YFCz Might Not Get All My Love, But They Get Some

So after convincing myself not to avoid it purely on principle, which is an utterly wrong thing to do, by the way, I looked up the full PV for YELLOW FRIED CHICKENz’s All MY Love, which dropped yesterday. There’s been some good discussions on here lately concerning the internationalization of GACKT, and what’s up with this whole YFCz thing. Well, all those confusing musings and ponderous wonderings aside, may I just state this simple, basic fact of life: regardless of who sings it, how many band-members there are, be it Cascade or Morning Musume nevermind, actually, neither of those acts will ever be cool, when a song is good, it’s good. Get over yourself and enjoy it.

Life is too short and your tastes are too rad to waste time being ashamed of your playlist.

In any case, all noodling and whining aside, I am actually ok with how All My Love turned out. Aside from the fact that the PV was totally not entertaining or thought-provoking in any way, shape, or form, I basically have no complaints. GACKT loves him some gently falling snow and some military-inspired outfits, wish they had shown more Chacha since I miss that flaming goddess, and I highly recommend Jon invest some time into learning his own stage moves instead of just copying GACKT’s moves like some creepy puppet, but well, you can’t exactly use pet-peeves as the basis for criticism can you? I just did. 

I’ll even go so far as to (wait for it) state that I was actually impressed by (yeah you can’t believe I’m saying it either) Jon’s performance. While I still consider him completely and entirely superfluous, I actually really enjoyed the harmonies, give him two thumbs up for his Japanese, and thought his voice was nice.

The song itself is really decent. The English straddled a thin line between overly repetitive and catchy, but since it’s already stuck in my head we’ll give them the benefit of the doubt. GACKT sounded great, and I thought the orchestral heaves (for lack of a better word) gave the thing a sort of sad-movie-anthem-feel. Nicely done, YFCz, and I am somewhat more hopeful about the whole studio-album thing.

On a final note….Maybe it’s just the season, but was I the only one who mentally auto-filled “holy night” into that first line?

Seasonal Mix tracklist

As requested, here’s the tracklist for the Jrock winter playlist I posted.

this is just wrong on every level

Itsuka no Merry Christmas – B’z (intro clip)
Merry Xmas 2 U – Vidoll
twinkle, twinkle – L’arc~En~Ciel
Konayuki – remioromen
Winter, again – GLAY
I Wish – L’arc~En~Ciel vers.

Silent Night – Hamasaki Ayumi ft. GACKT
12 Gatsu no Love Song – GACKT
Christmas – Kawamura Ryuuichi
Hanashitaku wa Nai – T-BOLAN

Arigatou – Amuro Namie
Mirrorball (VANDALIZE vers.) – alice nine
Yami ni Furu Kiseki (Classical White vers.) – D’espairsRay
SNOW – B’z

My personal winter playlist also includes these songs, which were not featured on the podcast:

Snow White – D
Setsugekka ~ The End of Silence~ -GACKT
Saikai ~STORY~ – GACKT
I LOVE YOU – Ozaki Yutaka
Kanashimi ga Itai Yo – T-BOLAN
Meguriai – GACKT
OH MY LITTLE GIRL – Ozaki Yutaka
Sayounara ~ RRII Vers. instrumental~ -GACKT
SWEET DREAMS ~ acoustic vers.~ – VAMPS
Lunartail – Luzmelt

What do you guys have on your seasonal mix? (And don’t even say Hurry Xmas by L’arc, because I don’t even want to hear it. /shudders)

Merry Xmas, Visualists!

So I started thinking about what I wanted to do for you all for Christmas, and, given everything that’s been going on recently, it only made sense to use this opportunity to “come out” in a sense on here. Here is a message/playlist that I recorded for you guys. Hope you enjoy it!

Merry Christmas and a Happy New Year from SG. 

Special thanks to Roukun for helping put this together. 

YFCz, New Musical White-Meat

I have an idea, which I may or may not feel like taking down in writing and forwarding to GACKT: Like, maybe he should drop the whole band thing and found the GACKT Orchestra. Then he can have as many band members as he wants on stage and nobody will think anything of it.

I like to think of myself as an adaptable soul, and I’m pretty open to change. But I’m also pretty comfortable with the 5-member band formula, now that Visual Kei has pushed me out of the standard 4-man comfort-zone and into the whole almost-as-cool-as-it-sounds “dueling-guitars” thing.

But to have 7 band members just hurts my brain. And dear lord, what exactly does that coat on the chair symbolize? Surely not the potential addition of an eighth member? Seriously, this is not A-PeaceAnd I still can’t figure out for the life of me what Jon’s actual, serious purpose is in this group. I know all the fangirls who harbor tender teenage dreams of going to Japan and starting Visual Kei bands will hate me forever for saying it, but I’m honest-to-gawd just waiting for a logical explanation for his presence in this band.

I can’t figure out if GACKT is just working the edge, or trolling us.

Not able to scrape enough interest off the bottom of my boot to watch the PV for The End of the Day, after the redundant lyrics pushed me away initially, I will say that I’m not entirely disinterested in All My Love. The song sounds decent enough on its own. That being said, I’m not sure I’m tempted enough to pre-order a copy of YFCz’s new album, destined to drop early 2012.  Title is TBA at the moment, but I’m sure it’ll be something relating to the waning phase of a 24-hour segment of time.

