ䤨¤ë), Charlotte£¨¥·¥ã©`¥í¥Ã¥È£©, Bis.