【由利】GARNET CROW part12【七】

This is a thread mainly for chatting about GARNET CROW. Let's talk broadly and have fun. ◆ Keeping things chill is recommended. A hostile atmosphere is no good (・A・) ◆ Trolling, attacking fixed handles, etc. are prohibited—just ignore it. ◆ Beginners, old-timers, and fixed handles are all welcome. ◆ Don't bother or bash other artists or threads. ◆ Lastly...There will still be "lovely music" in this world. Previous thread 【Yuri】GARNET CROW part11【Nana】 http://mamono.2ch.net/test/read.cgi/musicj/1206992098/

Previous threads 【Yuri】　　GARNET CROW　　【Nana】 http://music2.2ch.net/test/read.cgi/musicj/1050524388 【Yuri】　　GARNET CROW II　　【Nana】 http://music2.2ch.net/test/read.cgi/musicj/1050524388/ 【Yuri】GARNET CROW 03【Nana】 http://music5.2ch.net/test/read.cgi/musicj/1122031082/ 【Yuri】GARNET CROW 03 part2【Nana】 http://music8.2ch.net/test/read.cgi/musicj/1166779350/ 【Yuri】GARNET CROW part5【Nana】 http://music8.2ch.net/test/read.cgi/musicj/1176893626/ 【Yuri】GARNET CROW part6【Nana】 http://music8.2ch.net/test/read.cgi/musicj/1191322341/ 【Yuri】GARNET CROW part"7"【Nana】 http://music8.2ch.net/test/read.cgi/musicj/1200241988/ 【Yuri】GARNET CROW part8【Nana】 http://music8.2ch.net/test/read.cgi/musicj/1203660376/ 【Yuri】GARNET CROW part9【Nana】 http://music8.2ch.net/test/read.cgi/musicj/1205851574/ 【Yuri】GARNET CROW part10【Nana】 http://music8.2ch.net/test/read.cgi/musicj/1206516774/ 【Yuri】GARNET CROW part11【Nana】 http://mamono.2ch.net/test/read.cgi/musicj/1206992098/

Artists I'd recommend to Gane fans. (This list was put together through discussions among the regulars. Everyone's tastes are different, of course, so please keep that in mind.) PAATOS/Kallocain Chihiro Onitsuka/Insomnia hyde/ROENTGEN the brilliant green/the brilliant green Pain Of Salvation/The Perfect Element Part I GRAPEVINE/From a small town ACIDMAN/equal Nick Drake/Pink Moon Sean North/Story Neverend Jun Shibata/Hitori Do As Infinity/BREAK OF DOWN rumania montevideo/rumaniamania the cranberries/everybody else is doing it,so why can't we? Spitz/Hachimitsu Anri Kumaki/Sappukei Ringo Sheena/Muzai Moratorium Radiohead/OK Computer THE BACK HORN/Ningen Program Cloudberry Jam/Funiki-zukuri Bjork/Vespertine Evanescence/Fallen Corrections, additions, and all kinds of opinions are very welcome. Let's discuss them with the thread regulars and keep expanding the list.

I changed the template a little, but we don't need the other anti-troll measures or album release info anymore, right? I'm heading out soon. >1 Otsu.

Suggestions for the list. Sorry for taking the liberty, but I'm leaving these here. 421 ：名無しのエリー：2008/05/13(火) 15:54:50 ID:v2f7g+k60 The Cardigans — Gran Turismo http://jp.youtube.com/watch?v=BLKlIvExuvM http://jp.youtube.com/watch?v=lnFB7dqe9vo&feature=related http://jp.youtube.com/watch?v=8nGuhK5oVs0 The band lost popularity with this album, but should I still add them to the recommendations? Life doesn't seem like it would suit GARNET fans. Though people who like Blue Bird might enjoy it. 516 ：名無しのエリー：2008/06/02(月) 18:25:07 ID:3Sr1HxQ+0 Sorry to cut in without reading the room, but OLIVIA's second Avex album, “The Lost Lolli,” is apparently a masterpiece. You never know what you'll find if you dig around in Avex. Though it's not like I'm that knowledgeable about Avex.

>1 One otsu for you.

What part of Yurippe has had plastic surgery? Just her eyes?

PAATOS/Kallocain Chihiro Onitsuka/Insomnia hyde/ROENTGEN the brilliant green/the brilliant green Pain Of Salvation/The Perfect Element Part I GRAPEVINE/From a small town ACIDMAN/equal Nick Drake/Pink Moon Sean North/Story Neverend Jun Shibata/Hitori Do As Infinity/BREAK OF DOWN rumania montevideo/rumaniamania the cranberries/everybody else is doing it,so why can't we? Spitz/Hachimitsu Anri Kumaki/Sappukei Ringo Sheena/Muzai Moratorium Radiohead/OK Computer THE BACK HORN/Ningen Program Cloudberry Jam/Funiki-zukuri Bjork/Vespertine Evanescence/Fallen The Cardigans/Gran Turismo The Cardigans are Yurippe's favorite, and Mochi Radio plays their songs a lot, so I think they're a good addition.

They're probably at the live show by now. >7 Why assume she's had plastic surgeryｗ

>1 Stretch this “otsu” out.

It's over. Right at 9:00.

I found out from the main thread, but what is A Hundred Years of Solitude? A new song?

The title of the new song. They didn't perform it because of adult circumstances.

It didn't make it into the merch lineup, thoughｗ Following One of the Dreams, it's another song title to look forward to.

I wonder if it's the kind of song you listen to while reading South American literature and drinking shochuｗ ...Is there a South American boom going on in AZUKI-san's head?

This came along while I was hooked on Back Horn's “Loneliness of Thousands of Light Years”＾＾ Regardless of the world of the lyrics, if it turns out to be a bright song, that'll be one hell of a letdown. Anyway, the 1000th post was a girlｗ I wonder if the person who got groped was okay.

I couldn't find A Hundred Years of Solitude, so I started reading The Autumn of the Patriarch instead. ...Man, what an eccentric writer.

The title alone is kind of funny.

But it's the kind of work that made it onto lists like the Top 100 World Masterpieces, right? I don't really feel like reading it, thoughｗ Maybe it'll inspire some lyrics.

Like Oscar Wilde, does Nana-sama like writers with really detailed descriptions? I always thought she was mainly into the English-language literary world.

>19 At a glance, I imagined something like this: “The brilliant things I grasped disappeared into distant memory before I knew it. But if I just keep watching like this, dreams and everything else will only pass by. No matter what I do, my heart will grow empty. Where am I going, carrying a hundred years of solitude forever?” Something along those lines. There is resignation in it, but it also seems to wish for an escape from that resignation. I hope it's like thatｗ

For some reason, judging from the main thread, there really aren't many criticisms of the live show. How were Yurippe's vocals and the overall atmosphere of the show? >21 If it were just resignation, they've already shown that with “Sekai wa...” Since the phrase is “a hundred years of solitude,” they could show something more decadent and hopeless, or something more desperate and struggling. I think it would also be fine for Nana to take the motif of A Hundred Years of Solitude and break it down in her own way.

Come to think of it, there was also a shochu called A Hundred Years of Solitude... Tomorrow I'm going to buy Smashing Pumpkins' Zeitgeist, which I forgot to buy today, and Back Horn's Pulse...

I like A Hundred Years of Solitude, so if I were turning it into lyrics, I think it might go something like this. Every moment piles atop the next And our history is made Today a wandering bard was telling a legend on a street corner We who live so casually are the protagonists, becoming history Today we go to school. Today we go to work. Everyone is making history Being alive. Being unable to live. We in an eternal cycle Are told eternal histories And live forever.

>23 There is one. It's good, though it costs about 1,000 yen a glass. It should be named after the novel. I'm thinking I'll look at Nana-san's lyrics first without any preconceptions, then read the book, and then look back at the lyrics again... but I'm torn. It's a kind of epic saga, right? I'm hoping for a flow like A crown.

Reading that made me think of Kenji Ozawa's “Scenes of Angels” for some reason. That feeling of being wrapped in some unseen great force when it comes to living. It's a very sensory thing, but even just looking at the content, it really resonates. >23 Smashing Pumpkins feels kind of melancholy, like it's burned out. Sorry, that was beside the point.

Is “Smapan” Smashing Pumpkins? How are The Offspring and Linkin Park rated on this board?

There are a lot of people who mock melodic hardcore with “chuunibyouｗｗｗ,” so I guess The Offspring aren't rated very highly? I dunno, though. Linkin Park has catchy, easy-to-understand songs like that too, so maybe they're iffy? http://jp.youtube.com/watch?v=_5Oi4R-jSoA&feature=related I listen to Smashing Pumpkins' Adore a lot. Some people call it a masterpiece, while quite a few call it crap, so it's a controversial work both musically and critically.

Even after reuniting, Smashing Pumpkins can't show the strength they had in their prime. If anything, I feel like they've deteriorated. I don't have high hopes for DAI either.

On the Japanese music board, Rockin'On-type bands seem to be well received. BRAHMAN, the band apart, and Ashi seem popular, maybe? I think Ellegarden and Remioromen are iffy, though. The Being acts, Gane included, have zero popularityｗ

Bump for the deserted thread.

■ GARNET CROW New Single “A Hundred Years of Solitude” Release date: October 22, 2008 Theme song for the movie “Fist of the North Star: The Legend of the True Savior—ZERO: Kenshiro Den” ■ Movie “Fist of the North Star: The Legend of the True Savior—ZERO: Kenshiro Den” screening schedule Advance screening on Saturday, October 4, at Ikebukuro Cinema Sunshine Putting aside the quality of the tie-in, it feels like they're headed somewhere that isn't quite where the fans are. This is the tie-in they choseｗ A Hundred Years of Solitude is starting to feel incredibly chaotic.

The result of reaching out to the fans is DEEN, right?

At any rate, it's definitely not a medium-tempo balladｗ An uptempo rock tune might be possible too.

>32>34 You two don't really know much about Fist of the North Star, do you? Anyway, there's no way the tie-in song for the final chapter of Fist of the North Star would be an uptempo rock tune. I'm predicting a moving ballad that sinks into your heart.

The music for the previous Toki Den was by Yuki Kajiura... Maybe Gane won't be as out of place in terms of atmosphere as you might think.

Sorry for the double post. >35 Where is the final chapter? I thought Raoh's “No Regrets” was near the end. Am I right?

>37 Take a look here: ttp://www.hokuto-no-ken.jp/contents/movie_ova/index.html# By the way, “No Regrets” is Chapter 3.

>35 Even if it isn't uptempo, there's no doubt we'll get a flashy ballad just because it has a tie-in. I just hope it doesn't turn out trite.

>38 Thanks. That's an amazing page. So Gane's song is going to play here... I'm getting a little nervous. A song with a mainstream feel would be fine. With a tie-in this big, I hope it also makes use of the world of Fist of the North Star. I'm looking forward to seeing what they do as professionals. It depends on when the tie-in was decided, but I wonder if Nana-sama read the whole manga againｗ

Honestly, I was expecting something dark, gloomy, and heavy like Maboroshi, so I wanted either a drama tie-in completely unrelated to the music or no tie-in at all. This tie-in is obviously going to push a mainstream feel, so I have a bad feeling it'll be a bland, harmless ballad. I'm done with them trying to follow the source's worldview. >36 Kajiura, huh... Gane has completely become an anime-song unit. Well, it's not like that's news at this point.

Well, when you say “mainstream feel,” I don't dislike Yumemita Ato de or Wasurenazaki. Lately there haven't been any songs that grow on you. If they don't click right away, they really don't click at all...

>41 Kajiura was in See-Saw, so ordinary people bought her records too. Wasn't one of them number one on Oricon? She's an artist Victor was heavily pushing. Before that, B'z did the theme song, so honestly this is a pretty damn good tie-in.

I only have this image of Kajiura as a Gundam otaku and a Gundam-specialist artist. I didn't know she'd gotten tie-ins like that. She may be famous in the anime-song world, but I had no idea.

>44 She also did the music for Takeshi Kitano's latest film, “Achilles and the Tortoise.” Anime songs, huh?

In other words, the point is not to automatically think “anime, anime.” Even if this one ends up being lame, they might get a Japanese movie theme song next. It could even be the next Kitano movie, or a tie-in for an Amuse movie on the level of Aibou.

When a tie-in has already been decided, the atmosphere of the tie-in matters more than its quality, though. Well, with tie-ins being so bad right now, that's a pretty luxurious thing to worry about.

Fist of the North Star has a tragic atmosphere, and this story seems to be about Kenshiro rising after defeat—an internal, introspective story—so it might not be such a bad fit. In terms of atmosphere, even if it has to be an anime, something like “Nabari no Ou” would fit better, though... A story about a boy who wishes for his own erasure.

You can tell whether it fits or not by listening to the song they linked it with. Since Maboroshi, it feels like the songs chosen as single title tracks are songs anyone could release, even if they weren't Gane. I want them to deliver something huge here.

I thought Sekai wa Mawaru was a song only GARNET could make. That song really hit the spot for me.

I was surprised by how they brought in the final chorus after the key change, but I've had my fill of choruses like that from the post-5th period. You don't need to build such a huge climax, >Sekai wa... But the arrangement with the pad coming in during the intro really shows Ossan's dedication as a synth player. It made me think, “Yeah, Ossan is amazing.” I like warm pads, so I really like it.

Those emphatic choruses pulled along by Yurippe's belted singing can be pretty tough too.

I really like the programmed drums in One of the Dreams. They sound kind of live, don't they? Great snare. It's straightforward, but the lyrics have some really shining moments too. Like, “I only saw one of the dreams / Let's go back to tomorrow.” The phrase “let's go back” strangely doubles the sadness. It isn't wallowing in sentimentality so much as simply returning to the ordinary days before the two people met again. That clean, matter-of-fact lyrical mood makes you painfully feel how fleeting those days together were.

A Hundred Years of Solitude did make me waver a little because of the tie-in, but I'm looking forward to Nana's lyrics.

The phrase “Life (toki) is fleeting, yet people sometimes ask for too much” is pretty good too. Reading “life” as toki gives it the meaning of life while also strongly suggesting the image of a short amount of time, and “ask for too much from time” can be interpreted as both “sometimes” and in a temporal sense. It's interesting.

Gane really ought to get a movie tie-in for one of Otsuichi's works soon. I'm waiting for them to be chosen.

>55 Since “toki” is repeated, if you only listen to the sound, you can also interpret it as: “Life is fleeting, yet people ask too much of other people (of life).”

These readings you impose on lyrics are fun. They put a metaphorical, double-meaning kind of feeling into phrases that look simple at first glance. >56 Since the Back Horn are getting tie-ins in that position, I'd like Gane to get one at a comparable level too.

I just watched the GARNET TIME special, and Yurippe has changed from her old image. Her voice has gotten a little lower, but more than anything, her personality has gotten a little brighterｗ

Yurippe herself hasn't changed all that much. I think she's just gotten used to the camera. But since she wants to go to a deserted island, maybe she has gotten stronger.

Maybe she's gotten to the point where she can joke about going to a deserted island. I miss those fresh early days. The music and the members' vibe have both fully matured, for better or worse. Well, it would be weird if they stayed exactly the same after going on this long.

I have a bad feeling Nana is going to attack me.

I never imagined I'd end up being called the Queen of Unreasonable Demands. >58 Come to think of it, was it ZOO? The Back Horn's “Kiseki” was a tie-in for that, right? If it were an anime tie-in, it would be funny to see them handle Gundamｗ Though, well, there's no chance of that.

>61 Since the person she said it to was Nana, I think she was serious rather than joking. I'm guessing they've already gone and come back by now.

It made the first-press DVD in time. “Private footage of Yuri and Nana letting loose a little on a deserted island.”

>65 So it'd be footage of the two of them slashing wild animals with dagger knives, then “cooking” while covered in blood. Watching them devour raw meat with both hands dripping in fresh blood would be downright artistic. Apparently the last thing they ate was the cameraman's internal organs.

Still, does the description “a powerful song condensing the world of Fist of the North Star” mean we can really get our hopes up? ( ・∀・)y─┛~~ Apparently only the intro was played on Okamoto's radio show.

Hearing it described as “a powerful song condensing the world of Fist of the North Star” has kind of a dubious ring to itｗ I hope there isn't some clumsy tie-in connection forced into it. Apparently the intro sounds pretty good, though.

Surely it doesn't go “A hundred years of so-lituuude” at the start of the chorus, right?ｗ I'd rather they put it somewhere other than the chorus. We don't need some weird Being rule saying the title absolutely has to be included.

>69 That rule seems to still be alive. They'll sing something like “A hun-dred years of soli-tuuude” in the chorus.

Wait, seriously?! Isn't the title supposed to come from a phrase used in the chorus?

>71 > Isn't the title supposed to come from a phrase used in the chorus? That's right. It's backwards, but if the title is A Hundred Years of Solitude, then the chorus will definitely sing “A Hundred Years of Solitude~.”

Just because the pattern exists doesn't mean it's absolute. There are plenty of songs where the chorus doesn't equal the title.

It's said to be a Being tradition, built up over their long history, to put the title into the start of the chorus or another memorable section when the song title is long or lame. Honestly, Being, Gane included, has a lot of unnatural title insertions that make it seem like there's some fixed rule. It's probably the result of the company's overall direction: even B-list stuff is fine as long as it sells. Being has no individuality in its musicality, so it has this weird kind of individuality in places like this. Putting the lyrics right at the beginning is common outside Being too, and it normally doesn't bother me that much, but sometimes I wish they'd think a little harder about the title and how they fit it in.

>73 With singles, there's a high chance the title comes at the start of the chorus. The chance of it getting stuck in your own head is surprisingly high tooｗ

Nagato (Kannoji) must have been deeply impressed by “Itoshisa to Setsunasa to Kokoro Tsuyosa to.” It was based on an anime too, after all.

Just like Rockin'On-type bands have the image of “real rock (lol)” and Avex-type bands have the image of cheap programmed music, Being-type acts have the image of obvious sales-line music and lame titles. You get preconceptions about the music from the titles. I'm not trying to put them down, but with Saegusa and Kitahara, all you can do is laugh anymore.

Let's try sorting them. Titles... 1. Songs where the title appears at the start of the chorus e.g. “Yumemita Ato de,” “Kimi to Iu Hikari,” “One of the Dreams” 2. Songs where the title appears at the end of the chorus e.g. “call my name,” “Float world,” “Maboroshi,” “WEEKEND” 3. Songs where the title appears somewhere in the chorus e.g. “Spiral,” “Crystal Gauge,” “Marionette Fantasia” 4. Songs where the title is used just before the chorus e.g. “Mikansei na Neiro,” “Wasurenazaki” 5. Songs where a translated form of the title is used e.g. “Holy ground,” “flower” 6. Songs where the title isn't used in the lyrics at all e.g. “lose feeling,” “Kakurenbo” I'm not going to fit every song into a category, though. As expected, 1 and 2 are common. 5 and 6, on the other hand, are rare.

>78 There was a perfect video uploaded to NicoNico. It strings together only the parts of every song that contain the title.

With the singles, except for Last love, call my name, Rai Rai Ya, mysterious eyes, Kurige, Kaze to RAINBOW, Wasurenazaki, Yume・Hanabi, Hare-dokei, Maboroshi, and Futari no Rocket, they probably all start with the title phrase at the beginning of the chorus. The Being formula has really become entrenched. >77 They're probably trying to create impact by using long, lame titles, but it's pretty cringeｗ It's not catchy or anything. Still, when people lump things together as broad “types,” why are Avex and Being categorized as companies, while Rockin'On is categorized as a magazine too? Does that childish music magazine really have that much influence?

>74 Being is saying that even B-list stuff is fine as long as it sells. You have to admire that.

You can't exactly use the phrase “even B-list stuff is fine as long as it sells” without embarrassment anymoreｗ Maybe it was okay in the old days.

I saw someone say on the Being thread that they named it BEING because they collect B-list artists. Is that actually true?

Does anyone here listen to IONA? I heard “presure” and it piqued my interest. If they make sad songs, I might buy them, but what are they like?

IONA, you mean that trad band? (Or is it prog? Symphonic? I don't know what category to put them in.) A friend once lent them to me, saying, “They have a rock flavor and are easy to listen to. They don't have the drag of trad.” They have a graceful, ethereal atmosphere, though. But I wouldn't really call them sad. Why not try listening to Beyond These Shores for now? I seem to remember Book of Kells having some pretty good instrumentals too.

I just realized Rank Head isn't on this list. I thought they belonged here since The Back Horn, that suffocatingly introspective band, is on it. Though they've been getting more pop lately. By the way, I've been hearing The Back Horn a lot lately, and it looks like they put out a new album. I'd like to ask people who listen to them for recommendations. Should I just go with Ningen Program, like the recommendation list says?

I think I mentioned this before, but they have a best-of out, so you should rent that first. Jumping straight into Ningen Program might be a bit much. Heart Orchestra and Ningen Program are both recommended, but you should decide based on how you feel about the best-of. They have a strong kayōkyoku flavor and can be pretty quirky. >80 “Rockin'On-type” is actually a weird category. Whether a magazine promotes or features them has nothing to do with their individual musical styles, and they have absolutely nothing in common. BUMP, Ellegarden, and BEAT CRUSADERS don't feel like the same thing as GRAPEVINE, syrup16g, and The Back Horn, and those don't feel like the same thing as Kazuyoshi Nakamura or Supercar either.

>85 Thanks! Ethereal, huh. I'll listen around a bit. I thought the sound was beautiful, but I guess they don't have anything sad. What a shame. Also, I got the title horribly wrong. I meant Treasureorz.

>85 Irish trad seems right. They were originally one of the representative Irish-trad bands. (Though they changed their image.) The prog label probably only came later because people noticed that kind of atmosphere and those kinds of elements in their music.

The Back Horn mainly makes me think of that Odagiri Joe movie and Gundam. Their song “Wana” made Gane miss getting into the Oricon chartsｗ

I've been listening to Opeth lately. Anyone else here listen to them? Deliverance is good~ They have amazing shifts between mellow, acoustic sections and dynamic death-metal-style sections. I'd definitely recommend them to Gane fans.

They have a nice floating quality and some unusual chord progressions. Interesting. I've been listening to nothing but ELUVEITIE lately, but I might get hooked on this too. Thanks. Rather than simply recommending them to Gane fans, I'd say they're good for people who like both Gane and Sigur Rós.

Opeth is sometimes called the second coming of King Crimson. Come to think of it, post-rock stuff like Sigur Rós doesn't get mentioned much on this list either. I think that kind of thing is perfect for Gane fans, but I guess they aren't well-known enough for people to dig intoｗ

ELUVEITIE is famous not just as a band of brutally strong metal, but as a band that incorporates folk and trad elements too. If you look at things broadly, they probably have something in common with Opeth. I guess I'll dig through songs by both of them until Gane's new release comes out.

Edenbridge Lunatica Elis Ebony Ark Epica Within Temptation Dark Moor Nightwish was posted before, but what do people think of this area of female-fronted metal? Anyone here like it?

Elis is that band whose vocalist died about two years ago, right? Are they still going? I listen to Edenbridge and Within a lot. I don't really like pure, full-on metal, but when it's mixed with gothic or symphonic elements, I can enjoy it as something different.

Sometimes I get in the mood to listen to this kind of stuff on headphones. I think I'll go buy Edenbridge and Within. Their vocalist gets good reviews on the audiophile board, too.