GACKT will also be releasing a single (solo? As far as I can tell) on the same date (2.22.12), titled Until The Last Day. Still haven’t heard Graffiti, but my Jrock senses tingled as I passed the Christmas tree earlier, and I’m pretty confident it’s in my future, all thanks to myself Santa of course.

GACKT to fulfill his promise at last…?

“Although the Japan tour is over, we’ve gotta keep our focus for the America tour beginning in March.
(translation by amaiakuyume)

I always knew this day would come. From the bottom of my heart, with the strongest gut instinct, I knew it would come. Through the Japan tours and the European tours and the hints and the teasers and the vague little “maybe”s, I knew he would one day have to cave in and give us what we want.

GACKT is coming to North America.

Not for movie premiers. Not for holing up in a recording studio. Not for sight-seeing.

GACKT is coming to North America for a tour.

Funnily enough, I always used to joke that the one day he finally announced a NA tour, it would be at exactly the same time I went back to Japan, and we would pass like ships in the night. Guess where I was supposed to be in March?

Lemme write about this when I figure some of these emotions out.

….As a side note, he knows North America is more than just Canada and California, right? Hurry, someone send him a map before they finalize locations..!

Thanks to @kimberdesu for the tip.

Source: amaiakuyume

Official:  http://yellowfriedchickenz.com/blog/articles/1308/

GACKT writes on the walls for 40th single.

Although a lot of griping goes down during genre downtime, once we actually get to the other side of the drought– once we can begin to see a glimmer of light at the end of the tunnel, I think there’s something to be said for being denied the very thing we most desire. Think about it, if every single day saw some ground-breaking single or album dropping, not only would you be completely cash-strapped, but you would also be a spoiled, jaded punk. Admit it.

Sometimes a little downtime can be good for us. It’s probably great for the artists who aren’t releasing, too. It means that when they finally release something, it has actually been crafted with care, and by the time it finds its way into our hands, our reception is more appreciative. So even though I whined along with the best of you, I find that now that there’s a smattering of awesome releases to look forward to as the cool weather starts waxing, I’m really just, I don’t know, ready for them. After months of lying in a grumpy heap on the floor playing 2008’s singles over and over again, the 4th quarter’s offerings come at the perfect time. I am ready to love them.

It would seem that GACKT is stepping it up and showering us with his generous goodwill by keeping a steady stream of releases lined up for the turning of the seasons. Still reeling from the impeccable swag of Episode.0, and still tentatively prodding September’s YFCz first single, we’re now also presented with the news that November 30th will lengthen Christmas lists worldwide with the addition of GACKT’s 40th single, Graffiti.

40 is a nice, round number. And if 40 isn’t an impressive musical-releases benchmark, I just don’t know what is. I remain continuously impressed by GACKT’s ability to sustain his commitment to quality throughout the creation and production of so much music, and I look forward to seeing his career continue on in the future with more excellent and thought-provoking material.

Is it just me reading into things too much, or does it seem like perhaps GACKT is making a slight aesthetic switch-up here? Somehow titles such as Episode.0 and Graffiti feel like era-ic titles. It’s different, and I like it. They feel urban and modern, which for some reason comes as a breath of fresh air after a long stream of poetic titles like The End of Silence, Lost Angels, and Flower.

 Although I hate to keep going on and on about it in such a shallow way, I also really hope the single brings a new hairstyle….But by golly I need this to not be it:

Graffiti will be released on November 30th, 2011, in the traditional 2 editions. Limited edition from CDJapan includes bonus DVD, etc, etc, and First Press editions include a poster. The single’s title-TBA B-side will be featured as a character song for the high school-club anime series SKET DANCE.

Fina-effing-lly A Bunraku Preview

Finally the official preview for one of the Jrock community’s most-anticipated releases, the Hollywood debut of Japanese media’s HRH GACKT: Guy Moshe’s Bunraku. I live in envy of everyone who had the opportunity to see the premier at the INTL film festival in Toronto last year, where GACKT was in kimono’ed attendance.

All in all the movie looks pretty sweet. The catch-lines weren’t bad, although it was something of a pointless trailer given that GACKT had no lines. We’ve all seen him in acting roles by now (Moon Child, Furinkazan, etc), but it will be interesting to see him surrounded by whities, acting in a “Hollywood” production, all up in the mainstream and everything. You go, GACKT.

Bunraku is destined for release on Sept 1st (VOD), and September 30th (theatrical release). I hope it’s shown nationally.

A mysterious drifter (Josh Hartnett) and an ardent young Japanese warrior Yoshi (Gackt) both arrive in a town that has been terrorized by outrageous and virulent criminals. Each is obsessed with his separate mission, and guided by the wisdom of The Bartender (Woody Harrelson) at the Horseless Horseman Saloon, the two eventually join forces to bring down the corrupt and contemptuous reign of Nicola (Ron Perlman), the awesomely evil “woodcutter” and his lady Alexandra (Demi Moore), a femme fatale with a secret past. This classic tale is re-vitalized and re-imagined in an entirely fresh visual context, set in a unique world that mixes skewed reality with shadow-play fantasy, a place where even the landscape can betray you. Heroes triumph here only because the force of their will transforms and transcends both space and time. The world of BUNRAKU is past and present, fantasy and reality, Samurai and Western all combined. Like SIN CITY and 300, it gives classic conflict a whole new graphically supercharged dynamic. Resonating through a wide range of cultures and showcasing a mind-blowing array of martial arts disciplines, BUNRAKU is a fresh arena for breathtaking fight action.

*Synopsis taken from the video info.