>96 Apparently they're still active, with a new vocalist. They haven't done anything new in terms of genre or band sound, but I like Edenbridge because the vocalist has a really embracing quality.

Within's vocalist has a transparent quality and is easy to listen to. I think, “Good for her for making it work with metal.” She sings simple ballads too, so come to think of it, they might be pretty recommendable to people on this board. Like this, for example: ttp://jp.youtube.com/watch?v=3EloEMyAWXA

That's a track from Heart Of Everything. This album is as accessible as Evanescence, so I think even people trying this kind of music for the first time could listen to it easily. You can enjoy its grand, film-score-like atmosphere with sweeping strings, right?

Changing the subject from gothic metal: this is a much-discussed, often-mentioned GRAPEVINE song from the recommendation list, but it's a good one. That downer guitar-rock sound is irresistible. Since it made the recommendations, I figure it probably suits Gane-otaku tastes pretty well too, despite the vocalist having a bit of a quirk. http://jp.youtube.com/watch?v=TsFtTOk3A58 http://jp.youtube.com/watch?v=YXGJJFj6yew&feature=related

http://www.nicovideo.jp/watch/sm1408300 This person is amazingｗ

Whoa. Seriously amazing~

Yurippe should aim to be Mari Hamada, that's what I think.

>101 I like the lyrics because they're twisted, with a mix of nihilism and resignation.

Grapevine was still alive?ｗ I own Tanaka Milk, so I guess I'm a pretty rare minorityｗ Yurippe's doing another promotional diary...

Being is taking the joke too farｗ The tie-in connection is completely nonexistent. Just watching the Fist of the North Star preview video, it's way too pop. Even if you ignore the tie-in, I have a feeling the song itself is pretty mediocre. The title's atmosphere and the song are completely different, but I didn't expect them to be that different... Looks like the 6th album is still weighing on them.

I listened to it because it was being discussed in the main thread. First of all, it doesn't fit at allｗ You could say they intentionally didn't try to make it fit. As for the actual content, only a tiny bit of the chorus plays, but it left me feeling completely let down. I'm starting to doubt that it will grow on me. Maybe their individuality is getting weaker? I'm worried about the next album.

I mean, the tie-in itself isn't even good enough to deserve all this discussion. The screening scale is so limited.

At least they're hitting the major bases.

Anyone here like JOY DIVISION? I feel like early Gane had the same kind of abyssal depth as those guys. The monochrome atmosphere of the CALL MY NAME intro, and the way Yurippe sings at the end of Yumemita Ato de, have a dangerous charm that feels like they're about to drag you into the darkness. The song structures are elaborate and the lyrics are distinctive, but the sound is still that fake-sounding GIZA sound, which is almost too original. They've been losing their individuality lately, though.

Their range was narrow to begin with, and then they started using a more belted singing style, making things even more monotonous. On top of that, there have been fewer songs with a soft acoustic flavor. Lately, something like Rusty Rail. The grand songs that seem to force in a big climax, like One of the Dreams and “Sekai wa...,” aren't what I mean.

When I drifted away for a while after they started going pop, Rusty Rail was what made me recognize Gane's strengths again. I hope I can find another song that shakes me to the bottom of my heart. That's what I'm wishing for.

As for the singing style, her volume has improved and her high notes have become more stable, so you can't definitively say it's bad. The overall delicacy of the songs has faded and the vocals are pushed more to the front, so I think that's what people are really reacting to. Maboroshi is highly regarded, after all. It's true that the style has gotten brighter and doesn't feel as shadowy as before, but even if the style became dark and gloomy again like the 5th, that would be a little iffy too.

Rusty Rail and the first cry feel like they're saying, “Just put these in and you'll be satisfied,” and I don't like that. If they're moving on to Chapter Two, I don't want them digging up the past. I'll follow them properly, so just keep moving forward.

I'd hate it if songs like Rusty Rail and the first cry disappeared and the next album became nothing but songs like Mou Chotto Sagashitemimashou and Mr. holiday.

Rusty Rail and anywhere on the 5th, the first cry on the 6th, and Aitō are all good songs, but with Gane as they are now, the next album feels like it might be the 5th and 6th added together and divided by two. That would be pretty iffy. I think going in the direction of the 4th would be best, including Yurippe's abilities. It was an album that balanced commercial appeal and individuality really well. Wasurenazaki was the perfect single: it had individuality while still aiming to be well received.

Judging from One of the Dreams, I wonder if medium-tempo ballads have reached their limit. Personally, I consider the 1st and 4th masterpieces, so based on that cycle, I hope the 7th will be a masterpiece too. It is the lucky seventh, after all. I don't expect much from multiples of three.

The 2nd is the strongest, surely. Even naked story has a completely standard J-pop style, yet it has an almost divine quality.

Even their bright, forward-moving melodies have wild key changes, strange chord progressions, and some kind of oddness in the way they're put together, so they never quite become sales-line music. But because they're still aiming in a catchy direction, they don't have any real core appeal either. In other words, they're a mess.

The 1st and 2nd are masterpieces packed with good songs and a distinct worldview. The 3rd is an experimental work full of interesting songs, while the 4th is a highly polished work that could be called the culmination of everything. With albums 1 through 4, you can feel Gane's individuality, so you can pick one according to your mood and listen calmly. The 5th is iffy as a whole, but it has flashes of brilliance here and there. Honestly, the 6th doesn't feel like something I want to call a Gane work... But I'm looking forward to the 7th.

The 1st and 2nd had a good balance. They stayed within the mainstream of J-pop and the direct lineage of Being without straying too far. Precisely because everything else was ordinary, the worldview in the lyrics could shine. Yumemita Ato de is a good example. When they get weirdly grand or try too hard to be unusual, you can see the limits and it kills the mood.

The 3rd took the content of the 2nd and expanded it to a larger scale. They should have broken up here. Crystal Gauge and Eien wo... feel like the culmination of GIZA-style neo-acoustic music. I don't think there are any songs with a better balance of grandeur and delicacy than those.

I'm an early-period fan and I dislike the 6th, but I like Love is a bird and Love Lone Star. Songs where you can really savor Yurippe's harmonies are good.

>123 It would have been a waste to break up before the 4th that came afterward.

>125 Sorry, actually the 4th is the only one I haven't listened to... I only know the singles. The moment the solemn atmosphere running through all of call my name disappeared, half the appeal was gone. The lyrics were better when they weren't so open to the outside world. I like the modest lyrics. “A hun-dred years of soli-tuuude~”♪ What is this? Some kind of gag? I have a feeling we'll be getting more breezy, lightweight songs from now on.

The members' outlooks on life must be changing too, and the music changes along with them, so I don't know if it's right to force them to stay in the past... But you can't give us a song like that for a Fist of the North Star tie-in.

>126 You'd be missing out if you didn't listen to the 4th.

You say they should have broken up, but can't you just stop listening to them yourself? I think the 4th is a masterpiece too, and I don't think the 6th is bad as a work in its own right. I still want to hear more GARNET songs.

Judging from the songs they've released so far, I feel nothing but anxiety. If the next one is only a little better than the 6th, I have a feeling even the fans will get tired of it.

This thread is full of nostalgia nerds too...

There's nothing wrong with liking the old stuff. But it's unpleasant to watch people constantly compare the present to the past and criticize it.

I think the core is still there, but they've had changes that leave you behind, like more grandiose, monotonous songs with layers of guitar, or suddenly giving an entire song a bright atmosphere. Personally, I want to know what happened after the 4th. From the surface, all I know is that there was Mel.

Maybe Yurippe's vocal range expanded, so they tried expanding the range of the songs too. Or maybe Ossan, who lives for live shows, deliberately arranges songs so he can cut loose onstageｗ

Well, I think I started liking the 6th after I went to a live show. Maybe the song selection was made with the summer shows in mind...

Maybe Yurippe had so much fun at the live shows that she couldn't get enough of performing them...

Well, quite a lot of their style naturally works well live.

>134 I seem to remember Yurippe saying it was an antithesis to people saying, “GARNET is dark.” Personally, I think the biggest change was in Furui-san's arrangements. The tones used to have more variety, but lately every song sounds similar. Maybe there are subtle differences that only the creators can hear, and maybe there's some incredibly high-level attention to detail... That's what I want to believe, but... Well, my terrible ears can't tell.

If the listeners can't tell, then it's just self-satisfaction. What is this, some underground band mentality? I do think a lot of their songs only really shine live, like Spiral did. But when you hear how the sound is weighted toward the drums, or hear Kurose playing, I can't say the live reproduction is especially faithful either.

Have you all heard the intro yet? It creates a pretty nice atmosphere ( ・∀・)y─┛~~ The synth-string tone has an enveloping quality that's really nice. It could even work as a game soundtrack. I wonder how they're going to connect this intro to that chorus?

>140 Key change after key change.

I want them to do something like five key changes before the chorus.

Including the intro arrangement, all these repeated key changes are enough to make the administrator of a certain blog bite again after all this time ( ・∀・)y─┛~~ Maybe they've gotten completely bored of it?

>143 I thought the same thingｗ The atmosphere shifts back and forth, and the way those differences create something new would probably get high praise. How Furui-san pulls all the different elements together will really show his skill. I'm looking forward to it. The intro feels like it's letting us hear the gaps between sounds again for the first time in a while. Nice.

This kind of ethereal, spacious arrangement is exactly what I want. It'd be nice if they added a chorus with some reverb too. I thought I heard something like that in the intro at first. Well, the intro is good, but I have a bad feeling about the chorus melody.

>143 That administrator would probably call it a post-rock-style arrangementｗ They really do love that sort of genre, don't they? I wonder if they listen to male artists too.

Not only is post-rock nowhere to be found among Ossan's favorites, it isn't even in any of the members' favoritesｗ But they do use a Mellotron. That might be pretty unusual in J-pop.

Nana-san's favorites are, what, SONIC YOUTH, THE CURE, and JOHN ZORN, right? I love all three, but they don't sound anything alike. Gane really is original after all.

If you look at it in broad terms, everyone except Nana overlaps quite a bit. None of Nana's favorites are reflected in Gane's music at allｗ

Ossan's favorite TOTO is AOR, but it also contains progressive-rock elements. They use a Mellotron too. I've said this before, but I wonder if Ossan wanted to create a Japanese TOTO. A group of studio musicians, the use of synths and keyboards, and a vocalist with almost no technical skill or experience. Nana-san's favorite Peter Gabriel was in Genesis, which had a huge influence on later post-rock.

Genesis was like that? I thought the guitar solo in CALL MY NAME sounded a bit like The Cure.

I don't really get the impression that Ossan likes The Cureｗ

I think the worldviews are similar. They're philosophical but still pop. Around the time of the 2nd, Gane made songs that seemed like they would suit goth-style black clothes (I strongly associate them with TIMELESS SLEEP), but the charm was that they never completely went in that direction and stayed casual.

I think the worldviews are similar. They're philosophical but still pop. Around the time of the 2nd, Gane made songs that seemed like they would suit goth-style black clothes (I strongly associate them with TIMELESS SLEEP), but the charm was that they never completely went in that direction and kept a casual feel.

If we're talking about the overall worldview, it could be about The Cure or anyone elseｗ Unrelated, but L'Arc-en-Ciel is famous for being influenced by The Cure, right? >150 They don't use Mellotron all that often. Still, I thought it was interesting that they brought in such an unusual tone at this point.

I want Gane to be evaluated in a way that lets them succeed both musically and commercially, like The Cure.

It's sad how completely the Rockin'On-type magazines ignore them. I've hardly ever seen an article treating them as music. Maybe they'll get a little more recognition in the future. Though it feels like their moment has already passed, so maybe not... There was a critic who included GARNET CROW's 2nd in his personal top 10 in Studio Voice's legendary “100 masterpieces” feature. The article had bizarre ramblings about Ian Curtis and Nico being reincarnated, but picking it up as a joke was what made me a fan.

Joy Divisionｗ Yurippe is a charismatic figureｗｗｗ That's even more embarrassing than a Rockin'On articleｗ Rockin'On-type magazines do seem to intentionally avoid featuring Being acts. The old guy in Shibuya hates B'z, after all.

They pretend not to see B'z, right? They feature Avex singers once in a while. Lately even visual-kei has started to be accepted. Being doesn't have any decent acts, and Gane is isolated.

But Ossan and Mochi are quintessential Being (or rather GIZA) musicians, and Yurippe and Nana-san look like GIZA women too. I guess Yurippe's distinctive melodies and voice, along with Nana's lyrics, are what draw the faithful in.

Being has never had any artist other than Gane who was worth listening to, then or now. They're all mediocre people with poor musicality. That's a little disappointing.

Stop bashing other acts so much. I can understand where you're coming from, but some obsessive anti-fan might expose this thread. For some reason, Gane has people who really hold a grudge against them.

>158 Apparently they don't actually hate them that much. Rockin'On, which pursues individuality in the underground, and commercial Being probably do have areas where they don't fit together, though.

>160 “GIZA women”... What does that even mean? >163 I remember them saying something like, “It's well made, but I can't wholeheartedly agree with it.” This band really picks the best parts of Being. The sound is uniform and reeks of cheapness, but somehow when Gane handles it, it becomes appealing. Compared with the Rockin'On types who show off half-baked individuality, Gane feels anonymous, or something. They don't sing much about personal matters. I hate the whole “let's express our fresh emotions exactly as they are” thing. So many musicians do that. Gane's sound being this fake actually makes it feel more real, or more honest. It feels like they're doing things that could only be realized at this company.

I think Gane's music is meticulously built too, aside from the programmed drums. If you listen to other Being arrangers' work, you can tell that Gane consistently puts out good arrangements. Hayama and Tokunaga have ups and downs in their work too. If you remove the “Being” filter, I think Gane has a surprising number of things Rockin'On would probably like, such as Nana's lyrics. There is an ironic meaning in calling them “Rockin'On types”: they usually can't get people to remember their band names, so they're lumped together as some kind of “type.” Acidman, The Back Horn, and GRAPEVINE on this recommendation list are all acts that Rockin'On promotes or used to promote, but they have real individuality, so they aren't called “Rockin'On types.”

>165 > But I think Gane's music is meticulously built too, aside from the programmed drums. > If you listen to other Being arrangers' work, you can tell that Gane consistently puts out good arrangements. > Hayama and Tokunaga have ups and downs in their work too. If you remove the “Being” filter, I think Gane has a surprising number of things Rockin'On would probably like, such as Nana's lyrics. > > There is an ironic meaning in calling them “Rockin'On types”: they usually can't get people to remember their band names, so they're lumped together as some kind of “type.” > > Acidman, The Back Horn, and GRAPEVINE on this recommendation list are all acts that Rockin'On promotes or used to promote, but they have real individuality, so they aren't called “Rockin'On types.”

The first time I heard arrangements that couldn't be done in a standard band format, they felt fresh. Every song really puts effort into its intro. I was really into Acidman, The Back Horn, and GRAPEVINE around that time, and they're all standout acts, but in most cases the singers' and players' self-consciousness gets on my nerves. I don't like that “artist” attitude. Flipper's Guitar, for example. I like the neo-acoustic flavor, but Oyamada and Ozawa are probably both insufferable people, so I don't feel like listening deeply. Being and Shibuya-kei are similar in that they both copy Western-sounding music. The only difference is whether they sell it cheaply or expensively. If you take a step back from emotional performances and singing in rock (or jazz, for that matter), they can seem incredibly fake. It's common for one line of lyrics to cool you off and make an otherwise good song feel ruined. Gane has a wonderful balance between warm and inorganic elements. I don't think you can separate that from those detached lyrics and that sound. The way every element keeps its emotions restrained to a certain degree is unique and appealing. The tie-in-first approach, songwriting division of labor, chorus lyrics equal to the title, and limited exposure all inherit half of Being's old-fashioned tricks. But in Gane's case, all those restrictions seem to turn into charms, and it's kind of incredible. The songs that actually come out of such a dry process are wrapped in genuine warmth—a miracle. The lyrics seem to indirectly make fun of that. Nana-sama is too cool.

>165 Whoa, you wrote way too much all at once, and now it's so rambling I can't make heads or tails of itｗ That kind of introspective worldview and Yurippe's vocal quirks do seem like things Rockin'On might like. But a lot of the acts Rockin'On promotes these days lack individuality too. That's one of the things people make fun of them for. Anyway, that's fine.

Sorryｗ I was writing down thoughts about my own post and my opinion of the other person, and it turned into a load of nonsenseｗ I'm embarrassedｗｗ Forget it＾＾ It's a mystery whether I was praising Rockin'On or criticizing itｗ Anyway, the whole part about Gane was kind of an unnecessary tangent. I only wrote it because I started thinking they might have some elements Rockin'On would like. This is what happens when I get excited. I'm going to sort out my thoughts and then go hang myself orz

>167 That story about Oyamada making someone eat his shit as bullying made me lose the desire to listen too... I don't know whether it's true, and it feels like a waste to judge someone based on their personality, but still.

I admire Nana-sama's way of life—cunning, but overflowing with love~ It reminded me of an interview where Acidman said they wanted to express some grand world (the universe or nature, I think). That kind of thing doesn't really click with me. Gane has introspective elements similar to that or the Rockin'On types too, but there's something fake about it. I like how they take ordinary, worn-out sounds (something realistic?) and make them feel real and irreplaceable. The way they half-jokingly go “A hun-dred years of soli-tuuude~”♪ is the best too.

>172 Exactly. Their songs are intricate and show good taste, so they're obviously worth hearing at least once, but I'm not interested. Shibuya-kei feels like, “Let's combine music, style it up, and show off.” They'd probably say, “Lyrics? They don't mean anything,” and I hate that affected, aloof attitude. I'm drawn to singers and creators who entrust some kind of feeling or message they want to convey to their sounds and songs. Compared with the glittering range of sounds in ordinary J-pop, the contents are empty—love this, love that. And four-and-a-half-tatami folk is just dowdy. When I look at recent Mr. Children, I feel that the hotter the lyrics get, the more I wonder how far off-base the content is. But I don't want to listen to anything bland and inoffensive, so Gane is my favorite. They're good at wearing all kinds of music in a way that suits them. Anything they do looks good on them, and they seem natural. That's because the members themselves have such broad appeal. Sorry for talking so much.

Also, if you like Gane, you can't go wrong with SLOWDIVE. People mentioned post-rock and various other things above, but I think this is the closest. The sound is fantastical, but kindness seeps out of it too. It feels like the kind of music that would suit winter snow.

Looks like there's a drunk in hereｗ You're praising GARNET so much that it sounds like you're praising them to deathｗ >167 > If you take a step back from emotional performances and singing in rock (or jazz, for that matter), they can seem incredibly fake. That might be true of pseudo-rock and pseudo-jazz that copy Western music, but “real” musicians aren't like that. There are tons of wonderful performances full of emotion.

So, from here on, shall we put down the Gane we've praised to death and bring them back to life?

>174 GIZA's uniform arrangements, where no individual makes their personality too prominent, are probably the best fit for tidying up and supporting the songs Nakamura Yuri creates and the unique lyrical worldview attached to them. With a band where every individual has a strong ego, it would be hard to make things this clean. The advantages of completing things through a division of labor really show here. ...I'm not drunk, but I'm writing with momentum. I can't sleep. When I'm tired, listening to great performances can be exhausting—the heat overwhelms me. Sometimes I feel empty after letting myself get carried away by them. Gane is pretty cheap-sounding, so when I'm lively I can dismiss it as lame on an intellectual level. But when my brain isn't working, it resonates with me very intimately. Because it isn't pushy. Ugh, I have no idea what I'm saying...

I can't empathize with the real thing. I want to be drawn to things that are a little fake and ordinary. “I gazed at a white wall and Rembrandt forever I lined up cheap forgeries, changing one every week” That line sticks with me. For a phrase meant to create atmosphere, it feels awfully meaningful.

I was redirected here from the mourning board. I still can't sing One of the Dreams properly at karaoke... ...Though I can't really sing the others either.

Die.

>175 There is always a whiff of the minor leagues around them. The more they move toward major-key song styles, the more obvious it becomes, maybe because of Nakamura's distinctive singing. The connection between her falsetto and chest voice is unstable, so it feels unreal. The lyrics are pessimistic, and I find myself thinking, “What good does it do to say that? The important thing is how you overcome it.” Yet in the end they wrap everything up too neatly with literary imagery, so ultimately it's always a hymn to humanity. It's not like Mishima's The Temple of the Golden Pavilion or Miura's The Box of Blocks. The early arrangements were too overworked, while the recent ones are too conscious of how they'll play live. The guitar is half-heartedly emotional. Either indulge yourself or get out of the way. I mean, that's exactly what makes them good, right?

>178 Gane lowering the key is just cruel. I'd like to meet the brave man who can sing it in the original key.

GARNET CROW plagiarism video http://www.nicovideo.jp/watch/sm708931

If I had to give my opinion, Nana's ideas and word choices haven't changed, but her abstract, metaphorical lyrics have been disappearing. I wish she'd write things that invite all kinds of interpretations again, like Sky, Mizu no Nai..., and Dreamin'. By the way, how do you all interpret Sky?

I think Nana-san's lyrics haven't changed at all since her debut. I think people discussed the lyrics of Sky before, either here or somewhere else.

Argentina has been my favorite lately. The line “If you're feeling sentimental, pray and enjoy it to your heart's content” is irresistible. At first glance it looks like a hysterical, “I'm washing my hands of you” kind of expression, but it also feels like she's encouraging herself, with a little bit of kindness in it. The way Nana scatters phrases that hit complicated emotions like this is what makes her amazing. I don't like how One of the Dreams feels a little like it was forced into a formula, though.

>183 I interpret it as lyrics about war. While gazing blankly at the vast sky, feeling how small and fleeting people are, there's also a sense of longing for it. Every time I hear the song, I picture a boy standing alone in a city full of rubble and scorched ruins, staring up at the sky.

>181 I'm a guy and I sing it without worrying about that. As long as it's fun, who cares if I'm bad?

My favorite part of One of the Dreams is probably “People are like that, aren't they?” It pushes you away, but at the same time has this feeling of forgiveness.

I want to hear more R&B-style songs like HOLDING YOU AND SWINGING. Compared with this song, Mai Kuraki is just doing a pretend version, right? The arrangements and lyrics have so much more depth. I can't believe that level of polish was on the 1st.

The holding~ version on the TowaBare DVD is sublime.

>186 I think so too. Starting with the image of the red sunset being swallowed by night, the descriptions make human madness appear almost visually. Maybe “our beloved universe” refers to the heart. That bird's-eye perspective gives the whole thing an almost weightless sense of impermanence.

Nothing is impossible for GARNET CROW. The 21st-century world standard, even acknowledged by Okamoto. GARNET CROW is the global standard for 21st-century music solutions! Come on, become a GARNET CROW fan and become the darling of the age! Here on 2ch, immature people who can't properly appreciate GARNET CROW tend to put down GARNET CROW while pretending their own terrible ears aren't the problem. But even if the immature ones shout, GARNET CROW's value won't decrease. If anything, it'll be the perfect opportunity to show the world how great GARNET CROW is. I'll say it again: nothing is impossible for GARNET CROW! If GARNET CROW has a limit, that is the limit of human civilization. The world moves by GARNET CROW, from newborn babies to the elderly. Official site http://www.garnetcrow.com/ The era of GARNET CROW has finally arrived!! http://mamono.2ch.net/test/read.cgi/mjsaloon/1219408765/

Graduate from Garnet Hardship in elementary school, you idiotsｗｗｗｗｗｗｗｗｗｗ [repeated many more times] (pukera

>189 But I kind of like the catchy feel that their “pretend” style produced. I think even the pretend stuff worked pretty well as a direction in the early days.

This time's jacket. It looks like Yurippe, Nana, and Ossan were photographed together for the first-press edition. For some reason, they reused a shot of Mochi from the same session as the regular editionｗ

Gane's lyrics hit harder when they come from people with more life experience.

Sky is written from a bird's-eye perspective, but the fact that it evokes war makes it a work with unusually strong messaging for Gane. It's an indie song, so there are no comments about the lyrics, but I get the impression Nana worked hard refining them. As face-jacket albums go, the new one is my favorite. It makes me wonder how much sales would be affected if they stopped doing face jackets. Honestly, I wouldn't mind even if they weren't face jackets.

>193 Die.

The fact that they sell through multiple editions shows how powerful the jackets are. You can't deny how strong their idol-like popularity is. Though maybe their pulling power has fallen—despite having multiple editions, the 6th didn't sell particularly well.

The only one with multiple jacket versions—three of them, no less—was the 6th, and it sold the least, didn't it?

Whatever you think of the contents, I thought there was something really good about the jacket design work. Just having a face on it feels a little lacking and kind of lame, so personally I'd like something colorful where the background gets to come alive like that.

I'd be interested to see what happened if they released one without a face jacket for once.

Yurippe has only shown a smile on the Tears of Yesterday jacket.

That one is rare, but I think it was a failure. I thought it was interesting how they made the disc and the overall jacket retro, inspired by The Beatles, though.

I panicked when I saw Flipper's Guitar listed among their favorites. I discovered them late, but they hit me really hard.

If it doesn't sell without a face jacket, that means they're selling on visuals, huh? Conversely, if it does sell, it means the music is what sells it. It's scary because we'd find out.

When I see posters and photos of Yurippe and Nana being bought and sold for high prices...

I start wondering how many men are defiling and trampling them...

No way, that's not it. If anything, looking at them feels healing.

>208 If you cover it with plastic wrap, you can use it over and over. Very convenient, right?

See, there was one right awayｗ Considering the main thread and Being as a whole, it's a fact that the idol appeal is stronger. Yurippe's idol popularity is seriously no joke, even when she's an old lady. Still, the fact that they're alive at all is also the result of having at least some musical value attached to them.

The new song's chorus is a little weak. Put harshly, it's too bland to be the title track rather than a coupling song. I have a feeling the arrangement is saving it. You know, the arrangement with analog synths and orchestration.

The chorus really sticks out, though. Like the development in Futari.

Still, I felt it was quite a bit better than the chorus sounded when I heard it with the video. It doesn't have a huge impact, but this band still manages to surprise me in a good way.

The arrangements really are excellent. It felt like they'd been struggling since the 5th, so I'm happy. I wonder if the arrangements, which used to move alongside Yurippe's vocals and compositions, are gradually starting to pull them forward instead.

Ossan has a career behind him, so he's consistently good. When you think about it that way, rookie Yurippe in the early days was practically divine.

Even with experience, Being's arrangers are pretty inconsistent, though... Ossan is the exception.

So far, the released singles are One of the Dreams and A Hundred Years of Solitude. But even looking at their previous releases doesn't tell us anything, since the album tracks are always at a different temperature from the singles. Well, it's still too early to say.

There will still be love in this world.

Is there some kind soul who could upload the post-live interview from mu-gen...?

I'm waiting for a god too... Unfortunately, I can't become a god myself.

When was that!? I record MUGEN every week, but for some reason there was one episode last month that didn't record. Don't tell me...orz

Sorry for the fuss. It was yesterday's broadcast here. I managed to watch it, but I still don't know how to become a god, so I'm outta here.

You can watch it on SkyPerfecTV channel 269 until the 13th.

It just aired here, and apparently Nana checked all the way to the back of the third floor. She remembered people's faces and could tell who had come to Tokyo and then Osaka too. Nana-san is way too much of a pervertｗ I was in the second row from the back on the third floor, stage right, and she kept staring over at us with her hands on her hips. It was scaryｗ I still wonder what she was looking at.

>225 Maybe she was counting how many people were using binocularsｗ

Wait, you can watch it on SkyPerfecTV? What time?

>227 On channel 269, starting in an hour at 12:30 a.m., and Monday morning at 10:30.

>228 Not >227, but thanks. I'll try watching it in an hour.

>228 Thanks.

Damn... I can't watch SkyPerfecTV orz What a disaster.

And I missed it immediatelyｗｗ

AAAAAAAAAA I missed it too aaaaaah

There are still reruns.

All right, >233, let's watch it next time!

I want Nana to stay a pervert not only in her behavior, but in her lyrics too. We still don't know what A Hundred Years of Solitude is about, but since it's a tie-in, it feels like it'll have the usual atmosphere. I want her to go all out and break things apart in the coupling tracks.

No way, I can't watch SkyPerfecTV eitherrrrrrrrrrrr Someone become a god for usssssssssssssssssssss

>236 I'd like to see some wordplay like the kind on the 2nd again. Well, it depends on Yurippe's style, but you know what I mean.

a

The Diary on the website says, “I'm Nakamura Yuria!” and I absolutely cracked upｗ

I wanna watch MUGEN~~~ Anyone who recorded it, please~~~!!

Begging for recordings is creepy.

I think there are more people in the main thread, so why not post there? By the way, I ended up listening to the coupling track by accident. Ossan finally seems to have broken through, or something. It feels like he figured out one place for Gane to land at this point in their career. The gaps between sounds from the early days are blended nicely with the poison they've been adding lately.

>243 Don't praise it that hard and get my hopes up, then have it turn out to be disappointing when I listen to it, or I won't forgive you♪

It felt like languid rock. I listened to it, but it didn't stick with me. It'll probably become a grower.

I haven't heard the coupling track, but I listened to the new song in full on YouTube. There are a lot of extra syllables, but that actually caught my attention. They mentioned analog synths and dynamic orchestration, and the synth arrangement really is good. Now if only Ossan would fix the programmed drums.

It's a tie-in, so I know it's unavoidable, but since I'd only heard the intro portion, the moment I heard the full version with the chorus, I felt completely let down.

>247 Everyone must have heard the chorus first... Then they listened to the full thing and thought, “Actually, isn't it pretty good?”

If you really think about it, the drums in the final big chorus are pretty good.

I think Ossan's rhythm tracks know how to give you something to listen to. Even when they're programmed, they aren't simply content to sit in the background as support. One of the Dreams is pretty good in that respect too.

Everyone, Sekai Mawa~ becomes a grower all over again the second time around!

Apparently the PV for the new song is pretty shabby. Even if it is Being, you'd think they'd give them a little preferential treatment.

If I could say goodbye as though we'd meet again tomorrow Would you be proud of me? Finally... Sorry if I got the kanji wrong. “I wish you'd smile again...” connects to this part, right? It's directed at herself, like saying “Smile again!”?

When I heard the A melody of the new song, I thought it sounded like Carmen Maki & OZ. But after that it went back to the familiar sound. I like it, though.

I wonder whether the fact that it already feels familiar means they've run out of ideas. As people have said above, this song really made me realize again how important Ossan's arrangements are.

You could call that part of what makes them Gane, but Yurippe and Nana-sama have been starting to sound similar every time. Ossan is always changing and adding fresh arrangements. Still, sometimes I miss the early days.

I think Nana still shows how broad her range is through the album tracks and coupling songs. But it feels like she's gotten complacent about transience and nihilism. I'd like her to create that atmosphere around all kinds of themes. I think I've had enough of breakups and death, though.

I mean, Nana's lyrics are pretty ordinary when it comes to singles, I guess. She seems to do whatever she wants on instinct, but I suppose even she gets constrained there.

When they were making Yume・Hanabi, Yurippe stopped Nana from trying to put a sutra in it, right?ｗ

Speaking of Yume・Hanabi, its structure feels carefully worked out, but One of the Dreams feels like it merely followed the established formula. Honestly, once you understand the quirks and direction, it feels like someone else could imitate it and write it too.

“On calm nights, you are the one who wanders” and “Let's go back to tomorrow” are the kind of lines where you can tell they're Nana's because they're written down, but I don't think just anyone could come up with them. Sorry, this is just me talking about myself below. At a band performance for a work party, someone said, “You took piano lessons, right?” and I ended up playing keyboards. Even though it's just a work-party band, apparently the others have band experience, and the bassist is an executive, so I can't relax. My fingers keep freezing up even when I practice. I won't laugh anymore if Nana hits a wrong note onstage...(;ω;)

Slightly off topic, but if you really try to master it, this stuff is tough. A synth has more sounds than just piano, and the effects, tones, and mechanisms are complicated, with tons of options. Just because the keys are the same doesn't mean someone with piano experience will also be good at synth. My friend is struggling.

I want all the Gane members—and the support members too—to wear Slipknot masks. >262 Exactly. The keyboard touch is easy, but then you can't play around with the sounds. You can use organ and string sounds, and arrange sustained tones that spread out through the space. If you can't do that, you're wasting the keyboard. Well, it sounds hardｗ

I know it's unavoidable, but I kind of wish they hadn't called the instrumental a karaoke version.

Slipknotｗ I never would have thought of thatｗ Apparently you can buy knockoff versions of those masks as merch. That surprised me.

The day before the official release is finally here.

I don't think we need a karaoke version. Also, haven't the lyrics been pretty ordinary lately? It's not like there's no sense of impermanence, but it feels formulaic. There aren't any word games or Rembrandt-like motifs either. Am I being too demanding? Sorry for sounding condescending. I'll lurk.

I mean, that sense of impermanence has become a template. There are still plenty of word games, though.

>262>263 Yeah, it's completely different. Thanks for going along with me. Even when you play a rhythm, it gets drowned out by the drums, so sometimes sustained sounds alone are enough. There are echoes, reverb, and all kinds of things. It's way too hard to use them properly. Ossan is incredible. So the S90 is categorized as a synth too, huh? It has all kinds of sounds... Nana always using the piano tone is a luxury in its own wayｗ That's all. Sorry for changing the subject on the day before the release.

I bought it earlyｗ As expected, the intro to A Hundred Years of Solitude is excellent. Amazing. It made me want to hear more of Ossan's soundtrack work. The only thing that bothers me is how flimsy the programmed drums sound, but as an arrangement, it's perfectly fine as a sound effect at the beginning.

>269 I don't know the details, but the S90 specializes in piano-type tones, so I guess it's useful when you're building a piano-centered sound. I've heard its touch is practically as good as a piano's too.

The extra syllables in the “Sora wa kinō made no...” part bother me a little. Also, the lyrics feel déjà vu.

A Hundred Years of Solitude reminds me of GO for it. Clockwork is the better song, though. That chorus has the very Gane-like feeling of being unable to quite break free, like it's stuck. The kind of contradictory phrases—seeking rest while still fighting, wanting peace while conflict continues—and phrases showing inner conflict, like wavering and wandering, plus the sense of impermanence that all things will eventually be swept away... I think this has become a complete template. Sadly, I'm getting to the point where I can predict the kind of sad thing they'll write.

I read A Hundred Years of Solitude, and the motifs are obvious enough that you can tell exactly which parts came from it.

Actually, I haven't read the work that A Hundred Years of Solitude was based on, but the motif doesn't feel particularly fresh to me.

Sorry, I bumped the thread.

The motif of dreaming of love is The Nightingale and the Rose, right? Maybe because of the arrangement, it feels fresh. Well, it was on the 1st album, after all.

I've been reading the book with the same title as a conversation piece, but I didn't finish in time. It's long.

I like Mochi's distorted guitar cutting on the third track. The drums are programmed too, but they don't sound flat—they really ring out, which is good. Still, as people have said, are the lyrics a formula? Maybe. If its position is similar to Short Summer's, then the lyrics are similar too. The phrasing is much better here, though.

I bought it today, and as expected, the coupling track is better than the title track. The way the vocal delay is used on Clockwork is exquisite. It does a great job of creating that feeling of something coming toward you ( ・∀・)y─┛~~ Overall, I think this is more enjoyable than the previous release.

CORE OF SOUL / Natural Beauty They changed direction after the 1st album and broke up without ever coming back, but I can recommend them up through the 1st album. The link below has the lyrics and audio for a song called “Whale” (included on the 2nd single and the best-of album). The lyrics are based on a story, so I think some people here might like it. ttp://ameblo.jp/time--will--tell/theme-10006241803.html

>281 The album was “NATURAL BEAUTY.”

>280 The second track has the energy to make it onto the 3rd, right? Even if the guitar is restrained. The third track really has the kind of style that could be released as a single despite being a coupling track. I wouldn't mind a brighter direction if they kept collecting catchy, effortless beautiful melodies like that.

>281 Japanese music, huh? This is my first time hearing them. Yurippe's singing has been so pushy lately that I want clean, refreshing melodies. The 6th was refreshing, but the vocals get tiring, so I didn't feel any individuality in it.

So the tie-in didn't have any effect at all this time. Even though A Hundred Years of Solitude and the coupling track were merely okay, coming in at number 11 on Oricon still leaves me a little dissatisfied.

I don't think Gane's audience is broad enough for sales to move based on how good a song is, so I don't have any particular complaint about this one. I always question the way GIZA promotes them, though. If they want people who see the movie to buy the CD, it should already be on sale the week the movie opens, right? I feel like they've completely missed the sales opportunity. There don't seem to have been many magazine appearances this time either. Maybe just little mentions in the CDs released this week? (The official site doesn't get updated, so all I can do is flip through magazines at the bookstore.) It feels like they have no intention of selling it...

I have a feeling the actual shipment was small this time. They probably lost quite a few sales from that. Maybe that's just the fan in me talking, but something that's not advertised isn't going to sell.

Maybe I'll request Clockwork on the radio... It'd be a shame to let it get buried.

>288 Clockwork is good, isn't it? I almost feel like thanking them for making a song this good. Unrelated, but apparently a Gane song played on an NHK-FM daytime show the other day. I couldn't hear it, so I don't know which song it was, but Gane's name was in the radio listings in the newspaper.

The fact that a line like “outside the long eternal circle” doesn't become a long sustained note is peak Gane quality. The low register stands out around the A melody, so there's no way you'll be able to make it out liveｗ

Shonan Tanteidan / Doors The piano sound is cool, so I recommend them. Sorry once again for recommending a disbanded band with a hard-to-find CD. ttp://www.nicovideo.jp/watch/sm2050356

Is the idea of wanting to escape from the cycle of repetition unusual? >Clockwork I understand the lyrics about going around in circles, repetition not being so bad, and resignation and stagnation. But I really like the idea of the cycle of replenished genes.

It's written from the perspective of the hands of a clock, as expectedｗ As long as time continues, they have to keep circling the same place... (Leaving things like the battery running out aside.) The “cycle of replenished genes” gave me chills when I heard it. It's true that if you look at us on a macro level, we're nothing more than gene replenishment. It also made me think of the manga artist Yuri Narushima's works The Original Beast and Planet Ladder.

Releasing two versions without doing much advertising... Does that mean they've given up on finding new fans and are just squeezing as much as they can out of the existing ones? Are they spending their money wrong?

It's being treated about the same as Melle's tie-in, Kaze to RAINBOW. The fact that the tie-in is a movie makes it look impressive, but it's actually weak. It's the usual strategy of relying on the core fans, so I don't even feel that it's a waste. I don't really care about the Oricon trajectory as much as they do on the Being thread.

It's tough that the music world treats sales like the absolute standard of evaluation... >292 Looking back, wasn't Sekai wa... also a song expressing the desire to escape from repetition, or from outside the cycle? The tune does make it feel more positive in this song. Anyway, this song has so many god-tier lines. “Outside the long eternal circle” and “the cycle of replenished genes” are great, but it starts with “Spider high above our heads.” As expected of her. The line in the D melody is also the best. Adding a D melody to this song was absolutely the right call. >293 Oh, so that's why it has that title. You solved the mystery for me.

This single is interesting. All three songs are Gane, but they make me wonder, “Did the same artist really write all of these?”ｗ

At first, “long eternity” threw me off. Eternity is long by definition, right? Is it emphasizing that eternity is too long? Sorry for asking something weird.

The “circle” of long eternity: “Something is born, and then disappears.” “Beside wishing for peace, conflict continues without end.” “Those who endure their way through, and those who have no choice but to fight.” “Calmness is boring, while solitude is freedom.” “Repetition isn't so bad; you can't go back to the past.” They're chaining together phrases with opposite meanings, right? Each thing has subtle changes, but in the end they're all bound by the same established rules. The song also touches on war in fragments, so it might be good to listen to it as a warning about that too.

> “Calmness is boring, while solitude is freedom.” > “Repetition isn't so bad; you can't go back to the past.” Those are such good lines, even though they feel like something you might casually come up with. They hit complicated emotions perfectly. Even if time repeats, the time that has passed is still real. Huh? Then what exactly is repetition?

The crunchy guitar backing on the third track is really satisfying to listen to. I think that level of push is just right, at least in terms of the guitar arrangement.

Speaking of guitar arrangements, I love the distorted sound of the guitar solo on the indie version of Sky. I wonder what effects they mixed to create that tone. I don't know whether it was Ossan or Mochi who came up with it, but it's a favorite of mine.

>302 I think I read somewhere, maybe the wiki, that Ossan makes the phrases and they discuss the sound together. I wonder if Ossan is always there for Mochi's recording sessions.

>302 That arpeggio is great, right? The fantastical distortion feels so good. I also like the strings with the low end turned up. That lonely arrangement for the strings is incredible. It sounds so realistic that I almost think they incorporated a live-string arrangement.

Speaking of effects, I like the wah-heavy guitar from around the 2rd album.

>305 You should go back and redo middle school. What the hell is “2rd”?

But for some reason I do it tooｗ There it is againｗｗ You know, people have pointed it out to me before tooｗ naked story has wah-wah in it, right? You don't see that kind of danceable sound anymore. Looking back, the sound was richer back then and they really played around with the arrangements in all kinds of ways.

This is completely random, but does anyone remember a couple of years ago when there were fixed handles called Vegeta and Parsley on this Gane board?

Hey thereﾉｼ

I only know Yukio and Aoi Isshoku.

Come to think of it, there haven't been any stylish R&B arrangements like Holding~ or jazzy arrangements like Dreamin lately. I actually like Ossan's arrangements where he works hard with synth brass and programmed drums instead of using real sax and drums.

Aoi Isshoku. ↑ How are you supposed to read this?

Was there a song called Dreamin? I think the live drums and sax are used effectively and sound good. The sax especially is incredible.

YURIPPE has big boobs.

↑ Not “is”—it should be “has.”

>313 It obviously means dreaming of love, right? The only actual live drums they used were probably Kamei's on Futari no Rocket from the 1st and David's on Yuudachi no Niwa. And there were only about two songs with sax.

This is a thread where people who call themselves music experts brag about their ears, huh?

No need for lame baiting in this thread, okay? >312 “Aoi Isshoku” should be fine, I think. Looking back, why is Kamei's live drumming only on the 1st? They probably want to perform as four people, so they don't need to put live drums everywhere, but they could drop the programmed drums on a few tracks.

No money.

>318 × Because they want to perform as four people ○ Because they have no money

>318 Other bands can bring in strings for their ballads, but Gane has no money, so they have to make the strings with synthsｗ But that's what makes it good.

>318 Because they're bad.

They didn't need to go out of their way to record a live-sounding version of Futari no Rocket and include it as a different version. There are so many other songs I want them to put on there, like anywhere, Nogare no Machi, and Spiral.

I mean, why use Kamei specifically (ry Anyway, changing the subject: how does everyone interpret the “Spider high above our heads~” part of Clockwork?

The one that finished it off was the one with wings. People couldn't reach it and couldn't finish it off; only the winged one could. Maybe this was also meant to convey repetition. Since it's a spider, it makes me picture a sticky web wrapping around things, and maybe that's a metaphor for the frustration of being trapped in repetition too.

Isn't it a poem about watching a spider prey on something?

Isn't it one of the metaphors for “being born and then disappearing”? In Nana-sama's mind, it might be an image of death: a butterfly that has just emerged getting caught in a spiderweb and dying. With other animals, they'd probably die instantly, but in a spiderweb it feels like they're dying in real time. The hatching and emerging of a butterfly also makes it easier to imagine repetition compared with mammals. The idea in >325—that it's a metaphor for the frustration of repetition—is interesting too.

I just noticed—why did I write that the winged one kills the spiderｗ What was I thinking when I wrote thatｗ It was the winged one that got killedｗ That's what I meant by “repetition.” How embarrassing. >326 Yeah, that would have been quicker to say.

Doesn't “spider” also mean someone who ensnares people? If you see the butterfly caught in the spider's thread as a metaphor for human beings, then wow, it's the repeated machinery of human societyｗ

I only became a fan recently after listening to the 1st and 2nd, but is LOCKS really a thing? I think the musical direction is completely different from the early days, and the guitar is too far out front. The vocalist belting over monotonous melodies is irritating, so I don't really feel like listening closely. Are there a lot of longtime fans who quit around then?

>280 Yukioｗ Yukioｗ

It feels like Gane never really had a direction to begin with... They ditched the neo-acoustic thing pretty quickly too. It seems like everyone decides for themselves what Gane's musical identity is and then gets disappointed on their own.

I do feel like their range has narrowed since the 3rd and 4th. I don't feel as much individuality in each song anymore. When I first heard the 5th, the second half really sounded the same all the way through. In fact, opinions weren't very divided up through the 4th, but they started splitting after the 5th.

I think 70% of Gane is Yurippe's voice and Nana-san's lyrics, so I don't care if the style changes. I just think, “Oh, so this is where they're going now.” I liked the delicate, atmospheric vocals from the early days, but I also like the current vocals that put their power front and center. As someone who likes both, I think it's a shame to create one fixed version of Gane in your own head and then be unable to accept the Gane of today.

The Kaze to RAINBOW PV was shocking. Yurippe looked incredibly alluring and Nana-sama looked rockｗ It was completely different from their usual image (the delicate, neo-acoustic feel of the 1st and 2nd), but somehow it worked. It made me think they can present themselves in a really wide range of ways. The songs may have gotten more monotonous, though.

The 5th all looks like the same expression. The 4th had a good feel, so why did the compositions and arrangements start becoming so similar? They must have simply reached the limit of what's in their toolbox. The fact that Ossan is now saying things like, “We tried to bring out a band feel,” is itself weird for the Gane of today. With programmed instruments, it can only end up feeling small and tidy, so it just exposes Being's cheapness.

Yurippe's vocals originally had an inorganic quality, and I don't think they had much expressive power on their own. Making the vocals the focus is fine for one or two songs, but if they keep doing it, of course it gets tiresome. Yurippe's vocals need composition and arrangement to cover for them. If they try to create a band feel, end up with a weak arrangement, and build the song around a generic melody, Gane becomes incredibly lame.

If they've reached the limit of what's in their toolbox, I feel like they should stop producing for a while. They've probably been working in a sealed-off environment for too long and gotten creatively stuck... It feels weird when the members say their approach to making songs hasn't changed even though the style has obviously changed. Maybe this direction is what they actually want to do, but when I listen to the early stuff, it still feels like such a waste.

The period when they were at their peak was probably around the 4th. Yurippe's vocal technique, their sales, and their musicality all came together nicely.

Maybe the good thing is that they take risks without straying outside the compact GIZA sound. Cheap-sounding music is moe to me. I don't know how I'd feel if they brought in a full-fledged band sound~

>334 I agree completely, but are opinions like this surprisingly in the minority? Everyone experiences things differently, but it feels kind of frustrating.

I don't think it's a minority opinion. At least that's how I feel. I've been a fan since their debut, and I think it's good for them to go in different directions. Getting stuck once in a while is fine too. I'm interested to see where this flow takes them on the next album.

>338 Is getting creatively stuck really a bad thing?

Apparently the members have said they're producing at a high pace while being kept cooped up, so of course the style is going to start sounding similar. I don't mind if they leave a little more time between releases. I just want them to make another batch of quality songs.

>336 >337 I feel exactly the same. I just can't get into the 5th. Why is that? Am I the only one who feels like everything is belted and the whole song structure is monotonous? They've become too fixated on live-oriented songs (up-tempo songs), and I feel like they're starting to think about the audience and sales numbers. Lately the members have even openly said at live shows that they're consciously making the coupling tracks for that purpose. With that kind of self-consciousness, it's no wonder they can't make good songs.

If they keep making nothing but songs designed to put the vocals front and center and sell to the general public, they'll eventually run out of things to draw on, and listeners will get bored too. GARNET CROW's true form is to not care whether they sell and let people with particular tastes listen to their world. Yurippe's voice has become more stable than before (maybe because there are so many monotonous, belted songs?), so I think the direction they steer over the next year or two will be crucial.

I agree completely, but as someone above said, the direction since the 5th might be what they themselves want. If that's the case, won't they just keep going like this?

I've given up, but people really do make a lot of assumptionsｗ I can understand it since this was originally a place to discuss Gane's musical side, but I'd like to say anyway: please stop “talking about the whole based on one part.” There are plenty of fans who consider the voice and lyrics the main things.

I have no problem with them continuing like this. As >342 said, I'm fine with them seeking change and getting stuck too. The difference is just whether you worry about it or not; as a longtime fan, my basic principles haven't changed at all. That's why the next album will probably be a decisive shot that determines where they go from here.

As they've gotten used to radio, live shows, and all sorts of other places, they've learned to assert themselves, and the vocals have gradually become more prominent. Funnyｗ I feel it in the new song A Hundred Years of Solitude too, but I don't think Yurippe's vocals are being put to good use in the music. Sorry to those who like her voice, but I have to say it. I think that song is the result of being carried along by Ossan's arrangement.

>348 I have absolutely no intention of forcing my opinion on anyone, but when you're discussing musical tastes, even one element—lyrics, vocal timbre, whatever—affects the whole discussion. So I think that's a difficult request.

You all really love GARNET, huh.

I thought the point of GARNET was enjoying how the style changes with every album. Looks like that's a minority opinion. Sales have fallen, after all.

The 6th was a bright-colored work, and the members themselves said it was okay for GARNET CROW to have a work like that. So these days I see it as an experimental album.

>350 Honestly, I hate Ossan's arrangement on A Hundred Years of Solitude.

I'm tired of experiments already.

I'm curious about the A and B melodies in A Hundred Years of Solitude, which they supposedly came up with suddenly. The weird syllabic phrasing there reminded me of ZARD. There are way too many lyrics crammed in. Also, I initially thought the bass drum and tom fills before the guitar solo and in the last chorus were good, but they give me a strange sense of déjà entendu.

I think the extra syllables are good. Something a little strange hooks into your memory and makes it easier to remember. I don't know if it was intentional, but it gives the song an ennui-like feel. I do want them to pronounce “samayou,” though. Ossan's arrangement feels too much like orthodox Being to me, so I don't like it... Honestly, if they changed just the rhythm-section tones, Yurippe's singing style, and the mastering, I think it wouldn't feel all that different from the early days. What do you think?

A long guitar solo, flashy programmed drums with reverb, and obvious, easy-to-understand fills with impact. I don't really know the technical details, but it definitely feels like Being. If I think about If I Reach Out This Hand, it had this kind of thing too. The first thing that comes to mind with a flashy barrage of programmed snares is Being as well. They really are good at arrangements that stick in your ears.

>358 > Honestly, if they changed just the rhythm-section tones and Yurippe's singing style, plus the mastering... That would make it almost an entirely different thingｗ The early sound was blurry around the edges, which makes sense since they were a music-production collective. Overdubbing and stuff like that? This has been discussed quite a bit before too.

It's not meant negatively, but the delicacy of the early days has been fading. I wonder if that's what makes both the music and lyrics feel monotonous. Personally, I feel like the elements from the 6th onward and from TowaBare are finally blending together nicely, so I'm hoping the 7th will bring us a new Gane.

I saw the tracklist for the Niwaji show, and personally it looks like something I'll be satisfied with. It'd be worth seeing just for Cried a little, Sky Blue, and pray. They could cut the embarrassing songs like Kaze to RAI and Yume・Hanabi, for all I care. This is just from looking at the footage, but that venue has such a mysterious, unique atmosphere. If they'd put in Trance Trap instead, the newcomers would have been amazed and the longtime fans even more captivated.

The Niwaji show was performed with an almost-unplugged lineup, right? Mizu no Nai... and Holy ground really shine in that setting.

I think the 5th probably got such bad reviews because the members decided too rigidly that this was the direction they wanted and then made the album accordingly. Yurippe herself has said that creation is something straightforward that pours out from inside you, so being thrown around by outside influences and adult circumstances makes for a terrible environment. The coupling tracks on the singles around the 5th are very delicate, and you can praise them for shaping that overflow into something good. Kaze no Oto Dake wo Kiite, Kanata Made Hikari wo, and Circle days feel like GARNET naturally evolving—songs that even conservative early fans can find memorable. The recent albums don't have many songs of that quality, so I guess that's why I, for one, worry about where they're headed.

Mizu no Nai... and Holy ground have become standards, haven't they? At the Tokyo show, it was my first time using a glow stick and I didn't know how to turn it on, so I desperately tore the tip off... Does “unplugged” mean they cut out all electronic equipment?

They probably have all kinds of principles, like wanting to put as many album tracks as possible on an album to show the album's own identity, or not wanting to waste space on coupling tracks. But given the current situation, I think they should include more coupling tracks on the albums.

>364 The 5th has a better reputation now than it did back then. Because the 6th came out.

I just made a huge discovery! Secret Path sounds cool when a guy sings it while playing guitar. The lyrics don't feel awkward either. But if you're friendless like me, be careful—you'll turn into a narcissist.

For me, it's still Last love. >361 Strength is the defining trait now, but strength by itself makes Gane's musical expression feel limited. Well, it does give them individuality, for better or worse.

>365 Electronic equipment... You can't exactly do without PA and stuff, so isn't it just acoustic rather than completely unplugged?

This kind of lineup is nice once in a while. Didn't they do one at a fan event too?

>368 From an objective perspective, getting together with friends and becoming narcissists would be even worse. When you're intoxicated by your own little world, that's not something people should be watching.

It'd be interesting if Gane actually performed as four people, reproducing the audio tracks as closely as possible. Even without drums or bass, they could play along with pre-made backing tracks layered into the audio, right? The guitar lineup doesn't have to be a twin-guitar setup either.

In that case, you might as well make the whole thing karaoke and have Yurippe be the only one there.

Seriously, that would be a little much for meｗ

>361 Agreed. Gane has always had this association with delicacy, so it does feel like they're losing what makes them Gane. You can't deny it without also admitting that you preferred the old stuff.

Even this recent “strength” might be me using that impression as an escape.

>374 That's badｗ Why is Yurippe wearing a hat so unbelievably cute?

I think the impression is different, but both their old and current songs are meticulously constructed—well, their arrangements are, anyway. I don't really welcome the guitars being so far out front on the 6th. On the CD, I'd like them to keep the balance with the keyboards.

Even the 6th has more synth arrangements than the 5th. The bass, drums, and rhythm section are programmed too, but they're prominent, so the rock feel might actually be stronger than on the 5th. Unrelated, but seeing Shonen Knife on MJ moved me a little. I hadn't seen them in ages.

>373 The uptempo side would definitely get weaker, but otherwise it seems pretty doable. The synths would probably come through much more clearly, for one thing.

When I first heard Mou Ichido Waratte on the 6th, it really moved me. I thought, “Gane can make such a polished, sophisticated sound too.” The 6th definitely gives a completely different impression from their earlier albums, but it still feels like the world of GARNET CROW. It's like the container changed, but the contents didn't change at all...

>378 Yurippe in the hat from the 5th-anniversary DVD looks like Ai-chan. As far as the rock flavor goes—drum fills and bass lines that really pull you along—the 6th is more interesting than the 5th. But either way, I still don't like either of them.

>380 Shonen Knife are more fun live. They have a lot of songs that work that way. But I prefer sodopp. In girl-rock, the mere fact that girls are holding instruments can count as individuality, but does anyone have any recommendations?

Sorry for abruptly changing the flow, and this might be slightly off-topic, but I don't think there's anywhere else that would give me a sensible answer, so I'll ask here. On the UtaMap lyrics page for in little time: http://www.utamap.com/showkasi.php?surl=A00501 after the second verse's “live forever,” it says, “Surely one day we'll perish, in little time.” Is that a mistake? I don't hear her singing it like that... Or is it like the lyrics to Spiral—she doesn't sing it, but it was included as part of the production's intent? I don't own the lyric card, so someone knowledgeable please tell me.

>385 She doesn't sing it. It definitely gets skipped. That's one of Nana's trademarks.

>385 So it was intentional in the production. I can understand wordplay-based readings, but lyrics that aren't meant to be read really got me. It feels like a thought kept quietly inside, and I think it creates the atmosphere of the moment.

Nothing is really off-topic here. Thinking about lyric interpretations and things related to their content is totally fair game. Let's keep bringing up topics.

Thanks. So there were un-sung lyrics besides Spiral too.

Maybe it's unrelated, but UtaMap doesn't have lose feeling listed, right?

>384 I don't know many girl bands. I don't mean to put down the ones around now, but they're awful—Stereopony and Scandal, for example. Though the latter is being sold as a “band idol,” so maybe that kind of thing is fine.

Like Whiteberry or ZONE?

I was really into ZONE for a while. Now I listen only to Gane, thoughｗ

Speaking of girl bands, something around Futari or Chatmonchy seems like it would fit. Songs with tricky developments and the band sound pushed to the front are good. The rhythm section really worked too, and I think a simple live sound could pull it off. I wish that Gane song hadn't used programmed instruments.

The reason the rhythm section stood out was Ossan's programmed arrangement in the first place. If they switched to live players, I don't think I'd find any individuality in the 6th.

I became a fan recently after listening to the 1st and 2nd, and now I'm trying to decide which live DVD to buy. I'm definitely getting Niwaji, but I want one more (I'd buy them all if money weren't so tightｗ). Which one do you recommend? I was thinking of getting the first live DVD, but does it show lots of the members' real faces—the kinds of expressions you can't see on their usual CD jackets?

There isn't a DVD where you can see their true faces backstage, but the first live has the members looking the most natural and inexperienced onstage. GARNET TIME was the only one that showed what they were like between rehearsals, though...

I like Yurippe's face in the 2004 live DVD.

No, first you need the Hacchan T-shirt.

You don't need to worry about how much gross profit reaches GIZAｗ So let's keep the discussion DVD-only. Wasn't the 5th-anniversary box a little like an off-shot collection too? The Mochi-and-Kurige one.

>396 It might not help you choose based on off-shot footage, but it should help you choose which DVD to buy. Should we do it againｗ GARNET CROW live-commentary thread http://namidame.2ch.net/test/read.cgi/liveuranus/1214717659/

If you want to see the fresh, inexperienced members, their lyric mistakes, and Yurippe being adorable through a nonstop stream of messy MCs, I recommend the 1st live. You should be prepared for the roughness of the playing and singing at that time, though. The 5th-anniversary edition's second disc looks back at their songs so far through member comments and footage. You can look back over their history all at once, and there are lots of member comments, so it might be the best one for someone who got hooked. The first one's live DVD for the 4th album is different. The outfits are cute, but Yurippe's vocals are in bad shape. Her voice doesn't come out, and it's very low and monotonous. They really became stable as a live act with the TowaBare live DVD. Kurose's drumming is a little distracting, but the playing and singing are the highest quality. They do a decent job with the MC and hyping up the crowd too, so the show is very polished.

It was the mirror ball one, thoughｗ Right, you can also dig up GARNET TIME on NicoNico.

Oh, thanks everyone! I want to see cute Yurippe, so I've decided to buy the 1stｗｗ I'll search for GARNET TIME on NicoNico and watch it too. But now I'm scared I might end up collecting every live DVD after allｗ

Come to think of it, I bought the TowaBare DVD but haven't even torn the plastic off. I saw the show live, after all. Once you miss the window, you never know when you'll actually watch it.

They played A CROWN on the TowaBare tour, but it made me think, “Was this song really like this?” The song's expression was completely rigid. It should be used in an acoustic live show. It builds up after the key change, but the atmosphere was kind of iffy.

Holding~ really shone.

Watching the live DVDs, I noticed that her voice is obviously thicker on the third than on the first. Even the obligatory Spiral doesn't really explode.

Holding~ is an R&B-flavored song, so I think it could still show some character today. But Eien ni Nemure and A CROWN are rough.

A CROWN is incredibly monotonous. I was happy that they played an early song, though. I wish they'd play Sky. If they could recreate the entrance of that guitar solo and the strings in the backing, it'd be even better than Holy ground.

Thinking back, her voice was best at the mini-live they did at the fan event. When you consider the strain on her throat, the number of songs and vocal quality must be inversely related. Ugh, what a dilemma.

Yurippe's throat is way too weak if it powers down after one showｗ Seriously. It's amazing that people judge her condition based on the number of songs. If they did a Rockin'On-type festival in Hitachinaka during the summer, she'd probably collapseｗ

One show is fineｗ The second show gets iffyｗ That's what happened this time.

On the LOCKS tour, the first Tokyo show was good, but the second one fell apart, right? Still, maybe she's gotten better at handling uptempo songs than in the past. The band feel, or rather the live feel, has increased.

Listening to wish, I think it sounds like one of those old Beatmania songs.

The intro sounds like the menu screen of some Sega game. I miss the period when Ossan's programmed arrangements were leading the way effectively. They really don't make songs in that genre anymore. There are way too many intense, overwrought songs now. LOCKS had a clear atmosphere, but it was still a work that followed on from the 5th, so I don't know...

>416 “Fushū”ｗ Are you imitating Prime Minister Aso? It's “tōshū”~

Somehow I put an 8 in there and ended up with “fu8shū”ｗ

It's “following tradition.” >413 Was the second day really that bad? I went on the first day and was amazed that Yurippe's voice was more stable than I expected. Even someone with a normal throat would be under a lot of strain singing that many songs in a row.

“Following tradition”—that's exactly the part you were supposed to make fun of (ry This is the absolute worstｗ Even if it puts a strain on her, a normal tour would have more shows stacked up. By that standard, Yurippe is still pretty green. Though she really was stable on the first day. That day, I was more concerned about the synth and string tones than Yurippe's singing.

There are too few shows to call it a tour. Next year will be their 10th anniversary, but you don't really feel the weight of those years. The lack of live shows must be part of it; you feel a distance from them. Maybe that's just what an artist's position is supposed to be like, though.

>416 Bringing out a band feel is fine, but I wish they'd combine it with stylish songs like Please forgive me and Nogare no Machi.

The disappointing part is that the songs can't keep up with the arrangements, even when the arrangements sound the part.

The arrangement should follow the song.

People have brought up Please forgive me and Nogare no Machi, and it's true that if you want a band feel, that kind of thing is ideal. They have a vaguely languid atmosphere and cool guitar riffs. For some reason, the “band feel” Gane talks about now gives me the atmosphere of old-school Being pop.

Yurippe's compositions have become easier to understand, and the guitars have started to feel Being-like too...

In the first place, I wish they wouldn't aim for a band feel. I want to hear songs that fuse electronic sounds and acoustic instruments, like Kimi ie, call my name, and Mario.

I mean, in the old days the programmed parts didn't even feel like programming—they blended completely with the acoustic sound. You didn't notice the drums or anything at all. The string arrangement in call my name sounds like real instruments, and the programmed drums in Kimi ie felt like percussion.

The proportion of acoustic guitar has gotten a lot smaller, hasn't it? I want them to keep adding acoustic guitar instead of giving more and more space to guitar solos. Looks like the band-feel thing is still lingering.

The acoustic-guitar arrangement is one thing, but with both this coupling track and the title track, I'm bothered by how much they feel like leftover tracks from the 6th.

wouldn't it be nice

Gane's songs always help me out. Especially before tests, they really save me. Anyway, setting aside my personal feelings... I'm a music lover, and as I listen to all kinds of artists, I came to like Gane too and started listening to them. I still listen to them, of course, but I wanted to ask what artists besides Gane you all like or remember fondly, so I decided to post. People who are completely dyed Gane-colored are totally fine too. I want to listen to songs and reply as much as I can.

>432 A lot of the ones on the recommendation chart have stuck with me. The Back Horn and Anri Kumaki, for example. I might buy Anri Kumaki's new release too.

>430 Still, Clockwork was good.

Something about the content of >432's post feels familiar... In another thread, people would probably tell you to take it to a fan siteｗ

>434 True. It's a song that makes you look back and remember the essence of old GARNET. Given their current songwriting philosophy, I think the odds of them producing another song that hits you right in the nerves are low, though. It feels like the vector of what Nana wants emotionally and what Yurippe wants creatively has started to diverge.

Nana's lyrics and Yurippe's compositions both feel like they've settled down. It feels like they stopped while still fitting together, and a strange “GARNET CROW” mold formed around them.

I heard Yurippe and Mochi talking on PASTIME, which is uploaded on NicoNico, and it gave me the impression that what they're trying to create has changed. In the 6th album introduction, Yurippe said something like, “We just can't help wanting one song to be dark and gloomy~.” I wish she'd just express that honestly. It's easy to make a mold and mass-produce from it, but adding lots of options to a Corolla doesn't satisfy you when the base is still the same.

Apparently Nana says, “Whatever song Yurippe makes, this one is good too~”ｗ

With bands, you often get rough but unwavering individuality early on, followed by greater expressive power as more albums come out. Gane were already polished on the 1st, so I'm honestly amazed they've managed to keep things from getting boring for this long.

The most disappointing thing is that AZUKI-san's lyrics have stopped taking risks. LAST LOVE SONG and CALL MY NAME were on another level. Lately there are a lot of lyrics that just say exactly what they mean, like “Sekai wa Mawaru to Iu Keredo.”

>441 Really? Isn't Futari much more daring than those two? That's subjective, so saying the old days were better just sounds like nostalgia.

>441 Is that so? That song made me realize all over again how incredible AZUKI's talent is. As AZUKI herself says, the value of a work depends on the person experiencing it. It doesn't have one fixed value from the start. Songs are the same.

The broad theme of Azuki's lyrics is that everything flows. Within the vast framework of time, nature, the seasons, people's hearts, and life are all portrayed as things that get swept along, change, and disappear. Starting from that theme, she creates all kinds of situations and writes message-heavy lyrics that make us feel fragility, sadness, the strength born from them, and all sorts of other emotions. Azuki really has taken risks with Kakurenbo, Marginal Man, and Futari. The theme hasn't changed, either. But lately, I feel like her expressive power—the ability to communicate the existence of that theme itself—has become iffy.

Even if they're creating a fragile, bittersweet atmosphere, works that feel recycled, like One of the Dreams, Short Summer, and Secret Path, aren't good enough.

I think she's still producing plenty of good songs, but I can't help comparing them with the old ones. Doesn't the intro to Sekai wa... sound like CALL MY NAME? The scale has obviously grown, but the old arrangements felt like they were born to fit the song and lyrics, maybe because they were still figuring things out. I mean, there are more direct expressions now, like “People are like that, aren't they?” The themes suggesting reincarnation in CLOCKWORK were presented so subtly and convincingly through metaphors like record players and paintings changing every week.

Record player = emotions flowing, played back over and over Weekly-changing paintings (forgeries of Rembrandt) = the will needed to keep layering things Both songs portray a shared scene: a room, other people, love, and something that colors all of it. That's why they make such an interesting pair. It's incredible that she can casually weave in grand-sounding themes like reincarnation and eternal return. Compared with that, the recent work feels lacking. Maybe it's because the theme comes first now.

Personally, I still expect quality from the coupling tracks (where there isn't a tie-in or “adult circumstances”)—the songs they presumably want to make. I think her style will change as Nana's sensibility changes, so I wonder if it's right to keep demanding the old feeling from every new release. Personally, I think her recent lyrics are good too.

If her sensibility is changing, I want the ideas behind her lyrics to keep expanding too. Azuki writes lyrics where you can't read anything personal into them at all, so maybe she should try writing from herself as the center.

>449 Read Hachima.

AZUKI-san herself doesn't seem to have changed much at all. Lately there have been more rock-flavored songs, and it feels like she simply puts lyrics suited to them on top. She's consistent and has no ego. That's probably why something really good is born when her lyrics mesh with Yurippe's songs.

>441 I agree a lot. I think there used to be a feeling of taking everyday events, slipping them in unobtrusively, and bringing them close to philosophy. The way call my name pulls you in is incredible.

↑ Sorry, I forgot to sage.

>441 People who are obsessed with call my name and the songs made around that period probably can't be satisfied with the recent singles. Sekai wa Mawaryu~—put badly, you can roughly tell directly what it's trying to say. One of Nana's strengths is that what her metaphors are trying to express remains ambiguous depending on how you receive them. The interpretation, feelings, and scenery differ from listener to listener, but they fit perfectly because there is still something everyone can connect with.

Especially with the more niche songs, it feels like Yurippe and Nana are perfectly in step. Even if the lyrics are simple, the moment the arrangement brings them out is when they show their true power. Since Yurippe has said she rewrote the lyrics repeatedly because “as long as it's a single, it needs to be easy to understand and catchy,” the recent singles feel lacking. The fact that she openly says she consciously thinks about a clear beginning, development, twist, and conclusion shows how much she's changed.

They probably hate nostalgia nerds.

Even the lyrics of Sen-ijō and A CROWN used to be popular because they felt like “a slice of everyday life.” Expressions that cut out everyday life probably have broader appeal. If you like female artists such as Utada, aiko, or Chihiro Onitsuka, you'd probably rate the lyrics highly too. If you like ACIDMAN, you'd probably love Sekai Mawaru, Clockwork, and Love Lone Star. Personally, Kakurenbo is the best. What incredible sensibility. I have to take my hat off.

If anything has changed, it's probably Yurippe. Songs express moods. If your mood changes, of course the songs change too. We're human, so of course our moods change. If the songs change, the lyrics will naturally change a little too (since they write to the music first). If you can't accept that, quietly leave. Complaining to the artists that they've deteriorated or whatever is completely missing the point.

>458 Sorry for replying to myself, but the last two lines were aimed at the people trashing the 6th on Amazon and the people writing incomprehensible stuff in public places like ×○. Sorry if that made you feel bad.

It's certainly normal for a person's mood to change. But with Yurippe, I feel like it's not just her mood—her ideas about and understanding of the GARNET CROW unit have changed. Put harshly, it feels like she's treating it as her own property. And the other three are following along... She's probably gaining experience and trying the music she wants to make. I don't think that's a bad thing.

452 If I had to pick just one Gane song, it'd be CALL MY NAME or NAKED STORY. I mean, they're the kind of songs that couldn't take shape without not just Nana and Yurippe, but Furui-san too (and Mochi). There's an arrangement around the second chorus where a high electronic sound rises up like a dot, and the whole song is packed with arrangements that couldn't have been born without deeply understanding the worldview of the lyrics (the Rembrandt stuff and so on). The non-live strings coloring the whole track somehow even seem incredibly dear because of the "cheap forgery~" bit. They fit the values the song expresses perfectly. If it's just a coincidence, that's amazing. 454 No, I'm not saying it's not a good song… 454 Yeah, exactly that. There are fewer songs that can be seen from all sorts of angles. On the other hand, Yuri's singing has improved and gotten more powerful. 455 Like Kimi wo Kazaru~ and stuff. The reverse ends up being interesting too. Why put a shrine courtyard in a Latin song… 457 Descriptions that cut out slices of everyday life are a standard J-pop cliché, and at first listen, Gane's music—including Nana's lyrics—seems to go straight down the orthodox J-pop road. But like Last Love, if you listen closely, you can also take it ironically. (I hate songs that leave nothing behind and just get hedonistically reproduced over and over. That kind of thing.) Then they give a clear answer to that on the next single, so you can really tell that each song was made carefully and painstakingly, one at a time.

458 I'm not saying they've deteriorated, but it's definitely true that their batting average for god-tier songs (the kind where magic seems to happen to all four of them) has gone down. I think settling down after so many years is just fate. In that sense, moving in a rock direction was the right choice. Nana stays where she is, while Yuri changes and grows tougher. The worlds their songs depict keep expanding outward, but the core never wavers. If they could show that structure well, it'd be godlike. Actually, Sekai wa Mawaru~ is fairly close to that. The sense of scale has grown, but they're basically unchanged since the early days. It makes sense that this song came out of the flow of LOCKS. Utada has left behind quite a few wonderful lyrics too, but since hers feel like they're written from personal experiences, things she was thinking at the time, and her own growth, compared to Nana I personally just think, "Oh, I see." I don't dislike grand lyrics and worldviews like ACIDMAN's, but anyone can say things like that if all they're doing is talking. You can't tell whether those words and that music really have any persuasive power without actually seeing them live.

>>462 Let's use an anchor. Use >> as the symbol.

In that respect, you can also see the source of Gane's lyrics in the relationship between Yuri and Nana, and in the changes in their musical direction, so it feels very convincing and makes me think that's probably really how it is. 460 You mean it's become closer to a Yuri one-woman show? Nana should write something poking fun at that and have her sing it, but with Nana it would just turn into a "Well, that's just how people are, isn't it~" kind of vibe, so in this unit you can't really expect that kind of push and pull caused by conflict. The old guy has a broad mind too, so the only thing left is for Mochi to completely lose it. Well, Dauto may be a gently toned-down version of that. His recent solo work also feels like he's the only one standing out and getting all fired up, and the PV portrays him like a wandering guitarist. Gane really is funny in all sorts of ways. In Nana-sama's mind, the history of the unit itself must have become one big story.

For people who like Azuki, what do you think of Anri Kumaki or GRAPEVINE's Tanaka, who are listed in the chart here? I never really clicked with Utada myself. >>457 Blue no Mori de, Sky, Mizu no Nai Hareta Umi e, and U all feel kind of like ACIDMAN. Probably somewhere around there. I wouldn't be all that surprised if someone told me Blue no Mori de was written by ACIDMAN. She can write Senijou, and also write Blue no Mori de and Clockwork, so Azuki's antenna is seriously impressive.

>>460 I think Yurippe's super-S side has gotten even more powerful than before. Though her name's stroke count was destined for a ruler of the realm in the first place. >>458 Everyone takes things differently, so of course people will have different opinions, but I don't think saying her mood has changed is quite right. It's not like Yurippe makes songs according to her mood or anything; I think her flags are simply becoming clearer, and she's just established her own senses and her own creativity, then expressed them.

>>465 I used to listen to GRAPEVINE a lot. Their lyrics are kind of like an I-novel, right? Weirdly overcomplicated, so they're not really my thing. I was drawn to AZUKI's lyrics, where the first person never seems fixed (the ego is faint). But lately GRAPEVINE's Tanaka has been amazing at laying words onto the music. FLY and CORE, for example. Apparently he's recently been conscious of the meanings that arise from the interplay with the sound. It feels like he's doing Kobo Abe through rock (that's about the only literature I know). I like them lately. AZUKI puts Japanese onto beautiful melodies, cherishing both the resonance and the meaning, as if there were no other possible words. Sorry for bringing up another old song, but the "looked up at the sky and breathed it in~ today" part of A CROWN is just too damn strong… I don't know ACIDMAN that well, so I'll give them a listen. Though the melodies and stuff feel kind of ordinary to me.

I also know THE BACK HORN pretty well, so I'll mention them too. These guys are kayokyoku at heart. They sing in Japanese and give off a dark, Japanese sort of atmosphere, so they're neither far away nor particularly close—a rare thing, maybe. They were good in the early, clumsy, devil-may-care days. Songs like Ikusen Kounen no Kodoku.

A lot of bands break up because the main members clash or have different directions. Yurippe and Nana will surely end up like that too.

You think so? I feel like they'll keep going while gently balancing things out. If anything, I kind of want to see them clash.

>>467 >Sorry for bringing up another old song, but the "looked up at the sky and breathed it in~ today" part of A CROWN is just too damn strong… I feel like this part rode the atmosphere of that era really well too. GIZA studio getting started, neo-acoustic, the Kyoto scene, the indie boom. Music that had been all go-go-go suddenly became small-scale and close at hand.

>>468 I don't know GRAPEVINE or ACIDMAN that well either, but I get Ikusen Kounen no Kodoku by THE BACK HORN. The bass is cool. As for the lyrics, I like Cobalt Blue, which is about the kamikaze pilots.

>>469 But with everyone having completely separate roles, I can't really imagine them having different directions. Like, a lyricist feeling uncomfortable with the song they're supposed to put lyrics on—it's hard to imagine a case like that in another band.

>>470 Yeah. Gane doesn't have anyone who's the type to express a powerful ego through their creative work, bordering on madness. If there were two people like that, the band would be having huge fights, but honestly, that kind of thing is interesting too. In that sense, Gane is pretty unusual among the artists I know, but that's also part of what makes them good. After all, at least I don't have to keep nervously wondering when they'll break up.

But I do get the feeling that sometimes Mochi's position makes him think, "I want to do something too~" He doesn't even play all of the guitar parts he's given, and his solo activities are on hiatus too.

>>474 Yeah, we don't have to worry about thatｗ Activity stopping or them naturally fading away would be scary, though. Maybe it's because they're not driven by "I have something I want to sing, something I want to say, so I'll make music," but by external factors like "a song came into being, there are listeners, we got a tie-up." Somehow, I feel like all four of them have things they care about, but also feel, "I'm happy just being able to make music right now." I think that has ended up showing through in their recent songs. >>475 Mochi is passive too… Though I guess he's found a place to express himself through arranging and stuff for Ueki. Someone mentioned it before, but the lyrics AZUKI wrote for Ai Takaoka have a very AZUKI-like starting point too.

>>475 Huh, really? In general, when a band has multiple artists who can work on their own, I think giving each person another activity where they can be relatively free is a good way to maintain harmony. If the solo work is gone, there's a very good chance Mochi will start asserting himself in Gane. >>476 At the same time as thinking, "I wish they were freer…", those external factors are actually really important. "Restrictions" are what determined the "Gane-specific individuality" everyone likes. They can be shackles, but they're also protected by them.

>>477 Even if you say it's because the solo work is gone, it's been gone for quite a while nowｗ I mean, what kind of self-assertion could Mochi even make in Gane? Like secretly changing the sheet music the old guy gave him?ｗ

This may be unrelated, but I feel like Yurippe said something in the 5th-anniversary DVD along the lines of, "It's easy to let yourself be carried along. It's hard to stay unchanged"… Still, it feels like Gane is going to keep moving in a good direction. Sorry for the random aside.

>>478 That's why they're giving him a pretty decent amount of guitar time now, and he's doing his bestｗ It might be pretty nice if he wrote something for Gane at the level of Resｰno. Something leaning toward high-quality guitar pop.

The length of the guitar parts isn't Mochi's decision, is it? The structure of Gane's songs has become fixed, guitar solos included, and it's not interesting anymore.

So, Mochi leaves the band, then.

The chorus work is amazing. It touches the heartstrings, or something… Why don't their recent songs use the kind of chorus arrangements they used to?

The fan-club newsletter said they apparently worked hard using several kinds of vocal delay on Clockwork. I already knew they used delay, of course, but it was the first time I'd learned there were so many different kinds. I'd be happy if they put that much thought into the chorus work too.

The recent choruses are interesting, with all the work put into things like phase. But I guess there are fewer that make you go "Oh!" just through the harmony itself. Anything interesting like flying, only stay, or fill away?

How about multitracking Mochi's chorus and layering itｗ It might be interesting to slip Nana's in there too without making a big deal of it.

It's good precisely because it's Yurippe's voice. A harmony layered over and over in that voice would give me chills.

Back when they used a lot of chorus arrangements, Yurippe's vocals were weaker, but now they're coming pretty strongly to the front. So the fact that they don't use them much these days might be because of that change.

I mean, even if they made full use of chorus work in a recent song, it'd still feel kind of… whatever.

Furui, the old guy, might be doing the chorus arrangements too. His presence is just as big as Yuri and Nana's.

>>479 I feel like they've already been going with the flow since they started doing live shows. But maybe it's a bit harsh to say that to a major-label artist. (She did reveal a hint of complicated feelings about it in the previous DVD, though.) Still, they started doing lives in response to fan requests, so of course their singing style changed, the songs became more mainstream, and the arrangements became more band-like. It's pretty ironic that they get criticized for those very things.

There is at least some image of an artist being someone who wins you over through live shows. Though Gane had already been showing us all kinds of things from the very beginningｗ

Yurippe, you're so dear～

Nakamura's stingy. She's a nasty woman.

>>494 Are you just imagining that?

>>490 Maybe Yurippe does the chorus arrangements. Apparently she sometimes adds them on the spot during recording, just going with the vibe.

You can't just make peace with it, so it's no good～！！

>>491 I've been a fan for ages, but when it comes to Gane's live shows, the parts that stick in my memory—or become actual memories—are mostly things outside the music, like getting to see Yurippe or hearing the members' MCs. I became a fan because I was drawn to Gane's music, but at a live show it ends up feeling like I'm just watching idols and getting excited about that. The live reproduction is still kind of iffy, you know.

I agree with part of that, for sure. But the lead-in to Endless Desire on this tour and Argentina's sense of rushing forward were really memorable. The reproduction is lacking, and I won't deny the bias of "people I like are playing," but I like the piano Nana-sama plays. When I hear Meguri Kuru Haru ni at Ninnaji, pray, or Kono Fuyu no Shirosa ni from 2004, maybe, the rigid programmed piano on the CD sounds kind of lacking.

Exactly. Though someone did say something like, "If you want to hear it exactly like the CD source, stay home and listen to it." Still, the kind of live performance that makes you strongly feel the joy and fun of interacting with the members—like the dance in Miss.Holiday—might work as a live show, but it doesn't quite fit the image of Gane I have in my head. Though I did actually think it was good.

That's a performance you never could've imagined from their early atmosphere.

One of Gane's good points is that you can sit back and watch without any prior knowledge, this time included. Maybe because of that, compared to other artists, it feels like there are more people who aren't used to live shows. A Gane live in a small venue, with diving and moshing and all that, would be pretty fun tooｗ

I hate the idea of a mainstream band having stage divesｗ

I wanna stage-dive during Spiralｗ

If they toured small venues, the heat would kill Yurippe. I'm getting kind of tired of ending with Spiral too. It was good at first, though. Back then, on the CD version, the arrangement shifted through programmed sounds and a big key change, but the guitar was so restrained that I didn't like it. Still, it was memorable as a song that really shines live.

Argentina is better as a live song. Live, you can really feel the power of the live band sound.

Yeah, the live version of Argentina was better. It had that sense of rushing forward and real impact. The CD version's almost-cheapness is nice in its own way, though. I think Saigo no Ritou was better live too. Given the scale of the lyrics, it was a shame that the CD version's bass was so light. If they did the minor-key songs from the third and fourth albums with their current energy, they'd probably really shine. Putting saxophone or something into only stay would look cool. And with the strong, slightly straight-ahead vocals she has now, Tsumetai Kage could get that cold, pushing-you-away feeling across nicely too. I like delicate Gane, but I hope they'll make good use of their current strengths too. That's just me, a blind devotee.

With songs like Tsumetai Kage, given the atmosphere of this tour, the synth strings and such might get buried and be hard to hear, so compared to the recorded version it could be a little underwhelming.

I'd love for them to play A crown live with their current sound. I want to hear it in person.

Personally, I kind of want to hear Rhythm with her current voice. The vocal extension in the first live show was pretty good too, though. Come to think of it, why was the single version of Rhythm canceled again?

Wasn't it "adult circumstances"? I think Futari no Rocket ended up being released as a single because of that. Things like that happen all the time because of production plans or sales trends. Was it Yume・Hanabi that they ended up making completely different from the original arrangement? This is just my personal opinion, but it might be interesting to rerecord every song with her current voice and make an album out of it. I'd especially want the difficult-to-sing early songs that were used as coupling tracks.

For Timeless Sleep, I prefer the rerecorded best-of version. The texture of the drum cymbals, and the fuller voice too. They could put a rearranged version on a coupling track once in a while, like bossa nova or jazz style. A jazz version of Yumemita would be pretty nice.

When's GARNET CROW doing their next live show? I couldn't go this summer, so I've been waiting ever since.

Don't start a question thread, idiot.

>>514 Shimura～the email field, the email field～

Apparently the song Kesenai on NEWS's latest album was written by someone called AZUKI. Could that possibly be Nana? Apparently it's not credited as AZUKI Nana, though.

It's credited as "Azuki." I looked at the lyrics, but they didn't feel like Nana.

Whoaｗｗ http://www.k-mix.co.jp/mqs/cd/0054098_07.html http://www.k-mix.co.jp/mqs/cd/0054098_14.html

Whaaaatｗ

That's a joke nobody can laugh at. Whose prank is this?

LOL. So there really was another lyricist with the same name. I see, I see. Guess that's the only way I can stomach it.

The JASRAC registration also says "AZUKI," so it's not AZUKI Nana. >>518 was just a typo. http://www2.jasrac.or.jp/eJwid/main.jsp?trxID=F20101&WORKS_CD=15426378&subSessionID=001&subSession=start

If Nana started providing lyrics to other artists, Gane would be so mainstreamｗ If it really got to the point where she could provide lyrics, could we say the relationship between Being and Johnny's had become friendly? Well, it'd actually be pretty interesting if that happened.

Yuri Akanishi, huh.

Oof, awkwardｗ

Akanishi and Yurippe have the same birthday.

Hiroism is Furui-san, huh?

>>524 You two are a good match.

When I imagine the artist I like marrying someone from Morning Musume, I want to punch a wall.

Sorry to completely derail the conversation. What does everyone in this thread think of Anathema (that's how you pronounce it, right?)?

I like Anathema. I even own the album Eternity. Is that band gothic metal? They've got a bit of prog in them too, right? Well, I think there are a fair number of people who like gothic music.

>>529 Who is this artist? I guess Gane has too little information out there, because even though it has a lot of numbered parts, no thread gets started for it on the gossip board.

I only know Anathema by name and don't know them very well, but I did start listening to Opeth because of this thread.

Wasn't Opeth supposed to be the King Crimson of the 21st century? >Opeth Oh, was that TOOL? Anyone here listen to TOOL? Ænima is too damn good.

Changing the subject, the DEEN song from the new Tales game is pretty good. Speaking of Tales, they got the Eternia tie-up, right? Looking back, that was a pretty amazing opportunity.

They gave us a masterpiece worthy of that tie-up.

flying is a masterpiece. I listened to the best-of disc so much that it's covered in scratches and started skipping. I'm pathetic for still hesitating over whether I should buy a new one.

If you only want flying, why not buy the single?

The jacket is fresh too >frying Even if they could get a tie-up with the Tales series, these days it'd probably be one of the lesser-known mobile Tales games. The one with DEEN singing the theme is also a mobile game, but it gets played quite a lot.

>>538 It has to be that album packed with masterpieces. It's an incredibly high-quality piece where everything reaches the realm of the divine, and its value is far greater than its price. Of course, I also want that single with Panda Yurippe on the cover.

Then buy all the singles and get a stereo system with a CD changer that holds about 30 discs.

Do they even make a changer that holds 30 discs?

So even if you're particular about getting songs on albums, you don't go as far as collecting all the singlesｗ

The B-side of flying is god-tier.

cried a little is god-tier too. Sorry to everyone who's collected all the singles, but I'd love them to release an album collecting only the B-sides. I want to be able to listen to the divine stuff up close.

I'd be interested to see which songs they'd choose if they released a B-side album. Yuudachi no Niwa, Mawarimichi, and float world would be obvious picks.

a little time is on the best-of too, but should it go on there? The recent coupling tracks don't feel as different from the title tracks as they used to. Same with the album tracks, really.

Why not choose the songs yourself and make your own coupling-track album? You can buy downloads by the individual song now, too. Personally, I'd recommend Circle Days, Transtrap, Cried a little, Jewel Fish, and Futari no Rocket ～cool smooth ver.～.

Mochi mentioned Lost Story and things like that in the newsletter when talking about a coupling-track collection.

Itsuka Mata Aimashou is good too. The fact that Gane did bossa nova made a strong impression on me. I want them to keep getting more experimental like this.

>>548 Don't forget Crier Girl&Crier Boy～ice cold sky～ either.

lose feeling and Yofuke no Ryuuseitachi too… But yeah, the list just never endsｗ

Conclusion: all of them. That works!

I wonder how much the members make a year. Nana-san was on the high-earners list, right? Was it around 50 million yen? Furui-san's activities cover a lot of ground, so maybe around 70 million? What about the other two—around 30 million?

>>554 Nana-san being on the list was related to an inheritance. As for income, Yuri and Nana probably make more because they get royalties. I've heard GIZA pays low wages, so Ossan and Mochi probably make less than ordinary office workers. Apparently guitarists generally can't make a living from that alone.

>>554 50 million, 30 million—are you joking? That's one zero too manyｗ http://rockgt.com/promoukaru.html According to this site, unless you're a lyricist, composer, and vocalist, things look pretty rough.

When you hear the word "artist," it sounds like an attractive career, but in reality it's not really like that. An annual income of 30 million is ridiculousｗ This is getting a bit off the subject of the members, but the music industry is in a recession too, so it's hard to put out satisfying sales consistently. Even if you can write lyrics and music, there are tons of singer-songwriters, and most of them get buried pretty quickly without being able to show their own color. Just thinking a little about the environment they're in shows what a harsh world it is. Still, I think Gane has done really well to last this long.

But with music, if a single sells 100,000 copies, 100 million yen gets spread around to all kinds of organizations, right? It's an amazing world.

This is >>554. Is the music industry really that harsh…? Comedians and actors get 30 million yen pretty routinely, but things are tough for GARNET CROW… Still, don't Mai Kuraki and the people from B'z often rank on the high-earners list? I think those people must be incredibly wealthy. Is there really that much difference, apart from name recognition, between them and GARNET CROW or the other members…? Especially Nana-san and Yuri-san have royalty income, and Nana-san was on the high-earners list too, right? You said it was related to an inheritance, but isn't that inheritance tax…? Or does it mean something else? Going by that calculation, it'd come to an annual income of around 70 million. Is there something unusual about that? I assumed everyone was normally making around that much from the way it looked, but I wonder how it really works… It's simply a world of talent, and Gane surely belongs among the successful ones. And this is basically their peak right now (or maybe a little earlier?). Their royalty and CD sales should mean this is when their income is highest. Unlike a salaried worker who stays employed until retirement, they're more like professional baseball players. Is it really okay to have people at the absolute top of their game work for less than 10 million yen…?

But look, selling 10,000 copies only brings in 10 million yen. Even if they release two singles in a year and sell only 30,000 copies total, that's just 30 million yen coming in. Sure, they're artists, so they probably have little bits of side income here and there, but once you factor in production costs, labor costs, activity expenses, and so on, the profit margin probably isn't that high. An excellent company can easily clear 1 billion yen in annual sales from sales alone, but if public opinion can make sales swing wildly, the average income probably doesn't even reach 10 million yen a year. Unless they put out a million-seller, that is.

>>559 *Being GROUP total sales of major artists (through 2008.06) ※Excluding video works, books, and works currently on the charts *1st　7668.7　B'z (7,6687,489)　※Two works currently charting; figures through 08/10/30 *2nd　3695.8　ZARD *3rd　2520.0　TUBE *4th　2255.0　Maki Ohguro *5th　1500.6　Mai Kuraki *6th　1376.0　WANDS *7th　1365.7　T-BOLAN *8th　1018.7　DEEN *9th　*521.2　the FIELD OF VIEW 10th　*293.0　Koshi Inaba Reference　*271.4　Miho Komatsu Reference　*265.4　Rina Aiuchi Reference　*136.7　GARNET CROW Reference　**38.3　Yuka Saegusa IN db

This is a post where I calculated Mochi's royalties before. He really must be on a salary system. 120/1001:名無しさん＠お腹いっぱい。[sage] 2007/11/03(土) 18:13:56 ID:b6d+2TLhO I tried calculating the performance royalties. After deducting tax and the jacket share, I calculated the single at 1,000 yen. Let's say 20,000 copies were sold. 1000×0.02=20 yen 20÷4 people=5 yen 20000×5=100000 yen Mochi earns 100,000 yen. Yurippe and Nana get copyright royalties, and Ossan gets money because GIZA buys the arrangements outright. Hang in there, Mochi!

Mochi doesn't get much credit for providing compositions and arrangements for Mai Kuraki and Ueki, but at his solo level, I think there are parts that can hold their own against Gane's current direction. Considering the royalties too, I wish he'd put at least a little more focus on composing.

326 ：清き一票＠名無しさん：2007/11/02(金) 23:09:44 ID:RZiqVP2P >>322 Lyricists and composers each only get 1%–3% in royalties. Arrangers only get a contract fee. The artist royalties that actually go to Mochi are just a drop in the ocean. Is this post really true…? Three percent would be enough to kill anyone's motivation……

It's weird that even Ikimonogakari and Chatmonchy sell better than Gane…… It really feels like the promotion and sales format are bad… If they keep doing things the old way in this recession, they'll go under… I don't want them to force themselves to sell, but I don't want them to break up even more……

I don't dislike Ikimonogakari, but… Either way, I think Gane's musical style is something the general public just can't understand.

Well, even when they release bright songs, the public reaction isn't very good. Their recent singles haven't even reached 20,000 copies, so judging by the sales, their third album era was probably the real peak rather than now. Yurippe seems to be desperately doing promotional work, but I think they'd sell better by staying out of the spotlight and targeting listeners who understand the craft that goes into the music. It's sad seeing her accept the company's business decisions like this.

<Fullmetal Alchemist> The new series starts in April 2009 on the MBS・TBS networks. This is it! If they want to sell, they need a tie-up！！

What's your favorite coupling track?

Yuudachi no Niwa.

>>569 Float World

>>569 Float World

Huh? Why are there two of them?

>>569 Float World

The music industry is declining too, so it's harsh to compare them with sales from around 2003. The way you put it, "promotion" makes it sound like Gane itself is forcing a run toward commercial songs. >>566 It's not really that inaccessible. It's just that Yurippe's vocals are unusual. The songs themselves aren't especially catchy either, but if Yurippe weren't the vocalist, I still don't think you'd necessarily conclude that they could never appeal to the general public. Even if they put out bright songs, they won't sell if they don't have enough name recognition. That's just how it is.

I wonder what they think about putting songs out and not selling that much. Have they gotten used to it? Was it painful in the past? Do they still hope to break through? Are they okay because they have core fans? If so, I guess live shows really do have a huge impact now. I've been thinking about this lately because of something that happened to me personally. Sorry for this ridiculously off-topic scribble.

I came to my senses, so I came back to correct myself. It's not like they've been making songs in order to sell them. Sorry for writing a long post about something unrelated. Please ignore it.

Gane's stability is incredible. The day Gane becomes Being's empress probably isn't far off.

Songs are meant to be heard by more people and resonate with them, right? So "selling" is an important part of that, and isn't it a little wrong to deny it outright?

Pursuing your own music and being evaluated by others are fundamentally different things, but are there really people who operate while thinking only about the former, no matter what situation they're in? As long as you're a professional, I think you consider the latter at least a little. I wonder what Gane's like.

There are plenty of bands that, without saying it out loud, think, "The people who can keep up can keep up." They have zero intention of selling out, but they do want to be successful. If they don't suit your tastes, you don't have to force yourself to keep following them. Gane is probably something like that.

The real question is what the record company thinks. Regardless of the artist's intentions, they can't make a profit unless they sell, so they can't just keep saying cool things. That pressure is why they're made to do promotional stuff, right? In the end, does it mean they just have to follow the company's wishes?

>>579 Of course, that way of thinking is probably the more conventional one. But personally, I don't think people are all that alike. Being supported by lots of people means representing the lowest common denominator, and the bigger that denominator gets, the vaguer it seems to become. Sharing sympathy with lots of people is nice too, but there are listeners who want to find one single thing they can believe in. At least for those listeners, things that sell well are boring. Maybe that's a mistaken way to think about it. >>580 Even great talent is useless if the money runs out, and they have employees' wages to pay, so they can't ignore it completely. But to take it to an extreme, I don't think they need to become like Komuro.

I only really think about the environment they're in when they're doing multiple businesses or getting tie-ups.

I'm >>583, but I'll take back part of what I said. It was wrong to make it sound as if things that sell well have low quality. Works that are excellent and recognized by lots of people are the kind where each person can enjoy them according to their own level of understanding. I think Gane's songs have that quality.

Utada, L'Arc-en-Ciel, and BUMP (BUMP may be a little debatable) all maintain high sales while still having real substance. The fact that Utada can sell that well with music like that is honestly amazing. L'Arc plays around with genres and still manages those kinds of sales.

Part of it is that the industry itself is declining, but maybe it's also because things are becoming more diverse. High sales usually mean the surface impression is easy for the public to accept; I think that means the work has a wide entrance while still being high quality. Garnet had a very narrow entrance in the early days, but it was well received by people who understood its value. Now they're opening that entrance up, but opening it up isn't automatically the answer either.

This may be a little off, but whether for good or bad, Conan's influence is huge. Music has become fashion in the public eye, so the image of Gane = anime songs is a disadvantage when trying to gain new fans. I became a fan through a Conan CD myself, though.

The only people who see anime songs as negative are probably 2ch users. For the advertising and music industries, tie-ups are something they want so badly their hands are practically reaching out of their throats. Anime tie-ups are the best way to gain new fans. You have to get people to know you before you can get them to listen. Gane being able to continue this long is largely thanks to the effect of the Conan and Tales tie-ups. I hope they keep taking as many tie-ups as they can whenever they get the chance.

Anime tie-ups cover a wide range, from MÄR to Gundam. If an anime singer or band can really keep selling, that's an honor. Nishikawa has already established that position with Gundam, and UVERworld, who are doing the opening for Gundam 00 now, are trying to cement theirs too. >>587 Spiral, Yumemita, Kimi to Iu Hikari—increasingly lately I feel that this was the period when they made the most accessible, easiest-to-understand melodies. Even before considering tie-ups, their current songs aren't enough to reach either the core fans or the general public.

In my opinion, if you limit it to singles, every song from mysterious eyes through Natsu no Maboroshi was excellent, and I think they would've sold normally if they'd had the level of recognition they gained after Yumemita at the time. flying, Timeless sleep, Last love song, and call my name were Gane's true peak. It may be nostalgia talking, but the tie-ups kept coming and I think they were highly regarded by people in the industry too. There's no need to discuss Yumemita and Spiral. The next two had a slightly more obscure feel. From Kimi to Iu Hikari through Hare-dokei, I personally can't understand why they didn't sell, especially since they had Conan tie-ups too. And after that, the singles started feeling either obscure or a little lost.

Maybe the reason they don't sell is simply that they're a gloomy bunch at heart. Gane's good point is that no matter what state I'm in, there's always a song that matches what I want to hear. Once I feel like listening to one, I get completely absorbed for ages, and when I get a little tired of it, the next song matches my mood. All five of my senses fit perfectly into it, and I'm sucked in and drawn along. That pleasure is practically a state of ecstasy.

The strange thing about Gane is that once you get hooked, you'll eventually come to like every song.

Trueｗ I'm an anime otaku too, so I want Gane to sing more and more anime theme songs.

Their anime tie-ups are all the kind of things that would make little difference whether they had them or not. Gundam-level tie-ups are one thing, but MÄR, come onｗ Though they can't get that kind of tie-up because they're not Sony.

It'd be nice if Fullmetal Alchemist or Tales came along. I think a tie-up with an anime adaptation of a Jump or Magazine manga would be powerful.

They've done Conan so many times, it'd be nice if they could get a Conan live-action drama or something. Though obviously that's impossible no matter how you look at it… Even with anime, it'd be nice if it aired nationwide. Though maybe they don't suit overly bright animeｗ

Fine, I'll become a manga artist and work hard to get my manga made into an anime, then get Gane to sing the theme song.

How many years from now?

I haven't even shown my true power yet.

>>595 Linking them to an anime tie-up that won't even sell is just ridiculous. In that case, release it without a tie-up. They've completely lost sight of what they should be particular about.

They used to have things like Sanjapo, Sporto, and Uchi-P too. It'd be nice if another miracle like Kasouken happened. All right, I'll become a screenwriter and (ry

That said, more and more people probably don't even have TVs these days. They should think about more kinds of media too.

Anime tie-ups are fine, but it'd be a problem if the packaging were so embarrassing that you couldn't buy it. They should think about the age of the people buying it too.

Rina Aiuchi's Japanese History Suspense Theater would be absolutely perfect for GARNET.

Use clockwork.

About how old is Yurippe now??

>>607 Was it around 32…? I think the members' average was around 36.

The anime tie-up songs from this period aren't turning out very well. Though almost all their anime tie-ups are MÄR anyway, and I've only listened to Hare-dokei.

>>608 Huh? Wasn't she 31?

>>610 Was it? I don't really remember, but I recall Ossan being 40 and Nana being 37… I think Mochi is two years older than Yurippe.

Yurippe is 31. Mochi is two years older. I forgot the two older guys. There was some weird equation for their ages too, wasn't thereｗ

>>602 That takes me back. I used to watch the tie-up shows just to see them. Even Pooh, despite being on late at night. I watched it just to hear those dozen-odd seconds of "Crystal Gauge." And whenever Spiral played while I was watching Sporto!, I was so happy. It sounded even cooler with the sports footage playing behind it. Those days are gone now. Ever since the MÄR tie-up incident, I don't need tie-ups anymore (ﾟ�聴)ｲﾗﾈ It's sad that now I only expect—or can only expect—the coupling tracks.

>>607-612 Yurippe 31 (1977/7) Nana 34–35 (1973–4/7) Leader 41 (1967/2) Mochi 32 (1976/6) Nana-sama's age is exactly the members' average.

ID:8JmVEEPQ0

With just a little more effort, Yume・Hanabi could've become cheesy-but-cool Japanese-style metal like Onmyo-za. Instead it turned into the GIZA sound.

So, everyone, what did you think of the Ninnaji live DVD?

>>617 Nana-san's cleavage got me excited!

If everyone's reviews were good, I'd consider buying it too, but for some reason I don't really want it this time. The Ninnaji live DVD, and the 6th live tour too.

The Ninnaji live DVD moved me. It was better than I expected and really surprised me.

The singing really does seem to be pretty high quality. The beautiful falsetto has me curious too, so I guess I'll buy itｗ

>>617 Yurippe is as cute as ever, and Nana-sama is as cool as ever.

It must have been edited, but the consistency on Maboroshi and Holy Ground and the others is fantastic, so you can listen without worrying. There are also simple performances like the unplugged parts, so it's a live show where you can really savor the appeal of Yurippe's singing.

Of course it's good that she sings well, but the idea of Yurippe as a great singer somehow feels weirdｗ

It's less "she's skilled" and more like, "My, you sing very well."

Really? I thought the appeal of Yurippe's voice came through in full.

I saw Crystallize selling used for 100 yen. I was so offended that I bought it for them.

That's a great deal for a new fan. It contains two god-tier songs, Nogare no Machi and Marionette. They've been around for nine years since debut and ten since forming. I wonder if they could do a live show made up entirely of obscure, core-fan songs that never usually see the light of day. Talking about Nogare no Machi has made me want to hear them play it. I'm satisfied with Ninnaji too, but there are still plenty of things I want them to do.

The performance and arrangement of Nogare no Machi would probably turn out cool, but Yurippe would probably lower the key.

>>628 I'd be happy if they had a live show with more coupling tracks. I'd love to hear Jewel Fish and Yasashii Ame, for example. I'd also like to hear Dreamin' and Sky in something closer to the early arrangement. The Sky at Ninnaji was performed with an acoustic arrangement, after all. Though it doesn't have much dynamic variation to begin with, so layering on more sound might weaken the vocals.

>>630 They sang Yasashii Ame on the Towa Bare tour.

Huh? Did they? I don't remember that.

I was moved that the first song of the Ninnaji encore was that one of all songs… Personally, I'd like to hear Transtrap and Whiteout next. They might as well do a coupling-track-only liveｗｗ

Ninnaji was the best. I got to see everything and was overwhelmed. The setlist was balanced, without leaning too heavily in any direction, and fit together beautifully. Why is every little thing Yurippe does so cute?

>>630 The early Sky was over-arranged, so the melody and vocals lost some of their presence. The strings and arpeggios create the atmosphere, but the programmed sounds are too noisy, so even if they reproduced it live, I don't think much praise would come to mind.

Float World and Crier Girl＆Crier Boy～ice cold sky～ have good reputations, though. Personally, I'd like them to play Lost Story, his voyage, Go For It, and things like that. If they do a coupling-track-only live, I want it to be at a fan event.

At fan events too, I wish they'd stop setting aside time for talking and spend that time on the live show instead. A live made up only of core coupling and album tracks would be the absolute best. Changing the subject, the commercial for the Ninnaji live DVD—I laughed all over again because Yurippe's singing was too damn good.

If I could hear Crier Girl&Crier Boy～ice cold sky～ live, I could die happy… I'd have no regrets in this life. But I guess they'd lower the key again. With the singing ability she showed at Ninnaji, I think she could pull it off pretty well.

Crier Girl&Crier Boy～ice cold sky～ has repeated high Gs in falsetto, but the key in the chest-voice parts isn't especially high, I think. Keeping up with the falsetto after the modulation sounds like it'd be difficult, though. Speaking of vocal range, I'm surprised Gane actually reaches the hi-A to hi-B level.

The Ninnaji live is great. Yurippe's voice feels so good that it makes me happy. Seriously, I can't quit Gane…

I always thought of her vocals as clumsy but full of character, but Ninnaji changed my image of them a little.

How many years has it been since their first live show? They've really grown. It kind of makes me feel like a parent. As for a fan-event activity I'd like to see… How about everyone playing hide-and-seek? Of course, the four members would be it.

I finally watched Ninnaji. The shadowy vocals and the atmosphere of the temple at night were incredible. Deep stuff. If they did more live shows like this, I'd go to Kyoto.

Don't do it in Kyoto or whatever—do it in Tokyo.

Exactly. No matter how wonderful the live show is, having it in a place like that creates all kinds of difficulties. >>639 Blue no Mori de and Kono Fuyu no Shirosa ni seem pretty singable. If you learn mixed voice, could even a guy hit those notes?

I remembered someone at the Kawasaki fan event holding up a sign saying, "What about Hokkaido?" It's tough once you get north of Tohoku.

Speaking of fan events, there was someone who came all the way from Okinawa. Worthy of praise.

There are fans all over the country, so I think people would be happy wherever they held one.

Their habit of hiding out in Kansai is annoying. They don't have to force themselves to do promotions, but I wish they'd at least hold every live show in Tokyo too.

I wish they'd released a new song around this time. I wanted to hear a Gane Christmas song. Something that captures a fleeting happy moment like Matsuri no Jikan would be nice, but I also want one of those positive-negative songs that feels like it's forcing you to convince yourself you're having fun.

Not jumping on the Christmas bandwagon is exactly what makes GARNET CROW.

I was watching Gekiryuu Chugoku and cracked up at how many "children who don't know love" there were.

For example, on a December night really hits me right in the gut. I guess this time of year turns me into a contrarianｗ Changing the subject, the card in the newsletter is nice. Mochi's mechanic position is weirdly too realisticｗ

To throw out a topic, here's my top five songs of the yearｗ 1st Clockwork 2nd Love is a Bird 3rd Secret Path 4th Love Lone Star 5th Hyakunen no Kodoku I more or less forced myself to pick the fifthｗ In my mind, the top four are the Four Heavenly Kings.

It's a shame Short Summer isn't on there.

Mine would probably look similarｗ Love is a Bird Love Lone Star Secret Path The first cry Saigo no Ritou

Honestly, there wasn't an overwhelmingly great work this year. There were good ones, though. For now, Clockwork is definitely number one. After that… Maybe I should pick from the coupling tracks…

Love is a Bird Love Lone Star Futari The first cry One more song… nopeｗ

1. Love is a Bird 2. Clockwork 3. Secret Path 4. Saigo no Ritou 5. Go for it It's true that nothing really stands head and shoulders above the rest. Before, I chose songs after considering everything—melody, vocals, lyrics, and arrangement—but this time I narrowed it down entirely to the arrangements, which made it easy. The synth lead on Love is a Bird has that very Ossan-like synth arrangement, and it sounds great. I like that atmosphere. Saigo no Ritou is good too—the 12-string guitar and the subtle key changes are interesting.

Looking at the arrangements, this year they were aiming for more of a band feel, and the rhythm section got stronger. In that sense, you could call it an interesting year. Futari, for example.

>>658 There's a lot of overlapｗ 1. Love Lone Star 2. Love is a Bird 3. The first cry 4. Futari 5. Sekai wa Mawaru… That's not from this year, is itｗ

doubt clockwork Yume no Hitotsu Mou Ichido Waratte The first cry I still think this year was all about LOCKS. It's an album that changes color every time, very Gane-like, and I personally like it more than the fourth. I wonder if they'll release an album next year.

I'm going to read the room and announce this year's WORST 5. Look how cool I amｶｺ(・∀・)ｲｲ!! 1. Namida no Yesterday (album ver.) 2. Kono Te wo Nobaseba (album ver.) 3. Hyakunen no Kodoku 4. Mr. Holiday 5. Mijikai Natsu

1. Saigo no Ritou 2. Secret Path 3. Love is a Bird 4. Clockwork 5. Yume no Hitotsu I really like the flow from Saigo no Ritou to Namida no Yesterday on LOCKS. I think Yume no Hitotsu feels fresh in everything except the melody, and it's good, but is it getting mediocre reviews? My personal last place is Hyakunen no Kodoku. I just can't bring myself to listen to it on repeat. Is that stale feeling because of the tie-up?

1. The first cry 2. Futari 3. Secret Path 4. Mou Ichido Waratte 5. Hyakunen no Kodoku I also love Sekai wa~, Namida no Yesterday, and Love Lone Star.

By the way, Sekai and Namida no Yesterday are songs from last year.

>>659 Go For It was from last year too, wasn't it? >>666 If we're counting the album version, isn't it fine?

Everyone gets them mixed upｗ Namida no Yesterday and Sekai are on the latest album, after all. >>663 Leaving Mijikai Natsu aside, I agree about Namida no Yesterday and Holiday. As for Holiday, even counting the live performance, I still can't accept the finished product, even if you call it breaking new ground.

Recently there haven't been any songs with that sense of transparency, or thinness. It feels like they're all songs that keep building and building.

As someone who likes uptempo songs, I might actually prefer that.

If Sekai counts, then it's my favorite by far.

I think the Miss.Holiday choreography works well as a performance, and I don't mean to say anything bad about people who enjoy it, but it doesn't feel right to me. Waving glow sticks doesn't feel right either. Maybe the live shows could have more of a feeling of pushing the audience away.

These days it's basically a choice between uptempo songs and ballads～ I'm not saying they need to dwell on the past, but they do need to look back at their roots. Taking in new good things and challenging themselves is great, but I don't want them to change the concept of being gloomy and drawing a clear line between themselves and everyone else.

>I don't want them to change the concept of being gloomy and drawing a clear line between themselves and everyone else. You're insulting them, right?

It's not the same as being gloomy. I think that's an important distinction. They are cynical, though. Some Being fans compare Nana's lyrics to Uehara's, but their ways of expressing themselves are completely different. Whenever I see posts like that, I end up thinking maybe people aren't really listening to much Gane.

Nana's lyrics are deep. How much value you can find in them depends greatly on the listener. That's probably what Nana means when she says everyone should interpret them for themselves. I still have a lot to learn myself.

She has a lot of drawers because she reads all kinds of books and watches all kinds of movies, then writes from different perspectives depending on the song. That's why the lyrics have so much depth. I think she said something like, "There's nothing in particular I want to write, but there are things I don't want to write."

To write good lyrics, you really have to read and experience all kinds of hobbies. Though there are people who write well without reading at all. Yoshii from The Yellow Monkey, for example.

I don't think Nana's lyrics are cynical, so does that make me the cynical one? I end up thinking the negative side of things is the truth. Maybe that's what you call madness. Still, I like believing that today is better than yesterday.

If calling it cynical means feeling doubts about things that people commonly take for granted, then I suppose it is. Festivals are supposed to be fun. Love is supposed to be eternal. Knowing the truth is supposed to be important. That's what people think, but are those things really true? People who feel the same way as everyone else will find that cynical. But some people will honestly think, "I see. They're presenting a question."

"Time passes" → the moon and sun chasing each other. You can feel the sensibility in just that much (indies).

The lyrics you see around town that give off a dark, or rather bittersweet, image are usually stories about people parting. There are plenty of bright ones, with connection and those relentlessly charging-forward positive songs. You hardly ever see lyrics with images of time being finite, awareness of disappearance, or decadence ( ・∀・)y─┛~~

So I wonder: what if everyone understands a decadent, nihilistic image like Azuki's and deliberately avoids it? What if they simply don't want to write lyrics that make you feel a shadow hanging over things? Suppose Aoyama Thelma (it could be anyoneｗ) said something like: "The passage of time is fleeting, isn't it? Even happy moments pass in the blink of an eye, and the more you look back on them, the more fleeting they feel. Time is finite, so even death comes more quickly than you expect. So at least in my lyrics, I want to dream that human connections, and the love that grows from them, are eternal." If she made a comment like that, I'd respect her ( ・∀・)y─┛~~ I'd think, "Ah, so you're only showing listeners the pretty side and muddling through by deceiving them." When I indulge in this kind of baseless fantasy, the lyrics you hear around town become really interestingｗ

>>638 Kuraga was only performed at the Osaka show of the second tour, but they didn't lower the key.

>>683 >The passage of time is fleeting, isn't it? >Even happy moments pass in the blink of an eye, and the more you look back on them, the more fleeting they feel. Time is finite, >so even death comes more quickly than you expect. I think everyone has moments when they feel that way. AZUKI is the one who deliberately turns it into lyrics.

I mean, if someone can use that as inspiration for lyrics but deliberately chooses not to, that'd be interesting. But in reality, they probably just don't have the skill to use it as inspiration ( ・∀・)y─┛~~ So anyway, that's why Azuki's eye for things, and the descriptions that come from it in her lyrics, are so great.

Tomatsu's only selling point is that she's young.

Oops, wrong threadｗ

Where is Nana-sama trying to lead us, the human race?

Nana-sama has no interest in the human race.

>>684 Seriously!? I wanna hear it～

>>683 Everyone writes the same kind of thing, all lined up together.

When it comes to lyrics, Nana and Inaba are overwhelmingly the best in Being. Komatsu too, maybe? Of course, you could also say the people I just mentioned are simply excellent, but everyone else is just awful…

Why do Being lyricists ignore scansion so much and rape the composition? It seems like they have things they absolutely need to convey and won't compromise on, so they cram in a ton of words even if they have to ignore the melody.

It's not cool to use the confusion as an excuse to bash other people.

Yurippe gave ZARD a complicated song even though they weren't originally good at fitting lyrics to melodies, so in a way she committed lyric-rape (ry The song turned out well in the end, though. The lyrics also feel like a new frontier for ZARD.

Nana-sama putting lyrics on more than 100 of Yurippe's songs is seriously hardcore. Yurippe making all those songs is just as hardcore, though.

The two of them are just insanely in sync to begin with. They're truly like an unspoken understanding.

Among the songs she provided to other artists, Takaoka's lyrics are the most outstanding. Compared with the recent lyrics, those might actually be better. Takaoka herself seems to respect Nana, and was strongly influenced by her in her own lyric writing, so maybe that's why the work turned out this way.

AZUKI700

It looks like she's been fired by now, but Shiori Takei's lyrics weren't bad either. Nana provided lyrics for her at one point too, didn't she?

She got fired? Takaoka is still around, so why is Takei finishedｗ Ah, is it because Takaoka is external? When someone just naturally disappears without any explanation, it leaves this vague, unpleasant feeling. I wish they wouldn't do that.

I posted this in the main thread too, but happy new year. Personally, I didn't think last year's output was all that great, so this year I hope they'll keep an experimental attitude while staying true to the basics and showing off their appeal. I'm looking forward to the album.

>>701 Don't fire her on your ownｗｗ There hasn't been any official announcement, so you don't know that… Happy new year, and all the best this year.

When Mugen was introducing GIZA Masterpiece, they played everyone's PV, including Rumania Montevideo, but didn't play Takei's at all. People were wondering about it on NicoNico too. Also, there were tons of comments when GARNET CROW came onｗ

Happy new year, and all the best this year. Takei had a pretty good vocal timbre, though. Honestly, I think she had more potential than Kitahara or Takaoka, who are still around now. Sorry, but Kitahara only has the fact that an outside person is involved going for her… Kitahara's vocals are pretty iffy now.

Aiko-sama's looks are top-notch, though…

What is Nana-sama's real name?

Look in the main thread.

You don't know Rie Sugaya? If you're a fan, you should know her. I wasn't particularly interested in her back then, though. For some reason, a lot of videos of her have been uploaded now.

Hyakunen no Kodoku is pretty hard to drink. The song is rough too: the intro is interesting, but the chorus feels predictable and wears me out. I think it's the kind of song that looks like it'll stand out, but ends up becoming background noise. >>704 Honestly, Being has way too many people who would've been finished at other companies ages ago. Maybe that's better than avex, which keeps churning out newcomers who can't sell and reaching into every possible direction, but they sure are scraping byｗ

I hope they make it big this year.

I watched the Ninnaji DVD, and Yurippe would be even better if she learned to switch between different singing styles. Though maybe that style was fine because it was Ninnaji.

Her vocals have been inorganic since the early days. The range is just even narrower now. She seems to have always used a vocal style where she sings calmly, rather than immersing herself emotionally in line with the lyrics.

The early songs had the charm of her being fresh out of her debut, which brought out something special in them, so singing those early songs with Yurippe's current vocals might be difficult. Though Eien ni Houmure and Sky can create a generous, almost grand atmosphere, so those would be good.

>>715 I'm not so sure about Eien ni Houmure. Can she still produce that inorganic voice that feels like something is missing?

They said it creates that atmosphere. The atmosphere of the lyrics is more about slowly recovering from the other person's death while still carrying that loneliness, but showing a powerful moment of getting back on your feet after death could be good too. It'd be a good change for the song. I don't think there could be an A CROWN without the technique and all that. I wouldn't be very happy to hear that one performed with her current voice.

It might work depending on how much they rearranged it.

It's about how well the style of the song matches Yuri-san's way of singing. Sometimes it might fit better, sometimes create a different kind of appeal, and sometimes stop fitting altogether. It'd be nice if she had more variations in her singing style.

I think it fits the songs they're making now quite well. It does make them feel a little more insistent, though.

That's what I mean: singing old songs with her current style can make them better or worse depending on how well they match.

What wanna one ?. It's the summer rain. When he is calling like. Like the falling love. Look a part in away. Move the shiny away. It's the summer days. Translation wanted.

It's dead in here. What music did everyone listen to last year besides Gane? Personally, I got interested in anime music and sampled whatever caught my eye. Other than that, the death, doom, hardcore, and noise I've liked for years. I bought about 50 CDs, six of them singles. Most were used. If I had to name the five releases I liked best among them: 1. BUZZOV-EN / Welcome To Violence 2. Macross F O.S.T. 3. Spice and Wolf O.S.T. 4. Rie fu / ROSE ALBUM 5. Metronome / Cycle Recycle Something like that. What about you all? Tell us if you feel like it.

Someone posted at this hour… I'm bored, so I'll join in too. In order of what I've been listening to most often lately: 1. mae / The Everglow 2. KOKIA / Remember me 3. MY LITTLE LOVER / evergreen 4. Mika Nakashima / VOICE 5. Beck / Mutations Recently I bought six singles at used shops to listen to Gane's coupling tracks. I'm devastated that the one I really want, Futari no Rocket, isn't stocked anywhere within my usual range.

BONNIE PINK is good.

Somehow, even last year I was still in a Gane-supremacist stateｗ Maybe because I was raised on Gane from childhood, I can't really listen to much else. I seem to be especially picky about female singers.

Tokyo Jihen, probably.

the brilliant green.

There isn't really any music sung by women besides Gane for me. Basically, everyone's singing voices are too weak.

New records and strange records. http://same.ula.cc/test/p.so/dubai.2ch.net/record/

I bought LOCKS yesterday. I was thinking, "How long are they going to keep having the first-press limited edition in stock…?"

1. Mogwai / The Hawk Is Howling 2. Radiohead / In Rainbows 3. GRAPEVINE / Lifetime 4. DRACONIAN / WHERE LOVERS MOURN 5. Syrup16g / Syrup16g I like things that are bittersweet, or just heavy. Syrup broke up, huh. It may have the boost of nostalgia, but it's a classic album. Mogwai are amazing. I feel like I'm about to get seriously hooked on post-rock. This ranking is pretty arbitrary too. I wanted to include The BACK HORN's Pulse, and I want to put in more of the gothic metal crowd as well.

>>729 There are probably a lot of singers who just sing prettily without any real appeal. Once you get to someone like Anri Kumaki, that's individuality.

>>726 Since you were a kid… Are you around twenty now? >>731 Even the used copies of LOCKS are selling like hotcakes.^^; >>732 I listened to IN RAINBOWS a lot last year too～ I want Yurippe to sing Reckoner.

THE BACK HORN had been a little underwhelming lately, but it's good that they came back with the new release. Freude and Kagami are masterpieces.

>>734 Oh, close. Roughly that age. Gane has been with me since I started listening to music. Gane has become an absolute presence for me rather than something I judge comparatively, so I might be a little blinded. Sorry for making it all about me.

LOCKS is kind of mediocre. I always think GARNET CROW albums are mediocre at first, so maybe I'll come to like it once I've gotten used to it…

>>736 I think that's fine. Things that influence you while your sense of self is forming become absolute, at least for you, don't they? I think they grow into your ego, even into something you feel is essential to who you are. No matter how much other things influence you after you become an adult, I feel like you always return to that starting point. Gane became your destiny. Well, I'm saying this as a fan, but W, it was pretty great, wasn't it?

LOCKS is the only one I've always thought was mediocre.

I think LOCKS is simply a good album. It's just being criticized because Gane's output through the fourth album was so unbelievably good. Or is that just my fan bias?

The fifth is good.

You can see the approach to a band sound in Ossan's comment about it feeling like a band. In practice, the bass and drum fills stand out too, unlike the programmed sounds that used to sit quietly in the background. Honestly, I think you have to look at it as a separate thing. It's not that Gane wasn't in top form; they were trying from the start to do something different from Gane's direction up to then.

Most of their songs used to make some kind of scenery appear in my mind as I listened, but I don't feel that as much with the songs on LOCKS. It's hard to put into words, but before there was scenery serving as a background, with characters appearing inside it… whereas in the LOCKS songs, it feels like only the characters show up. Even the melodies by themselves feel pieced together. Still, I'll probably buy the next one…

I think they said something about showing their darker side, so maybe the fifth has some problems beyond the quality of the work itself. They'd already exposed the limits of the band there once, and the sixth feels like they're changing things a little and searching for a direction.

You don't have to worry that much. Yurippe said that if nobody stopped her, she'd just keep making songs like The first cry, so she'll probably be fine. This time seems to be going in the direction of "the gloomy one tried really hard" (according to Yurippe), so I think it's just temporary. >>723 School Of Seven Bells ttp://www.myspace.com/schoolofsevenbells ttp://jp.youtube.com/watch?v=7wYPwTRB-Ko&feature=related

Am I a contrarian for feeling that The first cry was only good compared to the others on that album?

The trumpet player's performance on The first cry live was incredible.

I think doubt is dark and good too. I don't think LOCKS is as bright as everyone says, and I think it's an album that tests the listener's ability to understand it.

Personally, Love is a Bird was a song that grew on me. Coincidentally, I like all the songs with English titles.

>>747 Wasn't it a saxophone? These days, Gane doesn't even have beautiful melodies, never mind whether they're dark or bright.

There are still songs with beautiful melodies: love lone star, love is a bird, Yume no Hitotsu, Mou Ichido Waratte, etc. But they don't have that synergistic effect between melody and arrangement like they used to. It's just my personal taste, but Ossan's early arrangements were too godly.

For me, Maboroshi was the last good single.

Yume no Hitotsu and Mou Ichido Waratte aren't so much beautiful melodies as ordinary-feeling ones. They are catchy, but the way they deliberately create that sense of uplift feels formulaic for a ballad. I find it weird how neatly they bring in the chorus like that. Maboroshi was my last good single too. The quality of that song was terrifyingly high.

For a modulation lover, Yume no Hitotsu was good. Hyakunen no Kodoku was the worst.

After the sixth wandered so much, I'm looking forward to the seventh.

>>752 Not counting the coupling tracks?

I agree.

Even counting the coupling tracks, I can't find anything recent that beats Maboroshi. That's just how I feel, anyway.

Kaze to RAINBOW / Kono Te wo Nobaseba / Mawarimichi Namida no Yesterday / Go For It / Ichiban Suteki datta Hi Sekai wa Mawaru to Iu Keredo / Kanata Made Hikari wo / Argentina Yume no Hitotsu / Love Lone Star / Mijikai Natsu Hyakunen no Kodoku / Clockwork / Secret Path Personally, I like the recent coupling tracks.

Hyakunen no Kodoku has a musical style that clearly misunderstands Raoh. Or rather, I think GARNET CROW and Fist of the North Star are a mismatch to begin with.

The lyrics and music of Hyakunen no Kodoku both let me down. The way the chorus comes in is pure formula. It didn't match the impression the title gave me. And that heavy kick-drum thumping, like they're showing off how many hits they can fit in, feels recycled too～

The lyrics were basically, "Oh, so you read One Hundred Years of Solitude."

They might as well have sung a quiet, Holy ground-type song. It might have suited the movie better.

>>762 Is the connection really that strong?

Even if One Hundred Years of Solitude was the motif, the atmosphere is exactly the kind of thing Nana herself would write, so it doesn't really click as a motif. With Mizu no Nai…, Mikansei no Neiro, and Himawari, you can tell immediately that they're that kind of thing, though.

>>764 You should read it. It's fucking long, but it makes you think about a lot of things.

There seem to be a lot of intellectual artists in the GIZA scene. I guess they're all smart and talented too.

Intellectual? What makes you think that? I do think Nana and Inaba are amazing and worthy of respect, but I can't think of anything in particular when it comes to the others.

Aiuchi has the aura of someone who could become a goofy TV personality. I don't know what she's actually like, though.

Show Mochi some respect too, W.

>>768 I can't explain it, but Nana looks absurdly much like a top student. I get that impression from the way she talks and from her lyrics. Maybe it's just her overall vibe.

>>771 She looks that way, but she might actually just be putting it on…

Well… even if it's all an act, I still think someone who has built dozens of works by this point must be a genius. Apparently she used to do talent work or something, but to develop that kind of musical sense in those circumstances is incredible… I hear she has all kinds of hobbies too… By contrast, Yuri seems like a hard worker, someone who keeps putting in effort every day.

>>771 No, I get Nanaｗ It's the idea that there are lots of intellectual GIZA artists that I don't really understandｗ Whether it's an act or not doesn't matter; Nana's appeal as a lyricist is still there.

Hmm, I can't really explain it either. I guess there are a lot of people who give off an intellectual aura. They've all gone to pretty good universities too.

Nana is someone with an outstanding literary sensibility, including in her creative work. I'm bad at music myself, so I'll leave that part of the evaluation aloneｗ

Maybe "intellectual" comes from the image of being refined and quiet. That image strategy is ridiculously strong, though. I don't know anything about their education.

Lately Yurippe is the one dragging them down, though.

>>773 She probably does work hard every day, but the early songs, when she was practically an amateur, showed more talentｗ >Yurippe's songs

What does everyone here think of doa?

>>780 I thought Kokoro no Rhythm Tobichiru Butterfly would sell, but they should've given it more exposure back then. Apparently quite a few people thought it was Fukuyama's new song and ended up contributing to the sales of Fukuyama's album, which had just come out.

Garige was getting more attention. I feel like slightly gloomy lyrics or a female vocalist are the kind of things people in this thread tend to like.

Where was Garige getting attentionｗ doa was playing constantly on cable radio for a while. And now the view count for that song "Otoko nara～" is insane on NicoNico.

>>783 Oh, the au one.

>>783 In this thread. There were especially lots of replies when Machi was released in September 2007.

Correction: × last year ○ 2007

Garige's playing is solid and they do all kinds of genres, but they don't really grab me. They just don't have enough charm to draw you in. They're not bad, though. >>779 I can't help agreeing with thatｗ

Their chord progressions don't have much variety and never increase, so everything ends up feeling like a rehash.

Isn't it about time they went in an AOR direction produced by Ossan?

Ossan's band-rock direction looks like it'll continue for a while. Though no matter how much the arrangements carry things, Yurippe's sense is kind of questionable right now.

So why not have Ossan do the composing too… Oh, right. There's Mochi.

>>788 Yurippe: "Staying unchanged is wonderful."

No, that's the part they should changeｗ

What I want them not to change is their appeal. There's no point in changing if they have to shave off that appeal to do it. Anyway, the guitar with that soft chorus in Eien ni Houmure and the arpeggios in the early version of Sky are god-tier, so I'd love to hear those again. The way the guitar solo in Eien ni Houmure gradually builds up is the best too.

If all they're doing is reproducing the same sort of thing, there's no point in making those songs. That's what I think, anyway?

I think staying unchanged is, in a sense, the same as regressing. I understand that they want to make good songs, and the current songs are the result of their searching. The opinions saying "they were better before" have probably reached the members' ears too. Even so, maybe they're making the songs they believe are good. That's just my interpretation. And after all that, I still like the early days best myself. Sorry.

The only one searching is Ossan, if we're talking arrangements. Yurippe and Nana-sama don't seem to have changed.

I know this is late, but RustyRail is really good. It has a sense of story.

Still, I can't shake the feeling that more and more songs are appearing where you wonder, "Why does Gane even need to sing this?" It's like they're not relying on Yurippe's composing anymore, but are barely squeezing out any individuality through Yurippe's voice alone.

>>800 If that comes true, Gane will sell like crazy.

>>800 That'd be a problem tooｗ

>>801 It'd be a problem if we couldn't get tickets, too.

Either get someone from outside to provide the compositions, or Yurippe has to step it up.

It's nice to be appreciated by lots of people. I'm fine with them selling like crazy.

Please let them suddenly sell like crazy once in a while, just when we've forgotten about it.

>>798 It really is good. Unrelated, but I thought Rusty Rail was a pretty ordinary song title, and it turns out there aren't many like it. I think it was made as a twist on the name of the cocktail Rusty Nail. Apparently it was named for its reddish-brown color and the meaning of "something old," so I guess it's also tied to the song and the atmosphere of the fifth album. Pretty clever.

>>806 I thought it was kind of mediocre the first time I heard it, but after a few more listens… Huh!? What is this god-tier song!? Wow, this is amazing!

Isn't this a song that abandoned-railway fans would love?

One of the few masterpieces on the fifth, in my opinion. The way the arpeggio depicts a railroad crossing has a nice melancholy to it.

I seriously think Rusty Rail is a Yurippe GJ song. The chorus suits her powerful current voice, and above all the chorus work is fantastic. The melody having that good kind of Yurippe-ness is nice too.

>>810 What's GJ?

■GJ (gj)■ Abbreviation for "Good job." Meaning: "Well done!" A respectful phrase sent to someone when they do something that contributes to the team.

>>811 Lurk for six months (ry

>>812 Thanks. >>813 Later.

Maybe that basically relaxed but still powerful feeling is what they're aiming for now. The current stuff does have a lot of forcing its way through, though.

Speaking of Rusty Rail, it's that line: I wo~n't lea~ave yooou~ waaah.

>>816 Agreed. That part is the best. I really like how the fifth album has so many songs that make you conscious of "color," not just Rusty Rail. Actually, maybe painting is a better comparison than color. It feels like they're expressing paintings through music, starting with an abstract-painting-like song such as Anywhere and ending with a realistic one like WEEKEND.

The color palette feels like dark warm colors through black, and the time of day is evening through twilight. The overall image is still that calm orange of twilight. The color of Himawari isn't a bright yellow soaked in sunlight either, but a faded yellow. It feels like heading toward the dusk of WEEKEND.

>>818 I have that kind of image too. That's an interesting way to put it. It overlaps with AZUKI's sense of impermanence, so I guess the fifth album was made with that kind of color and time gradient especially in mind.

For me, it's: I'm wiiiishing for itttt~ That's the best part.

I imagined some song by X and now I can go die. I thought that even Gane could do something like that at the time…

So that arpeggio really was Ossan's idea? Whether it's electric or acoustic guitar, songs that start with a guitar arpeggio in the intro never miss. They're all too damn good. Sky is still my favorite arpeggio song.

I don't think piano intros miss either (in little, Yuuzukuyo, Yuudachi, Wasurenazaki, etc.…) Synth intros have some amazing ones, but they're hit or miss. Starting with an electric-guitar solo is kind of iffy… Songs where the piano or acoustic guitar stands out seem to have a high god-tier rate.

pray is good too. It gave me chills at Ninnaji…

>>823 Yuuzukuyo might make my personal top five favorites.

I have a weird psychological scar from Wasurenazaki, since I was listening to it around the time I failed my entrance exams.

Starting with Mochi's guitar bend is kind of iffy. Though that was a recent thingｗ Am I the only one who feels like the guitar solo in Wasurenazaki strips away all the naturalness—or rather, the warmth—that had been built up until then? It would've been better to just keep laying on the synth strings.

Is Meguri Kuru Haru ni not obviously god-tier? It gives me goosebumps all over.

You're only saying that now? It's another simple song where the arpeggio stays with you.

I could eat three bowls of rice just from the intro to Sen Ijou no Kotoba wo Narabete mo. You can feel Ossan's sensibility in that short little section.

I'm on the camp that thinks the opening stretch after the intro of Sen Ijou is kind of iffy.

The outro is good.

I also like those light programmed drums that feel almost like percussion, just the right amount.

I'm an outro person too～ That melancholy fits the lyrics about parting unbelievably well. It feels like I can see the scene of someone drifting away.

Of the singles, my favorite is Kimi wo Kazaru Hana wo Sakaso… Am I in the minority?

On the lyric card for the fourth album, "Ukare shi toki yo" in Bokura dake no Mirai is printed as "Ukare shi yo"… Is everyone else's like that too?

Let's decide GARNET CROW's greatest masterpiece. One vote for Marginal Man.

If you're going to talk about that, shouldn't you do it in the main thread?

>>836 Same. Also, one of the staples at the top of my copy had come loose (sob). And it was brand new.

>>837 I'll leave the tally here to you. GARNET CROW popularity song poll http://changi.2ch.net/test/read.cgi/vote/1170067607/

The pamphlet from the 2002 live show is up for auction, but because of Yahoo's incomprehensible rules, I can't bid over 5,000…

>>841 Stop copy-pasting.

By the way, does anyone here listen to artists from Zankyo Records? I didn't know much about post-rock, but the stuff from that label is pretty good. I don't like 9mm, though. Not that it matters, but GRAPEVINE's Kazemachi and Gane's Yasashii Ame kind of have a similar atmosphere. I like both of them. They both feel like a sad, gentle wind blowing in. Yasashii Ame ttp://jp.youtube.com/watch?v=6rIuj6odIFg&feature=related Kazemachi ttp://jp.youtube.com/watch?v=j6YvoDrehj0&feature=related

>>843 I checked them out, but I didn't think they sounded alike at allｗ I don't know how to put it, but Garnet is great.

>>843 The overseas stuff is good. The one called t'e was kind of iffy. Kazemachi is good. I liked GRAPEVINE best around the Lifetime era.

What do I have to do to get all their singles, from the first one through now!!＿？

1. Wait for someone to list one on Yahoo Auctions.

Doesn't Amazon have quite a few?

I want to get all the audio from the singles' B-sides in one go. I'll download whatever's on download sites, but I guess I'll have to buy the rest somehow!

If it's BGV, didn't they have every song?

If you ask a CD shop to special-order them, couldn't you get them all? I bought all my existing singles through special orders.

>>850 Thanks!!

>>851 I'm a student, so I don't have any money～… I'm jealous…

You'll just have to buy them little by little～

Speaking of singles, there was a time when Sen Ijou was treated as an incredibly rare item～ ( ・∀・)y─┛~~

>>855 Long time no see. Apparently there were people buying them up in bulk.

>>856 I know whoｗｗ

Who is that? I don't know them.

I want to make a playlist using Gane songs to evoke spring, but I can't decide on the song choices or their order… Lend me your wisdom.

Start by writing down all the songs that make you think of it. Then you can work out the song choices and order from there.

>>859 How many candidates have you come up with? I thought about it, and there really aren't that many spring songs.

>>860>>861 I could only think of a few… Mou Ichido Waratte Hare-dokei Mr. Holiday Kono Te wo Nobaseba Futari no Rocket Wasurenazaki Crystal Gauge Mysterious Eyes Something like that. It's basically just turned into a collection of breezy songs.

>>862 Meguri Kuru Haru ni Haru Matsu Hana no You ni …Though those only have "spring" in the titleｗ

What kind of spring playlist leaves out Yumemita?

Doesn't Sen Ijou feel kind of like a graduation ceremony?

Kim'nchi and Komané would be good too, wouldn't they?

Even if you just say "spring," there are songs about the sadness of parting or setting out, songs about the happiness of a new beginning, and songs about the warmth of spring, right?

The main thread really is full of the pampered younger generation, isn't it? All they talk about is how cute someone's face is or whether they're lesbians.

That's still better than having the thread trashed by slander and rumors.

>>863->>867 Thanks for all the suggestions. In my head it's more of a warm, sunny image than a bittersweet one. Sky Blue Naked Story A Crown might work too, right? There may be more songs like that from the early days. …Sorry for basically answering my own question.

>>862 Hare-dokei makes me think of a crisp autumn day. Even the cover photo and release date make it feel like an autumn song.

Kurige gives me a winter feeling too. And Hare-dokei's coupling track is Tatoeba 12-gatsu no Yoru ni, after all, so it's a little different.

I can think of songs for around May or June, but that's not spring anymore.

Apparently poplars bloom in spring.

Secret Path, then.

On sale April 15 New song "Wart Vibrator"—lyrics digest version Desperate, a storm of the urge to shit It suddenly appears and grabs my dick Premature ejaculation, stay calm, this is what I'm wishing for Say Fuck You, I feel like I'm about to come If I don't pull out, I don't want to cum inside, dick on pussy Even though I'm this hard Sperm is shouting "I need dick" in unison from deep inside the pussy Every night I'm attacking with an electric vibrator, but I'm definitely cumming—dick lick and pussy lick Just fit, with your voice: Wart Vibrator

>>444 Let me tell you one thing. The anonymous users have said over and over that we should just NG the fixed handle, but that idea clearly hasn't been carried through. That's reality. Do you really think there's any point in continuing to insist on something that never gets enforced? Then change your way of thinking. There'll be more baseball talk from now on, and naturally people will stop having time to respond to the fixed handle. That'd be fine, so just wait until then.

The "one by one they disappear～" lyric in Sekai Mawa is just a rehash of "one, two, they disappear～" in fill away.

>>878 And cried a little and Kanata Made Hikari wo tooｗ

>>877 What happened all of a sudden?

Wrong thread, I guess.

There was a post in the main thread asking why the SAGASHITE in "Mou Chotto SAGASHITE Mimashou" is in katakana, so I tried interpreting it in my own way. Here's the chorus: Let's SAGASHITE a little more Like something carried by the repeating waves and washed up on the shore It's okay to wait Can you really take these lyrics as meaning only "search"? I originally thought this SAGA was the same as the word in "human nature" or "a man's nature." In other words, I thought the lyrics meant we should live a little longer and keep writing the history of our lives. That also came from imagining the parts: It feels like today is about to end This body is going to give out But when I looked into it more carefully, I found that saga is actually *saga*: 【saga】 [Icelandic for "story," also written saga] (1) A general term for ancient and medieval Scandinavian prose stories written in Old Norse. Most were established in Iceland from the 13th century onward, recording events after the colonization of Iceland in a chronicle-like style. There are more than a hundred of them, long and short. (2) By extension, a heroic legend, tale of valor, adventure story, or historical tale (especially one of considerable length). From Sanseido's Daijirin, 2nd edition. And on Wikipedia: The Encyclopaedia Britannica lists three categories: "kings' sagas," "legendary sagas," and "Icelandic sagas." In other words, stories passed down in Iceland are Icelandic sagas, medieval stories transmitted in Norway are kings' sagas, and stories written imaginatively with literary elements are legendary sagas. There are also sagas about Swedish chieftains from the Viking Age. http://ja.wikipedia.org/wiki/%E3%82%B5%E3%82%AC Apparently these kinds of stories exist in places like Iceland. If anyone knows books related to the motifs in Nana's lyrics, please keep posting. I'll look through the literature myself in time too. I may be completely off base, but there aren't many motifs we know for sure, so if someone finds one I'd definitely like to read it. People in this thread often say they want to know the motifs, so I think it could be useful here.

Here's a rough list of the motifs mentioned in previous posts. I'd like to find a source for Mou Chotto SAGASHITE Mimashou and add it too. dreaming of love — Oscar Wilde's "The Nightingale and the Rose" flying — City of Angels in little time — the film The Hairdresser's Husband Mikansei na Neiro — the legend of Lyra (Greek mythology) blue bird — simply "The Blue Bird" (I think?) Eien wo Kakenukeru Isshun no Bokura — the film Wings of Desire Hare-dokei — probably Raymond Peynet, the motif Sen Ijou no Kotoba wo Narabete mo... — Momo-chan and Akane-chan Mizu no Nai Hareta Umi e — The Little Mermaid Jewel Fish — Arizona Dream Marionette Fantasia — The Nutcracker Nogare no Machi — the Bible Kimi no Omoi Egaita Yume Atsumeru HEAVEN — The Blue Flower Haru Matsu Hana no You ni — Hamlet Kaze to RAINBOW — The Wizard of Oz Hyakunen no Kodoku — Gabriel García Márquez's One Hundred Years of Solitude I've left out the ones involving specific people.

I feel like you're too trapped by the preconception that Nana's slightly twisted lyrics must have motifs. Obviously things like Mikansei and in little time, where the connection is clear, are different, but I would never think that Kaze to RAINBOW's motif was The Wizard of Oz. There must be a motif → Oh, this work and this lyric are slightly connected! → This work must be the motif. It seems like quite a few people have fallen into that way of thinking. With the current case, SAGASHITE, I just think Nana happened to feel like writing it in katakanaｗ There probably isn't any deep meaning. People are reading way too much into it.

Same as the post to the right. Ah, I mean above.

>>884 Agreed.

Lost Story and Otsuichi's The Lost Story aren't related just because their titles sound similar. That said, I cried reading The Lost Story anyway. That thing is brutal.

Kaze to RAINBOW makes me think of Ghost in the Shell. doubt gives me an image of The Little Match Girl (the darker interpretation, of course). What something makes you think of will differ from person to person, but this kind of intertextuality is one of the appeals of AZUKI's lyrics.

>>884 >I would never think that Kaze to RAINBOW's motif was The Wizard of Oz. Kaze to RAINBOW was used as the theme song for an anime called MÄR Heaven, and MÄR Heaven features familiar characters from The Wizard of Oz, such as Dorothy. MÄR Heaven itself was originally based on The Wizard of Oz. The "Metal Heart" in Kaze to RAINBOW is the Tin Man. And the theme song of The Wizard of Oz is "Over the Rainbow," which is another reason I think it was used as a motif. Since MÄR Heaven = The Wizard of Oz is established, I think it's fair to say Kaze to Rainbow almost certainly uses it as a motif too. People have wanted to know the motifs for a long time. I know I may be overthinking it and getting it wrong, but if there's a possibility, I want to keep investigating. Reading the lyrics after learning the motif can lead to new discoveries, can't it?

For example, "Like something carried by the repeating waves and washed up on the shore It's okay to wait" Suppose almost exactly the same wording turned up in a source. If you knew what the motif was about, wouldn't that make what Mou Chotto SAGASHITE Mimashou is trying to say clearer? I was hoping someone familiar with European literature or history would see the post and provide some information, but it seems like I'm being a nuisance in this thread too, so I'm out. I'll search for it myself, little by little. Laterノシ

Please support the deserted Nana thread too.

I think looking for motifs is fine, but compared with simply examining what the lyrics themselves say, more and more people seem to be picking out a few phrases first and devoting themselves entirely to motif analysis. It feels like that's narrowing the scope of lyric analysis. Though of course everyone can enjoy things however they want.

It looked like I wasn't going to get any information here, so last night I casually asked about a few keywords on a message board at a site where literary scholars gather (without mentioning GARNET CROW, of course). Apparently something close to those words is written on a stone monument in an Irish saga, not an Icelandic saga, and Oscar Wilde apparently also discussed the contents of this Irish saga. I don't know whether it actually says "saga" there. (I didn't mention Oscar Wilde at all on my end.) Apparently there are papers arguing that Oscar Wilde was influenced by Irish sagas too. I only just learned that Oscar Wilde was Irish—I had assumed he was English. I really need to reflectｗ I wasn't planning to bring this subject up here again, but I was so surprised that I had to post. Well then, laterノシ

The good thing about AZUKI's lyrics is that they can be interpreted any way you like. In other words, the meaning of a work belongs not to the author but to the viewer. She herself has said, "There isn't anything I want to convey," so of course this is intentional. That's why she'd probably dislike people assigning a definite motif or fixed image to them. I think it's not a motif but simply rhetoric. For AZUKI, the motif is always Yurippe's music.

>>894 Isn't a motif different from something you want to convey? Then why is One Hundred Years of Solitude used so directly?

There are lots of lyricists, but not many whose work gets examined beyond the content itself, all the way to the trigger for their inspiration and the things that influenced them. Even within Being, and certainly across the whole industry, Nana is a rare presence.

Definitely near the top among mainstream artists.

Maybe the right way to see Nana's lyrics is, "She took some words that appeared in the work and played around with them as ingredients." Like, "Today I tried using wild boar meat in the hot pot."

Even though she herself has said there's no message she wants to press on people, her worldview is so powerful that it sticks to your mind. That's the troublesome part.

>>895 When people hear "One Hundred Years of Solitude," they don't all think of the novel with that title, do they? Anyway, what I'm really saying is that people are free to interpret a work however they want, but trying to give that interpretation universal validity seems contrary to AZUKI's intentions. Also, a lot of Gane fans seem to think that a work exists first and then you read meaning out of it. Actually, it's the opposite: Gane's works are, so to speak, like Kant's "thing-in-itself"—you take something that originally has no known meaning, give it meaning yourself, and turn it into a work. So I don't think Gane needs a fixed motif or any context (shared information) that narrows the interpretation of a work, and I don't think that's what AZUKI truly intended either.

As a fan, I think it's natural to want to know motifs that seem like they might be connected to a work, as one possible interpretation. Whether you let them constrain you is an individual matter.

>>900 >Gane's works are, so to speak, like Kant's "thing-in-itself"—you take something that originally has no known meaning, give it meaning yourself, and turn it into a work. Kant shouldn't have had that kind of *a priori* idea, though? If it's the "thing-in-itself," wouldn't it be more about the cognition of sensibility and action, gained through experience, acting upon the understanding? Or am I wrong? I think it's more like this: Nana's experience of reading books acts on the "lyric writing" in her subconscious (she writes lyrics before bed or just after waking up). Also, you're the first person to point out that it's rhetoric rather than a motif. Lots of people have used the word "motif" in their posts without questioning it. I'd like a little more explanation of the idea that it's rhetoric (decoration) rather than a motif. And I never said anything about "universal validity," so why did you interpret it that way? Weird.

Using difficult words doesn't automatically make yourself understood. My understanding of that stuff is more like looking at a painting.

Why did GARNET CROW and Ging Nang BOYZ end up so far apart? The release frequency is overwhelmingly different.

Why Ging Nang BOYZ of all things? Nana has said she doesn't have a message she needs to convey, so you don't see an introspective part there—or rather, an I-novel-like world. So when the lyrics are a little difficult to understand, you do end up wanting to run off and investigate the motifs.

>>902 Not the "thing-in-itself," but something *like* the "thing-in-itself." It's a metaphor for something unknown. As for motifs, I'd like you to prove the opposite: that the other texts being alluded to really are motifs, or that they're not rhetoric. I wrote "universal validity" because I found it strange that, even though the meaning of a work belongs to the viewer, there should be an objective thing called a motif.

>>906 Why does Kant's "thing-in-itself" become something *like* the thing-in-itself? Several posts in this exchange have used the word "motif," right? >I think it's not a motif but simply rhetoric. >For AZUKI, the motif is always Yurippe's music. I'm asking you to explain what you mean by "rhetoric" because I don't understand it. You can't prove something you don't understand. Once I understand what you mean by rhetoric, I might try to refute it. >>894 was probably a post expressing your own view, but as the exchange went on, it fell apart and you couldn't bring it to a landing…

>>907 The thing that's incoherent is your writing. I have no idea what you're saying. You can't have a conversation with someone who comes in looking for a fight. That's enough. Goodbye.

Regarding motifs, what everyone is calling a motif should probably be called a theme. A theme is a subject, while a motif is the idea that becomes the motivation for creating something. And if we're going to talk about AZUKI's lyrics, we also need to define what lyrics are. In a music-first process, lyrics exist to decorate the music. So, in the end, it's fair to think of lyrics as rhetoric. AZUKI especially understands this well, so she doesn't bring a theme into her lyrics. The other texts that seem like themes are actually nothing more than rhetoric too.

Happy birthday, Professor Furui! Looking forward to more god-tier arrangements this year too.

Happy birthday, teacher. Please add more piano and synth-string arrangements instead of electric-guitar arrangements. I'm begging you.

Happy birthday, teach. And I strongly agree with >>911.

Oh, it's Furui-san's birthday. Happy birthday, god hand. I want to hear more piano. I want to hear Nana-san's flute too.

>>913 If Nana-sama has to spend more time practicing for live shows, she'll hate live shows even moreｗ

>>914 She said on the radio, "Let's do a countdown live," so I want to believe she'll be fineｗ

>>914 Does Nana-sama hate live shows?

I'll make this my last time, so let me say it one more time. AZUKI's lyrics are an expression in words of her image of Yurippe's music. Lyrics are a special medium of expression, different from novels and paintings. So there can't be a motif in the general sense of a subject that motivates a work. The motif is always Yurippe's music.

I don't know whether the countdown live was really what she wanted, but I think it's definitely true that Nana doesn't like live shows. Maybe she likes them nowｗ

>>918 Based on the Ninnaji DVD, she didn't look like she hated live shows.

Her piano technique has improved to a decent level live. I guess she's become at least a little more conscious of live shows. The volume at live shows is pretty pathetic, so I think some of it doesn't come across well. The backing is shakier than Yurippe's vocals these days, though.

>>916 It came up a while ago, but apparently when she gave a lecture at some university, she said something like, "I actually hate live shows"ｗ

Really? Maybe she likes them now?

Maybe it's more like, "I hate practicing piano, but the actual performance is fun."

>>923 I can kind of understand hating piano practiceｗ

Maybe she meant that she hates practicing, not live shows? The way Nana-sama stares fixedly at Yurippe, you'd think she absolutely loves live shows where Yurippe performsｗｗｗ

In the old days they had to play everything a half-step down live, so it was complicated.

696:伝説の名無しさん 2009/02/07(土) 22:45:55 [ ] Only 18 songs have been released, and only 13 are self-composed. That's just sad. Did Kimushin get to do the things he left unfinished in WANDS? Being used as AZUKI Nana's practice platform right at the very end must have been frustrating. Was it a deliberately staged performance to show the generational change within Being? I absolutely don't think the lyricist herself had any malice, but I just can't bring myself to like GARNET CROW. That thin, weak voice sounds like a degraded version of Keiko Utoku. Even if WANDS had lost momentum, thinking that they were replaced by an artist like that is unbearable.

What's WANDS? And who is Keiko Utoku?

As a Being fan, not knowing WANDS is impossible.

>>929 What's a "Being fan"?

◆Trolling, attacking fixed handles, etc. are prohibited. Just ignore it.

>>927 Well, unfortunately, that kind of artist was the next generation. Nana has become an important pillar of Gane. >>928 Depending on your generation, there are people who just won't know them. I recommend looking them up on Wikipedia.

Who cares about WANDS? Are you talking to yourself? Take it to the WANDS thread.

What exactly is the definition of a Being fan?

I wish we could ban discussion of other artists as a rule from now on. I don't want to see pointless posts like 927. Gane is a one-of-a-kind presence in J-pop, and comparing it with other artists is disrespectful.

>>935 >>3

Honestly, even >>3 is kind of questionable.

Come on, don't get so worked up. They only got bashed a little. There's no point making a fuss over every little thing like this. Not that I'm comparing them to the main thread, but let's let Yuri and Nana take it easy. I don't think we need to deliberately turn the internet into such a hostile place.

Yeah. Nana does provide lyrics for other artists, but that's unrelated to Gane.

Comparing them with other artists is a completely fruitless discussion, both for Gane and for the artists being compared. But I think bringing up other artists and talking about them is actually interesting. For example, to enjoy the artists' own music more, I think you need to know things like their musical background.

Artist.

Knowing someone's musical background is important, right? Once you know their tastes, you can understand the content of their music better too.

I get that, but some people are a little too hung up on it.

It's practically reached the level of fantasy. That quote from some lyricist—"You listen while being that particular about details all the way down there?"—made me laugh.

Smells like self-posting.

Still, everyone really does seem to read deeply into the details of Nana's lyrics. I just listen along with the music and form a rough interpretation of what it's about, then either relate to it or think, "I like this phrase." But the more you analyze, the more there are probably things only that particular person can see.

Expanding on the image from your first impression is good too. You can dig into individual songs or look for motifs, but I feel like Nana's shared values can be glimpsed all over every song. It feels like she uses a rich vocabulary and a lot of knowledge to fit them into all kinds of situations.

I used to write out Gane lyrics on worksheets during class. It felt like I could focus on parts I'd just skim past if I only listened and read them. It was kind of like copying a sutraｗ

I think it was during a high-school exam. I finished early, got bored, and wrote them on the back. I nearly forgot to erase it when the exam ended and freaked out.

Characteristics of the baseball board: The type who hides their own tastes and hobbies while making fun of the other person's. The type who enjoys themselves by derailing the subject. The type who keeps dragging out an unfunny joke.

Personally, I've started wanting to hear Mochi's solo album again. Even Gane fans would probably only buy it as an afterthought, so there's no demand, and the chances of another one coming out are pretty low… People call it music that neither harms nor heals, but that's what guitar pop is like, and Res-no is a masterpiece. Since Gane's been a little underwhelming lately, I'd like him to leave the mothership and try harder on his own.

Music that neither harms nor healsｗ There are tons of addictive guitar-pop songs in Western music, though.

Mochi's character is part of the reason too, naturally.

Mai Kuraki was on today? It does kind of feel like she only appeared because she's past her peak, but I wish I'd watched it. Since we're on the subject of Mochi, he had a dark chapter called PS too. With Kuraki's vocal tone, a rhythm track like that might not be bad, but it leaves absolutely no impressionｗ

Why is the main thread only talking about masturbation and virginity? Are they idiots?

>>955 Why don't you go say that in the main thread instead of here?

Do Yurippe and Nana-san give chocolates to the members and stuff?

Yurippe is the type to walk around handing them out to the members and staff. Nana-sama is the one on the receiving end.

Nana is the type to make them herself and then happily eat them herself. >>955 If there were new songs or live shows to talk about, things would change a little, but there's nothing going on right now. Once there are no topics left to discuss, they go over there instead. It is kind of like middle- and high-schoolers, though.

>>954 That "Mai-san, die" PS thing, right? Nostalgic. Mochi's composing and arranging are still pretty iffy even nowｗ

Rockin'On had a comment calling them "stateless music," but Mochi saying something like, "Once I started working in music, I stopped listening to Japanese music," somehow feels so weird that it makes me laugh.

Mochi: "Kasuchiruｗｗｗ Arrange Rangeｗｗｗ"

Yeahｗ That kind of image comes to mindｗ Though that's not what he meantｗ

Still, I want to know what the members think of Japanese music.

Apparently Yurippe went to a Mr. Children live show, and likes Flipper's Guitar. And Nana likes The Yellow Monkey, or something like that.

＿＿＿_ 　　　　　　 ／ ＼　　／＼　 .　　　　　／　（ー） 　（ー）＼　　　　＜「音楽の仕事に携わるようになってから邦楽は聴かなくなりましたね」ｷﾘｯ 　　　　／　　 ⌒（__人__）⌒ ＼　　　 　　　　|　　 　　　|r┬-|　　　　|　　　 　　　　 ＼　　　　 `ー’´　　 ／　　　 　　　　ノ　　　　　　　　　　 　＼　　　 　 ／´　　　　　　　　　　　　 　　ヽ　　 　|　　　　ｌ　　　　　　　　　　　　　　＼　 　ヽ　　　 -一””””~~｀`’ー?､　　　-一”””’ー-､.　 　　ヽ ＿＿＿＿(⌒)(⌒)⌒)　)　　(⌒＿(⌒)⌒)⌒))　 　　　　 　　　 　＿＿＿_　 　　　　　　　 ／_ノ 　ヽ､_＼　 　ﾐ　ﾐ　ﾐ　　oﾟ(（●）) (（●）)ﾟo　　　　　　ﾐ　ﾐ　ﾐ　　　＜だっておｗｗｗ /⌒)⌒)⌒. ::::::⌒（__人__）⌒:::＼　　　/⌒)⌒)⌒) 　　　 |　/　/　/　　　　　|r┬-|　　　　|　(⌒)/　/ / /／　　　　　　　　 |　:::::::::::(⌒)　　　　|　|　 |　　 ／ 　ゝ　　:::::::::::/　　　　　　　 |　　　　　ノ　　 　　|　|　 |　 　＼　　/　　）　　/　 ヽ　　　　/　　　　　`ー’´ 　 　 　ヽ /　　　　／　 　|　　　　|　　 l||l　从人 l||l 　　　　 l||l 从人 l||l　　バンバン　 　ヽ　　　 -一””””~~｀`’ー?､　　　-一”””’ー-､　 　　ヽ ＿＿＿＿(⌒)(⌒)⌒)　)　　(⌒＿(⌒)⌒)⌒))

They never comment on Japanese music, do they? Or the scene in general. I don't really get the impression that they'd comment on that kind of thing anyway. Don't call them Kasuchiru. No bashing allowed. Deep Sea, the album people call a kind of litmus test for Mr. Children, is a masterpiece. Songs like Coelacanth and Deep Sea were incredibly experimental at the time. They've ended up with a lot of mediocre ballads now, though…

You often see things like "the best albums of the year chosen by artists" published at the end of the year. I'd like to see the members' picks too. When I think about it, Japanese acts probably wouldn't make their lists. That's just the impression I get.

>>965 Oh～ Yurippe went to a Mr. Children liveｗ

>>968 No, Nana-sama's best albums of the year would probably all be songs composed by Yurippe (GARNET = Japanese music)ｗ

That might be trueｗ >>965 I wonder when she went to see them. Mr. Children's Tahara has an even worse position than Mochiｗ Not only are the support members' playing more noticeable, but during the songs he's buried under the piano, strings, and keyboard sounds. All he gets are inconspicuous backing parts.

>>971 I don't know, but apparently she ran into Kiyopy at a Mr. Children live show. Kiyopy let it slip during a public radio broadcast last November.

Even within Japanese music, the anime-song side is more interesting. Mainstream Japanese music hasn't evolved since around 2000.

This is where I'd like to say, "Then there's the Rockin'On scene," but compared with around 2000, it's just generic bands that become popular. I've had enough of that melodic hardcore stuff like Beat Crusaders and ELLEGARDEN. Not that I'm trying to put them down.

>>972 When I first heard Love Lone Star, I immediately thought it sounded a little like Mr. Children. The "a star that looks like it's shining, but nothing lives on it" part— maybe it's just me?

I thought so too. But only that particular melody.

That thought never occurred to me.

I wonder if she's really dating TA〇UI after all. I like Gane's music too, but I'm curious about this as well. There doesn't seem to be any connection between them at all, so I don't know where the rumor came from. If that's the case, I'd actually find Mochi more believableｗ

She has a connection with Mochi, but there isn't that kind of vibe, and Ossan is married, so noｗ If you're in the same industry, there can be connections anywhere. Aside from that, Yurippe and TM Nishikawa went to the same school, and TAKUI and Nishikawa are best friends, so that's another connection… If the rumors about her relationships with TAKUI and Uesugi are true, then Yurippe likes passionate menｗ

Nishikawa, huhｗ It'd be interesting if she had a direct connection with Nishikawa. The music industry is part of the entertainment world too, so all kinds of people probably mix together, but can even a closed-off company like Being make connections with the outside? Uesugi would be a different story, though.

You can't possibly know what connections people have from the outside. I heard that Being supposedly bans office romancesｗ, so maybe the artists hold mixers to find partnersｗ Anyway, the entertainment industry sounds like a crazy world, so you never know what happens. Maybe they were together before debut, or maybe it was just a random pickupｗ

But Tokyo and Osaka makes it a little difficult.

A lot of TAKUI's songs feel like long-distance relationships. And Lily is a song about a (possibly ex-)lover…

What I'm curious about is why the connection with TAKUI suddenly came up in the first place.

Yeah, I don't know where the rumor came from either… 2ch?ｗ Apparently TAKUI did a live show in Hokkaido last year. Could Yurippe wanting to go to Hokkaido so badly be because of that? I can't help wonderingｗ Am I imagining it, or do Yurippe and TAKUI look a little alike?

>>983 Wasn't Lily from around the time before Gane formed? So is her messing around with Mochi's guitar influenced by him too?

Self-posting again?

Who dated whom is none of our business.

>>986 Lily is a 2008 song.

Wasn't it a fan on TAKUI's side who wrote it on a blog or somewhere? I didn't see it in real time, so I don't know.

>>986 She's a composer, so I don't think it's strange for her to play guitar even without being influenced by anyone.

Apparently TAKUI has two modes when composing: one is when he decides to write a song and does it, and the other is when a song descends upon himｗ Coincidentally, that's exactly the same as Yurippe.

>>992 Most people who write songs are like that.

True. Normally, those are probably the only two options.

Nakashima Takui (TAKUI) >He considers himself a hard worker. His preferred type of person is also "someone who works hard," and he believes that people who work hard always shine somewhere. From Wikipedia.

【Yuri】GARNET CROW part13【Nana】 http://mamono.2ch.net/test/read.cgi/musicj/1235049082/

>>995 So basically, he's a textbook narcissist.

1000

Filling.

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